Monthly Archives: May 2019

VOICES CARRY: Calexico

“Literary lint and artifacts from the transient American escape”: It’s hard to believe that the Tucson-based—and, as it turns out now, partly El Paso-based as well—rockers have been seducing the sonic synapses of fans of their patented “desert noir” for nearly two decades. But with a celebrated studio album and key reissue recently in their rearview, plus a fresh collaboration and tour with Iron & Wine in their headlights for this summer, it’s not a stretch to call them a true legacy band. Founders Joey Burns and John Convertino talk about the upcoming album, reflect on their past, and enthuse about their headlining show this weekend at the Cold Mountain Music Festival in the mountains of Western North Carolina.

BY FRED MILLS

Calexico: think Americana, yes, but also think border music, Mariachi rock, folk-psych and experimental musings, wide open expanses of the Southwestern frontier, desert noir. More on the latter in a sec. The Tucson outfit, founded in 1995 by guitarist/vocalist Joey Burns and percussionist extraordinaire John Convertino, is in the middle of a remarkably active and productive period, having issued  in the past year both a new studio album (The Thread That Keeps Us, via Anti- in the US and City Slang overseas; it’s reviewed here), and a 20th anniversary expanded reissue of their 1998 classic, The Black Light. Along the way, they also decided to renew an old friendship in the form of Sam Beam, aka Iron & Wine, and the fruits of that studio connection will arrive in just a couple of weeks as Years to Burn via Sub Pop (on digital, CD, vinyl, and limited edition colored vinyl… you can guess which iteration yours truly preordered), which will coincide with an extensive international tour with I&W that kicks off June 18.

Meanwhile, this weekend Calexico will be headlining the 3rd annual Cold Mountain Music Festival in North Carolina (read my preview of the fest elsewhere on the Blurt site) prior to the aforementioned tour with Iron & Wine, so, as suggested, they are a busy bunch. As befits an ensemble with an ever-expanding back catalog, acclaimed collaborations galore, and what might be termed as a clearly relentless musical mission.

Full disclosure, I feel permanently linked to the band by virtue of several factors: I was living in Tucson, Arizona, when they initially formed as an offshoot of Giant Sand and were also moonlighting in Friends of Dean Martinez, and, thanks to Burns and Convertino, privy to some of their earliest musical endeavors; years later, a stray quote of mine that I once used in a review to describe the band (“desert noir”) was uttered by Burns during an NPR interview, along with his acknowledgment of the term’s source; and certainly the honor of working with the band on the liner notes for their sprawling 12-LP 2001 vinyl box set, Road Atlas 1998-2001.

All that aside—and my devotion to the entire Arizona music scene is well-documented here at BLURT, so I won’t belabor it—the fact is, the duo, which can morph into a full-sized band, replete with a mariachi horn section, at the drop of a castanet, remains one of our premiere American musical ambassadors, and will always be emblematic of the sonic serendipity that the Southwestern desert region can bestow.

As Convertino succinctly offered, “The whole ride has been amazing.”

For us as well, John. I caught up with my old Tucson compadres recently via email.

***

BLURT: John, Joey, it’s great to connect with you again—I must confess, whenever I hear you on the radio these days, I get a twinge of homesickness for Tucson. So, now you’re coming to my current home, near Asheville, North Carolina. Have you ever played this area?

JOHN: To be honest, I am not sure if we have. I know we have played Saxapahaw before, and we are scheduled again with Iron & Wine [June 18, at the Haw River Ballroom, near Chapel Hill]. For us, it’s always a pleasure to get to the parts of the country that are so lush and green, spend some time in the shade trees and find a lake to jump into. So, we’re looking forward to the Cold Mountain Fest—we are not “on tour” right now, and we may be doing some interesting covers we don’t normally do because [we will have] Brian Lopez on guitar and vocals, who has his own band and songs that we sometimes do with Calexico. [Ed. Note: Lopez, also based in Tucson, has an amazing band, XIXA, which also boasts Gabriel Sullivan, who we’ve featured and reviewed here at BLURT.)

