The Austin City Limits Festival, captivated in Austin's Zilker Esplanade and currently in its seventh year, boasts a bill that roams the stylistic spectrum, but its aboriginal day accepted a accomplished befalling to get a good, continued attending at the alteration face of country.
See Day One of Austin City Limits in photos.
Cool breezes won out adjoin the afire sun on Friday, which was the absolute accompaniment to the afternoon's added agreeable music, like fiddler Sara Watkins, backward of Nickel Creek, who played an aboriginal afternoon set as continued on agreeableness and acceptable amenities as it was on winsome, aerial country. She articulate absolutely beggared singing "I didn't lie, but I withheld the truth," on the agilely aching "Same Mistakes." This wasn't music for singing forth - it was music for buzz along.
See backstage photos of Phoenix, the Avett Brothers, Blitzen Trapper and added from Day One of ACL.
If Watkins was aloof and traditional, the Avett Brothers were a blood-tingling abstraction in contrasts, pitting additional and simple chart - acoustic guitar, banjo - adjoin brothers Scott and Seth's hoarse, agitated hollering. Their assailment wasn't just vocal: the bandage pogo'd like adolescent punks during "Paranoia in Bb Major" while "Salina" congenital to a afraid conclusion. If Scott is the athletic frontman, Seth is the jack-of-all-trades. He confused calmly from guitar to piano to drums, and attacked his vocals on "Distraction #74" with an actor's intensity, miming out the lyrics with his hands.
Oregon's Blitzen Trapper mostly tended against the traditional. Their oaky folk songs were as loaded with arcane allusions as they were agreeable accoutrements: harmonica, tambourine and melodica abounding in the spaces amid Eric Early's apple-pie strumming and hoarse, asthmatic vocals. At the added end of the park, the Walkmen were aiming for expansion. The accumulation decidedly bass down their about echo-drenched assault, opting instead for tiny pinpricks of sound, abrogation big abandoned spaces for Hamilton Leithauser's barreling baritone. They brought out a baby horn area for "Canadian Girl," axis a tiny bedrock song into absolute mariachi.
Friday was abounding with added stylistic pleasures: The Knux - who accept gradually emerged as one of the added blood-tingling reside hip-hop acts about - angry out an electric aboriginal afternoon performance, Krispy Kreme again acclimation the army to "get crazy." If the Knux were agrarian and ragged, Phoenix took the adverse tack. Their songs were congenital from apple-pie curve and absolute rhythms - every section absolutely in abode - but that didn't stop them from carrying one of the afternoon's added active sets. Opening with the tidy bombinate of "Lisztomania," the accumulation delivered an envigorating set of ball music for humans with acceptable manners.
Raphael Saadiq delivered a new circuit on the archetypal complete of R&B. He angry out tight, befuddled guitar chords and slick, glace vocals while his bandage - in three-piece apparel - alternate every byword with a ablaze bang of brass. Later in the evening, John Legend delivered a added able adaptation of the same. His songs are added airish and affable than Saadiq's, and he delivers them with the affable affirmation of an accomplished Casanova. By the time he got to "Green Light," he'd bare down to a atramentous catchbasin top and leapt off the date to sing anon into the foreground row.
But the afternoon belonged to Them Crooked Vultures, who took the date as the sun was alpha to set in aboriginal evening. For anyone who hasn't apparent one of their scattering of reside shows, they're still about the being of legend: Dave Grohl on drums, Josh Homme on guitar and vocals and John Paul Jones on bass. What's a lot of hasty about the reside acquaintance is just how nasty the songs are. Far from boilerplate avant-garde rock, the music instead coils and snaps like a rattlesnake, a mile-high assemblage of begrimed riffs powered by Grohl's whipcrack percussion.
"We'd like to play Michael Jackson's 'Thriller' appropriate now," Homme appear aboriginal in the set, "but we're not traveling to." Instead, they played "Mind Eraser," a hard-charging applause of a song complete from a squall of guitar. "Scumbag Blues" opened with a beef and again plummeted al of a sudden into a fit of cutting riffs, Homme adopting an eerie, abashing falsetto.
The Vultures' set didn't end so abundant as unravel, petering out in a weird, wonky and hardly accidental applesauce adventure that begin Jones alive a individual walking bassline while Homme noodled over top. That affectionate of exciting jamming is acutely not their able suit, but it conveys the group's individual allegorical ethos: In this operation, we do what we want.
More Austin City Limits:
• Kings of Leon, Yeah Yeah Yeahs Wrap Austin City Limits Day One
Look aback at the best of Rolling Stone's summer anniversary coverage.
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