Black Violin is led by classically trained string players Wil B. (viola) and Kev Marcus (violin). Joining them onstage are DJ SPS and drummer Nat Stokes. The band uses their unique blend of classical and hip-hop music, often described as “classical boom,” to overcome stereotypes and encourage people of all ages, races, and economic backgrounds to join together to break down cultural barriers.
Black Violin spent the last year writing and recording their latest studio album Take the Stairs which features singles, “Showoff” and “One Step” and was released on November 1, 2019. Their last record, Stereotypes, debuted at #1 on the Billboard Classical Crossover Chart and #4 on the Billboard R&B Chart. NPR praised the album and band, saying “their music will keep classical music alive for the next generation.” Some of their creative collaborations include Kanye West, Wu-Tang Clan, Wyclef Jean, Lil Wayne, and Alicia Keys.
The group advocates for educational outreach and in the past 12 months have performed for over 100,000 students in the US and Europe. Black Violin’s Impossible Tour will spread the message that anything is possible and there are no limits to what one can achieve, regardless of circumstance.
Check out Jelly Ellington, live on the Oak Garden Stage.
FREE! All Ages!
Jonathan “Jelly” Ellington is an American guitarist, singer, and songwriter based in Austin, TX by way of the mountains of Asheville, NC. His vocals are smooth and soulful with an edgy guitar style, chiming in elements of raw and expressive blues-based rocknroll. Jelly has developed a reputation for exciting and untamed live performances, and has shared the stage and recorded with Grammy Award-winning artists. He has been making his mark on the Austin scene, voted Top 10 “Best Guitarist” in 2018 Austin Chronicle Austin Music Awards. Jelly released his debut album All In and is currently taking the country by storm on tour supporting the release.
Oh Sees Photo: Mike Manewitz
All photos: Mike Manewitz
Our lede may be a bit misleading or at the least, confusing to fans who are aware Oh Sees did not play a “headlining” stage at LEVITATION music festival last month. Instead, the Los Angeles-based garage psych/punk outfit helmed by John Dwyer sold-out back to back nights at Barracuda (April 27-28) then added a show at Hotel Vegas billed as the official LEVITATION after party benefiting the Austin Children’s Shelter/ SAFE. That show also sold out hours before the performance. Simply put, Dwyer and company reigned over the festival like post-punk kings.
Festival founders, The Black Angels performed a headlining show at Stubb’s BBQ Sunday that was more than entertaining. The mind-bending Mustaciho Light Show that accompanies each TBA performance was in full effect. UK greats Slowdive delivered a fantastic headlining show to a packed Stubb’s the previous evening and a rare live appearance by metal-lords, Electric Wizard destroyed on the largest stage (Stubb’s) of LEVITATION over the four-day event, but no act dominated the psych-rock festival like the Oh Sees did. While the group is listed as active from 1997, the side-project of Dwyer (Coachwhips) really began performing as The Ohsees (there have been a number of moniker iterations over the years) in 2006. Eleven years later Dwyer’s outlet for releasing experimental sounds including post-punk and noise rock element has become his most successful musical enterprise.
Similar to The Black Angels in that Oh Sees have a trademark sound. TBA deals in neo-psych music. Oh Sees are harder to pigeonhole into a genre. Dwyer has developed at signature sound over the past decade marked by dual drum kits that primarily play in sync, providing a percussive texture that drives the Oh Sees machine. But it’s Dwyer’s astounding guitar work that gives the music its tantalizing flavor. Part punk, part psych-rock but all rock n roll, it’s an acquired taste that can quickly become an obsession as we found ourselves hitting each and every performance by the group during the festival.
It’s the extended jams that set Oh Sees apart from their contemporaries. What punk outfit do you know of that plays fifteen minute songs that drive fans into a crowd-surfing frenzy? Yeah, that what we thought. No act but these guys do it the way they do. If you have the opportunity to catch them live. Do it. Here’s their upcoming tour schedule. We’d seriously consider going on Oh Sees tour if work didn’t keep us in Austin full-time.
It’s clear that LEVITATION who moved their festival to eight venues (most in Red River Cultural District) from the logistical nightmare that was Carson Creek Ranch in 2016 after a one-year hiatus, books one of the most unique festival lineups in the country. Beyond psych-rock music, there was experimental electronica, Latin music, folk, post-punk and lo-fi pop. We challenge you to find a more diverse and original lineup anywhere in the U.S. this year. You won’t.
