Outside Lands 2013: A Remembrance

Double Exposed Gull, Main Stage
Double Exposed Gull, Main Stage taken by Nicole Meldahl

Living two blocks from Golden Gate Park, Outside Lands is well within the perimeters of my urban backyard. This was initially why I started attending the festival a few years ago, but now I go to escape the Normal. This is partially achieved by the way I revert to a gushy teen while watching acts for which my hipster-ass thinks it’s too cool (Red Hot Chili Peppers). The other part of the equation is they way OL transforms the Park into a carny fairytale filled with fine food and trees that are alive with color, as if their moods were on display in the night.

Outside Lands Tree Magic
Outside Lands Tree Magic taken by Nicole Meldahl

These moods were infectious, and the spirit of camaraderie and goodwill amongst the crowd was palpable. Heterosexual men approached my fella to compliment him on his majestic beard and give him free beer. We won free food, and happened upon a giant pouch of medical (yet illicit) substances on the ground. Old friends were found, and new friends were made with people and bands alike. My inner teenager was able to see Camper Van Beethoven, and I fell madly in love with Gary Clark Jr–our generation’s equivalent to Jimmy Hendrix.

Gary Clark, Jr. taken through binoculars.
Gary Clark, Jr. Taken Through Binoculars by Nicole Meldahl

When the tally was made the sum became a conglomeration of moments that will never be forgotten. This is what makes the price for entry worthwhile, the sticker shock recede. For a brief three days we were persons outside of ourselves: two souls wandering turf that many men and women had trod before, imprinting the land with another notch in a timeline that will carry on beyond our own. This fact was made clear to me while watching Paul McCartney–a piece of living history. His three-hour set included every song I NEEDED to hear, was peppered with deeply moving stories about John Lennon and George Harrison (Ringo got no play), and included fireworks. Positively breathtaking.

Red Hot Chili Peppers Close Out
Red Hot Chili Peppers Close Out taken by Nicole Meldahl

Thank you, Outside Lands. See you in 2014.

Outside Lands 2013

Here, my good people, are a few selections of the best offered at Outside Lands this weekend. Please note the presence of Paul McCartney. Paul. Freakin’. McCartney.

Enjoy the tunes even if you’re locked out of the park, and if you’re going: be safe, be respectful of those around you (I’m speaking to you, drunk guy smoking cigarettes in the crowd–stage center), and let’s all have a good time!

Throwback Thursday: Mazzy Star

In honor of the news that they will release their first album since 1996 this September, Throwback Thursday is devoted to Mazzy Star. I hopped onto the Mazzy Star train in college when I became obsessed with their 1993 album So Tonight That I Might See. To be clear, I was not in college in 1993 (I was in third grade), but the 90s will forever by my good times decade. That CD, yes physical CD appropriately playing through my 1990s boom box, was spinning constantly, and “Fade Into You” was often on repeat to what I can only imagine to be my neighbors’ chagrin. Much angsty late-teen, early-twenties poetry was written by the light of that album. That song was the band’s chart-topper, and has been used in a surprisingly diverse array of terrible films and generic television shows: everything from Starship Troopers to Burlesque “starring” Christina Aguilera and Cher, CSI: Miami (in four different episodes) to Desperate Housewives. Despite these unfortunate appropriations, the song remains a mainstay–a strong as its debut, carrying the weight of coffee shop culture from the 90s into the new millennium. Here’s hoping nostalgia doesn’t preclude me from hopping on the 2013 Mazzy Star train as it comes through the station.

Escondido by way of Nashville

Having partially been raised in San Diego, I was immediately intrigued by a band named Escondido. Turns out they’re from Nashville, Tennessee, a fact that is imminently evident after listening to the album The Ghost of Escondido for mere minutes. The Nashville swagger is in full force with Jessica Maros and Tyler James, whose music pairs Mazzy Star smoothness with that Jenny Lewis je ne sais quoi. Escondido just recently finished the summer festival circuit in support of Lord Huron, with a smattering of smaller venues in the likes of Missouri and Illinois. If you weren’t able to catch any of those shows, why don’t you buy their debut album–definitely worth the purchase price.

