Whether it's your first Bonnaroo or you’re a music festival veteran, we welcome you to Inforoo.
Here you'll find info about artists, rumors, camping tips, and the infamous Roo Clues. Have a look around then create an account and join in the fun. See you at Bonnaroo!!
Post by FuzzyWarbles on Feb 12, 2014 5:05:38 GMT -5
I'd like to see Conor in a daytime slot at Roo. I remember St. Vincent playing a show in Nashville a few weeks before her performance at the farm. Maybe he will hang around town a week and still be on the lineup, assuming Roo is even looking into booking him.
Post by Dave Maynar on Apr 27, 2014 13:41:13 GMT -5
A local addition for Bacon's consideration. I used to work with this guy at the rehab. He is having his album release party Thursday. Thinking I am going to have to go.
Post by NothingButFlowers on Apr 29, 2014 18:50:32 GMT -5
Hey Bacon, after Spotify repeatedly told me that you'd been listening to a lot of Valerie June, I finally broke down and listened to her album. I like it a lot, so thanks for that.
Hey Bacon, after Spotify repeatedly told me that you'd been listening to a lot of Valerie June, I finally broke down and listened to her album. I like it a lot, so thanks for that.
Valerie June is amazing, make sure to try to see her live if you get a chance. I saw her open for Sharon Jones a few months ago and it was a great set
Haven't seen it so I can't review it. Definitely an interesting concept, although not my #1 choices of people to be on the tour. I would like to propose a partner tribute tour to my personal favorite Byrd. Let's get an all star band playing GP and the Grievous Angel.
Post by itrainmonkeys on May 22, 2014 10:57:05 GMT -5
Will be catching Dawes and Conor Oberst tonight at a local theater (finally a decent show not in NYC). Listening to the latest Dawes album and I'm not as into it as their first album so far. May find some stuff at the show that turns me around on it though. I have been digging the new Conor album, though. That's really solid stuff and reminds me of his first album under his real name. Really enjoying that so far.
Will be catching Dawes and Conor Oberst tonight at a local theater (finally a decent show not in NYC). Listening to the latest Dawes album and I'm not as into it as their first album so far. May find some stuff at the show that turns me around on it though. I have been digging the new Conor album, though. That's really solid stuff and reminds me of his first album under his real name. Really enjoying that so far.
Will be catching Dawes and Conor Oberst tonight at a local theater (finally a decent show not in NYC). Listening to the latest Dawes album and I'm not as into it as their first album so far. May find some stuff at the show that turns me around on it though. I have been digging the new Conor album, though. That's really solid stuff and reminds me of his first album under his real name. Really enjoying that so far.
The new one definitely is my least favorite of their three albums, but there are a few songs that really shine live.
Will be catching Dawes and Conor Oberst tonight at a local theater (finally a decent show not in NYC). Listening to the latest Dawes album and I'm not as into it as their first album so far. May find some stuff at the show that turns me around on it though. I have been digging the new Conor album, though. That's really solid stuff and reminds me of his first album under his real name. Really enjoying that so far.
Post by itrainmonkeys on May 23, 2014 9:26:38 GMT -5
Dawes live is always so much better than Dawes on albums. I always forget that until I catch them live. Taylor's not a guitar virtuoso but he knows how to add something extra to the songs. Great show last night.
Welcome back Bonz, but I do not find it strange that your presence being requested in the Orgy thread and then you showing up, like it was the quacking Bonzai Bat Signal.
What do you guys think about the new Dawes? I'm loving it. Can't wait to see some of it performed next week, especially I can't Think About it Know.
Dawes' second album is still my favorite, but the new one probably ties with North Hills in second. The general sound of the album is the best they've had on record and all of their playing is phenomenal, but Taylor's songwriting isn't as top-notch as the first two albums. The guitar solo in I Can't Think About It Now is excellent. And the one in To Be Completely Honest, which I think is my favorite. Also Griffin's drumming on this album makes him one of the most interesting drummers of bands I listen to. Some really stellar work from him.
I'm looking forward to the Roo set, especially to see how recent addition Duane Betts fits in with the rest of them, but I'm expecting the singles from the new album and maybe one more because of the festival setting. I need them to play a headlining show in my area so I can get the full effect. Taylor's mentioned that with Duane, they could play shows up to two and a half hours. I'd enjoy that quite a bit.
What do you guys think about the new Dawes? I'm loving it. Can't wait to see some of it performed next week, especially I can't Think About it Know.
See you guys in the left pit for the first annual Bacon Boring Barn Bonanza
Maybe it's because I'm not invested in any of their previous work (I only really know a few songs), but I really like this album more than most of the stuff I've heard. I wish I picked it up the other day when I was in the record store but now I'm on a $ lockdown until after roo
In perhaps the least shocking news ever (or maybe with pitchfork's weird love of the DBTs it is kind of surprising) Pitchfork doesn't really like Isbell's new album not so much for what he did do, but for what he didn't do.
