I’m convinced Taylor Goldsmith and I would be great friends.
Like the Dawes lead singer and guitarist, I reflect on the life choices I’ve made and wonder where I’m headed.
I also find meaning in everyday situations – late night drives, extra chicken wings, western skylines, cross-country flights, drinks at a bar and passing conversations – and believe they define me.
I see a similar pattern of thoughts recurring throughout Goldsmith’s lyrics for Dawes’ four studio albums – “North Hills,” “Nothing Is Wrong,” “Stories Don’t End” and “All Your Favorite Bands.”
In Dawes’ music, Goldsmith isn’t afraid to admit he’s made mistakes, taken the wrong path or wished for different outcomes. His introspective songs invite listeners to learn from his actions and apply “his plans of attack” to their current challenges.
Eau Claire, Wis. — The second day of Eaux Claires celebrated the legacy of The Grateful Dead with a special “Day of the Dead” tribute.
Led by Aaron and Bryce Dessner from The National, the first ever “Day of the Dead” tribute featured Will Oldham, Phosphorescent, Jenny Lewis, Bruce Hornsby, Ruban Nielson, Lucius, Matt Berninger and others.
The Dessner brothers assembled the five-disc “Day of the Dead” tribute album over four years to raise money for the AIDS/HIV organization Red Hot. An LP boxed set will be released Sept. 9.
The setlist included “Sugaree,” “Black Muddy River,” “Uncle John’s Band,” “Shakedown Street,” “Brokedown Palace” and other Dead favorites.
Besides the “Day of the Dead” tribute, other notable day 2 performances included Alpha Consumer, Mavis Staples, Lewis, Unknown Mortal Orchestra, Lucius and Beach House.
Day of the Dead
Day of the Dead: Will Oldham
Day of the Dead: Will Oldham
Day of the Dead: Phosphorescent and Jenny Lewis
Day of the Dead: Phosphorescent and Jenny Lewis
Day of the Dead: Bryce Dessner
Day of the Dead: Justin Vernon
Day of the Dead: Justin Vernon, Bruce Hornsby and Aaron Dessner
Day of the Dead: Justin Vernon, Bruce Hornsby and Aaron Dessner
Day of the Dead: Lucius
Day of the Dead: The Staves and Ruban Nielson
Unknown Mortal Orchestra’s Ruban Nielson and The National’s Aaron Dessner perform during the Day of the Dead tribute at Eaux Claires in August 2016.
Day of the Dead
Day of the Dead: Little Scream and Richard Reed Parry
Eau Claire, Wis. — Friday’s summer drizzle didn’t dampen the spirits of festival goers during the first day of Eaux Claires.
Instead, indie rockers and musical legends uplifted attendees at Foster Farms with pop-fueled anthems, folk rock tunes, ’80s classic hits and experimental rock.
The festival’s main highlight included the live premiere of Bon Iver’s first new album in five years — 22, A Million.
I can’t imagine a better place for a music festival than the upper Midwest.
Eau Claire, Wisconsin’s wide open spaces and rolling green pastures are a welcome relief from the cramped city parks and perfectly manicured polo fields.
The rural Wisconsin city is also reminiscent of my own hometown, which is actually about 560 miles away near Ann Arbor, Michigan.
Luckily, I have Bon Iver’s Justin Vernon and The National’s Aaron Dessner to thank for my two-day Midwestern musical escape along the Chippewa River to Eaux Claires, an indie music rock festival situated in Eau Claire.
The festival boasts some of the most popular names in indie rock – Bon Iver, Beach House, Jenny Lewis, Unknown Mortal Orchestra, James Blake and Phosphorescent – and many emerging artists ranging from Little Scream to Tuskha to Alpha Consumer.
Scorching July temperatures and high humidity didn’t deter five hot acts at Detroit’s Mo Pop Festival on Sunday.
Mac DeMarco, Father John Misty, Matt and Kim, The Head and the Heart and M83 shined during the closing day of the indie rock festival with memorable summer sets at West Riverfront Park.
The Stratton Setlist captured the artists in action before thousands of sweaty, energetic festivalgoers.
The Stratton Setlist attended the first day of Detroit’s indie rock Mo Pop Festival at West Riverfront Park. Highlights included performances from Alex G, Bishop Briggs, Twin Peaks, Tunde Olaniran and Haim.
When I was a kid, I used to leave my small purple crystal lamp on all night.
The lamp’s bright glow illuminated my small nocturnal world, where I delved into late night reading, TV viewing and music listening. Its 100-watt incandescent bulb also served as the spotlight for my creativity – poetry, short stories and vinyl albums – during carefree weekend and summer nights.
Unfortunately, the lamp dimmed from my memory after I went to college, but its warm sheen cast brief, intermittent flashes of creativity in my subconscious for nearly two decades.
One of those intermittent flashes shined brightly enough to catch my attention in December 2014. At the time, I was driving home from work while listening to Modest Mouse’s “Lampshades on Fire” single on SiriusXMU.
Brian Fallon performs at Detroit’s Saint Andrew’s Hall June 28.
DETROIT — Brian Fallon & The Crowes sang about red lights, long drives and lost loves during their 19-song set at Saint Andrew’s Hall on June 28.
The Gaslight Anthem frontman and his band played several tracks from his “Painkillers” solo album, including “It’s a Wonderful Life,” “Steve McQueen,” “Red Lights,” “Long Drives” and the title track.
Early in the set, Fallon told the crowd about the “nice people” in Detroit and how Bob Seger’s 1978 classic “We’ve Got Tonite” conjures up images of Kevin Arnold and Winnie Cooper from “The Wonder Years.”
While reminiscing in between songs, Fallon also included several Horrible Crowes’ gems — “Sugar,” “Behold the Hurricane,” “Crush” and “I Witnessed a Crime” — from the band’s 2011 release, “Elsie.”
The biggest setlist surprise featured a cover of Katy Perry’s 2010 smash, “Teenage Dream,” which nicely complemented Fallon’s youthful themes about life, love and self-discovery.
Fallon & The Crowes will continue their “Painkillers” tour this summer with several European festival dates and additional U.S. shows through October.
The green, orange and red beaded butterfly curtain is my passageway to another land.
As I hear the beads collide against one another, I feel the energy change around me. The laws of science no longer apply and the power of logic is defeated by magic and art.
I’ve just stepped inside a medieval land dominated by knights, dragons, elves, wolves, wizards and royalty.
Radiant hues of sap green, yellow ochre, phthalo blue and alizarin crimson adorn the mystical landscape. The brilliant scenery is a painting in my mind’s eye that comes to life to right before me.
As I absorb the lush beauty around me, I suddenly hear a voice cry out:
“Can you tell me where my country lies?”
I quickly turn my head and see Peter Gabriel singing a cappella to me dressed in shiny plate mail wearing a galea.
Gabriel’s question is the opening line to Genesis’ 1973 prog classic “Dancing With the Moonlit Knight.”
The Stratton Setlist 