Saturday was the day Typhoon Pabuk, apparently, began to wreak havoc with the 2013 Bend Roots Revival.
First came the creeping wall of dark clouds. Then the howling winds. And finally, the rain. The miserable, miserable rain.
There were two stages that bore the brunt of Saturday evening’s winds: Casey’s Corner, on the southwest corner of Pakit Liquidators’ property, and the Junkyard Stage on the southeast corner. The former was simply the festival’s first line of defense against the elements. The latter was located at the eastern end of a channel between a building and a fence that turned out to be a pretty effective wind tunnel.
My first stop Saturday was at the Junkyard Stage, where the Travis Ehrenstrom Band was bundled up and playing some easygoing roots-pop jams. Ehrenstrom’s album “Remain A Mystery” is one of the better local releases of 2013, and he played a handful of tunes from it before doing a couple of covers. First up was “Give Us Light,” a song by local band The Mostest and, I would imagine, a tribute to Revival founder (and Mostest main man) Mark Ransom. Ehrenstrom’s band just happened to include not only Ransom on guitar, but Mostest members Pat Pearsall on bass and Kaleb Kelleher on drums. “I’ve never played this song before,” Ehrenstrom said, “but these three guys have played it a lot.”
The other cover was the Bob Dylan / The Band classic “I Shall Be Released,” which never gets old no matter how many times you hear it. Here … hear it again.
Throughout the night on Friday, the Bend Roots Revival — now coming to you from Pakit Liquidators on Bend’s east side — had the look of a festival still working some things out.
Hastily made performance schedules were copied from The Bulletin, blown up huge and duct-taped in various places. Artists convened stage-side powwows to try to figure out how to overcome power-supply issues. Soundmen fiddled with lights mid-set in an attempt to illuminate a stage that was otherwise so dark you couldn’t see who was playing.
Folks gather around a fire pit / sculpture at Bend Roots Revival. All photos and videos by Ben.
The big stuff — clearing out Pakit’s considerable mess — got done ahead of time. So did most of the little stuff. But … y’know … things come up. Especially in a place like this.
And with weather like this.
Whatever. They made it.
Still, someone has to be ready to plug in and play first. In the case of Roots ’13, that was Problem Stick on the BIGS Stage and Gotama at Casey’s Corner.
In tomorrow’s GO! Magazine, I’ll have a full review of last weekend’s concerts at Bend’s Les Schwab Amphitheater, featuring Sigur Ros, Cake, Built to Spill and Julianna Barwick. But right now, you should scroll down and check out a bunch of terrific photos of the shows (and crowds) taken by The Bulletin’s Joe Kline.
In case you somehow missed it, hip-hop icon Snoop Dogg braved the cold weather and snowy roads to play the Midtown Ballroom in Bend Saturday night.
I’ll have a full review of the show in Friday’s GO! Magazine — short version: it was a solid, workmanlike showcase for his fleet of hit songs — but for now, scroll down and check out some terrific shots of the evening taken by The Bulletin’s Andy Tullis, plus a few videos of songs that I filmed.
I went and saw New York City jazz trumpeter Jeremy Pelt perform Saturday evening at the Oxford Hotel in Bend, and will have a full review of the show — part of the Jazz at the Oxford series — in Friday’s GO! Magazine.
In the meantime, enjoy these excellent photos of the night, taken by The Bulletin’s Joe Kline. I think they really capture what it was like in that room!
(All photos by The Bulletin’s Joe Kline. More of his excellent shots ran in today’s edition of GO! Magazine in The Bulletin. See them here.)
Note to self: Don’t wait almost a full week before writing a review of one of the biggest indoor shows in Bend this year.
Reason 1: Readers don’t want to wait that long. It’s 2012, bro. Internet.
Reason 2: I can’t really remember the more nuanced thoughts I had in the moment about Friday night’s Macklemore & Ryan Lewis show at Midtown Ballroom in Bend.
Here’s what I do remember: Passion. Effort. Sweat. The skyrocketing popularity of the Seattle-based rapper Macklemore — aka Ben Haggerty — has been, as I wrote in my story on him, “fueled by passion: the passion that permeates his songs, and the passion of the people who adore his music.”
Add to that Haggerty’s passionate live performance and you have a pretty clear idea of what’s pushing this guy beyond his grass roots into major mainstream success. He seems to put everything he has into his shows, which is a striking thing in the frequently ho-hum world of live hip-hop. I’ve seen lots of rap shows over the past several years, and too often, they end with a phoned-in 45-minute set by a headliner acting like they can’t wait to get back on the bus.
Friday’s show couldn’t have been any further from that. For 90 minutes, Haggerty bounded around the stage, throwing his whole body into his verses and working the sold-out crowd — 1,200 people, the vast majority under the legal drinking age — into a lather. With Lewis stuck mostly behind the decks and offering the occasional shout, Macklemore was, in essence, his own hype man.
