Downtown San Diego, California
Live Review: 8/28 to 8/29/09
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Over two days of sweltering heat in Downtown San Diego, the 25th annual Street Scene Festival gathered an eclectic lineup of major and indie acts not frequently seen this far south of California. Street Scene is San Diego’s major showcase for international and local talent, and given the city’s financial troubles lately, the festival was a significant draw for downtown tourism. I’ve been to several music festivals in the past year, and for a mid-sized two-day festival, I found the event to be smoothly operated and hospitably guarded. As far as I could see, there was an absence of overzealous law enforcement and yellow-uniformed event staff, and permission to exit and reenter festival grounds and an eclectically programmed lineup that catered to a pop- and indie-leaning audience made for a less-grating-than-usual festival experience. Hot weather aside, it was a more-than-adequate and cheaper alternative to the annual clusterfuck that occurs every year in the Coachella Valley. Sure, Street Scene lacks the celebrity sightings and epic reunions of Coachella. But who really cares to stand in the palpable heat of an overcrowded tent while dodging the hipster scum pushing their way to the Crystal Castles set? And how about the outback Nazis who are more than happy to book you for possession of a little greens?

Friday, August 28

Trombone Shorty & Orleans Avenue – 23-year-old Troy Andrews (aka “Trombone Shorty”) is a New Orleans trumpeter and trombonist who leads the funk/hip-hop outfit Orleans Avenue. The group’s music is pop-friendly fare with a slick and catchy sound. Jazz and funk purists may say what they will, but who can hate on these immensely talented musicians who play with big hearts and souls?

Dungen – These Swedish psych rockers look and sound cool in the way that only Scandinavians can. They played to a small audience in the eco-friendly Green Stage and ripped through a set of intelligent- and epic-sounding prog rock. I wish I could’ve seen them while sitting on a majestic grass field, passing a friendly joint to hemp-adorned and peace-loving Swedes.

Devendra Banhart – It may be hard to take Devendra Banhart seriously given his reputation as hippie king, bizarro nudist and bearded mystic. But the man has a solid back catalog with songs that are musically and lyrically sound, and true to his ethos, he has a beautifully playful way of performing music. The man lives out a personal world in and outside of his music that’s only slightly intelligible to the rest of us, but when he’s singing and playing guitar, that inner world is revealed with a clarity that may not always be present in his public persona. On the larger Fulana Stage, he played with band regular Rodrigo Amarante (Los Hermanos, Little Joy), and although visibly exhausted and injured (he allegedly injured himself the night before), he played through his songs with signature charm and nonchalance.

Wavves – Given past [drug-induced] disasters on stage, there was much anticipation for Nathan Williams’ San Diego homecoming. Now playing with a new drummer (Hella’s Zach Hill), Williams played a sober set of songs off his second record. As much as I love Williams’ music and am happy for his recovery, Zach Hill totally outperformed him on stage. Hill is a straight-up monster behind the drum set. At times, I felt his talents were a bit overqualified for the lo-fi aesthetic of Wavves.

Matt & Kim – Matt and Kim are two of the happiest musicians on the planet right now. On stage, they’re all infectious smiles and energy, pounding away at snare drums and keyboards with the ecstasy of sugar-fueled children. I’m not a big fan of their music, but seeing them pump the crowd full of cheer admittedly pulled some heartstrings.

Chromeo – After a somber moment of silence for DJ AM, Chromeo’s Dave 1  and P-Thugg put on their characteristic swagger for a night of west coast-referencing electro-funk.  They haven’t released new material in a long time, but “Tenderoni” and “100%” never fail to get the crowd moving. As always on stage, they’re humble and unassuming toward their fans. I can’t wait to hear new music from the Montreal duo.

Saturday, August 29

Los Campesinos! – Seven members are a lot for an indie rock band, and I’m not convinced that Los Campesinos require that much manpower. Regardless, they sure do make being in a band look like a lot of fun. For the day, they had Aleks, a former member, rejoin them after having left the band to pursue her studies. On stage, the Campesinos are loud and boisterous, not exactly befitting their reputation as a twee pop band. They may look the part, pasty Anglo faces and all, but their sound has more bite than their appearance.

