Warped Tour Kicks Off Out West

The annual Vans Warped Tour started off with a bang this weekend in Ventura, California. The tour is entering its 15th year and is featuring bands and acts such as Andrew W.K, Sum 41, 3OH!3, All-American Rejects, and even Gossip Girl star Taylor Momsen. The Vans Warped Tour rolls into Tinley Park's First Midwest Bank Amphitheatre on July 31st. Tickets for this show are on-sale now.

Grace Potter Rocks Martyrs'

A glammed up Grace Potter led her band The Nocturnals through a high-energy rock-and-blues set last Friday, and right from the start it was easy to see why she gets compared to Tina Turner. Cherry-picking the best cuts from her new Grace Potter & The Nocturnals CD, she kicked off the night with "Paris (Ooh La La)," filling Martyrs' with her big and crystal clear voice and taking over the small stage dancing amidst her supporting band. (The clip shows Grace and the band funking up "Paris" in their hotel room.)

Spending the night on pickless rhythm guitar and sometimes snarky keyboards, Potter got great support from the tight bar band The Nocturnals including Catherine Popper on nimble bass, Matt Burr on drums, and Scott Tournet and Benny Yurco trading off guitar leads.

But as good as this group is, Potter's vocals are the trademark of this band -- they're Maria McKee/Lone Justice big (see the clip) and Grace Slick clean and she's not afraid to punch 'em up when she needs to or reign herself in for a ballad or two. "Things I Never Needed," a highlight from the new CD, offered a chance to do both and Potter hit the high notes and and rocked all the way through. She rocked hard and growled her way through set highlight "Medicine," also from the new CD, while the band drove a hard line through the "She got the medicine that everybody wants" chorus. Surprises of the night, which included a handful of cuts from the previous This Is Somewhere CD, were an intimate cover version of Blondie's "Heart of Glass," which Potter introduced by saying she wasn't sure they could play it all the way through, and a more-than-credible take on Jefferson Airplane's "White Rabbit," with Popper's base laying down a loud and solid bottom and Grace 2 again spreading the warning that Grace 1 alerted us to in 1967.

There is some controversy surrounding the "new" Grace Potter, and if you check out her first few CDs or other Youtube clips you'll see and hear a much more raw and some would say less-slick sound. Her new CD does have to take that hit but the band live doesn't. At heart Potter is a blues singer with a rock bent, and if you can catch them live, especially at a club like Martyrs' on north Lincoln, it's well worth the effort.

And if you do get to Martyrs', for Potter or for her opening band Hacienda -- a nice tight band with a loose sound -- make sure to try the jerk chicken sandwich and chicken/cheese quesadilla which boasts fresh, raw jalapenos!

Steve Dahl Is Ready for the Barcalounger!

In today's Chicago Tribune former radio personality and current columnist Steve Dahl lamented his weekend visit to the Eagles/Dixie Chicks/Keith Urban concert at Soldier Field. He didn't want to go, couldn't see (despite 23rd row seats), had to park too far away, the bathrooms were a mile away... Wah! Wah! Wah!

He says the way to watch concerts nowadays (for him anyway) is sitting at home in front of his 50-inch TV on Blu-Ray and with a nice sound system. Nothing wrong with that, but the experience is completely different -- so here are a few tips for Steve next time he thinks about taking in a concert.

