Santa Fe-based immersive art collective Meow Wolf left quite an impression yesterday at their Fractallage party when the organization made their first foray (outside their origin film release this week) into South by Southwest (SXSW). The group spent most of the night Monday evening transforming Empire Control Room and Garage into a Meow Wolf satellite installation complete with visual art, immersive activities (tube dating by Tinder for example) both inside and outside the venue while a roster of exceptional DJs entertained the crowd and set the mood for a surreal (and completely satisfying) experience.
We entered the venue through the Seventh Street side gate to find a bevy of tapestries and colorful banners artfully arranged over the exposed to the air space outside the Garage where Gold Room was performing. The chill-wave sounds being produced perfectly set the mood as fans slowly bopped along to the infectious beats while warm sunlight streamed into the garage and onto the languid audience milling about Empire’s backyard.
The backyard was an entirely different story albeit, fit nicely alongside the performance space adjacent to the decorated patio that featured Tinder Tube Dating (yeah, we don’t know either) using “Experience Tubes.” The exercise pokes fun at how we connect on social media versus real life. Light blue carpeting had been laid over the ground with colorful pillows and foam-stuffed couches to create a kind of chill-out area from space is the only way we can describe it. EVERYONE was smoking pot out there.
Inside, an indoor exhibit had been set up. A man in a captain’s uniform stood near three oversized buttons inside the foyer to the Control Room. He explained (while in character) that the buttons controlled the lighted serpent affixed to the ceiling. Folks were invited to press the buttons to change the lighting sequence and music being piped into the room. Actors in costume milled about portraying sentient beings from another planet trying to suss out people and their actions while visiting the mysterious Earthlings. Costumes included LED lights that responded to the music being played. A giant, fantastic lighted “barnacle” held up the far wall of the Control room and held flowers in which touching the metal wire stamens activated the glowing lights in the display. High tables and seats along the wall allowed visitors to sit and absorb the peaceful environment Meow Wolf created.
We sat outside earlier chatting with staff who talked about working with the organization and their aggressive growth plans (which includes Austin.) Danny, a gentleman who works with sound and audio for Meow Wolf stated he’d been working for the New Mexico trendsetters since 2014 and felt blessed to be a part of something so cool. He was exceedingly kind as was each staffer who arrived in Austin with the collective as if a directive had been handed down that said Meow Wolf employees can only project happiness upon the world. Perhaps that is the credo of Meow Wolf? To project happiness. We know the perma-grin plastered on our faces while we were at Meow Wolf’s Fratallage installation was about as real as you get. Meow Wolf is pure joy.
If you haven’t been to the Austin Chronicle’s Austin Music Awards (AMAs) yet, 2018 might be the perfect year to break that streak. Organizers elected to move the date before South by Southwest (SXSW) instead of during the insanity of the festival when the local awards ceremony is usually held. Instead of battling traffic to get to ACL Live at the Moody Theater, fans can purchase tickets in advance to see guest performers Lucinda Williams, The Black Angels, John Hiatt, Alejandro Escovedo and a host of other national and local acts plus unannounced special guests. In previous years attendees have gotten to see surprise performances by Bruce Springsteen, Robert Plant and Chrissie Hynde among others. The long-format awards show is a great opportunity for local music fans to get a taste of the best Austin musicians in arguably the best sounding room in town.
The awards are voted on by the public via an online form. This year, the voting process was changed to two rounds of voting instead of one, which determined the finalists. Another call was put out to the public was to vote again to determine the winners. This appears to be a better method of determining the best artists in each category. The Austin Music Awards previously announced the Townes Van Zandt Songwriting Award will be presented to singer-songwriter Joe Ely (who has been a special guest performer before) and the Margaret Moser Women in Music Award will be presented to Liz Lambert, founder of Bunkhouse Hotels and the Trans-Pecos Festival at her El Cosmico resort in Marfa by Grammy winner Williams.
Musical Director, Charlie Sexton will head up a crack house band with Michael Ramos, John Michael Schoepf and Conrad Choucroun. Rick McNulty and Laurie Gallardo of KUTX will return to host ceremonies. Proceeds from The Austin Music Awards will benefit the SIMS Foundation which provides health care to qualifying Austin music industry professionals.
Advance tickets ($35) are available at the ACL Live website. Mezzanine and other VIP ticketing options start at $250. Those prices might seem like a bargain after the special guest is revealed. Perhaps it’ll be heir apparent to SRV, Gary Clark Jr? You’ll have to grab a ticket to find out.