Public Enemy – Afro-militarism hasn’t lost its provocative cool among middle-class white people, and maybe that’s how Public Enemy stays in business. These guys are hardly ground-breaking anymore, and given their success as hip-hop staples and minor celebrities (I’m looking at Flava Flav), I can’t reconcile their message and their reality. Having two bouncer-looking dudes in camo gear standing stone-faced on stage and doing little else was pretty cheesy, too. Still, I can’t hate on Flava Flav, as he took away the show. Compared to Chuck D, he was the more intense showman, eyes fierce and bulging, leaping from speakers and running from stage left to right. He may have been throwed, but whatever the case, I hope he stays out of reality T.V. and remains on stage.

Of Montreal – One thing I notice at every Of Montreal performance is a preponderance of hipster girls, who seem to be the major demographic for the veteran band from Athens, Georgia. Personally, I stopped listening to them after 2005′s The Sunlandic Twins. Something about their music after that record gives me headaches and feels claustrophobic. Musicality aside, I enjoy their on-stage costumes and choreography. Dancers dressed in drag and all manners of colorful, mind-fucking outfits are usually just the starting point. At every show, Of Montreal put on amateur Cirque du Soleil productions with a mild dosage of acid and antidepressants. On the main Fulano Stage, they came out in signature makeup and angel wings, accompanied by a dance troupe of pajama- and gas mask-wearing hellions. In the backdrop was a giant screen playing Lite-Brite illuminations of LSD-induced visions, sometimes terrifying and incoherent.

The Faint – I first listened to these guys when I was a hormonally imbalanced teenager with lots of suburban angst. Along with Bright Eyes, they were the antidote to many a wrist-cutting behavior in junior high. Their music is often synth-driven and electronic with dark, moody lyrics. After seeing their set, I wanted a drink.

Silversun Pickups – Out of all the successful bands to come out of L.A., I like these guys the least. Barring two pretty good singles from their debut Carnavas, I’ve always been perplexed by their popularity and airplay. Two albums in and they’re already playing one of the main stages at a mid-sized festival. On stage, lead singer Brian Aubert joked about the lack of California burritos (an alleged San Diego invention) in Los Angeles. He’s wrong. Los Burritos in Echo Park serves the fry-filled wonder, and I’m sure there are a slew of others that make it even better.

Thievery Corporation – Downtempo and bossa nova are usually Thievery Corporation’s specialty. The DJ duo usually puts together eclectic outfits to perform their music. On this night, they got together a wide-busted lounge singer and authentic-sounding reggae musician to play to an adult crowd. They may have been famous, but I wouldn’t know.

Ted Leo & The Pharmacists – Ted Leo and his band are awesome, there’s just no other way to put it. They know how to play loud and fast, like a punk band should, but they’re older and more seasoned so they don’t act like assholes on stage. After giving props to the stage hands and sound people, Ted Leo and his bands played great, quick bursts of pop-punk goodness.

Sharon Jones & The Dap Kings – A breath of fresh air for what was otherwise an alright day of music. The Dap Kings, sharply dressed in suits and ties, looked classy and dashing. Even when warming up without Sharon Jones, they could’ve played to a satisfied crowd. Sharon Jones and The Dap Kings play throwback funk that hearkens back to an era of analog instruments and little digital manipulation. To say the least, Sharon Jones fucking killed it. With great sense of humor, she flirted with the serious-looking yellow shirts guarding the stage, for once disarming both event staff and audience with immense talent and regal stage presence.

M.I.A. – Unfortunately for Sharon Jones & The Dap Kings, M.I.A. is really big and hip right now, and that’s who most of the festival attendants went to see at night’s end. Luckily for San Diego, M.I.A. performed on time with no major breakdowns and fits. Third world production, neon-colored leotards, booty bass and M.I.A.’s magnetic stage presence did more than enough to make the crowd forget that the unfortunate Beastie Boys had been canceled for the weekend. Sweaty with heartbeats elevated, those in Downtown San Diego would’ve joined the Tamil cause (per M.I.A.’s orders) had they not been distracted by booze and dancing.

All photos by Emily Malan

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http://www.street-scene.com/