D.C. post-punk act The Make-Up delivered one of the more entertaining sets of the festival. He spent the majority of the time performing on top of fans at Cheer-Up Charlie’s (see photo). We also caught frontman Ian Sevonius’ side-project ESCAPE-ISM at Beerland with 365 Things favorites, Kay Odyssey. We recommend seeing all three acts live.
LEVITATION Latin acts were impressive this year. There were standout sets by South Americans; Boogarins, Veuleveteloca, Follackzoid. We’re intrigued and now scouring streaming sites for similar acts. A Spanish venue-owner told us the music coming out of South America currently is among the most exciting a couple years ago at Primavera Sound Festival in Barcelona. He was correct. Rock music from below the equator is sizzling hot.
Lo-fi pop wonder Ariel Pink turned in a sold-out performance at Empire Garage that saw fans crowd-surfing to downbeat songs by the notoriously moody frontman, Ariel Rosenberg. While we enjoyed his upbeat songs, the slower, circus-like songs left us puzzled. There were also frequent vocal mic issues that appeared to incense Rosenberg who thankfully made it through the set without having an aneurism. In any case, we don’t see what Pitchfork sees but it’s clear the group has a loyal following and their shows are fun.
Photo: Kat Alyst
The 41st spring Pecan Street Festival (PSF) takes place this Saturday and Sunday on Sixth Street (formerly known as Old Pecan Street). The twice-yearly event boasts hundreds of artisanal vendors, food stalls and a ton of local, live music on three stages. The PSF is the largest, and longest-running Texas’ music festival of it’s kind.The festival is free for all ages.
Organizers encourage attendees to leave their cars at home and take public transport, ride share, bike or carpool to the event. Capital Metro just announced extended hours from 10 a.m. to midnight on Saturday during the event. Attendees are strongly encouraged to explore the live music offerings. Some of our picks include; Blushing, Lola Tried, Los Coast, Ex Romantika, The Gary, Jane Ellen Bryant and El Tule. The entire lineup and set times can be found on the PSF website.
We talked to Ryan Cano, the festival Music Director about how things have changed since he took the helm four years ago. As a music manager, booking agent and former musician for over 20 years, Cano possesses both the experience and intelligence necessary to carve out a career in the Austin music industry. He has operated music booking and management company, The Loyalty Firm for almost 15 years. That is no small feat as you’ll learn below.
Photo: Will Taylor
365 Things: You’ve been booking Pecan Street Festival for few years now. How long has it been? How has your approach to booking the event changed from the first one until now?
Ryan: It’s been close to four adventurous years with the Pecan Street Festival! I’m not sure my process has changed too drastically since I became the Music Director & Talent Buyer here. I’d say I just fine tuned my processes as I went along. I was pretty well-served by creating and producing hundreds of smaller concerts over the years before earning this role.
I first started at the festival back in June 2014 so there was not a lot of time to book and deliver a Fall lineup. Mentally compartmentalizing my new challenge with the festival allowed me to relax and face booking the festival confidently. I told myself this is much like booking and producing 10 concerts at once except there will be a staff of people ready to assist me if I needed help. I quickly found my groove here and was able to organize and tackle my responsibilities fairly well. It shouldn’t be too surprising that my first festival at PSF was largely booked with artists I had prior experience working with in some capacity.
I manage My Education and Built By Snow and they’ve played with a lot of very talented artists over the years so there were alot of prior relationships I was able to reach out to. There was some initial first time’s bookings outside the scope of my knowledge in that first fest and I leaned on artist suggestions from other concert promoters and journalists in town who were curating or covering scenes I wasn’t as experienced in. I would then listen to the suggested music and then see the artist live and just go from there. Before I started booking my second festival at PSF, I did some professional self-evaluation, focusing heavily on filling in the gaps in my knowledge and learning more about our community’s music scenes that I felt I didn’t know intimately enough. This process really opened up my eyes to the extent that music talent surrounds all of us in Austin. It’s pretty astounding. I have a wishlist of artists I would like to have at Pecan Street Festival that could fill the next several years of lineups fairly easily.