JOEY: We’ve played Knoxville, TN, before but I don’t recall ever playing in Asheville. Glad to be finally playing here. We will be playing both old and new songs, with Brian; Jacob Valenzuela on trumpet, vocals, and vibraphone; and Sergio Mendoza on keyboards, bass, vocals, and samples. Looks like a cool festival too—Cold Mountain Music Festival on Lake Logan sounds pretty damn nice for a bunch of desert dwellers from Arizona. 


BLURT: In the time I’ve been away from Tucson, since mid-2001, what would you say have been your most notable successes or milestones?

JOHN: The whole ride has been amazing; we have been so lucky with having such great labels to work with, and fans that have been loyal and willing to go to different places with us, musically and emotionally. I think being able to bring the mariachi on tour in Europe was huge, as well as having some of our songs charted for symphony orchestra and performing them with the Louisville Symphony, and then later in Berlin and Austria with those orchestras.

JOEY: We’ve done a bunch of benefit concerts for our local radio community radio station KXCI [My favorite radio station on the planet.—Ed.] and helped our friend and congresswoman Gabrielle Giffords when she was running for office. January 8, 2011, our world was shattered when Gabby and others were shot in a “Congress on Your Corner” event in Tucson. It opened us up and connected us in a way that I would have never imagined. It changed our town forever and highlighted how important community is for healing and living together despite our differences. We offered our help through our music, and I’m grateful to have been part of the process of healing.

Friendship is what has connected us and sustained our band for the long haul. It’s a real gift to get to meet with musicians and continue on the path of being creative and supportive to one another. We’ve had some incredible shows in amazing places around the globe and from this point on I will be extremely grateful if we can keep it going and continue branching out with.


BLURT: Any pitfalls or downsides during that time as well?

JOHN: Well, life on the road can most definitely put you and your family through the meat grinder. There were times when we were overbooked, and overworked—it takes its toll, my friend, but we are living to tell, and that story continues to be told.

Calexico and Iron & Wine

BLURT: Tell me a little about the upcoming Years to Burn and connecting with Iron & Wine—maybe a little background on how that came to pass, and a bit of a preview of the upcoming tour with Sam.

JOEY: We’ve been throwing around the idea of doing another collaboration with Sam for a while. [In 2005 Calexico and Iron & Wine released the In the Reins EP.] Once we found a window of time, we jumped on it. We spent four or five days recording with Matt Ross-Spang at The Sound Emporium in Nashville with Rob Burger on keyboards, Sebastian Steinberg on bass, and two of the other Calexico members—Jacob Valenzuela on trumpet and vocal, as well as Paul Niehaus on some gorgeous pedal steel.

JOHN: Since we did In the Reins almost 15 years ago, we have always talked about doing it again, and just about when I thought it was never gonna happen, it happened! Sam was coming off his touring for Beast Epic and had a batch of songs he wanted to play with Calexico. So, we decided on Nashville, and along with Sam’s bass player Sebastian Steinberg and keyboardist Rob Burger, Joey and I met up with Sam and recorded and mixed these songs in about five days. The tour should be fun—we have all been around the block multiple times now, up down and all around, so safe to say, we all look forward to those few hours on stage continuing the musical dialogue, try some new things, some new covers.

BLURT: What were some of your thoughts or emotions as you put last year’s 20th anniversary reissue of The Black Light together? And where were your heads originally at when making that album in 1998? I will always think of you guys in the context of my “desert noir” description, and how you’ve continued to tap that metaphysical vein with your music.

JOEY: Thank you so much Fred—you’ve always been a beacon and an inspiration. I love the “desert noir” term. Today I accidentally typed “Desert No Water” and was surprised how accurate that fits to not only the current state of things in the West and the growing importance of sustainable resources, but also the whole symbolism of why we do what we do. We venture out, despite the risks or the voices inside saying, “maybe it is time to do something else,” or “do people still want to listen to live and recorded music, enough to justify hopping in a van and seeing where the road will take you?” Back in 1998, we were mainly concerned with playing music and getting out on the road in whatever way possible. That spirit is still there, and it feels good releasing a 20th anniversary edition of an album that was our most intuitive and eclectic. I’m curious how it feels to audiences today.

