Brightest Young Things

Words: Colin Wilhelm and Logan Donaldson
Photos: All bands except the Avett Bros.---Logan Donaldson; Avett Bros.---Logan and Colin

As quaint as it seems now, in an age of MP3s, cloud music services, and Pandora, radio used to play a major part in shaping the musical zeitgeist. Particularly for teenagers with still developing musical mores, the station you listened to could help define your taste. For those who grew up in the D.C. area (and listened to rock) in the 90s and early 00s, this meant a choice between DC101 and 99.1 WHFS.

DC101 was more mainstream: they had a steady rotation of what seemed like forty or so songs, typically punctuated by a mandated Guns n’  Roses track (pick your poison between “Welcome to the Jungle”, “Sweet Child O’ Mine”, and “Paradise City”) every five songs. Though perhaps a false dichotomy towards its end, HFS billed itself as a D.C.’s “alternative” station, and seemed that way, at least to the mind of a fourteen year old. Though years ago HFS had truly been alternative, playing full Frank Zappa suites and bluegrass, Yes and Emmylou Harris, by the late 90s-00s it really got by as “alternative” on reputation and a modestly more expansive catalogue; in hindsight the distance between them and DC101 seems less wide than it did when Tower Records still sold more records than iTunes. HFS even had its own festival, the HFStival, which featured major national acts like Rage Against the Machine, Red Hot Chili Peppers, and, uh, Tony Bennett, while bringing in crowds up to the tens of thousands.

So one can imagine the confusion and anger experienced by those who had 99.1 on their radio pre-sets when suddenly, after playing Jeff Buckley’s  “Last Kiss Goodbye”, it was Spanish only “Tropical Latin”  station now called “El Zol”. Though the invisible hands of economics and new technology relegated the original WHFS to the scrapheap of history and mildly sentimental concert review introductions, it left a lasting musical imprint on several generations of Washingtonians and Baltimoreans, particularly through the persistent HFStival. Though a shadow of its former self, just like the station it’s named after (now in a third incarnation as both a AM talk station and 97.5 alternative rock station in Baltimore…the latter being the sponsor) and still boasts a disparate lineup of mid-90s alternative, rap-rock, punk, and folkish rock as seen on Saturday.

Black Alley [12:00 Pavilion Stage]

For a review of the “Battle to Breakout” winners [read: local band selected to open the festival] read my review of Black Alley’s opening set for Chuck Brown’s 75^th birthday party at the 9:30 Club three weeks ago.  -Colin

Tennis System [12:35 Local Stage]

Tennis System’s sound on the Local Stage could best be described by a shrug of the shoulders. The L.A.-based, D.C.-area native band sounded unspectacular but not bad either. They played a brief twenty-five minute set mostly defined by Ramones-esque beats and riffs (to go with a lead singer who resembled Joey Ramone) with vaguely surfer rock vocals and melodies. Ultimately they left us with a pretty neutral reaction. –Colin

Diane Birch [1:05 Pavilion Stage]

The young songstress Diane Birch came on stage like a relic of the 70s: dressed as a beatnik and playing midtempo, piano-driven, angsty love songs, like a reincarnation of Carly Simon or Carole King. Hiking up a decade, some of her songs seemed to mold their melodies from Pat Benatar's songbook. Well. Hold on. To avoid the easy "strong female musician" comparisons, there also seems to be a clear Elton John thread in her songwriting.

But I do think it's fair to say she is an understudy of many famous women before her. And that's certainly not a bad thing. Birch's slow burning soft rock is the perfect tapestry for her occasionally impressive vocals, which rippled through the mix in ribbons of melismatic melody. A few times her music teetered on the point of transcendental pop, where the chorus hook bleeds into your subconscious instantaneously, but usually it was simply reserved and pleasant, like a coffeehouse soundtrack. –Logan

Lloyd Dobler Effect [1:45 Local Stage]

Earnest as the John Cusack 80s romantic comedy character they take their name from, Lloyd Dobler Effect. One of several bro-rock bands at the festival seemingly inspired by O.A.R., the Effect didn’t cover any new sonic ground despite a couple of reasonably talented guitarists. A quick constructive criticism: if you introduce a new  percussion instrument on a song, don’t play it at the exact same beat as your drum set, or if you do, mic it. Otherwise there’s no way to hear it at all, and the random box-shaped drum that LDE’s percussionist sat on and played for a song at least looked interesting.

