Summerfest, Last Day: Ducky and the Vintage, Ours and Bush

Stage: The US Cellular Stage(4/6) I would call this the best stage outside of the Marcus Amphitheater on the Summerfest grounds. A relatively clear sound system, beautiful lighting and a restricted number of people make for a much more enjoyable setting than the larger stages. However, it is also large enough to accommodate some of the more popular bands

Acts:
Ducky and the Vintage (3/6): Seeing on the fedora and vest, I expected a pretentious indie sound (witch is more prevalent in their recorded stuff) Instead it was something that more closely resembled alternative rock. Ducky and the Vintage had a lot of accidental noise in their instrumentation. I attribute this to their lack of coordination and utter lack of training on their instruments. Maybe I caught them on a bad day.
Don’t get me wrong; I don’t mind the lo-fi sound. I grew up on bands like Nirvana; I am quite acquainted with that style. Rather than the slurred, gravel of grunge, Ducky had muddy, sloppy vocals and imprecise guitar work. There was talent under there somewhere, but I feel that front man (dude) should either play or sing, not both. I have no doubt he could do either, but lacks the coordination to do both.

The set also had too many gaps in it, for an opening band that is a death sentence.


Ours (Flash warning!) (5/6): (shortened, as I was distracted during much of the performance)
Hello, dolly. Jimmy Gnecco has a young voice and a fresh face with stellar presence and confidence. I was shocked to learn this band had been around since the 90s as Gnecco looks so young. Carrying a distinctive voice and a confidant presence, it is no wonder Ours draws the number of fans it does. The instrumentation was polished and coordinated as well as being innovative.
Where they lose points is the lack of energy. While there was a lot of movement on stage they didn’t draw the crowd in particularly well.


Bush: (4/6)
Over this Summerfest, I have seen two genre defining legends—the foo fighters and bush. Front man Gavin Rossdale has wonderful presence and grace. His smile is infectious when it appears and utterly sincere. The show felt both intimate and expansive. With their deep roots in 90s grunge, Bush’s guitar work was art and the deep bass was palpable under the skin. While I can hear echoes of Nirvana in their earlier work, Bush has continued to be a powerhouse of post-grunge self-discovery. Rossdale also worked with the crowd like a true professional- constantly among the audience, playing directly to them, working with the crowd sings and gracious. I think that nearly losing his career really made him step up his game. It was an honor to hear them play.
Where I was most suppressed was that Bush is still talented a decade after their heyday. Rossdale has lost none of his talent, if anything age has made his voice more gravely lending itself further to the post grunge sound.

Chris Traynor and Rossdale had a surprisingly strong report considering that he is a newer member. They played together as though they were old friends.

Corey Britz’s bass work was magical and held together large portions of the set. Including a bass solo, not something that is common at all.

Their drummer was positively amazing and rounded out the pounding low end that makes grunge what it is.

I look forward to them making a comeback.

Summerfest day 4: Makeshift Prodogy and Art of Dying (Summefest Rock Stage)

Venue: The Summerfest Rock Stage (4/6):

I have discovered this tiny, far away from everything else stage is fast becoming my favorite stage. While many of the bigger bands come to the Miller Light Oasis, I have had repeated problems with that stage. This stage often has better acts, and doesn’t have the overcrowding problem the Oasis and Harley Davison stages have.

Show:

Makeshift Prodigy: (3/6)

Ouch.

Makeshift Prodigy is one of my pet bands from back home in Chicago (I tangentially know their manager) however they have never quite made the leap from being decent to being really good. I’ve struggled to figure out exactly what didn’t quite click for me. I loved their style, their amicable nature, the lyrics were wonderful, the presentation fun.

But the frontman consistently does a few things that make is performance not quite solid.