Over the years I have definitely grown more comfortable in the Music Director & Talent Buyer role and I’ve made a few changes along the way that I felt improved the audience experience. For instance, I will only book an artist once in a calendar year so our Spring fest will look completely different than our Fall fest. I’ve learned to easily pivot from one vision to the next as well. Sometimes you start with an idea in mind of how a stage will be thematically and it turns out differently than planned due to a myriad of possible reasons. There tends to be magic moments in that phase of booking as it makes you alter your perspective and consider something you have not been focused on. I’m proud of what’s been placed on stage over the years. I feel the festival is showcasing the most diverse musical offerings of any festival of our kind. We give artists of all ages and genres a chance to showcase their talents to a curious audience that shows up in droves. We had record attendance both seasons last year and I hope we continue with that trend. This is the 41st Spring season of the Pecan Street Festival and although a lot has changed in Austin, this festival feels like a step back-in-time. This is classic Austin. I’d add that for new residents who feel overwhelmed about where to start in Austin’s music scene, the Pecan Street Festival offers a chance to explore many acts for free! Walk around and find the sounds that speak to you.
What artists are you most excited about this Spring Pecan Street Festival?
I definitely have some intrinsic happiness about how well-balanced the music is this Spring. There really is something for everyone. We have some incredible R&B, Soul & Hip Hop artists like Los Coast, Melat, Alesia Lani, Zeale and Fort Never on Saturday performing on our Neches Main Stage. We have really awesome Americana on Sunday on the Neches Main Stage from Striking Matches, The Watters, Miller Campbell, Jane Ellen Bryant and Scott Collins. We offer many styles of rock n roll from shoe-gazers like Blushing to the whip smart indie from Lola Tried or legendary punk rockers Terminal Mind. We have u18 artists RIIL Chemistry, the Austin Children’s Choir and Midnight Butterfly. Electronic and bass heavy music from Bassline Drift, Emme, NGHT HCKLRS and Glass Cannon will also perform. We have latin artists on both days across many stages and genres of sound including Cilantro Boombox, El Tule, Chulita Vinyl Club, Ex Romantika, Slowly Grace and Ley Line. Rock, Americana, Dance, Country, Folk, Punk, Funk, Singer-Songwriter, multi-lingual music are all represented. The bill is 98% local. Our stages at PSF are a reflection of the talent our community contains. These are our neighbors on stage.
Photo: Kat Alyst
You get to hear a lot of great new music. Beyond submissions to Pecan Street Festival where do you go to find new music? Why do you prefer those channels?
I have an old-school tactic that dates back to being in a band, learning my scene and who to play with when I first moved to Austin. I study the entire venue calendar in the Austin Chronicle every week. I study what bills are being curated across the city and what artists are playing where. You start to see themes emerge and you can even see an artist progressing this way. It’s pretty handy and I find myself doing this out of habit. Whether an artist was pitched to me or suggested, I spend a lot of the time discovering new artists that I am unfamiliar with using streaming services. These days, I’d rather take my initial spin of a new (to me) act through a Soundcloud or Bandcamp link. I like to make playlists of artists I need to research more in depth and Soundcloud is an especially great option for that. You can get a mini-sneak peak of a stage lineup you’re building this way. Sometimes I’ll check if an artist is on Spotify or Amazon Music and listen there too.
I’ll also watch live music performances on YouTube or preferably see the artist live. Seeing an artist play a show in Austin is a still a wonderful way to spend an evening. The number of small businesses you can support by going to a local show is impactful. I love it when I accidentally catch an act while I’m out. This is probably more of a step two for me if I’m not familiar with an artist….ultimately I am hiring a live performance for the festival so that’s my focus after listening to the music
Related question… if streaming music is the primary way music is being discovered and listened to, how does that model benefit artists? Where do you see this sector headed given the low profits for both platforms and artists thus far?
Streaming is the most efficient and often, the initial discovery option. As a consumer of music, streaming is incredibly convenient. A streamed track can follow you from your laptop to your phone to your car without much interruption. The streaming music industry is still trying to figure out what its business model is so it’s hard to put faith and trust that this new way of distributing music can support an artist any time soon. Most of these companies are simply trying to figure out how to sustain themselves and keep the lights on. I’m not sure the health of the artist community is a significant factor of these companies. I think that is largely because they don’t know where [the industry] will end up and that’s because the sector is still evolving. Using a device like Alexa to call out music you want to hear is a game changer in a lot of ways. We are shortening the timeframe between thinking of a track we’d like to hear and being able to command that thought into reality. We’re interacting with music in new ways that challenge the notion of what streaming music is. Streaming from cloud-based sources and the idea of access to music libraries versus owning your own private music library seems to be the new norm.