That’s not to say he was alone under the lights. Besides Lewis, there was a female cello player and male violin and trumpet players on stage all night, plus four guest vocalists who joined the party throughout the set. It was a pretty interesting thing to see: The presence of the instrumentalists was an immediate indication that this was not your typical hip-hop show, while the parade of singers (not to mention the sweet Macklemore-branded tour bus parked on Hill Street) made me wonder just who’s paying all these folks to cruise around the country. (Dude is famously doing this without record-label money.)
Macklemore's trumpet player, Owuor Arunga.
Anyway, on to the music: After a dramatic entrance and the loudest crowd-scream I can remember in the Midtown, the set started off a little slow, I thought. The soundman seemed to still be dialing things in during “Ten Thousand Hours,” while “Crew Cuts” and “Life is Cinema” were both a bit muddy and lacking in oomph. (Haggerty did compliment our town’s collective facial hair at this point, however. As a bearded Bendite, this scored points with me.)
Then, the whole tenor of the night changed when Haggerty borrowed what looked like a vintage fur coat (may not have been vintage, may not have been fur) from a fan and the beat and bass for “Thrift Shop” buzzed through the Midtown, laying the foundation for one of the night’s highlights. People went nuts. Just nuts. Here, through the magic of video, you can watch for yourself. Sorry about the sound quality, but … yeah, the bass was loud:
From there, Haggerty and his crew ran through a bunch of faves: “My Oh My,” a sentimental tribute to the late Seattle Mariners broadcaster Dave Niehaus; “Otherside,” a cautionary tale about drug use; “Same Love,” the touching pro-marriage equality anthem that elicited a huge, approving roar and sing-along from the audience. The manic house-music beat of “Can’t Hold Us” was another high point; the song’s bass hit me in the chest like a medicine ball, traveled down through my toes to the floor, and, I assume, on to the center of the earth. It was devastatingly thunderous.
Along the way, two video screens flanked the stage and showed footage of bears, martial arts, Mariners highlights and lyrics. About halfway through his main set, Haggerty soaked his own Macklemore-branded tank top with sweat, before switching into a Seattle Supersonics jersey for “The Town,” an ode to Seattle and its hip-hop scene. He ended the main set with “Wings,” a commentary on consumerism built around adolescent obsession with fancy sneakers, and “Gold,” a poppy, celebratory tune about being on top of the world.
After a very short break, the group returned for a three-song encore — “Castle,” “And We Danced” and “Irish Celebration” — that didn’t live up to the energy of the main set, in my opinion. But the show came to a serendipitously appropriate ending when the light show shorted out during the encore’s second song and Haggerty performed most of “Irish Celebration” with the house lights on, hazily illuminating both the crowd and the stage.
That was not planned. I know, because I watched the guy controlling the lights completely lose his mind when he realized he’d lost his show during the night’s climax. But in a way, it was perfect: Right now, the music career of Macklemore & Ryan Lewis is reaching new heights every day, thanks in large part to the devotion and support they receive from their fiercely loyal fans. The makeshift light situation during “Irish Celebration” gave the final song of the night a sort of communal feeling, as if these fans had been purposely drawn into the show as a way of acknowledging their role in this story, and/or to reflect the humble, man-of-the-people persona of their pale leader.
“I f–king love you guys,” Haggerty said, before raising his hands to the sky and slinking off stage, on to the next sold-out show in the next town.
I didn’t make it to last night’s show at Bend’s Domino Room by mysterious guitar virtuoso Buckethead, but The Bulletin’s Andy Tullis did, and he took a bunch of good photos of one of the stranger artists to roll through our little burg. They’re below. So fire up a YouTube video of the guy shredding and scroll down …
A pair of Buckethead enthusiasts write and draw near each other at the merchindise table.
(I was going to write this for today’s GO! Magazine, but we ran out of room. So here you go. Photos by me.)
I feel a little funny about even putting the word “review” in the title of this post. Because, frankly … I don’t have that much to say about folk-pop band Poor Moon‘s show Sunday at Les Schwab Amphitheater.
The band wasn’t amazing, but pleasant enough. Although I suppose if you consider the context of their performance, they were pretty much perfect.
You see, for me, the Schwab’s Summer Sunday Concerts are about the music. But that’s because I’m an abnormally passionate music nerd who will pounce at just about any chance I have to go see a band play, especially one good enough to score a deal with the unimpeachable Subpop Records label, and that shares two of its members with one of my favorite bands, Fleet Foxes. And especially when it’s free and it’s outside and the weather is wonderful and I can take my wife and kid, and, and, and …