1. Skip the Eagles (I know, as he does, that they don't like the "the" but it reads poorly without it. Editorial license.) This band is only in it for the money, they don't like one another, they don't enjoy one another's company, and they make every effort to make their live shows sound exactly like their records. Talk about a band that should be watched from a comfy chair at home!
2. Skip Soldier Field. For that matter, skip any (most, all?) concerts in stadium venues -- with the exception of the United Center because so damn many bands play there. Stadiums, especially outdoor stadiums, are not designed for music so there is no reason to go for the musical experience. Most sight lines are terrible, most sound is terrible (okay, U2 at Soldier Field was the exception that proves the rule), and you are likely to be very far away from the ant-size performers and forced to watch it on the huge Jumbotron video screens so you might as well be sitting at home.
3. Pick a band you want to hear that enjoys playing "live." Live music by good musicians brings an energy that you can't get through recorded music.
4. Pick a band that enjoys playing with one another -- and enjoys playing for its audience. Good musicians feed off the people they play for and they take chances playing for one another, challenging one another, improvising, and sometimes screwing up. But it's that kind of tightrope walking that is the major difference that make live music better and more interesting than recorded music.
5. Pick a venue designed for music or at least where music is not just an afterthought. The Chicago Theater, The Auditorium, Park West, The Vic, even The Aragon and Riviera all have their pluses as far as hering live music goes (some of them have their minuses, too). But the sound and sightlines at least (unless you're short of stature and standing at the Aragon or unless you can't get a seat in the Riv's balcony) make them worthwhile places to see live music.
6. Match the performer to the venue. Concerts aren't booked by deciding which band will sound best in which place -- they're booked partly by how big a venue the promoter thinks the band can fill. So if a band is booked into a venue to big for them, skip it. On the other hand, be open to hearing bands who might not be yuor favorite -- if you can find them in the right venue.
7. Don't be shy about seeing bands play in clubs. Chicago's got dozens of places where up-and-coming bands are working out -- and where "older" bands who can't attract large crowds are willing to play. These places often have difficult sight lines but the opportunity for a memorable music experience is great.

Steve says his night was "saved" when Eagles guitarist and Dahl close friend Joe Walsh gave him a shout-out from the stage. Whatever. If that's what makes a "musical" experience then these tips aren't going to help. On the other hand he's not going to get that shout-out from his 50-inch HD TV and Blu-Ray either.

Video Of The Week: The Gaslight Anthem Sings In American Slang

In honor of the band's brand new album release this week, the Straight Lines video of the week comes to us from the Gaslight Anthem lead singer, Brian Fallon. In the clip, Fallon is performing the band's new single American Slang with nothing but an acoustic guitar. Let us know what you think. Enjoy!

The Phish Experience

Soon after pulling into the already crowded parking lot at Toyota Park, it became apparent that the impending Phish concert would be something astronomically different than anything I had been a part of before. After a few weaves to dodge some puddles after a brief bit of rain the night before, I was able to find refuge in a very spacious parking spot that wasn’t quite tapped yet as a spot for pre-show tailgating. Spacious that is, until the giant white van on my left opened its doors to reveal not one or two, but six or seven inhabitants with their game faces on. Their Phish game faces on. It is also important to note that the giant white van also had a kitchen table inside of it. It was painfully obvious that these folks had done this before, many times before, and couldn’t be more excited to do it again. So, they came pouring out of the van and even before I had turned off the car, my trunk became a coffee table of sorts for beer cans, drink glasses, and cigarettes. Like most, my first reaction was of a little annoyance and frustration, but after opening the car door, stepping out, and breathing in the atmosphere, that frustration immediately turned into understanding. Instead of saying something put offish, my comments were of a welcoming tone and an understanding took over that screamed, “this is how we do things here.” Repeatedly, that very theme popped into the evening.

When we made it to our seats, it took less than 30 seconds for our neighbors to chime in, poke their head over, and ask all about us. Where we were from, how old we were, and how many Phish concerts we had been to amongst a slew of other things. It wasn’t just our neighbors either. Everyone around to our left, right, and backs were doing the same thing, getting to know the people they would be spending the next few hours with. The concert began and the raucous crowd welcomed the band to the stage with a response normally saved for a heavy metal rock show. Jumping, screaming, and chanting with the occasional clap interspersed.

The music began and from the second the first note was played, it took over. Nothing else in the world mattered; just the dancing, singing, drinking, and overall present state of enjoyment. Some in the crowd hurled glow sticks across the general admission seating, others sat with eyes closed, and the majority just danced and danced in front of their chair. There even was a small group that decided the best way to enjoy the music was to hoola hoop to the songs. In addition to greatly enjoying each and every song, it was hard not to notice the state of mind that everybody was in. Yes, it’s no secret that close to one hundred percent of the audience was inebriated in some fashion, though that isn’t the state of mind that was most prevalent. The state of mind I’m talking about is one of pure enjoyment. From the beginning to the end, the crowd was mesmerized by their own happiness. Hats off to Phish for creating and harnessing that type environment through their music.