Ultimately to trickle down to the artists and songwriters, it will likely take government regulation to see something better than what is in place now. In my estimation, there needs to be a readjustment in how royalties are accounted for with music streams, much in the way the industry adjusted their royalties with the CD when it took over for vinyl and cassettes sales in the 80s.
In terms of how I see the sector progressing, I think we are going to see the major players push into areas that aren’t quite their core competencies to deliver a richer customer experience. For instance, there’s no reason Spotify can’t begin playing select music videos from an Artist’s album and thus increasing the capacity to do visual ads on their platform. They are largely focused on audio but I can see Spotify expanding into that user experience. In truth, the audience likes consuming music both ways: audio-only and with visual accompaniment. This is proven by YouTube remaining one of the main music discovery websites for younger audiences. Apple Music probably offers one of the more seamless digital experiences. The iPhone and iTunes work well within the Apple ecosystem.
There’s no doubt that indie artists benefit far more on the financial end from Bandcamp than almost any other platform.It might not be a fair comparison as I view Bandcamp as more of an artist’s digital/physical catalog with a streaming player and merchandise offered direct. I would like to see Bandcamp move into artist ticketing and pre-sale tickets for tours much like Music Glue.
Amazon is moving into ticketing. There’s going to be a push into ticketing with Alexa. Personally I think if Amazon made a big push into having artist pages and letting artists set up their custom digital and physical stores at their website, it might an be undeniable experience for all parties: artist, fan and Amazon. Amazon Music is interesting because they are hiding in plain sight and yet they aren’t first to most people’s minds [when they think about music] even though they have the infrastructure to support an artist’s online and physical music and merchandise easily if they desired. We’ve seen a version of this with artist direct deals Garth Brooks signed with Amazon. This program should be expanded. Much like Amazon does with authors, financially investing in musicians and offering direct and exclusive digital deals would be smart. How many great artists do you know that could use $3000 for their album? I know plenty. Instead of exclusively doing direct deals with superstars, there’s a huge market to be had working with lower-tier artists much like Bandcamp does. I think there is a way for all artists involved in the streaming world to be happy but we have yet to find that balance. Currently, there’s almost no way for an indie artist to survive within the streaming business structure.
Photo: Kat Alyst
The good news is there are ancillary ways streaming can help an artist, even if it is as simple as a guy like me researching the music of someone I end up hiring for an event. There’s indirect benefits to be had for some artists that aren’t quantified.
Last time we did an interview we talked about the state of the Austin music scene. Some things have changed for the better like one extra hour of outdoor live music in the Red River Cultural District (RRCD) during the weekend. What else has improved locally for the music industry since then? What challenges that remain are most critical in your mind?
The extra hour for RRCD venues was pretty huge in my opinion. I’m hoping this is the kickstart to garnering some real momentum (changing the music business) in Austin. An extra hour is a big deal because live music is the stickiness that keeps patrons inside a venue. An extra hour every day over the year could be the difference in a venue surviving or not. This city still has more venues and stages to play on than I can ever remember so that is ultimately a great thing for the working musician. I like that the music community has more sectors to play in other than downtown. New or mostly new music venues like The Little Darlin’ or The Electric Church are curating great music in sections of town where that experience was previously absent.
There’s still critical challenges ahead. We are the Live Music Capital of the World yet outside of live music, we don’t have a major music industry employer in town that extends beyond that realm. Recently there were rumors of Austin city leaders recruiting a BMI office here and that is absolutely the step in the right direction. I mentioned in our previous chat that I would like to see the city go after a larger music business in the way we have for Apple or Samsung in the past. The amount of income the music industry earns for the city justifies exploring further investment. It would be great to have a major music publisher or music streaming company open an office here. There’s plenty of qualified people here to work for those businesses. There’s many small business owners in Austin and the surrounding area managing music artists and putting out records. We could leverage their entrepreneurial skill sets amid a larger music companies’ missions. The city will start to lose talent if we don’t offer a way for people to expand upon their careers outside of live music. We truly need to diversify.
Affordability still feels largely unaddressed, for artists and citizens alike. My concern when we last talked was, “The developments that dampen our ability to afford living in Austin move a lot faster than our discussion on helping artists and helping affordability.” This still feel true. How many new hotel and condo developments have been propped up since we last talked?