If not for the Avett Brothers and Flogging Molly, LDE would have run away with the “Nicest Band” award for the festival. The former Big Break [Class of ’02!] band’s music didn’t inspire much passion in us, but it certainly pleased some members of the crowd. -Colin

Gin Blossoms [2:15 Pavilion Stage]

At the beginning the Gin Blossoms set, most of the people around me knew them as "that 'Hey Jealousy' band," but found themselves more familiar with the material than they thought when The GBs played cuts like "Found Out About You," "Follow You Down," and "Till I Hear It From You." With a post-grunge, roots rock tradition and a sweet tooth for pop, the Blossoms have a handful of songs that are radio-worn in our ears without us being totally aware of their modest, decade-spanning legacy.

Sparking their set from the start, lead singer Robin Wilson did an excellent job engaging the early p.m. crowd. With such short set times (about 45-50 minutes on the main stage per act), the dad rockers, now well into their 40s, wasted no time blazing through as much material as possible. Overall it was a fun set, and it vaulted everyone back to 1995, where, if we closed our eyes, we could swear we were in a montage sequence in an episode of Friends. -Logan

Middle Distance Runner [3:00 Local Stage]

Middle Distance Runner brought a sound straight from the Mississippi delta: Southern fried rock arrangements and a boisterous lead vocalist that infused verses with blues and funk over the top his rollicking piano lines (like Mose Allison in the flush of his youth). MDR was mostly content to explore chord progressions of varying tempos, but sometimes concluded songs with balls-to-the-wall rock outs, zapping and and sizzling the crowd with fuzzed out guitar and bluesy wails from the singer.

At their best, MDR were reminiscent of the charisma and southern rock inflections of The Doors. With a sense of humor and buoyancy about their stage presence, they easily endeared the crowd. -Logan

Minus the Bear [3:30 Pavilion Stage]

Seattle-based Minus the Bear provided some of the first complex arrangements of the day, with intricate tempos and key changes hidden in their guitar driven indie pop. Though by no means effects heavy by normal standards, amongst the mostly conventional bands of HFStival they stood out with their electronic song intros and pedals; MtB also stood out with a looser attitude than many of the other bands.

Simply put they seemed more relaxed. Unlike others this wasn’t their big break, nor, like some other HFStival bands, are they old enough to the point where they seemed as though they had to prove themselves relevant. Simple as it may seem, that looseness was tangible and helped make for an enjoyable set. -Colin

Funkmnkyz [4:15 Local Stage]

As we approached the Local Stage for Funkmnkyz’ set to see a couple of figures clad in Mexican ponchos and sombreros bouncing on stage, little did we know this sight would be the harbinger of the return of rap-rock. Yes ladies and gentlemen, rap-rock still exists and we have found its champion.

Before Svetlana revokes my writing privileges hear this out. Rather then combining two disparate for one crappy sound, Funkmnkyz worked through the sheer energetic charisma and entertaining rhymes of MCs Quest and Vice 17 and strong, funk-worthy instrumentation of ERoc, Steve Danger, and Infinite One. This wasn’t ironically good, it was actually good. The band played chameleonic beats and styles behind their MCs rather than straight-up nu-metal crap, even using the man guitar riff from the Beatles’ “Blackbird” as an out-of-nowhere transition. The ADD transitions, slightly reminiscent of Bad Brains, kept us on our toes as rhymes referencing Wizard of Oz characters to the Federal Reserve and NAFTA. Though I feel embarrassed for writing this statement, it was a solid showing of rap-rock. -Colin

Clutch [4:45 Pavilion Stage]

With the swaths of paraphernalia for Clutch in the crowd, you might think they were headlining the festival in the middle of the day, and everything else would be downhill from there. Luckily that was not the case, but their superfans burned out hot like Clutch was the high point. With clear nods to the bluesy metal of Led Zeppelin and stoner metal godfathers Black Sabbath, the Maryland sweethearts heaved shovelfuls of aggression into the pit of the main stage.