Music journalists appreciate artists who consistently challenge themselves to create something that defies norms which is one reason St. Vincent, nee Annie Clark has ingratiated herself to rock critics who have frankly, been starved for innovative music from acts that intellectually stimulates the listener beyond interesting aural textures. That may sound a bit heady but St. Vincent’s performances tend to have an elevating effect on music fans of all stripes. Her work speaks for itself in its originality. It’s exceptional art. This is an artist who considers all aspect of performance carefully and the results show. Thursday’s night one of a two-night stand at ACL Live highlighted those qualities in Clark’s work and then some.
Already accepted as a guitar goddess, St. Vincent set out with her latest release, to conquer the pop world with a concept that feels genuine and real in its presentation which is hard to do in that context. Her stage production shared a similar monochrome aesthetic to Solange’s recent tour yet, she pulled it off with more style and flair than anyone else. And she did it as a solo act, without benefit of a backing band behind her to lend more variety into the show. It was stunning how well she managed the feat, opening with a brilliantly simple black curtain that was open a crack, spotlights on the performer, then progressively opened as Clark worked her way from left to right, arranging the setlist into two parts. The first set was comprised of select cuts from her discography in chronological order, underlining the visual effect of moving laterally across the stage with each new song, moving both figuratively and literally across the timeline of her career.
The context of the show, futuristic pop-rock demanded a room with the sound quality of ACL Live. St. Vincent maxed out that potential kicking off the set with “Marry Me,” the title track off her 2007 debut. The ballad highlighted Clark’s vocal range and provided a soft launch pad for an exquisite, two-hour art-rock masterpiece. Cheers of recognition came with “Cheerleader”, then “Strange Mercy.” The latter track being the piece that grabbed our attention at St. Vincent’s NPR Showcase performance at SXSW several years ago. It was as this point in the performance, the plain black curtain was completely pulled back to reveal a gigantic, multi-colored mural of a stylized representation of a woman’s face as if the artist had been commanded to create in 8-bit graphics It was apparent Clark is a force. The “Masseduction Tour” underlined that point in heavy black marker.
Not one to banter with her audiences much, Clark waited until completing the fourth song in her set before acknowledging the crowd, “There’s no place I’d rather be than right here in Texas!” reminding fans her roots are in the state, hailing from Dallas. The singer was once of member of orchestral rock collective, The Polyphonic Spree before setting out on her own trailblazing path. As the first set ended and St. Vincent left the stage for a a brief change-over and costume change, we had time to consider the fact that all the older songs got a “pop treatment” for this tour, rendering them anew and relevant to the material presented on Masseduction which was played from start to finish second set. Yet another brilliant element of the production.
Later in show, Clark made a humorous and half-hearted attempt at improvising a little song about Austin, invoking Barton Springs Pool among other notable spots in town. The moment felt authentic, unplanned and frankly it was just plain cute how she interacted with the audience. It is clear Austin holds a special place in St. Vincent’s heart. The feeling is mutual. Clark indeed holds a special place in the hearts of Austin music fans as evidenced by the posts on social media leading into, during and after the astounding solo performance St. Vincent turned in. Keeping an audience interested for 120 minutes is no easy feat with a full band, but Clark handled the task alone with artful grace, gently, then more forcefully pulling music fans along on a carefully composed art-rock odyssey.
St. Vincent left the audience with “Smoking Section” deliberately forgoing an encore for a polished finish. We left the theater satiated, mouth agape at the singular talent that is St. Vincent, realizing her album title had achieved its aim in seducing not only us, but an entire theatre of music fans. There were plenty of folks at the Moody Thursday who’d never seen St. Vincent perform before. We guarantee they’re rabid fans now. Add pop goddess to St. Vincent’s resume.
Last Saturday, local music concert series, Microsessions featured four Austin artists performing short, 20-minute sets for fans who got to sample each artist, then choose one they’d like to see more of at the conclusion of the event. The format is dubbed “Speed dating for live music” and promises five sets over two hours, often from new and upcoming local acts. Microsessions has primarily used Music Lab for their venue-space but have been exploring other options around Austin.
Austin artists Wiretree, Christina Cavazos, Grace Pettis and River Has Many Voices performed for a sold-out audience in small-format rooms with groups of around 30 people watching. Group guides led folks to their designated stages, offering complimentary drinks and information about Microsessions and the invited acts. It was evident, Microsessions founder Paul Schomer carefully curated the lineup Saturday. Each act complimented the other while offering original material in an intimate setting. House concerts were the model for Schomer and scale was the issue. Schomer downplayed his brainchild, emphasizing the simplicity of his project. But most good ideas are, in fact simple, aren’t they?
