Austin Psych Fest day 2

Catching up…

Wall Of Death – I’d never heard of these guys before and instantly dug the sound.

Woodsman – Some friends said to check them out and was not disappointed. Very very good. Wished I videoed some of it, but was too transfixed by the hypnodrone. Bought their album as soon as I had a chance too.

Woodsman - Austin Psych Fest 2013

Holydrug Couple

Boris – I can’t add anything else other than WAAAARRRGGGHHHH. The possible high-point of the entire festival occurs when Atsuo of Boris stood up through the on-stage smoke – mallet held aloft like a victorious Conan – and then just bashed the hell out a gong as the tripping, high, drunk, tired audience cheered him on.

Boris as Atsuo Shel

Black Mountain

Kaleidoscope [UK]

Man Or Astro-man? – a huge thunderstorm cut loose during Man… Or Astro’man’s set. I was at the very front of the stage looking out for the flaming theremin and had no idea what was happening outside the tent, but it seemed as if the entire festival jammed into the tent during their set and everyone: audience/band/everyone just went bananas. Fantastic set!

Man… Or Astroman? - Austin Psych Fest 2013

The Black Ryder – POURING rain during their set, but they sounded great. Looking forward to their new album quite a bit.

The Warlocks – haven’t seen them in a long time, but they also sounded terrific. George from the much missed Ojos Rojos is playing drums for them now.

Spectrum

Spectrum - Austin Psych Fest 2013

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One Response to Austin Psych Fest day 2

  1. The opening brought a fine group of Irish anthems, “American Land,” “Badlands,” and “Death to My Hometown,” during which Bruce made a lot of his Irish heritage, drinking a nice cold Irish beer and proclaiming he earned his Irish “passport.” Then he retrieved from the audience a huge sign made to look like an official passport, and another that referenced his O’Hagan family roots. The song request was another “never before played, but you can’t stump the E Street Band”‘ rarity — after a brief discussion to work out the key, they nailed The Temptations’ “Ain’t Too Proud to Beg.” The newsmaker of the night was also by sign request, “American Skin (41 Shots).” Bruce introduced it by saying, “We send this one out as a letter back home, for justice, for Trayvon Martin.” It might be an American problem, but it hit a nerve with the Irish crowd: they rose as one to participate in the call-and-response part at the end, returning “41 shots” to Bruce’s “you get killed just for living” with an intensity previously unheard. It wasn’t just “American Skin,” but the next group of songs in this set, “The Promised Land,” “Wrecking Ball,” “We Take Care of Our Own,” and “Jack of All Trades,” that taken together delivered a message of hope, clear-eyed courage, and perseverance against the odds. “The Promised Land” in this context sounded like a brand new song — an angry song. And there was Jake, a young black man standing in the middle of the stage, armed with nothing but a saxophone, his presence there on the stage a visual reminder of the barriers that Bruce and Clarence broke together so many years ago, and those that still need to fall. Then “Wrecking Ball,” “We Take Care of Our Own,” and “Jack of All Trades” from the new album, decades later but still delivering on the promise that music will never stop speaking truth to power; indeed, it is the most powerful tool we have to do so.

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