Riot Fest Chicago 2013 – Three Day Review
If you follow live music, you have to admit that the mega festival movement is getting a bit stale. Every year we get massively overhyped announcements from the likes of Coachella, Lollapalooza, and Bonnaroo that have music blogs buzzing for a few days before everyone realizes the lineups are basically the same and tickets, flights, and hotels would cost a small fortune.
Riot Fest is by just about any definition, a mega festival. This year’s edition featured some big names (Fall Out Boy, Blink-182), some even bigger reunions (The Replacements), four different stages, and thousands and thousands of attendees who packed Humbolt Park in Chicago over three days.
What makes Riot Fest special however, is what it lacks in comparison to its counterparts. For one, the festival isn’t all that diverse. It was created to celebrate Chicago’s proud punk rock tradition, and while its lineup now stretches to include more mainstream acts and a few oddballs (Public Enemy, anyone?), it continues to have a more focused lineup than most other major festivals.
It also lacks the commercialism of many of today’s larger festival. Local food trucks and vendors provided the food, and there was plenty of booth space for independent record labels, local clothing startup-ups, and charities selling bottled water for a buck. The tickets were cheap as well, especially if you bought early. My three-day pass cost a whopping $70.
Riot Fest also lacks the type of party atmosphere that defines so many major festivals. This isn’t to say that attendees weren’t ready to have a good time, but for most part, the primary focus was always on the music. Artists repeatedly marveled at the enthusiasm of the giant crowds that came to sing along, even in Sunday’s pouring rainstorms.
Friday’s lineup got things off to a good start as fans searched for the best vantage points and learned the lay of the land. While a number of small acts took the stage early, some attendees played speed pitch at the carnival located just behind the main stage, while others hopped on the Ferris Wheel.
On the “Rise” Stage, Andrew W.K. made at least one reference to partying between every song and was followed by GWAR, who showered the crowd in fake blood and defeated Giant Zombie Jesus (seriously).
Later that night, Fall Out Boy used every trick in the book to captivate the hometown audience, with ramps, a giant light show, and a piano that magically appeared from underneath the stage. Their set was capped off by a visit from Chicago Blackhawks executive Danny Wirtz, who happened to bring the Stanley Cup along with him.
Saturday welcomed the festivals biggest crowd, with many in attendance gathering at mid-day to watch back to back sets from punk stalwarts Pennywise and Flag (featuring members of legendary hardcore outfit Black Flag).
Blink-182’s headlining set that night had fans lining up as far as the eye could see, and their hour and fifteen minute performance was impossible not to sing along to.
Sunday started with an 11:30 set from Hot Water Music’s Chuck Regan. Despite the early start and drizzle that had began falling, hundreds of die hards still showed up to appreciate the master at work.
The rain began to pick up as more and more fans arrived, but slowed slightly during a thirty minute set from Connecticut’s Hostage Calm, who made a good impression on the large crowd that had gathered in anticipation of the Wonder Years set that was up next. The Philly crew, led by lead singer Dan “Soupy” Campbell put on one of my favorite sets of the entire weekend, with their energetic live show receiving a huge reaction. Campbell later said the day was one of the best of his life. High praise indeed.
Saves the Day took the stage for a set filled with older fan favorites as the storm hit it’s peak. I couldn’t see lead singer Chris Conley very well around all the umbrellas, but he did sound pretty good.
As the Saves the Day set ended and the rain began to lighten, what seemed like the entire park converged on the “Roots” stage for one of the weekend’s most anticipated sets. While the Brand New camp has been relatively quite over the past few years, the band remains a huge cult favorite and a “can’t miss” live act. I felt bad for anyone trying to compete with them on one of the other stages.
After opening with three tracks from 2009’s polarizing Daisy, the band strung together some of the most recognizable tracks from across their catalog. After group closed with an epic version of “You Won’t Know”, a large portion of the crowd rushed over to the main stage, where AFI had just kicked off their set.
The final performance of the festival belonged to the Replacements – a band that had played exactly one show in the past 22 years, with that coming only a few weeks earlier at the Toronto edition of Riot Fest. Their return has generated an unbelievable amount of excitement from their fans, and a whole lot has been written about their Toronto performance (google it if you don’t believe me).
My first impression was that this didn’t look or sound like a band making a much hyped comeback. There was no flashy stage setup, and lead singer Paul Westerberg even stopped mid-song to admit that he couldn’t remember the verse on more than one occasion. Despite these miscues, the band sounded good and was able to captivate not only their longtime fans, but also an entirely new generation of fans that had the chance to observe the historic return.