“It’s not really rocket science, but I’ve learned that you can’t just slap it together. Musicians really like it for the intimacy, the undivided attention, and audiences seem to like getting told what to do! Bands get to swap fans, which isn’t common. It’s a good way to try out new material, too,” says Schomer about his series which he’s honed over the past couple years.
A former NPR journalist, the Microsessions founder has found a tidy formula. We started the evening with the gentle River Has Many Voices playing acoustic guitar to his lyrics. Otherwise known as Matthew Payne, the singer gave a subtle performance to a rapt audience. Like many Texas songwriter’s he pledges his alligiance to the Church of Townes Van Zandt but who can blame him? Steve Earle (another Van Zandt disciple) will practically fist fight someone over his love of the revered troubadour.
We followed that performance with Wiretree‘s full-band set-up which was a great change of pace. A fair amount of music industry friends are fans of this act. Helmed by former solo artist, Josh Peroni, Wiretree’s indie rock/songwriter mashup has a similar ethos to groups like Caveman or closer to home, Okkerville River. We hate to use that word again, but after 11 years of performing Peroni and Wiretree are, indeed underrated.
Christina Cavazos followed in a cozy outdoor setting. The singer-songwriter just finished high school and capped her secondary education years by winning a admittance to the prestigious Clive Davis Institute of Music which accepted only 80 applicants this year. The reason is she’s good. Really good. And she’s really young. While some under-18 artists can appear a novelty, there’s none of that with Cavazos. She’s simply the gifted, young performer with a beautiful head of hair. It even says so in her Twitter bio.
Grace Pettis was our photographer’s favorite act of the night. This red-headed young lady has been a buzz act around Texas lately. Her website crows about the Dallas-Morning News’ glowing review, while our own shutterbug, had to restrain herself from sending dozens of shots of her pick of the night. We think she’s pretty amazing too. Check some of her songs for yourself.
The next Microsessions Austin is February 23 at Imagine Art with Sara Houser, Cari Q, David Hamburger and Ley Line. Tickets and information can be found at the Microsessions website.
When most music fans talk about the Austin scene, South by Southwest (SXSW) and Austin City Limits Music Festival are what comes up usually. But there’s another, smaller music festival that has been taking place for over ten years in Austin, Free Week. Launched by Graham Williams (Margin Walker Presents) at the old Emo’s on Sixth and Red River, the event has mushroomed to most of the Red River venues Williams’ booking company works with and then some. The event runs through Sunday, Jan 7.
Aside from Mohawk, Barracuda, Stubb’s, Cheer Up Charlie’s, Elysium, The Sidewinder, Beerland, Swan Dive and Empire Control Room and Garage (all located on Red River or Seventh Street) The Sahara Lounge, Hotel Vegas, Volstead, Spiderhouse Ballroom, The Belmont, The Blackheart and more venues are also participating. You really have no excuse to miss Free Week even if school nights are out, there’s a ton of shows to see Friday and Saturday. Free Week is here.
There are more quality shows booked than we have room to recommend to you. For a more complete list of Free Week shows we like check out our author’s Do512 page. Incidentally, Do512 put together a fantastic all-female fronted band roster on Saturday. Details are below. On to our top picks listed by day beginning with tonight’s performances.
Tonight’s lineup by The Loyalty Firm and Pull String Events at Barracuda is a doozy. Hard rockers, The Well, Residual Kid and The Ghost Wolves join our favorite post rock outfit my education, The Human Circuit, Built By Snow, Chill Russell, Cartright and Honey and Salt. Acts will appear on both the indoor and outdoor stages.
Doors are at 7 p.m. with music starting at 8 p.m. The good news is temperatures are getting warmer today but you might feel the chill tonight so dress warm and if that doesn’t help, try the hot toddies at the outside bar. They kept us warm Monday night when we caught Semihelix to kick off Free Week.
There are a raft of great lineups Thursday. It was difficult to choose a single show to feature but Red River Cultural District and Heard Presents lineup is pretty hard to beat. The Garage roster alone with Whiskey Shivers, Sailor Poon, Booher, Poly Action would be worth braving the cold for yet, Otis the Destroyer, Megafauna, Leevees, Holy Knives, Hard Riffs and Rival Waves will all be inside the Control Room with a lot of loud guitars and energy.