Reduced to a 50 minute set, they could only afford 10 or so songs, but stuffed them with crowd favorites "The Mob Goes Wild,"  "Cypress Grove," "Electric Worry," and a truly badass drum solo from Jean-Paul Gaster. Late afternoon is usually a time when most people slump for want of a nap, but Clutch made sure to electrify festival goers, sending them away craving another heady hit of adrenaline.

-Logan

The Justin Trawick Group [5:30 Local Stage]

If there was any sort of identity emerging on the local stage, it was Maryland bands that love combining rap and rock, for better or worse. The Justin Trawick Group featured a talk-rap delivery that was like G. Love & Special Sauce but without the slow and sweet and molasses flow.

Though the delivery was slightly forced, the folk rock music was sunny and done disservice by overcast weather that tabled the possibility of sunshine all day. D.C. rapper Flex Matthews came on stage to remedy the need for a more authentic, less affected, form of rap in the middle of their set. His inclusion injected a new energy to the crowd, engaging the crowd and bringing a little sway to their movement. Trawick's set was dappled with elements of country, folk, rock, and rap, and at any point the combinations could hit or miss. Most of the chorus hooks were sweet and memorable, proving that there was at least some consistent strength in their songwriting. –Logan

Jimmie’s Chicken Shack [6:00 Pavilion Stage]

If you’re going to have a Maryland-based music festival with at least one foot steeped in 90s “tradition” Jimmie’s Chick Shack might as well show up. The two-hit wonders got started with the song “Dropping Anchor”, whose sound immediately reminded me of placing a pot over my head and banging it with a skillet. Jimi [yes he spells his name differently than in the band name] tried to overcome the Shack’s generic and uninteresting set merit by drinking Patron onstage and casting the “Maryland, brah!” vibe that several of the weaker bands used as a crutch throughout the day.

It’s a bit of a shame because beneath all the fratboy swagger and incredibly lazy songs there’s a modicum of talent. Their skaish TRL classic “Do Right” (which I presume they are contractually obligated to play at every show) is actually kind of a good song, or at least a catchy hook continued for 3 minutes. They can play their instruments rather well, though they certainly don’t challenge themselves. And they sort of made up for a godawful Bob Marley-Sublime medley with a not horrible cover of Fugazi’s “Waiting Room”. –Colin

Pasadena [6:40 Local Stage]

Like Jimmie’s Chicken Shack immediately before them, Pasadena brought more “woo! Maryland!” than musical intrigue to the table. The boys from, you guessed it, Pasadena, MD were essentially a bastardized amalgamation of O.A.R and Sublime, boiled down to their most basic levels, to the point where Pasadena might as well play covers-only of those two bands. Despite this, or let’s face it, probably because of it, the crowd seemed thrilled by their set and eager to support the Anne Arundel County natives.

If you like O.A.R. songs slowed down and rapped over then you would have liked their HFStival set. If not then you should have just stuck with their last song, an acoustic observational one called “She’s a Stone”, and forgotten the rest. –Colin

Dr. Dog [7:10 Pavilion Stage]

Up to this point in the day, most bands inspired pleasantry or bemusement (the FUNKMNKYS an exception), but being introduced to Dr. Dog, I found myself nearly awestruck. All of their songs sound like classic rock gems that have only recently been uncovered and not worn down to nubs by radio repetition. Several of their tunes ("Hang On," and "The Ark") had more hooks and rich riffs than some bands can manage in an entire album.

Dr. Dog swirl a potion of The Beatles, The Band, and The Beach Boys to reach a confluence of classic pop victories, but deliver it with odd-ball vocals and production turns to create something that is at once timeless and unique. I became so enamored with them that I forgot I was supposed to be taking down observations and making embarrassing, meager attempts at the art of photography. The only problem was the recurring complaint that their set only lasted for 50 minutes. -Logan

River James [8:00 Local Stage]

River James marked a tonal shift in genre and emotional sensitivity; they're probably the only band at HFStival whose sound I would describe as "atmospheric" and, to use a term here that everyone here hates but matches, looked like hipsters. River James offered up walls of hazy atmospheric sounds by way of drawing a violin bow over a delay pedaled guitar.