The Replacements’ set was a good representation of the festival as a whole – it may have lacked the polish and shine you expect from such a happening, but if you were there for polish and shine, you were probably in the wrong place to begin with.
The Ten Best Shows Of 2012
2012 was a great year for live music in the Boston area. Here is the creme of the crop, according to me:
1. Refused at House of Blues Boston, July 20th
One of the greatest hardcore bands of all time proved that their reunion was not just a Cochella money grab when they announced an extensive world tour that stopped in Boston in August. Their 90 minute set was overwhelmingly intense. The aggression precision, and showmanship the band displayed defied every law that should govern a group of 40 year olds that had called it quits 14 years earlier. It would seem natural to say I wish I could have seen them in their prime, but I’m pretty sure this was it.
2. Bruce Springsteen at TD Garden, March 26th
There’s no such thing as a bad Bruce show, but a few factors made this one special. It was Sprinsteen’s first Boston show in three years and coincided with the release of his new album Wrecking Ball. While the tour would make multiple stops in New York and New Jersey, this was the only scheduled Boston show and had sold out in minutes. The three hours sets included a soul melody inspired by the band’s recent performance at the Apollo Theater, an epic encore with the house lights on, and everything else that has made Sprinsteen and Co. rock’s most consistent performers.
3. Motion City Soundtrack Double Header at Bamboozle Festival, May 19th
While there was no explanation as to why MCS was slated for two slots on the same stage at the Bamboozle Festival in Asbury Park, NJ, you weren’t going to hear any complaints from me. Their two appearances, one in the early afternoon and one much later at night, covered a good chunk of their discography and included very few repeats. They garnered the most enthusiastic crowd reaction that I saw all day, which is pretty impressive considering they were competing with the likes of the Foo Fighters on the main stage.
4. The Gaslight Anthem at the Middle East Downstairs, July 22nd
The Gaslight Anthem is way too big to be playing a 550 capacity venue, but that didn’t stop them from doing a small club tour in advance of their new album Handwritten this summer. Their show at the Middle East featured a lot of old tracks, previews or a few new ones, and a whole lot of sweat.
5. Jack’s Mannequin at El Rey Theater, November 11th
The band’s final two shows acted as a benefit for the Dear Jack Foundation and helped to raise $50,000 for childhood cancer research. Andrew McMahon and company’s second to last show featured a very well crafted career spanning set list that even included Something Corporate favorite “Konstantine”
6. Crime In Stereo and I Am The Avalanche at Gramercy Theater, November 24th
Crime in Stereo quietly called it a day in 2010, leaving their fans with little information as to why they had broken up or what they planned to do next. Their 2012 reunion was as unexpected as their breakup, and their first show back proved they still had it. An adrenaline packed opening set from local favorites I Am the Avalanche started things off on the right foot, and had the crowd ready for what would be a memorable 90 minute performance from the headliners. Their set mirrored their discography in that it was as haunting as it was powerful. Frontman Kristian Hallbert danced in and out of the venue’s brilliant, bliding spotlights while the rest of the band tore through each song as if they had never been apart.
7. Coldplay at TD Garden, July 29th
Chris Martin and Co. returned to the Garden for two sold out shows that featured all of the theatrics you would expect for $130 a ticket. This included light-up bracelets that were handed out to everyone in the arena, which the band controlled to made the show look a whole lot like the recently completed Olympic Opening Ceremony.
8. Fun at House of Blues Boston, April 21st
It’s not very often that you get to watch a hardworking band get the attention that they deserve, but that’s exactly what happened to fun in 2012. After their excellent debut album Aim and Ignite was largely ignored, a Super Bowl ad and a few radio spins helped fun become one of the year’s best success stories, and they made a stop in Boston just as their stock was about to shoot through the roof. The crowd’s reaction to the band’s every move made it obvious that a sold out show at the House of Blues was just the start of something very big.
9. Frank Turner at Royale, September 6th
Frank Turner also had a standout 2012, shooting from cult favorite to rock radio staple. He would play two sold out shows at Royale in September, and the first proved that the success certainly hasn’t gone to his head. Turner and the Sleeping Souls played great mix of songs new and old and made sure they weren’t overshadowed by opening act Larry and his Flash, who had put on a great show in their own right.
10. Bouncing Souls at House of Blues Boston, August 4th
While a half empty House of Blues may seem like a strange location for a Bouncing Souls show, the surprising absence of both bouncers and a barrier in front of the stage made for the what was easily the craziest show I’ve been to at the venue since it opened four years ago. After an excellent opening set from the Menzingers, the Bouncing Souls took the stage for what at first seemed like a snooze fest, as the band debuted a number of tracks from their recently released album Comet. When fans realized there would be no repercussions for making their way on stage, the stage diving competition was in session for the rest of the show.