Both Otis and Megafauna are perfect for fans of old school, hard charging guitar rock. Whiskey Shivers put on one of the best live shows in town. You can’t beat their energy. Sailor Poon’s Saturnalia Festival set was enough fun that we want more as soon as possible. If you make it early enough you’ll be wowed by Ray Garza’s Poly Action who kick off the festivities at 8 p.m.
Sahara Lounge is entering the Free Week fray with a damn fine lineup Friday at 7 p.m. presented by High Brew Coffee and The Cosmic Clash. Headliner, BLXPTN might be one of Austin’s more underrated bands. The former duo of drummer and vocalist TaSzlin Muerte and guitarist, singer, and synth player Jonathan Horstmann added drummer Jeremy Kivett to the lineup recently, adding heft to an already formidable band that plays an amalgam of punk and electronic industrial with a politically-charged commentary.
We caught Como Las Movies for the first time at Mosaic Sound Collective. They have a Latin-based sound that incorporates various styles. Similar to Money Chicha (some songs feature Cumbia) but a different arrangement with a four-piece band that gels together cohesively. Some songs sound like a film soundtrack hence the moniker.
The rest of the lineup is just as solid with Major Grizz, Sometimes a Legend, Dead Recipe, Sun June and The Midnight Drive. There will be a limited supply of free High Brew Coffee available. Food truck Pakal will offer healthy Mexican specialties. Bonus: plenty of free parking.
Do512 put together a stellar all-female fronted band lineup at Valhalla (Red River bet. Seventh and Eighth St.) Saturday. Our shoegaze/psych rock favorites Moving Panoramas will be joined by Lowin, Go Fever and Vonne. Speaking from experience, you’ll really enjoy this show if you make it out.
Leslie Sisson of Moving Panoramas is a true talent as her appearance at the Texas State History Museum with Invincible Czars and an 80-person choir behind her demonstrated. The version of her song, Harmony that was presented left even Sisson in tears.
Lowin and Go Fever represent more great rock created by women. Sara Hauser of Lowin has long been a part of the local scene. She’s making great new music. We caught Go Fever’s Acey Monaro solo at the Project ATX 6 Gala. The Australian rocker is really fun to watch with her entire band too. We’re looking forward to this one.
Last week singer-songwriter Nicole Atkins made her first US tour stop in Austin at Antone’s Nightclub. The reinvented legendary blues club was the ideal spot for the chanteuse to umm… reinvent herself as a neo-soul singer in support of her Mowtown-esque new record, Goodnight Rhonda Lee. The first time you hear Atkins sing you know her voice is special. We thought so the first time we caught the singer sporting a moody indie-rock vibe and working out of Brooklyn (she’s from New Jersey). But seeing the woman sing in a format that features her voice was truly special. Folks walking by on Fifth Street heard her singing and impulsively purchased tickets. Yeah, her pipes are truly golden.
After an impressive two-man performance by The Midnight Stroll, a sober and genial Atkins and her Nashville-based band took the stage and presented songs from all four of her albums. She rolled out new single co-written with Chris Isaac, A Little Crazy early in the set showing off her Patsy Cline chops. The song features her velvety voice like it should. Another stand-out tune was a cover of Bowie’s Heroes. We’ve seen the song played by a number of artists since the legendary rocker’s death but none surpass the emotion lent to it by Atkins.
The old-school, early 60s vibe of title track to the new record felt like a crowd-pleaser too. A glance around the room revealed a fairly age-diverse crowd of music fans all with big smiles as she worked through the tune with a great band.
We spoke to her guitarist Stephen who mentioned the band had just gotten back to the States after a whirlwind European tour. He said he was happy to be in Austin as he’s from Texas but now works out of Nashville as producer and touring musician. He was excited about the upcoming American leg of the tour despite jet lag and fatigue. It’s that much fun to tour with Atkins according to the affable musician.
The road ahead looks rosy for Nicole Atkins. The one-time drinker has tamed her demons, gotten married, moved to Nashville and put out a fantastic new record that allows the listener to better hear the amazing talent that lay in her voice. The indie rock recordings she’s made are better than good, she wouldn’t have such a devoted fan base without putting out quality material, but the new direction has given her a fresh stage presence and vitality while Atkins shed’s her bad girl Rhonda Lee persona for a more stabile, happier future.