"In 2015, Southern identity occupies the center of a number of heated debates, and few artists are better poised to comment on its complexities than Isbell. But race has never been a compelling issue for him, and while class underlies every one of his songs, he long ago stopped writing about it with much acuity. His approach has become internalized, rooted in a self-consciously literary first-person perspective. And while he's created strong work within these parameters, I still lament the lack of urgency to engage with anything too far beyond the reach of his customary stand-ins. Isbell once again shows the world through familiar eyes, but here it just feels like we've seen it all before."
In perhaps the least shocking news ever (or maybe with pitchfork's weird love of the DBTs it is kind of surprising) Pitchfork doesn't really like Isbell's new album not so much for what he did do, but for what he didn't do.
"In 2015, Southern identity occupies the center of a number of heated debates, and few artists are better poised to comment on its complexities than Isbell. But race has never been a compelling issue for him, and while class underlies every one of his songs, he long ago stopped writing about it with much acuity. His approach has become internalized, rooted in a self-consciously literary first-person perspective. And while he's created strong work within these parameters, I still lament the lack of urgency to engage with anything too far beyond the reach of his customary stand-ins. Isbell once again shows the world through familiar eyes, but here it just feels like we've seen it all before."
Jason didn't write about what the dude wanted him to. The album didn't have any hot political takes like the critic was expecting.
In perhaps the least shocking news ever (or maybe with pitchfork's weird love of the DBTs it is kind of surprising) Pitchfork doesn't really like Isbell's new album not so much for what he did do, but for what he didn't do.
"In 2015, Southern identity occupies the center of a number of heated debates, and few artists are better poised to comment on its complexities than Isbell. But race has never been a compelling issue for him, and while class underlies every one of his songs, he long ago stopped writing about it with much acuity. His approach has become internalized, rooted in a self-consciously literary first-person perspective. And while he's created strong work within these parameters, I still lament the lack of urgency to engage with anything too far beyond the reach of his customary stand-ins. Isbell once again shows the world through familiar eyes, but here it just feels like we've seen it all before."
Jason didn't write about what the dude wanted him to. The album didn't have any hot political takes like the critic was expecting.
I think the reviewer mistook him for Patterson. Isbell has had very songs that outright mention these "heated debates" of Southern life. Perhaps his most political song "Dress Blues" was so subtle a criticism that it gets mistaken as a pro-war support the troops anthem. Even "TVA" hardly touches on the politics of the issue and only the social fabric that exists around it. If you want in your face discussion about big Southern issues listen to Patterson, if you want stories that subtly touch on the social conditions that exist because of these issues listen to Isbell.
Post by FuzzyWarbles on Jul 14, 2015 21:40:07 GMT -5
Anyone else think the opening track on Something More Than Free was going to be complete rip off of the melody from Joe South's Games People Play during the first minute? I couldn't have been the only one.
In perhaps the least shocking news ever (or maybe with pitchfork's weird love of the DBTs it is kind of surprising) Pitchfork doesn't really like Isbell's new album not so much for what he did do, but for what he didn't do.
"In 2015, Southern identity occupies the center of a number of heated debates, and few artists are better poised to comment on its complexities than Isbell. But race has never been a compelling issue for him, and while class underlies every one of his songs, he long ago stopped writing about it with much acuity. His approach has become internalized, rooted in a self-consciously literary first-person perspective. And while he's created strong work within these parameters, I still lament the lack of urgency to engage with anything too far beyond the reach of his customary stand-ins. Isbell once again shows the world through familiar eyes, but here it just feels like we've seen it all before."
I love how much pride you take in Pitchfork panning stuff you like, especially since they've been starting praise boring bands more and more often.
In perhaps the least shocking news ever (or maybe with pitchfork's weird love of the DBTs it is kind of surprising) Pitchfork doesn't really like Isbell's new album not so much for what he did do, but for what he didn't do.
"In 2015, Southern identity occupies the center of a number of heated debates, and few artists are better poised to comment on its complexities than Isbell. But race has never been a compelling issue for him, and while class underlies every one of his songs, he long ago stopped writing about it with much acuity. His approach has become internalized, rooted in a self-consciously literary first-person perspective. And while he's created strong work within these parameters, I still lament the lack of urgency to engage with anything too far beyond the reach of his customary stand-ins. Isbell once again shows the world through familiar eyes, but here it just feels like we've seen it all before."
I love how much pride you take in Pitchfork panning stuff you like, especially since they've been starting praise boring bands more and more often.
They've still never touched Dawes. Seriously, search "Dawes" on Pitchfork and you get 0 results