JOHN: It was really nice to revisit The Black Light, especially since I live in El Paso now, which was home to Cormac McCarthy during his years of writing “The Border Trilogy,” which was, in part, the inspiration for some of the stories and lyrics on the record. Living here, in some ways, has brought to life a lot of what I could only imagine the border stories [while] living in Tucson or reading books, so listening back with what I know now, I feel the record still holds up, and hopefully will for years to come. I think what the music represents is much more important now than when we made the record. Musically, we were experimenting with what the studio could offer us, and the time and space of Tucson, which was a pretty small town back then.

JOEY: In 1998 we were lucky enough to find a few record labels that would take a chance on an album that didn’t conform to any one genre or style. We were just as mixed up with influences back then as we are now, but maybe the scope was more focused on our thrift store aesthetic than it has been more recently. It reads like a well-worn book you would find at a motel buried with old National Geographic magazines and paperback novels. Tucson has always been a cul-de-sac and spiritual corner that collects literary lint and artifacts from the transient American escape. It’s a monumental valley of nostalgia that seeps into the cultural subconsciousness. If you like ghosts and graveyards, then this is the place for you. That was the vibe of downtown Tucson in the mid 1990’s. [He’s right.—Ed.] It was a great big canvas of empty warehouses and parking lots. I saw this corner of the world suspended in time. Contrast to that was the growing urban tribal art scene and university dropouts that made for some really creative tangents and creative directions. There was a little more grit in Tucson back in 1998, but it still resonates in a beautiful way here.

 

BLURT: If we count 1995’s self-released Superstition Highway cassette as the Calexico debut – or perhaps 1996’s Spoke, however, since it had actual distribution — that means 2020-2021 will mark your 25th anniversary. If so, any special plans or surprises in the works? Maybe a protest concert during the Republican national convention?

JOHN: There have been talks of re-releasing that and maybe doing a special show in Germany for Hausmusik, the label that put Spoke out originally. It would probably be better for us to stay out of politics, but it’s pretty much impossible these days—the division is so clear cut now, it’s easier than ever to make a choice.

JOEY: We plan to continue tour with Calexico and various collaborations for as long as the road will take us. There are no retrospective tours planned as of yet. I would rather focus on recording new ideas and touring with new projects. As for the political state of things, life is full of challenges on many levels, and with art, music, food, writing, dance, culture, comedy, film, we can embrace one another, listen to one another, and harmonize together. Definitely being a father is teaching me to be a better listener and to help take care of others. It’s basic, and each community that grows strong will help influence each, state, government and continent. My kids are worried about the health of the planet and I am too. I would love to keep finding ways to help thru music. That’s what I want to teach my kids.

 

BLURT: Lastly, tell me something surprising, unusual, or otherwise cool about Tucson these days that I probably don’t know and would be fun to share with Blurt readers…

JOHN: Well, Tucson has changed a lot since you left there, Fred. The downtown is totally happening, you can walk around and have everything you could possibly want. Here in El Paso, things are a little slower… we did just get these amazing refurbished vintage trolley cars that make a loop through our downtown, to the university, and along the border. That’s very cool. Come visit El Paso sometime— you would love it!

JOEY: In the past we’ve seen a wave of various businesses: Sonoran Hot Dog stands in empty dirt lots, tattoo parlors, mattress stores (some even across the street from one another!), barber shops, used car dealerships, pizza and hamburger joints. Tucson is a test market. One of the benefits is that we have a pretty good food scene here. In 2017 Tucson won the first UNESCO award for City of Gastronomy. I hope it continues growing in a thoughtful and healthy way.

WELCOME, ALL: The 3rd Lake Logan, NC, Cold Mountain Music Festival

Taking place Friday and Saturday of this week, May 31-June 1, in Canton, North Carolina, it features a slew of diverse artists—among them, Calexico, Milk Carton Kids, Yonder Mountain String Band, and Kat Wright. We talked to one of the festival organizers about its origins, its intention, and its overall success to date. (Above photo the official festival photo; image below, by David Simchock www.davidsimchock.com / courtesy CMMF)

BY FRED MILLS

The summer festival season begins anew—having already been sufficiently primed/goosed by numerous pre-summer festivals, which seem to occur earlier and earlier each year—with festival-goers and musicians alike fairly frothing at the mouth over, respectively, the ensuing fun-potential and the ridiculously easy paychecks.

