Bumbershoot: Day 1

A big, bloated post about a big, bloated festival.  Before I even get to the Seattle Center, I’m already dealing with the crowds.  Not long after I get on the bus, the bus becomes packed with people headed to Bumbershoot.   As soon as I enter the gates, I immediately become engulfed by a sea of people who seem to have no idea where they want to be.  As with nearly every year, I’m planning on seeing moslty local bands.  Bands I would probably see a few times a year even if I skipped Bumbershoot.  So as fight my way through the crowd, I’m wondering why I put myself through this.  I left my house later than I planned, so there is no chance to see the Cops or the Cave Singers.  So I head to the mainstage inside Memorial Stadium to see the Shins. 

First I have to wait in a line that wraps around the stadium and stretches to the fountain.  I find out the reason for the long wait is because at the entrance to the stadium all bags are being searched.  What are they trying to keep out of the stadium?  Primarily plastic water and soda pop bottles (which are sold by vendors outside the stadium) and any camera with a detachable lense.  I notice many people were able to get glass beer bottles and pot inside the stadium without any problem.  So the main point of the search seems to be to make people wait in a long, slow line. 

The Shins:  By the time the Shins take the stage the stadium is mostly full.  It’s hard to believe the Shins used to play shows at Graceland when they came to town.  Right from the start the Shins are going full force.  Frontman James Mercer is especially impressive.  It’s as if he is intent to use each song to convince every single person in the stadium of some radical idea of his.  But I find the large crowd distracting.  Many people seem disinterested and others keep walking in front of me.  It was a great performance by a very good band.  I’m glad I was there to witness it, but in the end I think it would have been more enjoyable listening to their CD’s with headphones in a more relaxed setting.  The Shins

The Lashes:  After the Shins I head over to the Broad street lawn stage near that giant orange tube sculpture.  I’m not a fan of the Lashes, but there is nothing else I want to see.  This is a big show for the Lashes because it’s their first show since the accident that left their guitar player partially paralyzed (If you have a large hole in your backyard, make sure no one falls into it).  When they come on stage, Eric Howk is in a wheelchair.  I’ve never been into the Lashes sunny pop songs.  But after a few songs, I come to think, they aren’t so bad.  A friend of mine often says about bands, “they aren’t really my thing, but they are good at what they do”.  And by the middle of the set I realize, I’m actually having a really good time.  Between songs singer Ben Clark runs off stage and grabs a phone.  He tells everyone to be quiet, makes a call and holds the mic up to the phone so everyone can hear.  A woman answers and says, “KING 5 newsline, how can I help?”.  Ben tells her he has a breaking news story to report.  “Huh?” says the woman.  “Look out your window, THE LASHES ARE PLAYING!”  yells Ben.  The crowd goes nuts and the band launches into their next song.  Suddenly a good performance had turned magical.  After the song people in the crowd point out the fact the building across the street does not hold the offices of KING 5, but actually KOMO 4.  More jokes are made and the mix up just makes things even more endearing.  During the final song Ben produces a duffel bag and begins throwing streamers and cans of silly string out into the crowd.  The crowd knows what to do and fills the air with streamers and silly string.  Not only is this the most memorable set of the day, but one of the best things I’ve ever seen in nine years of going to Bumbershoot.  The Lashes

After the Lashes I went to check out the Flatstock poster exhibit.  I was very impressed with the posters this year and thankful I wasn’t carrying more money because I’m sure I would now own several more show posters that I keep telling myself, “Someday I’ll get these framed.”

