ACL Festival video + Shia Arrested, Of Course

shia labeouf drunk againIf you missed the Austin City Limits Music Festival (like I did) or are just looking to relive some of the moments in video, check out the Red Bull TV video highlights. It’s not the most generous assortment of headliners, but you can find songs from Gary Clark Jr., Nate Ruess (of Fun), San Fermin, Alabama Shakes, Dwight Yoakam, Hozier, and Vance Joy, plus interviews and such.

And in case you were curious, actor Shia LeBeouf was definitely at ACL, and here’s the public intoxication arrest article to prove it.


Free Tunes Trifecta

Free + Tunes = Thursjoy

There is such a thing as a free lunch, or at least some free tunes for you, my loyal readers. Quality tunes, of course.

We may all lament these changing times. Information overload, internet privacy concerns, and random yokels trying to be your friend on Facebook. One positive side to the internet revolution, though, is that it’s blown the doors off the previously-cloistered music industry. Musicians, who are reputedly nowhere near as greedy as record executives, can be remarkably willing to share their work for free. And here are a few examples!

The Cars’ New Album

Ric Ocasek and the boys are back together, and sounding as timeless as ever, partly because Ric has kept busy, producing albums for artists like Weezer and Guided by Voices. Stream their new album, “Move Like This,” at Rolling Stone. But hurry: it’s unclear how much longer the stream will be live.

It’s been 24 years since their last album. That’s too long.

Download the New Album from Tiny Animals

I discovered Tiny Animals, a punchy New York 3-piece that produces pure and addictive alt-rock, at South by Southwest a few years back. You may have heard their stuff and not know it; their music has been played on Channel One and several different MTV shows.

Not only are they hard-working and funny (check them out on YouTube), but they’re giving away their entire new album here. And Chris is a solid guy.

NPR’s First Listen

Lastly, I give you First Listen, an amazing resource and vital conduit of new, full-album streams. Generally these streams are live until the album hits store shelves. Currently posted for your full listening pleasure are the new albums from Beirut and Stephen Malkmus (ex-Pavement) and the Hicks, along with a full set of Muppet Show tunes covered by indie stalwarts like OK Go and Rachel Yamagata.

Free Tunes Thoughts

Times are tough for musicians. Even the big artists need to tour and sell secondary merchandise like t-shirts to keep food on the table. Why? Because of the collapse of the record industry and the leechery (sic) of many of their fans (you know who you are).

I hope that, in twenty years, things have settled out in a way that allows musicians to make a fair and honest living without having to tour 24×7. Support your favorite artists! If you do, maybe they’ll keep making the music you love.


Red Robin Gourmet Burgers and the Future of America

Had a Red Robin Gourmet Burger and Now I Am Nostradumbass

So your immodest game writer went to Red Robin, the burger chain, the other night. While the experience is fresh in my mouth (why does that sound wrong?), I feel I must crack wise about what Red Robin gourmet burgers tell us about the future of this country.

red-robin-gourmet-burgersRed Robins are really a microcosm of what is good and bad about the name-branding and big-boxing of America. They’re made from fresh, healthy ingredients. They’re tidy, clean, identical, carefully marketed to Joe Six-Pack, and unerringly friendly.

The staff seem ridiculously cheery; you have to wonder about the pep talks and management, because they’re totally getting it done. I do admit, however, to a flashback to the cynical and often twisted movie Waiting when I saw them gather up twice to sing out birthdays to families celebrating their kids’ special days.

So Yeah, The Burger

I ordered the Whiskey River BBQ Chicken Burger, which is basted with BBQ sauce. It also includes cheddar cheese, crispy onion “straws” (think skinny onion rings), lettuce, tomatoes, and mayo. “Cowpokes and real folks both love this one!” crows their website.

The burger arrived promptly, accompanied by a serving of their piping hot “bottomless fries” and some gigantic crunchy onion rings. At first it looked a little small to me, peeking out of a white paper wrap*, but it’s about the size of a chicken burger you cook on your own grill. The menu photos always look enormous.

So I took a big bite and I had a revelation. Red Robin gourmet burgers are telling the future, and the future is expensive, heavily sauced, carefully manicured, and so full of flavor that you can’t taste what it’s made of. The future is served by marvellously attentive people who refill your soda before you’re done, sometimes bringing you a second glass so you don’t even have to lower the glass to get more.