First, he sings just a little outside of his vocal range. Which can be fine, however he does not have the breath support to hit some of the higher notes he aims for. The result is breathy and will break his voice if he doesn’t learn to support it. The second thing is easily corrected. Part of Anthony Banagara’s charm is that he’s shy-natured it lends to the intimacy of a lot of his shows; however, he does not pull the audience in. There is no eye contact. This gives the impression of a child rocking out in his bedroom, rather than an actual performer.

However, the talent is there, and the stage antics are positively adorable-- Banagara spent a lot of his time making his upright piano his personal jungle gym (doing flips over it, climbing/standing on it) and was very bouncy. He has a good sense of how to use his honed skill on the keyboard and the addition of a bowed guitar was a very nice touch and he managed to pull it off well.

The backup vocalist/keyboardist/tambourine player(yes really), however, had presence in spades and charm to spare. He also had vocal talent, which was wonderful.

Overall, these guys have always had promise, but in the two years I’ve been following them they have yet to really gain momentum. Good luck to them.

Art of Dying (flash warning) (4/6 recorded, 5.5/6 live):

You have to get up pretty early in the morning to put on a good show before sunset at a festival, doubly so to nearly earn a 6 from me. These guys did both.

Art Of Dying is feel good arena rock with a positivity that is rare in rock and roll these days without going soft and hackneyed.

This is my third Art of Dying show and they have consistently improved their act. I feel like their album at this point does them a disservice. While it is a great album, it lacks the arena rock style and charisma that Art of Dying bring live. Jonny Heatherington has charisma and a knack with the crowd that I’ve not seen in a long time. Gracious, but not humble Heatherington gives a dynamic show and has the ability to get even a lazy crowd on its feet. He is also very good about actually disappearing from the stage to let his band mates have their big moments--Including a killer drum solo and an extent guitar solo

The guitarist is also a very talented and has a powerful dynamic with the front dude

However, there were too many set breaks for an opener. Often bands that are well known enough to be the last opener forgets that they are intact still openers. You only have one hour tops, do your thing fast.

Another thing that went a long way with me was how courteous and friendly the entire band was and what a  fun sense of humor Heatherington showed.

I look forward to meeting them again. 

Summerfest day 3: Your Vilain My Hero and Miniature Tigers

Venue: The Miler Light Oasis (Summerfest grounds, Milwaukee, WI)

I have had multiple bad experiences with this stage and sound balance.  It also has the unfortunately problem of having two large sponsored beer pavilions right in the stage area. It makes for a drunk, obnoxious crowd. Add that to a stage with distorted sound and more people than it should hold and it’s a recipe for disaster. Not all the shows I’ve been here have been horrible, but it is not my favorite stage.

The show:

Your Villain My Hero (2/6) (partial review, only saw half the set) this was not my night for music.  On the one hand, this band had a lot of personality and energy. On the other, the cultural dissonance in some of the covers they performed was borderline offensive.  (Hint to new bands: if you’re covering a band a) do not insert your name into the song b) do not use their accent. Especially not if they are a different race from you. It sounds racist) On the other hand they get points for style and energy.  Their sense of rhythm and vocal tone were beyond bad. It felt like they were trying to hard to be sexy and falling completely flat.

Miniature Tigers: (2/6 live, 4/6 on cd) I had to check three times to make sure I’d found the right band because the sound difference was so big between their stage show and their album.  On stage they are reminiscent of a bad beach boys cover band-- waver vocals with weak guitar work and minimal talent overall.  The instrumentation was simply bad and the vocals too quiet for the mics to pick up. However, credit for effort and for their senses of humor. They were continually trying to interact with the audience and managed to get a lot of people actually moving and enraged. NO small feet for an Indi. band. They were funny, happy, and fully aware that they were not the show people came to see.

On cd, they are very reminiscent of fun. Indi pop with a pretentious but still entertaining fare. Posh.

(I saw part of fun. too but I’m not reviewing them, as I saw only fragments. )

Road Trip Show: Summerfest day1-2 (Milwaukee, WI)

Road trip show, Milwaukee, WI 

Summefest day 1: Lupé fiasco (not reviewed)

Venue: The Harley Davison Stage on the Summefest grounds. 