Very Honorable Mentions
Say Anything, Murder By Death, Fake Problems at House of Blues Boston
Neon Trees at the Paradise
The Killers at Agganis Arena
Andrew Jackson Jihad at TT the Bears
Joyce Manor at TT the Bears
Top Ten Albums And Songs Of 2012
1. The Gaslight Anthem – Handwritten
The Gaslight Anthem have now churned out four outstanding full lengths in only five years, and this might be their best yet. It takes everything everyone loved from their earlier work, smooths out the rough edges, and turns the volume way up.
Favorite line:
Now do you blow it out come Friday night?
See if you wanna, you can find me on the hood under the moonlight
Radio, oh radio, do you believe there’s still some magic left
Somewhere inside our souls? – “Howl”
2. The Menzingers – On The Impossible Past
While I would love to declare a tie for my favorite record of the year, I can’t do that, so I’ll have to relegate this masterpiece to second best. It is nearly perfect in all ways – from the deeply personal lyrics, to the dual vocal attack of Greg Barnett and Tom May, to the fact that it is such a huge improvement over it’s predecessor, 2010’s Champerlain Waits. This is the album that announces the arrival of one of today’s brightest up and coming acts.
Favorite line:
Like when we would take rides
In your American muscle car
I felt American for once in my life
I never felt it again – “Good Things”
This band is huge for a reason. Some Nights is the rare album that makes a statement while still being extremely accessible. While every song sounds like it is being fueled by a mixture of cotton candy and sweet tarts, the lyrics hint at lead singer Nate Ruess’s struggles with his own past, high expectations, and society’s notions of what a rock band is supposed to be.
Favorite line:
I was never one to believe the hype – save that for the black and white
I try twice as hard and I’m half as liked, but here they come again to jack my style – “Some Nights”
4. Bruce Springsteen – Wrecking Ball
After the not-so-great Working On A Dream, Bruce and Co. came out swinging on Wrecking Ball and created an album that is as vital as anything the band has created over their 30+ year career.
Favorite lyric:
Gambling man rolls the dice, working man pays the bills
It’s still fat and easy up on bankers hill
Up on bankers hill the party’s going strong
Down here below we’re shackled and drawn – “Shackled And Drawn”
While it might not be the most consistent album, Picture Shows standout tracks deliver on the promise the band displayed on their wildly success debute EP, Habits. “Everybody Talks” proved that good music can still make it’s way to the radio, but “Weekend” is the album’s best example of pop gold.
Favorite Line:
don’t you know how it feels
to get days and months and years
trapped inside a waking dream
I bet you you and I could sit back
tonight and try
to make it more than just a fantasy – “Weekend”
I like this album because POS makes it clear that he is mad at everyone and everything. It’s an album about the Occupy Movement from someone who hates the Occupy Movement.
Favorite line:
Cold world
Cool new blanket
Stole it from the shelf at the Walmart thankless
Threat level awesome
Threat level orange juice
Who’s gonna stop ’em
We ain’t gotta throw stones at a glass house
We break in, just so we can smash out
– “All Of It”
While they had a lot to live up to after their debut album made them an overnight sensation in the UK, they meet those exepcetions with Come of Age. It is therefore ironic that one of the album’s standout tracks (“No Hope”) is all about letting everyone down.
Favorite line:
And I could make an observation,
If you want the voice of a generation,
but I’m too self-absorbed to give it clout. – “No Hope”
Hostage Calm – Please Remain Calm
While Please Remain Calm certainly has some catchy tunes, it’s value lies in the lyrics. Vocalist Chris Martin and Co. are able to capture what it means to live in our Great Recession society better than any band I’ve heard.
Favorite line:
Turned a circus for gamblers and gawkers and thieves.
When the word got around, we spilled out on the streets.
As the banks decorate every house in defeat. – “On Both Eyes”
The debut full-length from this English quintet is similar to Hostage Calm’s debut album in that what sets it apart from other releases is its lyrics. Lead singer James Mattock paints in broad strokes, leaving almost every song open to interpretation, proving there is much more to the record that the straight forward rock you’ll hear upon first listen.