A bite of my burger was like a little bite of Las Vegas. The glittering lights, the gambling, the dancing girls, and the empty feeling. I followed the cheese, I was diverted by the onion straws, and I was waylaid by the barbeque sauce. The overall effect was pleasurable and comforting, because on an animal level I was happy that I was getting some serious calories. My tongue responded to the sweet and the salty. But on the other hand it had none of the subtle interplay of flavors that truly great food possesses. It didn’t surprise or delight; it overpowered.

And somewhere in there was a chicken breast, flanked by some lettuce and tomato, all yelling to be heard, but no one paid any attention.

My gourmet burger was relentlessly adult but built on childish principles. It’s forgotten what it is. A Red Robin gourmet burger is what mall food looks like when it grows up. And the future is lavish, clean, and bright, but it looks to be overdramatic and desensitized at the same time.

*By the way, this wrap is really a brilliant innovation, keeping the burger together without a toothpick, and making it easy to hold.


Power of the Human Voice

Saw this on Facebook. (Jamal, I think it was yours.)

I love musical instruments, but we often forget that one of the most effective and adaptable instruments is carried with us everywhere we go. A single voice can haunt or inspire, whether in a video game cutscene or in concert. You just need to know how to harness it.

World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale from World Science Festival on Vimeo.


Another ACL TV Show Experience

Back to ACL TV!

When it rains it pours. And in a good way.

Last Tuesday, it was ACL TV show time again. I was fortunate enough (and yes, willing enough to wait in line for 45 minutes in the 100 degree heat) to land tickets to the ACL TV taping for Allen Toussaint. I invited my pal and collaborator Jessica Nelson, who by the way is a very talented Austin logo designer and graphic designer. She was a first-timer, and I got a kick out of her exclamation after the first song: “I feel like I’m in a dream!”

We got an excellent spot in the second or third rank, mosh pit, stage right, just behind a young woman who proved to be the most uninhibited dancer and Toussaint fan in the entire crowd. I’m certain she’ll show up in the broadcast.

Allen Toussaint

Now when people talk about a “music legend,” there’s usually a little bit of reserve implied. The words mean important geezer or he was a wrecking ball in his prime. Bob Dylan is a music legend, but my friends who saw him at the ACL Music Festival are not reluctant to diss the man, claiming his performance was unfocused and unpleasant to the ear.

Allen Toussaint is a music legend, but I mean that only in a complimentary way. I was a little concerned going in that the show was destined to be an oldies, “pat on the back” kind of affair, but such concerns were only the figments of an uninformed mind.

You see, Allen Toussaint is musicality incarnate.

I’m not writing this to detail the contributions of Toussaint, a New Orleans R&B institution and author of hits for artists as diverse as Glen Campbell, the Stones, himself, and yes, Devo. But the guy is totally relevant and a master showman. Genial, sharing the spotlight generously with his talented band, Toussaint gave to the Steinway and the mike at his ACL TV taping like they were his own flesh and blood. I was consistently impressed with the sweetness and tonal perfection of the band’s solos. Probably the only sour note of the evening was when he threw us a wry, remonstrative smile when some lunk kicked a plastic cup during the quiet piano-accompanied storytelling lead-in for “Southern Nights.”

The ACL TV Taping’s Brightest Moments

There are two moments that stand out for me. One was a gift from the audience to him, and the other of course was his gift to us.

During his instrumental rendition of “St. James Infirmary,” some of the audience seized on the beat and began snapping their fingers to it. Spontaneously, everyone joined in, until the soft tune was delicately accented by all our fingers in unison. Toussaint had a smile on his face as he finished the song, and he thanked us for the experience.

The other moment was a brilliant, tour de force piano solo delivered by Toussaint without any help from his band. I dread to call it a medley, because medleys are often maudlin, and this performance was the antithesis of maudlin. It soared from jazz to pop to classical to R&B, blending them all and making a persuasive wordless argument for a universal theory of musical genres. Sometimes he hinted at familiar strains, like a gentle musical nudge; other times the ear could pick out pieces of Gershwin or Paul Simon. More impressive, really, was that the performance conveyed emotions more than musical ideas – wonder, joy, sadness, and at the end, an expansive sense of adventure and possibility that I can only guess to have been a statement about Austin and the spirit of the south. A lesser musician would’ve tried to make that statement with a bit of Willie Nelson or a lick of Texas blues, but no, no, Allen Toussaint is far too skilled and subtle for that.

When we left, we heard one of the ACL TV staff talking to another, grinning broadly. He was saying, “That one was a highlight.”

Thank you, Mr. Toussaint.