One relatively young event is the two-day Cold Mountain Music Festival, May 31-June 1, occurring in Canton, North Carolina (specifically: 25 Wormy Chestnut Lane, Canton, NC 28716). Canton is about a half-hour west of Asheville, already renowned for its thriving music scene, and the hills of Western N.C. are similarly alive with the sound of music (to paraphrase a great philosopher). And as we pointed out not long ago here at BLURT, it’s to be “a tasting board of artists ranging from the folk, funk, Americana, bluegrass, and post-rock worlds, with highlights including Grammy-nominated alt-rockers the Milk Carton Kids, critically acclaimed “desert noir” duo Calexico, crowd-favorite jamgrass ensemble Yonder Mountain String Band, fast rising troubadour J.S. Ondara, “soul queen” Kat Wright, the equally Stax-worthy Ruby Velle & the Soulphonics, and improvisational genre-benders Driftwood, among others.”

There’s an interesting angle here, too: the family-friendly camping festival, now in its third year and located in Pisgah National Forest at the wonderfully scenic Lake Logan, is put on by the Episcopal Diocese of Western North Carolina in order to support the work of the ministries of the Lake Logan Conference Center and Camp Henry. Doesn’t exactly sound like your garden-variety sex/drugs/rock’n’roll gathering, where topless girls get hoisted upon the shoulders of their E-gobbling boyfriends and frats on leave from campus slam beer-bongs in between actual bong hits, eh?

I posed that question, or at least my somewhat toned-down version of it, to Lake Logan Conference Center’s Development Director Michelle Robinson, as I was curious to learn if the festival organizers have ever encountered raised eyebrows when informing someone about potential looming collisions between Dionysian youth practices and Faith-based church cultures. I got a firm “LOL” from her…

“We haven’t seen any of that,” chuckled Robinson. “I hope it’s respect for the place we are in and for those around us. If we are to continue to have this festival, we can’t have issues like drugs destroying the vibe. Christians are not excluded from liking good music, be it rock ‘n’ roll or any other. And we count it as a blessing that we have very poor Wi-fi here—people aren’t walking around with their faces in their phones. Instead, they are connecting with their neighbors and enjoying nature. It’s amazing to watch.”

In our conversation, Robinson professed to be a big fan of music festivals in general, adding that she has prior experience with large such events. She always had a hunch that the Lake Logan setting would be an ideal one for such a gathering, and explained that while the venue had always been used primarily for summer camp and church groups, “the festival arose as a thought between a few long-time supporters of Lake Logan and myself—I knew we could make it happen. My best friend is married to one of the Steep Canyon Rangers, so she was very helpful, as were the Rangers, with getting the first one going. We knew the location was perfect for it! It took a lot of work that first year from the entire planning committee, the Diocese staff and Lake Logan staff—I’m always afraid our head of facilities will retire! We have great people at Lake Logan and in the Diocese office in Asheville. Everyone works hard to make this a success.

“And there is a great deal of organization to it. I work for Lake Logan and Camp Henry, with support from the Episcopal Diocese of WNC. And Bishop José McLoughlin has been our strongest supporter. He understands our goal [is] to bring all people together in this place where all are welcomed. He lets us do the job and trusts us to make good decisions.”

Good decisions, indeed. Early on, the festival organizers determined that strategic partnerships would be key, and by the second year they had brought on well-respected and -connected Asheville concert promoter and talent buyer Jeff Whitworth, of Worthwhile Sounds, to help line up performers, along with Chad Stewart of Asheville’s Sound to coordinate the lighting and sound systems. (Robinson: “He’s the best, so that was an easy choice.”) Also in the mix now: Haywood County’s weekly newspaper the Smoky Mountain News, the Haywood Tourism Development Authority helping out with some of the talent costs, and the Haywood Sheriff Department for festival-related security and traffic control (not to mention accompanying bureaucratic hoops). Plus, plenty of participation from local breweries, food trucks, and regional merchants—crucial for probably every kind of music festival on the planet.