Atkins continues her tour in San Francisco, followed by dates in Portland and Seattle. The nearly non-stop schedule ends in South Carolina next April.
Tonight is the kickoff party for Saturnalia Festival in Austin. Naturally we were just as curious as you as to what Saturnalia means but the lineup comprised of mostly national and local psych-rock, alternative and world music standouts is worth checking out. We think it’s a cannot miss scenario for local music fans. Austin acts Golden Dawn Arkestra, The Octopus Project, Hard Proof, Christian Bland (The Black Angels), Money Chicha, Annabelle Chairlegs, Bushwick Bill (The Geto Boys) and Ringo Deathstarr will join out-of-town performers Allah-Las, Crocodiles, Cosmonauts, American Sharks and Sam France (Foxygen) at four locations in Austin. View the entire lineup on the festival site or poster.
The Electric Church and Hotel Vegas will host pre-parties tonight and December 1 (tomorrow). The actual festival will take place Saturday and Sunday at Webberville Road Baptist Church and the adjacent Sahara Lounge. By the way, Saturnalia is a traditional Roman holiday that celebrates the coming Winter while honoring Saturn. We don’t really need an excuse to enjoy a lineup this good but we’re happy organizers have put in the effort to book the event during a time of year when there’s typically not much going on in the local live music scene.
The Sahara Lounge and The Electric Church folks have partnered on this event to bring fans this out-of-box, small-format festival lineup oozing with talent. It doesn’t fix the fact that SOS Festival was cancelled last minute but it certainly helps ease the pain. What’s more, the festival has hired light show masters Bob Mustachio (The Black Angels), Esther Wave, Fever Dream, Astral Violet and Weird Destiny to accompany the talent at four locations in Austin over the entire four days of festival performances.
Food vendors include Eastside Kings, Southside Flying Pizza, Juiceland, Wunder Pilz, Archie Dove BBQ, Pakal, Neon Rainbow and Laced With Romance. There are plenty of trailer and sit-down retaurant options near all four venue sites as well. Check Eater Austin’s East Austin page for dining recommendations.
Tickets to Saturnalia Festival are still available. The VIP option includes access to a climate-controlled Saturnalia Lounge. Fans have the option to purchase an a four-day or daily wristband. Tickets to individual shows can be purchased “a la carte” directly from venues in advance or at the door. Grab tickets here.
Thursday, Nov 30th – The Electric Church
12-Christian Bland and The Revelators 11-The Nymphs 10-Trance Farmers
New Jersey songstress, Nicole Atkins returns to Austin Thursday at Antone’s Nightclub in support of her new record, Good Night Rhonda Lee that takes a sharp turn away from her indie-pop sound to a traditional soul recording complete with Fort Worth’s Niles City Sound Team who turned Leon Bridges into an overnight sensation. The Midnight Stroll (Aaron Behrens of Ghostland Observatory) and Thayer Serrano open the show.
Atkins’ new approach to her music spotlights the singer’s golden pipes which lay somewhat obscured by the indie-rock slant of her last album, 2014’s Slow Phaser. After being married, moving to Nashville (from NYC) and getting sober, Atkins found the material she was writing was deeply personal and introspective. She found the ideal vehicle for those compositions in Soul and R&B. The genres magnify her considerable vocal talent. It doesn’t hurt to have friends like Chris Isaak to lend a hand collaborating on the lead track, A Little Crazy after encouraging her to change her musical style,
“Atkins, you have a very special thing in your voice that a lot of people can’t or don’t do. You need to stop shying away from that thing and let people hear it.” -Chris Isaak
Listeners will identify the song as an instant classic, highlighted by vulnerable lyrics and Atkins’ apologetic tone for revealing the raw emotions swirling around her transition to a sober lifestyle, marriage and a new home. Frankly we’re eagerly anticipating how well the song translates to the Antone’s stage. The legendary Blues emporium is a the ideal spot to introduce a Soul record that takes the listener back to the Motown pop of the 1960s.
Atkins is doing it right. She hired the hottest soul producers (and musicians) in the country to back her in Joshua Block, Austin Jenkins and Chris Vivion. We suspect her newfound personal clarity will take an already seasoned and entertaining performer with an established, devoted fanbase and transform the singer into the kind of performer that gains new fans who marvel at the intimacy and emotional impact of her shows. Listening to Goodnight Rhonda Lee reveals her potential for greatness. Those may seem like heady words but if you watched Atkins’ Roadies clip above you’ll find it difficult to refute that bold claim. The album title is both a farewell to the singer’s older, self-destructive incarnation and an introduction to her new approach to making music.
