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Please find me other multigenre American festivals booking the likes of Horse Meat Disco, Leon Vynehall, Dixon, etc.
I read this out of context but there is III points, which, despite having mostly electronic (including two of your examples) has Vince staples/Method Man & Redman and then has Thee Oh Sees.
What is launchpad even arguing at this point? That it's better to book festivals with filler rather than interesting acts?
I miss the days when you were talking about which shows your folks found enjoyable and other people were commenting on the quality of Radiohed and LCD sets. This thread went off the rails fast.
Please find me other multigenre American festivals booking the likes of Horse Meat Disco, Leon Vynehall, Dixon, etc.
I read this out of context but there is III points, which, despite having mostly electronic (including two of your examples) has Vince staples/Method Man & Redman and then has Thee Oh Sees.
Good job, you beat Launchpad. Oh, but wait, only eight people will see the dance acts.
Post by Delicious Meatball Sub on Aug 1, 2016 16:55:33 GMT -5
Nice to see nothing changed while I was gone.
Lolla was fine. Stretching to a 4th day was unnecessary, but I still found enough to enjoy for the price. It caters to a mainstream audience and it does it very well. If that bothers you, then tough shit. My buddy's new girlfriend spent the weekend raving about how much more fun Lolla was than Coachella, which obviously is crazy talk, but crazy people need music festivals too.
Radiohead is playing better than I've ever seen, but the production wasn't as complex as 2012. crazykittensmile and the other kids seeing them in small venues are in for a treat though.
LCD was also very good, I enjoyed them more than I did at Cochella, but I spent a good part of the day napping and watching Rosanne reruns, so having a little extra energy definitely helped.
The other thing of note was how much better the Arcs were than when I saw them in December. It's like they were a different band. So that's cool.
But it has been pointed out to me that if an obscure DJ that 8 people care about seeing and 8 others show up to escape the heat, plays in a corner somewhere at 3 in the afternoon; thats what truly amounts to greatness.
Well, it kinda is. If the fests are becoming largely homogeneous these days, then what matters are the things that set them apart. I like going to a fest where I can see some of the bigger acts that are touring all over the place, but then also duck off and catch some obscurities and rarities that aren't always the easiest to see, unless you live in NYC or LA and live a lifestyle where you can go to shows on random Wednesday nights and shit. And we're not talking about moving tickets here - yes, clearly, Major Lazer is going to move more tickets than St. Germain is - but that's not the point. I'm really not sure why you're arguing basically what Dan808 said above - namely, that the cool random niche acts don't matter.
They kind of dont. If they do for you, more power to ya. I hope you enjoy the sparsely attended midday deep house dj set.
What matters are lineup and location location location.
The lineups are all becoming hemogenized. Theres no fighting that, and honestly I dont think thats a bad thing. I dont have the mentality that unless Radiohead are playing only the festival I am attending and nowhere else, it suddenly makes for a lesser show. Folks in Austin want to see Radiohead just as much as ppl in NY, Chicago, ect. Booking acts people want to see, even if the fest 2 states over has the same ones isnt a problem, as long as people want to see them.
What is really going to set fests apart is the location. Do you want to visit Montreal, Chicago, NYC, LA, ect? Fests like Bonnaroo are becoming a harder sell because its a trek for so many. They need to either say "we are a 50,000 person fest from now on," and book accordingly. Or up the talent budget, and get more of the acts people want to see to make it a cant miss. A Maceo Plex DJ set at 2 in the afternoon isnt going to suddenly make a fest stand out and become a hot ticket.
I read this out of context but there is III points, which, despite having mostly electronic (including two of your examples) has Vince staples/Method Man & Redman and then has Thee Oh Sees.
Good job, you beat Launchpad. Oh, but wait, only eight people will see the dance acts.
That's false though with III Points because Miami has such a big dance culture and that's how the fest got its start. Most sets that aren't really early early should be fairly well attended. Not trying to start a big debate, just saying. I agree though, III Points is an outlier at the moment. It's like trying to compare regular, multi-genre fests with fests like Levitation.
Well I guess now is a good time to get this thread back on track and talk about some of my favorite performances in no particular order.