This past weekend the only daily live music venue on Rainey Street, The Blackheart closed and has a gigantic development looming behind it. There feels like a cycle that isn’t ending here in Austin and there should be real concern and action in helping venue owners succeed. When you lease a place to start your business, the idea is you’ll be working for your customers, not your landlord. Catastrophic rent increases are all too common. Real estate speculation is leaving most of us behind, artist or not.
The City of Austin been more open to helping the music community than any other administration that I can remember. I have faith that Mayor Adler will find good solutions to our community’s challenges. To be frank, there’s an element of “promise fatigue” as it relates to the city. I think we all know government moves slow but I’m hungry for more action. I was ready for action two years ago and we’re still having the same conversations! It’s much like trying to jog our way out of quicksand. Each time we delay conversations about what to do, the processes that are already developed and in place, like real estate projects, cruise on by. We need to ensure the Austin music industry does not get left behind. We need to move faster and in sync as a community.
What are you listening to lately?
It varies wildly from day-to-day. There’s moods I’m trying to illuminate sometimes and other times I’m just merely checking out stuff and exploring. I’m still a big fan of the album format so I still love to check out the vision or statement being made by the group. I have been listening to many artists more in-depth or even for the first time lately. I’ve been wanting to expand my music knowledge about certain genres that I don’t feel I have explored enough. Lately, I have been diving into Country and Americana sounds but I still mix it up. I’ve recently gone deep with Bill Callahan, Gucci Mane, Mono, Willie Nelson and Mala Rodriguez’s respective catalogs.
What 2018 records would you recommend to our readers?
Austin’s Soul/R&B and Hip-Hop scenes are having a real moment right now. The spotlight should be much brighter on what is happening in those Austin music scenes. The music that Alesia Lani, Mélat, Los Coast, Tameca Jones, Magna Carda, Mindz of a Different Kind, Cha’keeta Banita, Abhi the Nomad, Zeale or Pat G is making right now is nothing short of amazing. Many of those artist I mentioned you can catch this weekend at the Pecan Street Fest.
Below are a few albums released in 2018 that I have had on repeat since hearing them:
A Place To Bury Strangers: Pinned (2018 Dead Oceans)
Beach House: 7 (2018 Subpop Records)
Honey and Salt: S/T (2018 Spartan Records)
J. Cole: KOD (2018 Roc Nation Records)
Melat: Move Me II: The Present (2018 S/R)
Some albums that came out last year that I still listen to quite often include:
Alesia Lani: Resilient (2017 Keyzstreet Music)
Cloud Nothings: Life Without A Sound (2017 Carpark Records)
Golden Retriever: Rotations (2017 Thrill Jockey Records)
METZ: Strange Peace (2017 Subpop Records)
My Education: Schiphol (2017 Headbump Records/Golden Antenna Records)
The War on Drugs: A Deeper Understanding (2017 Columbia Records)
Anyone that knows you, knows you’re a big fan of gourmet pizza. What are your favorite spots in Austin?
My favorite spots include Via 313, Bufalina, and 40 North. These places make pizza perfection consistently and it’s hard to not enjoy yourself at these restaurants. I also love a cheese slice from Stoney’s after a show. There’s many more places in the area that are great in town like Backspace, Pieous, Homeslice, Pinthouse, 600 Degrees. The pizza in Austin and the surrounding area is legit. Pizza is truly the perfect food. I’m pretty much always in the mood for a slice!
All photos by Mike Manewitz
Earlier in the week we told you LEVITATION was back from a hiatus in 2017. Last night the festival formerly known as Austin Psych Fest indeed made an impressive comeback in the first of four days of the festival, selling out Stubb’s BBQ and Barracuda then packing a handful of other venues by presenting a carefully curated roster of psych-rock, garage-punk and shoe-gaze that pleased fans at every turn. From the visuals at Dead Meadow’s sold-out Barracuda performance to the non-stop crowd-surfing at Ty Segall’s set to the neo-pysch perfection that Austin’s Holy Wave delivered at Cheer-Up Charlie’s we got treated to a smorgasbord of underground rockers that typically don’t appear on on festival bills together. For that, we have Rob Fitzpatrick and the Reverberation Appreciation Society (festival founders) to thank.