After Friday night’s concert, I really wish I could say that I had been listening to Phish for the last 15 years and have dozens and dozens of experiences to back it up. However, this show was my first Phish experience and what an experience it was. Trey and the band are outstanding musicians and even better stage commanders (something that you wouldn’t necessarily expect from a jam band group).

Obviously, I’ve heard the Phish hits like Heavy Things, Bathtub Gin, and Wading In The Velvet Sea. However, now after seeing this show, I’ve learned, first hand, what I missed along the way. I have a lot of catching up to do, and like the white van people, I couldn’t be more excited to do it.

Lolla Schedule Up -- Make Your Picks!

Headliners for each night of Lollapalooza Aug. 8-10 were announced a few weeks ago, but daily and hourly schedules were just released last week. Visit the site and you can see not only which band is playing on which stage and which day -- but more importantly you can figure out how often two or more bands you want to hear are paying at the same time!

The Black Keys And Brothers Mellow Out

The list goes on, and on, and on when reminiscing about the career of The Black Keys. They’ve done the grunge-blues thing. They’ve done just grunge, just blues, and even tested the waters of mainstream pop. After that, the Ohio duo went their separate ways and released two solo records. From there the band ventured into the rap world and after partnering with hip-hop artists from around the world, recorded a full length hip-hop album as Blackroc. All that leads up to the present and The Black Keys most recent album, “Brothers.”

After listening to six Keys records and one Blackroc album, it would be easy and understandable to assume that “Brothers” would be similar to something from their back catalog. It really is not. Obviously, it has similar Black Keys semantics like the rest of their collection, but “Brothers” shines alone as a step away from the norm from a band hell bent on reinventing themselves time and time again. First off, as a whole, “Brothers” is slower than anything The Black Keys have done before. Songs like Everlasting Light and Next Girl, both slow, ballady blues tunes, kick start the record and set tone right off the bat. Everlasting Light even finds room for some shoops. Would you ever think a Black Keys album would find room for shoops? Me either. It fits, though, and sounds perfect. Other songs on the record like Black Mud and These Days highlight the tempo transition that differentiates this Black Keys album from all the rest.

Of course, The Black Keys always had a blues sound to them. Though in addition to the blues, the Keys always incorporated their own style of grunge to the typical blues sound. While it is semi-prevelant on “Brothers,” that grunge factor is certainly turned down a few notches. Songs like Howlin For You and Sinister Kid highlight this change. Both contain the blues and the thrashy grunge, but it comes in that exact order, blues first, then grunge. Sinister Kid also contains one of the best guitar solos from lead guitarist and singer, Dan Auerbach.

Tighten Up is the most popular and radio friendly track on the record, which is why it was the obvious choice as the first single. The song has a great guitar riff along with a catchy blues beat and catchy lyrics. Comparatively, it sounds most like Strange Times, the first radio single off the previous Black Keys album, “Attack And Release.” While it is the most pop sounding track on the record, it does stay in line with the mellowing out theme that is so active.

Lyrically, Dan Auerbach clearly has a chip on his shoulder in regards to a previous relationship. Lines like, “Oh my next girl, Will be nothing like my ex-girl, I made mistakes back then, l’ll never do it again,” from Next Girl, do an obvious, but good job in relating just where Auerbach is in his life. Like always, the backbone of the album is in the percussion section headed up by Patrick Carney. Although a little different than previous albums, Carney still effortlessly strikes the drums with the utmost precision creating the perfect counterpart to Auerbach’s bluesy riffs and raspy voice.

The Black Keys are rolling into Chicago for Lollapalooza the first weekend in August. All the songs on “Brothers” should translate well into a live setting. Not only will the songs stand alone on a set-list, they will compliment the louder Keys songs even better.