LCD - Simply amazing. Honestly think that it was better than their roo performance. Wish I could have gotten tickets to the after show. Curious to know if they played the same set at both after shows (haven't taken the 5 seconds to look it up yet).
Mutemath - I know Tristan wasn't happy about it but it was an amazing set. Super high energy and I was dancing the whole time.
M83 - I wish it would have been darker like their roo set but musically I thought they killed it. I hope they bounce back with a better album than junk.
RHCP - I know they've been playing the same show for years now but it was my first time seeing them and they played all their hits. Left pleased.
Radiohead - what can I say it's Radiohead? Amazing music and amazing lights make for a breathtaking performance. The people around me were talking the whole time though which sucks because I was actually pretty close.
There's no reason for them to do so (they'd sell all their tickets regardless) but they do anyhow.
Bringing it back to the original point, this is dead on. I couldn't escape this feeling as I meandered around Lolla on Sunday desperately trying to kill time going from one uninteresting show to the next, cursing myself for showing up early to catch a great set at 1 pm just to have to wait around 3 hours for the next one. Those Perry's kids are gonna buy those tickets and waste their day away at that stage regardless of what is playing on the other stages. There is no reason that so many of the other shows need to appeal to them. Throw in some unique gets in there. Does it cost that much more to book those types of acts?
Good job, you beat Launchpad. Oh, but wait, only eight people will see the dance acts.
That's false though with III Points because Miami has such a big dance culture and that's how the fest got its start. Most sets that aren't really early early should be fairly well attended. Not trying to start a big debate, just saying. I agree though, III Points is an outlier at the moment. It's like trying to compare regular, multi-genre fests with fests like Levitation.
My top 10: Radiohead LCD Soundsystem FIDLAR Jane’s Addiction Red Hot Chili Peppers Foals M83 Autolux Con Brio The Struts Hm: Lana, Bloc Party, Bob Moses
I had at blast at Lolla as usual. Adding the 4th day resulted in me being exhausted on Sunday, but I took it easy during the day and had plenty of energy for LCD's set. I also enjoyed their set more at Lolla more than Coachella. Felt like there was more energy in the crowd at Lolla. Radiohead were absolutely fantastic. Might have been my favorite set from them.
Post by Greg's Rad Screen Name on Aug 2, 2016 10:46:59 GMT -5
Went to Lolla for the first time since 2010, mostly for the chance to see Radiohead and because I skipped Roo for the first time since I started going in 2011. I had a great time, knew what to expect with the young and generally awful crowd.
Top 10
Radiohead Wolf Alice (aftershow) The Last Shadow Puppets Vince Staples (aftershow) Grimes Foals Vic Mensa The Arcs Hiatus Kaiyote Danny Brown
Had to leave early on Sunday so unfortunately I missed LCD. Looking forward to seeing them for the first time ever at III Points!
Post by Launchpad McQuack on Aug 2, 2016 13:16:48 GMT -5
No acts are "unique" anymore. Unless you count a midday deep house elevator music set that barely anybody attends; which I guess is unique because nobody else wants to book it.
No acts are "unique" anymore. Unless you count a midday deep house elevator music set that barely anybody attends; which I guess is unique because nobody else wants to book it.
Man, sucks that elevator music musicians like The Black Madonna, St. Germain, Underworld, Broken Social Scene, Algiers, Cassy, Ex Hex, Madlib, Tensnake, 2manydjs, Deerhunter, HEALTH, Nina Kraviz, SOPHIE, Rhye, and others are relegated to midday sets no one attends.
Another article me him quoted to "look for his new project in 18 months" and that "EDM will not be allowed through the door."
Nothing. He is a minority stake holder. He basically has nothing to do with Lolla anymore; other than having his name attached as founder and getting a check every year.
I believe that. Having a stage dedicated to him that mostly holds a genre of music Perry absolutely despises doesn't sound like he had much control over what gets booked and where.
No acts are "unique" anymore. Unless you count a midday deep house elevator music set that barely anybody attends; which is only unique because nobody wants to book it.