Favorite line:
We’re the overestimated underdogs
What you await from us, now you can get for yourself – “Til The Wonders Rise”
The Killers – Battle Born
While their last effort was dressed up with electronics and slick production, Battle Born returns to the stripped down rock and storytelling of 2006’s Sam’s Town. It may not be as radio-friendly as their earlier work, but tracks like bombastic lead single “Runaways” and “Miss Atomic Bomb” can still blow the roof off of any arena.
Favorite line:
They say I’ll adjust
God knows I must
But I’m not sure how
This natural selection picked me out to be
A dark horse running in a fantasy
“Flesh And Bone”
Honorable mentions:
Joyce Manor – Of All Things I Will Soon Grow Tired
Titus Andronicus – Local Business
Hot Water Music – Exister
Japandroids – Celebration Rock
Top Ten Songs of 2012:
1. The Menzingers – “Burn After Writing”
2. The Menzingers – “Good” Things”
3. Hostage Calm “On Both Eyes”
4. The Gaslight Anthem – “Howl”
5. Neon Trees – “Still Young”
6. The Vaccines “Teenage Icon”
7. Sharks “‘Til The Wonders Rise”
8. Japandroids “Continuous Thunder”
9. Bruce Springsteen – “Death To My Hometown”
10. Hot Water Music “State Of Grace”
Honorable mentions:
Titus Andronicus “Still Life With Hot Deuce On Silver Platter”
The Rolling Stones – “One More Shot”
Neon Trees – “Weekend”
Blink-182 “Boxing Day”
The Gaslight Anthem – “Mulholland Drive”
Neon Tree – “Everybody Talks”
Book Review: “Bruce” By Peter Ames Carlin
I’ve never written a book review before, except maybe in an elementary school English class, but now seems like a good time to post my first. Peter Ames Carlin’s Bruce chronicles Bruce Springsteen’s career in often painstaking detail, giving fans a rare look into the mind behind one of rock and roll’s must successful and revered acts.
Reviewing Carlin’s Springsteen biography, is somewhat less daunting than reviewing one of his live shows. I’ve seen Bruce multiple times this year, but haven’t written a single review. The band’s live performances are jam packed with memorable moments, basically three hours of rock euphoria. It’s the type of show that words can’t do justice.
In Bruce, Carlin attempts to capture the passion and energy that Springsteen brings to the stage and help fans understand what fuels it. While there have been plenty of books published chronicling Springsteen’s life and career, this is the first book to be written with input from the Boss himself, which certainly helps Carlin achieve his goal.
The author had no contractual agreement with Springsteen or the band’s management, and was therefore free to be brutally honest at times. Carlin notes in the text that Springsteen had told him his only responsibility was to paint an accurate picture of the band and its leader, and it certainly seems like he was successful in doing so.
Over a musical career that has stretched over four decades, Bruce has become an iconic, almost mythical figure in the eyes of millions. His charisma and stage precense, as well as his devotion to his craft and his fans has earned him a spot as one of the most recognizable and respected musicians of all time. However, the most intriguing aspect of this book is not in the illustration of these characteristics, but is instead in the examples and stories that prove Bruce is human and flawed, just like his legion of fans.
Springsteen’s often complicated and turbulent relationship with his family, band members, managers, and label executives paint him as a somewhat selfish perfectionist who sets standards very few can live up to. Bruce’s history with the E Street Band is explored at length, and the often cold relationship between the lead singer and his right hand men, including Steve Van Zandt and Clarence Clemons is especially surprising considering the on-stage chemistry the band has shared.
While Carlin explores Springsteen’s flaws and career missteps, the book does in fact confirm many of the traits that are at the core of the Springsteen legend. These traits include his focus on everyday Americans – both in his songwriting and in his charity work, his dedication to his fans and his home state, and of course, his undeniable drive to be the best live act in the world.
The most impressive aspect of the book is how well researched it is. From the very start, it is obvious that Carlin has talked to just about everyone who has ever had a connection to Bruce. Input from fellow Jersey shore musicians provides great insight into Bruce development from scrawny teenager, to local hero in the 70’s and then international star 80’s.
Also central to the story is the way in which Carlin chronicles Springsteen’s extensive touring career and describes landmark performances in great detail, including Springsteen’s luke-warm reception at his first show in London and his mammoth Born In The USA stadium tour.
For any die-hard Bruce fan looking for greater insight into Springsteen’s music, this is a must read. It perfectly illustrates how Sprinsteen, unlike many of his peers over the last thirty years, has achieved such tremendous staying power and can still connect with fans and sell out stadiums 35 years after “Born To Run” hit the airwaves. For the casual fan, the book might provide more information than you’re looking for, but if you’re in the market for a Springsteen biography, I can’t imagine there are any better than this.