Overall, this is a must listen for any Black Keys fan and even newbies to the Keys world. While it would be kind of a backwards transition from “Brothers” to earlier albums, the fact that this record is just a good stand alone album shouldn’t be overlooked. It is different, but it is excellent. Kind of a theme for The Black Key’s career don’t you think?

Music Industry & Listeners Looking at "Choice" Future

It's no surprise that the music industry, pretty much from top to bottom, has been suffering big time in recent years. Downloads are way up -- arguably a good thing -- but the industry estimates that fully 95% of them are unauthorized. That's a very bad sign for the industry as a whole, for the bands and writers who aren't paid for their creative efforts, and even for the record companies who aren't compensated for producing and marketing (what little there is) of its stable of artists.
Figuring out what the future holds for songwriters, recording artists, and record labels is certainly an inexact science, but there are some hints about what might lie ahead if you look at recent happenings.

INCREASED IMPACT OF BOUTIQUE LABELS. Many artists are opting away from Fat Cat labels in favor of smaller boutique companies that offer more support, allow for innovation, and provide a more hands-on effort to the artist's material. Even Paul McCartney, whose solo catalog has rested with EMI forever (and "rested" is the accurate word) has moved to One Little Indian, a small British label that released his Firemen recording (right) in 2008.

ARTIST-OWNED RECORD LABELS. Another approach being at least tested increasingly by artists is creation of their own label which they then market through their website and at concerts. This approach does get the artist more involved in the business aspect of making music but it also offers greater control without the pressure of a record contract demanding product and hits. Artists can put out what they want, when they want, for the cost they want -- all without interference from the record company brass. There is no way this approach could have been successful prior to the Internet, band websites, YouTube, and other social media networks that get the word out. The downside here is the lack of marketing dollars to push new releases, but given the little marketing support most music has from big labels the loss won't be felt by most bands. And if an artist is good enough then "going viral" is probably the best marketing there is.

CLICK! A LIGHT BULB GOES ON AT BIG LABELS. Of course there is the chance, albeit a slim one, that the major labels will recognize what's happening, take it to heart, and change what they're doing. Major Level Artists such as U2 and Neil Young command greater control and their labels are willing to provide flexibility and support -- but even much of that is via websites. If labels ever realize and accept that their world is changing there is the possibility they could adapt along with it. Stop laughing, it could happen.

DOWNLOADS CONTINUE TO GROW. This is a no-brainer. With the use of I-Pods and all the other similar music devices there is no reason to think the rate of downloading will slow. And even some high-end sites are offering audiophile-quality downloads, which means those folks think that even their picky customers will begin buying Beethoven and Shostakovich via computer.

INSTITUTE LEVELS OF DOWNLOADING. But though downloading isn't going to slow, something has to be done to prevent the theft of music by anyone with a hard drive. Subscription services are still floundering as most listeners prefer to get for free what they should be paying for, and subscription probably isn't the way to go for a variety of reasons. But here's an idea that's already in use -- just not for music: Establish various levels of downloading with different fees for each level. For example, if I want to hear Hanson's newest "Thinking 'Bout Somethin'" just to hear it and for my own use, treat it like radio and let me download it for free. Imbed something in the file that doesn't allow me to transfer the file anywhere else. If I want to be able to copy it or transfer it to one or two places, charge me $2.99; if I want to have unlimited transfers charge me $5.99; and if I want the whole new Hanson record Shout It Out charge me $9.99. Keep an eye out for this approach as someone has got to be looking into it.

MORE CHOICES FOR LISTENERS. Downloading is up but guess what? So are sales of vinyl records. Arguable the best-sounding mass market playback medium, vinyl record sales jumped from 1.9 million in 2008 to 2.8 million in 2009 -- and it might even be greater than that because many LPs are sold by independent record labels often not monitored by the industry. Record turntable sales are up too, which makes complete sense. Many artists like the vinyl record and have been pressing limited numbers of them for years, but recently more are adding it to the choices they offer listeners. CDs, while declining in sales, aren't going away as the vast majority of listeners own a CD player...The only medium that hasn't made a comeback is the cassette and 8-track tape (though a couple of new high-end reel-to-reel recorders have hit the market this year).