Schoolyard Heroes:  +44 cancelled and Schoolyard Heroes took their place.  So it’s back to the mainstage.  By far the hardest rocking band I saw on this day.  It was fun to see a local band play to a stadium (even if it was only about 1/3 full).  The highlight was seeing singer Ryann Donnelly climb high onto the scaffolding next to the stage.  They have new album, Abominations, coming out on September 18th.  Schoolyard Heroes

Tiny Vipers:  The second magical performance of the day was provided by Tiny Vipers.  Tiny Vipers is Jesy Fortino and her acoustic guitar (although most recent shows have featured a second guitar player).  Sub Pop just released Hands Across the Void, the first full length.  I’ve seen many Tiny Vipers shows nearly ruined by people talking so loud they almost drown out the music.  And the crowd in the EMP Skychurch was the most people I’ve ever seen at a Tiny Vipers show, so I was worried.  But there was no need to worry because everyone in the room was beaten into submission by beautiful, gothy, folky songs.  The set closed with the song “Swastika”.  It was one of those great moments where the music reaches into your chest, lifts you off the ground, and the slams you into a wall.  This is why I continue to buy tickets to Bumbershoot to see bands I see play all the time.  Tiny Vipers

Grand Archives:  This year there is no beer garden inside EMP.  Not even access to a drinking fountain.  The bathrooms are also off limits.  So after Tiny Vipers, I leave to find a restroom.  When I come back to the EMP, I have to wait in line.  Now if I hadn’t had to use the bathroom, I could have just stayed inside as several other people have done.  Instead I’m waiting outside in a line of about 10 people (it seems most people are in the stadium to see Panic! At the Disco).  Now I know there isn’t really a difference in waiting inside vs. outside.  But what is the point in forcing me to stand in this line?  So while I’m in line the guy in front of me asks me what Grand Archives sound like (he is seeing them because his friends want to.  He, like me, had to leave to use the bathroom and is now being made to stand outside.  His friends are still inside).  I explain that Grand Archives is the new project of Mat Brooke who was in Carissa’s Wierd and Band of Horses.  and they sound like folky indie rock.  (Speaking of Carissa’s Weird, in 2001, on the same EMP stage, I saw them stun a Bumbershoot crowd into total silence, just like Tiny Vipers)  The guy tells me he is from Portland and this is his first Bumbershoot.  He says, “This is pretty much the greatest thing I’ve ever seen”.  I think to myself, “This?”  All these lines and crowds and a line-up filled with so much mediocrity?  And I realize Bumbershoot is not made for me.  Bumbershoot is for the more casual music fan.  Bumbershoot allows people to come see an artist they know and love, be it the Shins, Fergie, or Wu-Tang Clan, and maybe let them check out something they’ve heard good things about, but haven’t yet been exposed to.  And who knows, maybe I’m missing out by going to see bands I already like, instead of seeing things I wouldn’t normally go see.  Grand Archives were alright.  A little bit too hippie for my tastes.  It’s taken me four shows to decide I’m not going to make it point to go a show just to see them, but if they are on a bill with a band I really like, I’ll try and catch them.  And “Sleepdriving” is a really great song.  Sub Pop will be putting out their debut early next year.  Grand Archives

That’s it for Bumbershoot Day 1.  Day 2 it’s Black Rebel Motorcycle Club, The Watson Twins, Art Brut, and maybe Seaweed.

Extra Innings…

After a full day of Bumbershoot, I headed over to the High Dive to see With Friends Like These and Visqueen.  The first Saturday of every month KEXP’s Audioasis program puts on a show showcasing local bands.  With Friends Like These is singer/songwriter Matt Shaw on vocals, Andy Fitts of Airport Cathedral (who played a set earlier in the day at Bumberhsoot) on bass, and former Vendetta Red guitarist Justin Cronk on drums.  They sound like 24 Hour Revenge Therapy and Dear You era Jawbreaker (if Blake Schwarzenbach hadn’t needed surgery on his vocal chords).  And Justin Cronk hits his drums like he is punishing them for wronging him.  Visqueen closed the night with a reliably energetic set.  Visqueen is now 4-piece, with Tom Cummings now on guitar.  Bass duties are now being handled by Barrett Jones.  Barrett Jones is best known as a producer and owner/operator of Laundry Room studio (he produced some Nirvana b-sides, the first Foo Fighters album, and the first Visqueen album).  Still no word on when the next Visqueen record will finally come out.

-by Matt Koroulis

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