The reason Lupe Fiasco is going not reviewed is the same phenomenon that occurred last Summefest with Maroon 5.  The volume wasn’t adjusted right for the number of people at the show. I understand the dilemma of balancing popularity with respecting the other stages, however a simple sound check would have solved a lot of the problems.

But seriously, Summerfest, would it kill you to sound check? 


Summerfest day 2: The Foo Fighters and Silversun Pickups
Venue:

The Marcus Amphitheater (4/6): will always have a place in my heart as the crowning glory of the Summefest grounds where I spent a large chunk of my youth. All told she aged well, while the decade old sound system has all of the failings of an aging system-- Heavy bass and a week  mid-tone section—the  judicious use of screens and  the even distribution of speakers minimize the sound distortion making for a pleasurable experience even when you are well back (Due to miscommunications, I didn’t get tickets until later, which meant I was almost in the lawn).

The show:

Silversun Pickups (5/6): I’ve been itching to see Silversun Pickupsn live.  I am often skeptical of more ethereal vocal qualities translating to a live show.  The moment they started their set I realized I had nothing to fear.  Despite what it sounds like, Brian Aubert’s voice is not a falsetto. His speaking has a higher register and where his lower range sound is where he is modulating his voice. Live it is something to hear. Aubert is also incredibly articulate. Many bands don’t think to enunciate; with microphone distortion  this oftem makes the vocals sound slurred. There are few artists who cane clearly understood live, Silversun Pickups is one of them.

It was interesting to see a band that relies as heavily on the bass as Silversun Pickups does.  Even when it’s a band that has a front man who is the primary guitarist, most bands these days rely on lead guitar to propel the music forward.  In the case of Silversun Pickups, it feels as though Aubert acknowledged it is difficult to play and sing at the same time, but still enjoys doing lead guitar work, so the songs were composed  in such a way that the more intensive lead guitar work happens most when he is not singing. To accommodate this they have a phenomenal bassist who is talented enough to fill in where there isn’t a lead guitar.  To the casual listener, the sound is smooth and dynamic but doesn’t feel as chopped up as one that style risks being. 

Speaking of the bassist.  Nikki Monninger is a slip of a thing and soft spoken, and her body language is playful. (At one point during a particularly bouncy song she did what I can only call a hop step—like she was skipping in place) Her soft soprano voice serves to highlight Aubert’s already ethereal voice lending an otherworldly feel to their choruses.

And she plays a wicked bass.  

Then there’s the drum work, which is precise and technical without sounding over-rehearsed.

Overall these guys were killer on stage and a great show.

Foo Fighters (5/6): The Foo Fighters is one of the few bands I’ve seen live that  are not only still going after over twenty years but are still musically relevant (as opposed to the bands that are running off of nostalgia).  There  is something in how a band that seasoned comports themselves toward the crowd that you don’t see in even bands that are ten years old. There is a wonderful balance of both professionalism and well-deserved cockiness that comes with time.  David Grohl  is not only wonderfully talented and energetic, but  also  has a perfect report  with the fans. It feels as though he has learned to really gauge what the fans need and play to it.  Beyond simply being talented, Grohl has  both a strong presence and  the ability to share the spotlight.  Even after having been in the scene for as long as he has, he still took the time to introduce the  band as though they were new, encouraging them to show off their talents and praising them.  IN particular his dynamic with drummer Taylor Hawkins was both touching and entertaining. Hawlkins made the comment that the best thing about him was being best friends with David Grohl)

Aforementioned drummer is exceptionally talented in his own right, standing out in a six man group all of whom are exquisite musicians. 

It was also a real treat to hear some of their old songs (In addition to newer things),  I hadn’t heard “My Hero” in over  a decade and I’d be willing to wager I was not the only one in the crowd to share that sentiment.  There was something for every era of Foo Fighters fans.

A well done show.  It was a pleasure.