Robinson adds that another crucial element in mounting a solid festival is lining up sponsorships in order to cover the costs of the booking budget. “We have been successful financially so far,” she says. “It isn’t a huge profit yet, but we keep growing. We have many generous sponsors who come back year after year to help us make this happen. And the Haywood TDA gave us a grant this year that has been a huge help for getting great talent. In terms of genre, we stress that this festival is not a bluegrass festival. We love bluegrass and we have it on the schedule, but we don’t stop there. We want diversity in the music and in the musicians. This year, we have some great soul acts, Americana, folk, country, and bluegrass—and some that I’m not sure how to categorize, but it’s good music.”

And she’s quick to point out that the Cold Mountain Music Festival is intended to be more than simply musically inclusive:

“This festival sort of announced to the community that Lake Logan is open for all. We are not a private campus and we welcome all. You don’t have to be Episcopalian to be here. We host artist retreats, family reunions, private retreats, dancing, and the list goes on and on. Last year, our new-ish Executive Director, Lauri SoJourner, opened Lake Logan for annual memberships. That has been a huge success with our neighbors. People can come out for the day to enjoy the lake or to fish.

“We really do welcome all.”

***

For further reading about the festival, check out my interview with Joey Burns and John Convertino, of Saturday evening headliner Calexico, along with don’t-miss featured performer Kat Wright, who plays late afternoon on Saturday.. – FM

***

Check out the festival line-up and visit www.coldmountainmusic.org for tickets, festival tees and more info — with The Milk Carton Kids, Kat Wright, Ruby Velle & The Soulphonics, Joe Lasher, Calexico, J.S. Ondara, The Travelin’ Kine, Yonder Mountain String Band, Logan Ledger, Out of the Blue Peruvian Fusion Cuisine, Noble Cider – Taproom & Cidery, Hit the Pit BBQ Co., Driftwood and Mo Pho Pho Sho.

 

 

 

 

 

 

A HALLUCINOGENIC MIASMA: Monolith on the Mesa Festival

The newly christened music festival this weekend, stationed in Taos, New Mexico, is destined to turn (on) more than a few heads. Cofounders Dano Sanchez and Roman Barham explain.

BY JONATHAN LEVITT

Monolith on the Mesa is set to make history with their inaugural festival in Taos, New Mexico starting this Friday, May 17.  Local news reports that with two days of heavy music, the mountains are already shaking and avalanche warnings have been posted. Doctors are on standby for people who might be affected by the cloud of mystical smoked herbs that will be billowing towards Santa Fe. Kids have been told not go to school until Monday.=

Joking aside, OM, Woven Hand, Dead Meadow, The Obsessed and a whole raft of heavy bands are set to rock the thronging masses literally and figuratively into a hallucinogenic miasma. Lucky for Blurt readers then that I caught up with Dano Sanchez and Roman Barham while they are still clear headed enough to ask them a few questions about the festival.

***

BLURT: What possessed you guys to create a rock music festival in Taos New Mexico?

DANO SANCHEZ AND ROMAN BARHAM: Well, Taos is a special place. When the Melvins played the Taos Mesa Brewing it was packed and Al Cisneros [of] (OM, Sleep) [we were talking at that show and were] like ‘you need to play here” and with that the idea was born. Taos Mesa Brewing is a very unique venue, next to the gorge bridge, at the base of the Sangre de Christos (blood of Christ) mountains all over seen by [the] Taos Pueblo, [which is over 1,000 years old]. It’s a heavy vibe and a high desert setting ripe for this festival.

 

BLURT: How hard was it to get funding?

Well this festival has some great sponsors but it is a festival born of ideas of limitless possibilities that Roman and I have created.

 

BLURT: What are some of the funding sources and sponsorships that is making it possible to hold the festival?

We have generous sponsors who share our vision and wanted to invest in the vision that is Monolith. Magical Tattoo, Black Arts Tone Works, Worshiper Cabinets, Music Go Round(Albuquerque), Taos Mesa Brewing, Hotel Luna Mystica, Arise Music & Coffee, Fly Pr, Blues Funeral, Heads Up Music (Taos), Kickstarter Music, Vans, The Coffee Apothecary (Taos), Magnetic Eye Records, Ripple Records.