So from a listener's standpoint, more choices is great -- we can or probably will soon be able to buy the music in whatever format we want. And some artists will help out: Wilco, for example, gave buyers a free CD when they bought the Sky Blue Sky LP. The only downside here is ending up buying a record more than once -- someone I know has four versions of Neil Young's Harvest, (not inlcuding the Blu-Ray set), four versions of Bruce Springsteen's Born to Run, three versions each of Van Morrison's Astral Weeks and Moondance, and four versions each (including mono vinyl remasters) of all Bob Dylan records. But, hey, all it takes is a little self control.

On the whole the future might be bright enough to wear shades -- at least for the music listener. But the industry -- and that includes the music listeners -- has to make sure artists are fairly compensated for the work the do. Many of these options -- or a combination of these options -- might just provide the safety and security artists need to write and play so we can all continue to enjoy their efforts.

Album Sales Hit The Lowest Of Lows

Things may have just hit rock bottom for the record industry. According to Billboard and Nielson Soundscan, in the week ending May 30th, the music industry sold 4,984,000 albums. While it may seem like a decent number, it is the lowest amount of weekly sales since Nielson Soundscan began reporting numbers in 1994.

Not a good sign as far as albums go. Where can the record industry go from here? Straight Lines Music will have an in-depth analysis in next week's Thursday column.

Pitchfork Music Festival: A Risk-taking Alternative to Lollapalooza

The 2010 Lollapalooza is getting hammered for being "too mainstream" in its selection of bands, and while I don't see it (though maybe you can make that case for the headliners) there are still almost 90 other under-the-radar performers who offer a breadth and depth of what's going on in the music industry today.

But, if that August 6-8 event isn't cutting edge enough for you, take a look at Chicago's other alt-music fest, Pitchfork Music Festival, running from July 16-18 in Union Park. While a much smaller operation in a much tighter venue, Pitchfork has gained notoriety for risk-taking and for showcasing not just up-and-coming bands but bands whose up-and-comingness could well be several years down the road. In the past this fest has not been for the faint of heart -- and this year is no exception (though organizers have made some mild efforts to broaden the popular appeal of the program). But it's a bargain at only $40 a day.

Among the name bands that will attract those just on the edges of the pop stream are Modest Mouse, Kurt Vile (curiously not performing with the Violators), LCD Soundsystem, and Pavement. Plenty there to bring in the crowds, but here's a sampling of some of the other more interesting bands worth spending some time with.

Broken Social Science -- A Canadian band with three records under their belt, this group takes a collective approach to writing and performing with members Kevin Drew, Brendan Canning, Justin Peroff, Feist, Emily Haines and Jimmy Shaw of Metric, Amy Millan and Torquil Campbell of Stars (and even more than that). Fuzzed-out guitar, pretty catchy vocals, and a modern-day psychodelic sound have earned these folks high praise from critics and indy fans alike.



Panda Bear -- A rare opportunity to see and hear Baltimore-born but current Portugal resident Noah Lennox, part of Animal Collective, perform in his Panda Bear incarnation. Good luck guessing what you're going to hear, though, as Lennox is known to explore the musical universe and go wherever the moment's rocket ship takes him.

Netherfriends -- One of Pitchfork's efforts to expose Chicago's alt-music scene, Shawn Rosenblatt's Netherfriends will appeal to anyone looking for, as the Pitchfork site explains, "that bastard-psych-pop-catchy as hell band that you've been searching for." The music mixes piano, guitar, sampling, drums, and even the occasional glockenspiel.



Sleigh Bells -- Might want to bring your earplugs for this Brooklyn-based duo of Derek Miller (of hardcore Poison the Well) and Alexis Krauss (RubyBlue). Some folks -- critics and hardcore indy music fans -- see the Bells as The Group to Break Out Big this year.

Other peformers on the schedule to look into include Major Lazer (futuristic Jamaican dancehall music), OutKast spinoff Big Boi, St. Vincent (really Annie Clark out of Texas), Alla (a Chicago trio that is inspired by and pays homage to their Mexican heritage).