Ron Gallo opened the Stubb’s show Thursday and by all accounts turned in a worthy performance before local heroes A Giant Dog took up their positions on stage. It’s likely hometown bias, but AGD may have played the set of the evening with another energy-packed show by lead vocalist, Sabrina Ellis and her song-writing partner, Andrew Cashen (guitar) who ended up on his back crowd-surfing during the set closer, Sparks cover song, “Angst in My Pants.” The group is known for their thrashed-out send-ups of obscure hits and this one is a favorite. Not admitting to it, but we may have involuntarily shrieked when Sabrina introduced the song. The rising act signed to Merge Records open for Jack White next month at all his Texas dates including May 2 at COTA.
A heavily anticipated Parquet Courts set began a slow ramp-up the setlist that won over even dubious attendees who claimed they didn’t know or like the Brooklyn wonders who strangely appeared on the “Ellen” show last week. Their fusion of garage rock, indie rock and Americana is not only hard to pinhole into a single genre, we’ve not heard a variation on a similar theme done quite the same. Parquet Courts are one-of-a-kind. That much is certain.
Ty Segall followed with his typically loud, in-your-face guitars and a slew of songs. To say the man is prolific in terms of putting out new material would be a gross understatement. The fringe rocker averages about three new albums a year. Who does that? While we enjoyed his relentless pace, we downshifted a moment and left Stubb’s early to catch Austin via El Paso and San Marcos neo-pscych act, Holy Wave at Cheer Up Charlie’s for their album release show.
The group played in front of the outdoor stage with that rock wall adorned with a psychedelic backdrop that had more trippy visuals projected onto the screen during the stellar performance Holy Wave delivered. The six-piece were on point as you might expect a band to be that is about to embark on a multi-city international tour in support of “Adult Fear” the new record the band played in full last night. Grab a copy of that record. Trust us. It’s worth every cent and then some.
We closed out the night at Barracuda for Christian Bland and the Revelators. Bland is The Black Angels’ lead guitarist and a festival founder. After watching our favorite touring psych-rock guitarist play his own warped compositions as well as a mind-bender of Syd Barrett-era Floyd song, we headed outside for Dead Meadow.
As tired as we were, the jam-oriented D.C. outfit gave us a late second-wind between the extended, intricate jams and the eye-popping visuals projected both behind the band and on the two-story wall along the left side of the outdoor patio. The festival had transformed the Seventh Street club into a psychedelic wonderland. A place to freakout. For a minute we wished we had better drugs. Then thought better of that sentiment and safely headed home with an exhausted grin.
Official LEVITATION 2018 commemorative poster by Robin Gnista
After the disappointment of a hiatus year in 2017 LEVITATION, the original psych rock music festival produced by members of The Black Angels returns to downtown Austin April 26-29. Reborn a multi-venue festival after disastrous weather incidents at Carson Creek Ranch in 2015 and 2016 forced festival founders Rob Fitzpatrick, Alex Maas and Christian Bland to rethink the camping festival format for the internationally popular niche music fest. The secret to the popularity of the event is simple. The organizers curate lineups they want to see much like independent Austin booking company Margin Walker helmed by Graham Williams. The two groups share that philosophy. It doesn’t hurt that both have impeccable musical taste.
This year’s lineup is appearing at venues primarily situated in the Red River Cultural District plus a few East Austin locales. As expected, the caliber of acts is solid from the bottom of the bill all the way to headliners; The Black Angels, Slowdive, Ministry and Ty Segal. Music fans won’t find a similar bill anywhere else in America. Bookers curating a lineup as unique as LEVITATION has become exceedingly rare with all the consolidation in the festival market which means you should care about this one music fans. Especially if you haven’t heard of most of the acts performing. This event is as much about music discovery as it is about booking great sounds and showing neo-psychedelic art.
Honestly the entire schedule is worth checking out. Since you’re probably not going to buy tickets to every show, we’ll highlight a few we think are worth taking a second look at. Also worth taking a look at is are the incredible official LEVITATION posters the festival commissioned from various local artists ranging from Jaime Zuverza to the festival’s own Christian Bland. Fans can purchase the designs directly from the LEVITATION poster page.