You're right. Fests shouldn't book things that only appeal to a small minority of their audience. They should only book things that each and every one of the festival's 80,000 attendees wants to see. For a guy who complains about how homogeneous all these fests are, you sure seem opposed to anything else.
Of course, if Governor's Ball booked Boards of Canada or someone, playing to a crowd of a couple thousand, you'd call it a massive triumph and never stop crowing.
I would be into that because I personally like Boards of Canada haha. But I will say if you go look at the number of streams Boards of Canada has, and then the amount someone like Leon Vynehall (who was mentioned yesterday as one of the great AEG bookings) get. I think it would be fair to say one clearly appeals to a larger audience.
You're right. Fests shouldn't book things that only appeal to a small minority of their audience. They should only book things that each and every one of the festival's 80,000 attendees wants to see. For a guy who complains about how homogeneous all these fests are, you sure seem opposed to anything else.
Of course, if Governor's Ball booked Boards of Canada or someone, playing to a crowd of a couple thousand, you'd call it a massive triumph and never stop crowing.
I would be into that because I personally like Boards of Canada haha. But I will say if you go look at the number of streams Boards of Canada has, and then the amount someone like Leon Vynehall (who was mentioned yesterday as one of the great AEG bookings) get. I think it would be fair to say one clearly appeals to a larger audience.
Leon Vynehall is a rising dance act who makes really good stuff, he probably has one of the most consistent paths of anyone in electronic music right now. So yeah, booking him for any festival would be wonderful.
Still waiting on a response to my list of alleged elevator acts that no one wants to see.
You're right. Fests shouldn't book things that only appeal to a small minority of their audience. They should only book things that each and every one of the festival's 80,000 attendees wants to see. For a guy who complains about how homogeneous all these fests are, you sure seem opposed to anything else.
Of course, if Governor's Ball booked Boards of Canada or someone, playing to a crowd of a couple thousand, you'd call it a massive triumph and never stop crowing.
I would be into that because I personally like Boards of Canada haha. But I will say if you go look at the number of streams Boards of Canada has, and then the amount someone like Leon Vynehall (who was mentioned yesterday as one of the great AEG bookings) get. I think it would be fair to say one clearly appeals to a larger audience.
But why do they need to appeal to a large audience? The tickets are already sold. Lollapalooza has the luxury to book artists who appeal to all sorts of musical tastes. Not doing that either comes from not caring or laziness.
I would be into that because I personally like Boards of Canada haha. But I will say if you go look at the number of streams Boards of Canada has, and then the amount someone like Leon Vynehall (who was mentioned yesterday as one of the great AEG bookings) get. I think it would be fair to say one clearly appeals to a larger audience.
But why do they need to appeal to a large audience? The tickets are already sold. Lollapalooza has the luxury to book artists who appeal to all sorts of musical tastes. Not doing that either comes from not caring or laziness.
Yes because the best way to get me to buy something again is not get what I expected the first time.
I would be into that because I personally like Boards of Canada haha. But I will say if you go look at the number of streams Boards of Canada has, and then the amount someone like Leon Vynehall (who was mentioned yesterday as one of the great AEG bookings) get. I think it would be fair to say one clearly appeals to a larger audience.
But why do they need to appeal to a large audience? The tickets are already sold. Lollapalooza has the luxury to book artists who appeal to all sorts of musical tastes. Not doing that either comes from not caring or laziness.
I would be into that because I personally like Boards of Canada haha. But I will say if you go look at the number of streams Boards of Canada has, and then the amount someone like Leon Vynehall (who was mentioned yesterday as one of the great AEG bookings) get. I think it would be fair to say one clearly appeals to a larger audience.
Leon Vynehall is a rising dance act who makes really good stuff, he probably has one of the most consistent paths of anyone in electronic music right now. So yeah, booking him for any festival would be wonderful.
Still waiting on a response to my list of alleged elevator acts that no one wants to see.
Its neat that you are a fan. I dont think a festival booking him would be particularly unique or special in any way. If the demand for an artist is there, theyll get booked. No demand, then maybe theyll get a filler spot in a midday DJ tent if they are lucky and you can praise it as a genius booking strategy on a message board.
I am not going through your laundry list of acts one by one.