Current Obsession: Anais Mitchell

My obsession this week, Anais Mitchell, is redolent with reference so let’s get some things out of the way here. Mitchell’s father, Don Mitchell, authored the 1970s psych-paperback Thumb Tripping which was heralded as “the new novel that says all there is to say about the Marijuana Society.” Don named his daughter Anais, for Anais Nin–best remembered as an evocative diarist whose brief affair with Henry Miller is the stuff of literary dreams, and less well known as a major influence in my collegiate early-twenties existence. This already looks promising, doesn’t it?

Beginning in 2006, songs came forth from Anais Mitchell that fully formed as a folk opera titled Hadestown based on the mythical tale of Orpheus. Teaming up with Justin Vernon of Bon Iver, indie icon Ani DiFranco, and A Prairie Home Companion alum Greg Brown, the tale of Orpheus becomes accessible through song much like Shakespeare was more easily understood from the lips of Leonardo DiCaprio and Claire Danes under direction of Baz Luhrmann. As a whole, this 2010 album is mesmerizing: enthralling in its epic proportions (to use the term “epic” correctly, for a change). Yet, individual songs are able to stand alone on their own merit and are equally enjoyable in their solitude–songs such as the soothing introductory track, “Wedding Song” (which pairs Mitchell with Vernon), and the knee-slappin’ hullabaloo of “Way Down Hadestwon” (which features DiFranco). My favorite singular, however, is “Why We Build The Wall” with Brown as Hades. Brown’s voice is simply unforgettable in its theatricality and paired with Mitchell’s Depression-Era aura this song takes on greater import as a discussion of poverty and privilege that finds relevance in a discussion of any epoch but is certainly present-prescient.

Mitchell’s other music is equally well-written, and steeped in American hunger. Her albums The Brightness and Young Man In America are easy to drink in, down to every last drop–that voice driving you to drink in all the more. This is a woman to take note of, so raise your pen and find paper.

Throwback Thursday: Nirvana and Patti Smith Smell Teen Spirit

Patti Smith is undeniably cool. In 1980, she straddled the dead space that followed the end of rock and roll (as it was known to that point) but preceded the stranglehold of punk with her seminal album Horses. Nirvana is undeniably cool. After the release of their album Nevermind in 1991, the year that would be 1992 had no hope of swimming with the current and, instead, swam upstream into Grunge. When both artists sing the same song you get two sides of a very hip coin. To piggy-back on last week’s Courtney Love adventure, this week’s Throwback Thursday  gives you the oft-imitated video for Nevermind‘s first single, “Smells Like Teen Spirit,” in comparison with a Patti Smith video of her “Smells Like Teen Spirit” cover.

Current Obsession: Bombadil

Bombadil at Pendarvis Farms by Kristen Krauter

Having had the concurrent displeasure and honor of planning several funerals, I’ve come to understand the importance of music in the heady moments of a final goodbye. Accordingly, I’ve started a playlist for my own funeral to save my loved ones the agony of soundtracking a ceremony to honor a woman who thought always in terms of music. Also, I don’t trust them to get it right (which makes me a pretentious asshole).

Which is not to say I morbidly contemplate death at every turn. I do not seek the songs on my funeral playlist, they find me and this is how I discovered Bombadil. The track “I Will Wait” off Bombadil’s album All That The Rain Promises–a title which in and of itself can offer an optimistically funerealistic aura–is so incredibly moving in its gospel simplicity. Bombadil, however, is no one trick pony. The rest of the album pairs bouncy melodies with wry humor that showcases the band’s musical ability without taking itself too seriously–offering a wonderfully refreshing contrast to the more somber opening track. All in all, a deeeeelightful listening experience and another notch acquired on my quest to create the perfect funeral playlist.