Tickets are still available from the Antone’s website. Grab them before they’re sold-out. This show is one you’re going to be glad you attended.
Fans of Deer Tick may have not known what to do with the roots rockers’ latest release, companion albums, Deer Tick Vol 1 & 2. The first is an all acoustic effort and the latter rocks out like 2009’s Born on Flag Day. The band never takes itself too seriously as the album art suggests. Their 2017 issue is no exception. The artwork on the cover of the new records are ketchup and mustard to signal the records go together. Tomorrow evening, the boys from Providence return to the Mohawk to present the new material in the wake of John McCauley’s (lead vocalist and guitarist) sobriety and new family. Always a compelling live act, Deer Tick have clearly transitioned from a party band into something more.
Expect separate acoustic and electric sets as the albums are presented if you head to this show (and you should). McCauley has lived with inevitable comparisons to Kurt Cobain (he looks like him). He’s even embraced the similarities, playing Nirvana covers under the moniker, Deervana. The stringy-haired singer tends to look and sound like (raspy voice) a musical train-wreck a la Cobain as well. Knowing he’s sobered up and righted his life leaves us both apprehensive and excited about tomorrow’s show.
McCauley is now married with a child. The new domestic arrangement seems to have tempered the volatile performer. We’re just thankful his relative peace still produces beautiful music as his band transitions from beer-soaked party band into something more substantial. McCauley has always been a good songwriter but his newfound clarity has produced poetic lyrics as in opening track, “Sea of Clouds.”
“Somewhere in a fog/Of a million pleasantries/I kept my secret safe inside,” whines McCauley.
He reminds listeners although he’s righted his personal life, demons still haunt the singer as he navigates his new life. The tone of the two records is cautiously optimistic, a sea-change from Deer Tick’s previous release, Negativity (2013) that focused on the trials of addiction and hardship. The rest of the songs are a great listen too. If you didn’t click the link to grab some new Deer Tick flavor, we suggest backing up a minute and taking a listen. We’re certain you’ll be glad you did. After all, it is a rare contemporary musical act that knows exactly who they are and seem comfortable with that. Deer Tick’s authenticity is one that has served them well. We’re glad to see McCauley and the rest of the group has kept artistic integrity in place while expanding his musical boundaries.
Tickets are still available, grab some from the Mohawk website and join in the fun this weekend.
The first Friday of ACL Festival was bittersweet because it was when we learned Fun Fun Fun Festival offshoot, SOS Festival had been canceled due to a major investor pulling out. Word got around that SOS Festival organizers Graham Williams and Johnny Sarkis went right to work the day they had to throw in the towel rebooking as many previously scheduled bands as possible in downtown Austin clubs November 10-12.
While there’s not actual jousting or axe throwing this year at SOS Fest, booking company, Margin Walker Presents did an admirable job salvaging the mess into an exciting weekend of performances from the likes of The Shins, Grizzly Bear, Japandroids, Washed Out, Cannibal Corpse, Boris and Ariel Pink. For those who don’t mind a drive down I-35, Ministry is slated for The Majestic Theater on Sunday. Not bad for a last-minute bill.
Our biggest disappointment in the rebooking process was the absence of Austin acts who were on the original festival bill. Margin Walker has begun addressing that issue by announcing Twin Peaks with ATX’s A Giant Dog on November 15 at the Mohawk this week. CAPYAC, an Austin electronic duo and electro-punks Octopus Project were the only acts included in the original rebooking announcement. CAPYAC play Friday at Emo’s with Washed Out. Octopus Project will share the stage with french dance act, Yelle late at the Mohawk on Saturday. We’re hoping more local acts will be confirmed for performances yet to be announced.
When asked about the potential for additional artists to be added to the schedule Williams had this to say:
“Maybe a couple small things, but as for the stuff Nov 10-12, those are all the artists that were routed through and we made homes for. everyone else were flying in, so we’re working on other dates to bring them back. Can’t say for sure that all will play, but I do think most will confirm for make up shows.”
That means there’s still hope Margin Walker will bring in the Yeah, Yeah, Yeahs, Iggy Pop and Blood Orange at some point later in the year or early next year. It’s not a full-blown festival but for those who head out to the shows it will be a good time much like last year’s hastily salvaged LEVITATION festival which also rebooked into clubs following the event’s cancellation due to extreme weather.