ACL TV Show Recap

An ACL TV taping is a once-in-a-lifetime experience

You ever been to an ACL TV show taping? If you live in Austin, or visit Austin occasionally, you owe it to yourself to go to an Austin City Limits taping. It’s like a backyard concert with 320 of your closest friends, listening to an amped-up performance from a musical act of national or international stature.

My friends Kevin, Katya, Centerfield Dave, and Mike and I were lucky enough to get into the Okkervil River ACL TV taping last Thursday. Lucky is definitely an operative word; five people after us, the ACL staff cut off the line of hopefuls and sent those people home empty-handed. For your reference, my ACL numbered ticket was #185.

Okkervil River’s performance

I’m not very pleased with my success as a music reviewer; I’ve done it several times and I’m never entirely satisfied with the results. Still, for your sake, dear reader, I’ll try and sum up the experience. This was Okkervil’s first ACL TV taping, but as you’d expect from an act with their pedigree, they were entirely up for the experience and showed no signs of nervousness.

They hit the stage with about ten or 12 musicians, including a string quartet (quintet?) and a few pieces of brass. Frontman Will Sheff, initially sporting a bookish pair of black-framed glasses, had the air of an affable, gawky friend amongst friends, sometimes rattling on about surviving the TV taping, always singing with passion and without visible effort. His aw-shucks demeanor was nowhere to be seen, though, in the times when it was most important, in the crucial peaks of songs and in urging the crowd for energy.

The band showcased both fresh arrangements — most notably a delicate piano-and-vocals intro to Black Sheep Boy‘s dire and delicious “For Real” — and its patented propulsive paens like “Our Life is Not a Movie or Maybe,” which are vibrant on headphones but deliver a visceral, full-howl punch in person, building slowly until every bandmember on stage is seemingly deconstructing their instrument in a frenzy of passion.

I was personally hoping to hear them play the tragically delicate “Savannah Smiles” off Stage Names, but there never seemed to be an appropriate time to yell out suggestions. “The President’s Dead” would’ve been nice too. Was happy to hear the lyrical “Starry Stairs” and its horn-driven lope, though. I’m not sure requests are even allowed at an ACL TV taping; the TV crew probably has to plot out all the camera moves for each song. Often the bulky cameras were gliding around at the front of the stage, inches from colliding with one another.

Was also happy to see Jonathan Meiberg of the sublime band Shearwater make an appearance for “Lost Coastlines.” Sadly they failed to mike his guitar on the first go-round, though, so Sheff announced a do-over which was gamely received.

The ACL taping environment

This was my third ACL TV taping experience (the other bands were Guided by Voices and Ben Kweller). I’m a lucky boy. I remember they miscalculated for GBV and were trying to hand out tickets on the corner of Dean Keaton and Guadalupe to get butts in the seats. Pretty sad for one of the best shows I’ve ever seen (not just at ACL TV).

Anyhow, back to Okkervil. As you’d expect with such a small crowd, instrument changes and personnel rearrangements caused mildly uncomfortable silences, during which we could hear a pronounced equipment hum. The ACL TV crew do this gig on a regular basis so I doubt any of that is going to be audible in the master signal. At any ordinary venue, I expect crowd noise and sheer size would probably overwhelm the hum to the point of inaudibility. On the plus side, I’ve seen Okkervil before at the Carousel Lounge, and I can promise you that I could hear the lyrics a heckuva lot better at the ACL TV taping.

Thumbs down, though, to Budweiser Select, the ACL sponsor who failed to provide enough beer. I didn’t expect or even want seconds, but the keg was floated well before we entered the building.

I give Sheff all the credit in the world for amping the crowd and garnering our support. Okkervil songs are hardly dance numbers, but people were up, involved. clapping, hollering, and even soul clapping when requested. The ACL TV studio is essentially a sterile environment, like a kiddie pool stage surrounded by junior-high-school risers, and it’s easy for a band to die miserably in the silence.

Some ACL TV advice

If you want a slice of some ACL TV deliciousness:

  • the “space available” tickets are all the same, no matter when you get your email notification that you’re eligible. There are no elite beggars, as I found out on Thursday. I was on the early list and thought there’d be two lines.
  • they pass out numbered tickets early, and then you have to return an hour before the show to see if you actually got in. It’s an evening-eater and frankly a pain in the ass to wait in line twice in one evening for a ticket you may or may not get. Maybe I’ll write up my suggestion for fixing this later.
  • no cameras.
  • no backpacks.
  • wear comfortable shoes because you might be standing all night.
  • the chalk line around the camera jib is a suggestion, not a rule, according to producer Terry Lickona. You can stand over the line as long as you don’t mosh your way into that big metal beam.
  • turn off your cellphone. :)