 

BLURT: Who came up with the name Monolith on the Mesa and who designed the poster?

I did (Dano), I feel that Taos is a monolithic place that evokes limitless possibilities and being high in elevation the transmissions broadcast[ed] and receive[d] are really clear. The poster was designed by Simon Berndt – he organizes Endless Daze and [lives] in South Africa. [It’s a] great image to set the tone for our inaugural year.

 

BLURT: What were you looking for in terms of the bands you wanted for the festival?  (When I look at the lineup I think it’s perfect for Northern New Mexico with its mystical psychedelic edge.)

First off we are fans of the heavy genre of music, all-encompassing genres. So we sculpted the show that we would want to see.It all started with OM, the rest was milled over and came to fruition and now we are weeks away from realization.

BLURT: Which band was the hardest to secure?

I’d say The Obsessed were pretty hard to nail down, but Wino and crew came thru!

 

BLURT: Musically how did you all decide the order of the bands and will you be filming this concert for future release?

That was hard to decide but we are really excited with the order that they are in. We hope to film portions of the show and there’s definitely videos coming to our YouTube channel.

 

BLURT: Were there any bands that you invited that had to cancel or were there any that you hope to get next year?

We had 2 drop and 2 new ones sign up. Sleep, Melvins, Mondo drag, are [the bands] who I would like to see, and seeing The Saviors play again would be killer! But we are focused on this year and making a great time for [both] artists and attendees.

 

BLURT: Who are you guys most looking forward to seeing?

Everyone really, that’s why we sculpted this line up. EYE is one I’m really looking forward to (Dano) and [of course] my all-time favorite, OM.

 

BLURT: In terms of creating the music festival what festivals did you draw inspiration from?

I really like old time carnivals so a little of that mixed with Stoner Hands of Doom.The idea that music inspires art inspiring music. Christian Ristow and Christina Sporrong are bringing their intense metal sculptures out that have interactive fire elements to them, along with The Ad Alchemist Liquid Light Show handling visuals on the outside stage. So [it’s] more [a] psychedelic carnival.

 

BLURT: How are ticket sales?

So far so good! We are going to have a great time.

 

BLURT: Tell us about how the location will be set up?

Taos Mesa Brewing is the main venue where there is a indoor stage(worshiper stage) and the outdoor “earthship” ampitheatre is outdoors.

 

BLURT: Is there camping?

Yes, the Hotel Luna Mystica compound is steps away where they have a vintage trailer park, as well as primitive camping areas.

 

BLURT Will there be security screening?

Yes, there is a safety factor. Everyone deserves to have a safe and fun time.

 

BLURT: Will the music be in tents as well as out in the open?

There will be the Bedouin tent on Hotel Luna Mystica property that will have a DJ set and also a small bar.

 

BLURT: What about facilities such as water and restrooms?

We will have restrooms at the brewery, as well as porta potties all around the compound. Water stations will be available as well as beverages for sale.

 

BLURT: Are there any decibel restrictions?

Yes there are, but not ‘til after midnight, so that’s why the outdoor ampitheatre shuts down at midnight. Lisa Bella Donna will be doing a first night wind down [Friday] night inside from 12-12:30 and our after party and wind down on Saturday is Lord Dying and Year of the Cobra inside from 12-1.

 

BLURT: How many people do you have working for the festival?

We have a great crew putting this together. Dano Sanchez, Roman Barham, Joel Meinholz are the main organizers, and we have a great team working hard on media, volunteers, box office, security and hospitality, along with the great crews [from] Taos Mesa Brewing as well as Hotel Luna Mystica.

 

BLURT: Have local businesses been supportive of your efforts?

We have had great support from local businesses. Next year we intend on [having] more community involvement and outreach.

 

BLURT: What sort of local vendors will you have on site and what sort of stuff will they be selling?

We will have vendors from all over as well as local ones, from artists doing live screen printing, jewelry, snack vendors, a bee lady, Wumaniti native earth sanctuary, coffee, record store, and many more.