Their songwriting seemed to emerge from the lineage of the post-U2, mid-Coldplay pop world. And that's not a slight. Their change of pace was refreshing but also simply sounded pretty and polished. As a band from Arlington, perhaps they're worth slotting for reevaluation down the road to see if they've heightened their abilities and gained notoriety. -Logan

Flogging Molly [8:30 Pavilion Stage]

Flogging Molly woke up a festival that had been sleepwalking through much of the day. The Irish punkers brought intensity matched only by fellow festival headliners the Avett Brothers. Powering through mainstays “Drunken Lullabyes” “It’s Been the Worst Day Since Yesterday” and “Saints and Sinners”, their set perhaps reached its pinnacle during the 2/3 build, 1/3 cathartic release of “Float”.

The Celtic punks made reference to the economic downturn that may have kept the Pavilion grounds lightly populated for much of the day, dedicating one their early songs to “everyone who has lost a job”. Frontman Dave King gave a shout out to Josh Burdette, the instantly recognizable 9:30 Club bouncer/night manager, who didn’t let his quietly mouthing along to their songs get in the way of his gatekeeping the mosh pit. -Colin

Lionize [9:10 Local Stage]

Lionize is a Maryland four piece that does the simple things really well. Half of their sound is befitting of a burly rock barroom, especially since their lead singer/guitarist has a lot of heft and gristle to his booming voice. Often times their melodies dosey doe'd with hard-edged rock to smooth into sun-kissed choral harmonies with a reggae bent. Quick upstroked guitar chords further slanted their music towards a tropicalia vibe, but overall they were overwhelmingly a stoner rock band, as many in the crowd ritually confirmed.

-Logan

The Avett Brothers [9:45 Pavilion Stage]

The Avett Brothers’ set lived up to its first among equals headliner billing. The Americana band delivered its signature melodious songs with the brimming punk fervor their live sets have become known for. They bounced around their catalogue, though the plurality of their set came from 2007’s “Emotionalism” (“Die Die Die”, “Shame”, “Paranoia in B Flat” and a couple others).

They also introduced a song (“The Once and Future Carpenter”) from their forthcoming album, and mixed in the strongest ones from their Rick Rubin-produced “I and Love and You” [“January Wedding”, “Kick Drum Heart”, “Head Full of Doubt/Road Full of Promise”, and the eponymous track]. All members of the band, especially Scott and Seth Avett, seemed to take unfettered joy from being onstage, like hyperactive kids finally liberated from years of classical music lessons. The brother that did not sing a particular verse or song would approach the edge of the stage and sing, mic-less, towards the crowd while playing.

The brothers echoed the Maryland love broadcast throughout the day, but did towards the end of a triumphant set. “Maryland is a second home to us,” they said, to a roaring pavilion that had finally climbed close to its capacity. Afterwards they closed with “I and Love and You”. “Man, I’m so glad we have a[nother] song I thought we were done” Seth Avett said before launching into their piano-driven anthem “I and Love and You”. The crowd reflected that sentiment. -Colin

Overall this year’s HFStival had the expected quota of duds, diamonds in the rough, and refugees from the 90s. The headliners delivered as advertised. The brief set times that frustrated audience members and bands alike. We were just glad it didn’t unexpectedly turn into a Spanish-language only festival midway through the day. Maybe next year.

Previously in Festivals:

• 5/14: REPORT: Baltimore Tattoo Convention
• 4/25: 2012 FORWARD FESTIVAL PREVIEW
• 3/27: REPORT: Ultra Festival/ WMC in Miami Continues
• 3/26: REPORT: ULTRA Festival/ WMC in MIAMI - Day 1
• 3/12: PHOTOS: Environmental Film Festival Opening Party
• 10/26: PHOTOS: CMJ Hopping Take #2
• 10/25: PHOTOS: CMJ Hopping Take #1
• 10/21: New York Comic Con: Report
• 10/17: Creator's Project: Report
• 10/5: National Book Festival Report 2011