Poster by Mishka Westell
Thursday, April 26
This is going to sound counterintuitive but hear us out… Ty Segall is fun enough to watch and you should, except on Thursday (Segall performs again Friday at Barracuda) when you’d do better to hit Stubb’s BBQ early for openers A Giant Dog (Austin) and Parquet Courts (Brooklyn). Both are known for exceeding expectations live as we can attest. songwriting partners, Sabrina Ellis and Andrew Cashen have consistently made impressive garage punk recordings with their band A Giant Dog but it’s their astounding live performances that have gotten them the kind of attention deserving of an act this talented. Parquet Courts are similar in the way their recordings hint at the greatness you’ll see when you catch them on stage. Their mix of rock, punk with a dash of Americana is hard to classify. Let’s just agree they make good music. After seeing the band perform at Primavera Sound Festival in Barcelona a few years ago we went from casual fan to avid.
After Parquet Courts finish, head down the street to Beerland for a noise bomb trifecta of Suspirians, Blushing and Ringo Deathstarr. All three are Austin-based. All three are really fun to watch perform. Besides there’s no better way to kick off LEVITATION than at the seediest, punkest bar on Red River.
Friday, April 27
We’re truly torn on Friday given all the great shows listed on the LEVITATION schedule but one stands out to us for a few reasons. L.A. Witch, DIIV and Ariel Pink at Empire Garage presents a number of positives. This performance is presented by Desert Daze, a sister festival in California. L.A. Witch were truly great the last time we caught this all-girl act when they come through town. Their Hotel Vegas set was something special. We’ve been keeping track of the West Coast upstarts led by Sade Sanchez. They’re riding the wave of great female-led acts into an exciting year. DIIV might be the most suspect recommendation of this lineup as lead vocalist, Zachary Smith must have been really high during his LEVITATION Fest set a few years ago. The performance was good, but not what was advertised. He kept repeating the same lame stage banter. Perhaps he was nervous? That said we’re looking forward to a “make-up show” of sorts. Headliner, Ariel Pink put on a visually explosive performance when we saw the LA artist also known as Ariel Rosenberg at Mohawk in 2016. We missed seeing the band’s gig at The ‘Hawk last year thus the group’s appearance in this preview.
Poster by Robin Gnista
Saturday, April, 28
The conundrum that is Saturday’s lineup choices is one we wouldn’t put on any devoted psych-rock fan. There’s just too much good music happening on Red River. A clone (or two) would be nice. Assuming you don’t have a clone either, we made some hard decisions for you. Get out early Saturday for The Rotten Mangoes set at Cheer Up Charlie’s. Known for great cocktails, this the perfect place to catch one of our favorite local acts deliver a sonically pleasing psychedelic experience while you sip a quality libation at happy hour. We recommend the Golden Ticket with kombucha, whiskey, ginger and lavender. After you can hang around for South Americans, Boogarins or try door number two…
Head across the street to Stubb’s for Alex Maas’ latest project, Mien. Comprised of Maas and members of the Horrors and The Earlies, the experimental psych rock group takes different approach to similarly dark material of The Black Angels. Electronic horrorscape act SURVIVE perform following Mien. The group gained notoriety by writing the theme song to hit Netflix show “Stranger Things.” Headliner, Slowdive is an example of the type of act the festival founders loved as young music fans (the band formed in England in 1989) and booked for the festival when it became apparent the group had been relaunched via a new Twitter account after band members changed musical direction in 1995.
Side note: If you’d rather dance your ass off late Saturday evening, head to Empire Control Room and Garage for Austin’s answer to LCD Soundsystem, The Octopus Project. DJ Dan Deacon will take it home after Octopus Project.
Poster by Simon Berndt
Sunday, April 27
Our recommendation for Sunday might seem obvious. Go see The Black Angels at Stubb’s BBQ. But don’t just go to see the legendary neo-psych pioneers headline the last night of their festival. Don’t get us wrong. It’s going to be amazing. Particularly with visuals from the Mustacio Light Show enhancing your viewing pleasure. But get there early for Austin’s Annabelle Chairlegs who open the show. The group is one of our favorite local acts precisely because their approach to psych-rock is decidedly different than many of their contemporaries. Lead vocalist Lindsay Mackin puts a decidedly pop spin on the songs while guitarist Matt Schweinberg melts faces with his solos. We’re eagerly anticipating their upcoming new album.
San Francisco sister act to TBA, Brian Jonestown Massacre is no stranger to the festival having played LEVITATION twice before. Catch them just prior to The Black Angels closing set. We usually trip out on tambourine player Joel Gion’s massive sideburns and retro-chic clothing while watching bandleader Anton Newcombe shred on guitar.
Tickets to LEVITATION are available for most shows scheduled. Check the festival website for more information.