 

BLURT: I’ve been to Taos and it’s a small town. Was it difficult to get the permits and was there any pushback from the locals or Native American community, given the Pueblo nearby?

Taos Mesa Brewing and Hotel Luna Mystica carry permits and work hard to pull off events. No blowback from the Taos Pueblo, we love the puebloans and want to encourage festival goers to visit the Pueblo and learn about the people that give this beautiful town its rich history. 

 

BLURT: In terms of the Native American Community, what can we expect on that front – will there be any Native American musicians?

This year the way it worked out no, but next year we fully intend on having dancers, drum circles and bands as well.This year really happened so fast we filled up [really] quick. Lots of local New Mexican favorites tho.

 

BLURT: Taos and Northern New Mexico weather changes on a dime in May, so what are your contingency plans if it starts to snow or a sudden hail storm happens?

We are a rain, snow or shine festival. We suggest that you wear layers because of the shifts [in the] weather. [Best to] be prepared. We have [an] inside [venue] as well as tents that will be around as well as the safety of the trailers and personal tent and RVs.The Bedouin tent will serve as a [contingency in case of] extreme weather.

 

BLURT: Is it already decided that there will be a festival next year?

Absolutely!

 

BLURT: Finally, when all is said and done what do you hope people leave Taos with?

An experience! With the crazy vibrations that are going out to the universe these days, we want to radiate positive high vibrations that reverberate unity, love and healing through art and music. I think that most people coming are seeking something out of the norm and this may just scratch that primal search for truth and belonging.Taos is Magical and transformative [place that] can have a lasting impact on people [making them want to] return. [There’s] no place like Planet Taos!

Shaky Knees Music Festival 5/3-5/19, Atlanta

Big weekend in Atlanta the other weekend with Shaky Knees Music Festival at Central Park, and our longtime photographer John Boydston was there.

BY JOHN BOYDSTON

3 Days of Peace, Love, and Understanding – and plenty of people watching. He brought us photos, but this is by no means an exhaustive overview, but the best of the stages he got to. John says, “The most amazing thing about Shaky Knees is the people who make it happen, behind the scenes and the crowd that turns out. Plus the huge roster of indie, world, and better known acts. The music never stops and its the best of the best all around you.”

***

Day 1: May 3

The great artist known as Beck, his amazing band, and his massive crowd closing out Shaky Knees opening day.

Sharon Van Etten wows the main Peachtree stage Friday.

The Idles taking it to the crowd Friday at the Ponce de Leon Stage.

Foxing at the Criminal Records stage.

Thee Oh Sees and crowd surfers (Piedmont Stage)

I lost count of how many instruments Tash Sultana played during her solo set, but the music never stopped.

Liz Phair with her usual flair – looking and sounding better than ever on the Piedmont stage in the midday sun.

Brandon Boyd and Incubus.

Tears for Fears, a surprise hit of the day for my money – smiling and waving, and looking so fine.  Huge crowd – penultimate act of the day on the Piedmont stage.

***

Day 2: May 4

 

Japanese Breakfast might have been my personal indie-rock find of the day (Piedmont Stage)

 

Bad Books features Kevin Devine and Andy Hull (of Atlanta’s own Manchester Orchestra) and has been around a while off and on.  They should have a lot more fans after their great set here.

 

Two photos won’t do justice for The Struts and their big stage performance here.  They lit it up.  (It’s timely to be reminding people of Freddie Mercury’s stage greatness.)

Natalie Press ready for a little rain, that did get people wet later on.

 

Jim James and band bringing the heart-shaped rock.  (Piedmont Stage)

Interpol (Peachtree Stage)

Jade Bird (Ponce de Leon Stage)

***

Lucy Dacus – Criminal Records Stage

The Murlocs from Melbourne, Australia

Group Love getting some on the Peachtree Stage.

Deerhunter

Calpurnia featuring Finn Wolfhard, star of the Atlanta-filmed hit TV series “Stranger Things.”

DIdn’t expect to hear seriously good country music at Shaky Knees, but they are full of surprises here.  Tyler Childers and band.

Tame Impala brings the visual storm and festival closing set Sunday night.