The 2017 Voodoo Music & Arts Experience took place October 26-28, 2917 at City Park, New Orleans.
From the moment you get in line for Voodoo, you know you are not at your usual festival. Even the Friday before Halloween, about half the crowd is in some kind of costume. While only about twenty percent are in full-on well-executed costume, the rest have bothered to throw on a tutu and fishnets or at least sequin and glitter up their beards. The commitment to dressing up for a twelve-hour day that runs from afternoon sun through evening chill and the threat of rain is commendable.
This commitment to dress was evident with the first band of the day, Durand Jones and The Inspirations, who took the stage each one dressed in Batman masks and capes. Crooner Durand Jones, backed by a full band including horns, launched into “Make A Change” followed by “Can’t Keep My Cool” from their first full-length CD and had the light but steadily-drifting-in crowd enthralled. Early in the set, drummer Aaron Frazer, whipped off his mask and sang in his very high voice “Is It Any Wonder?” making one fan exclaim, “It sounds like Smokey (Robinson)”. This ensemble pays tribute to their predecessors and contributes to the soul revival. This is definitely a band to keep an eye on. Playing concurrently, NYC four-piece rockers Public Access TV pumped out straight up rock n roll and New Orleans rapper Alfred Banks kicked off the Le Plur Stage.
The next stop was to check out the food, two dozen stands with the usual mac-n-cheese, taco, BBQ, fries, and brats, but a many-cut-above take on festival food. And just to confirm you’re in New Orleans, alligator was prominently featured by many of the vendors. Both the gumbo and the catfish po-boy provided a solid base, and it was off to the craft brew tent which was ideally situated to check out the main Altar stage which kicked off with LA’s funky soul big band Chicano Batman with a very engaging set.
One of the best acts of the day was Flow Tribe. Taking the stage dressed as nuns, but in long sequined or brocaded robes and habits, this 6-piece funky big band caroused, backed by additional members on horns. Two members traded the frontman role as they delivered a high-energy set that comprises many genres, namely funk, R&B, and hip-hop with New Orleans rhythms. The energy on stage was rarely thwarted by the constricting robes and habits and gusty winds. Their cover of the Isley Brothers’ “Who’s That Lady” mashed with “I Know Myself” was phenomenal. Joined on stage by painter Alex Harvie, he not only completed his painting of the band during the set, he added appropriate fist pumps to the beat and took frequent breaks just to dance along to the raucous set. Flow Tribe ended with a heavy “Can’t Break It” that made it worth committing to their entire set.
Mondo Cozmo also deserved a full set as they hit most of the tracks from their excellent first CD Plastic Soul. Costumed as an all-female band, their anthem rock drew in the crowd from the first notes. The get-up provided an amusing distraction with writer/lead singer Josh Ostrander in a tight slinky dress, two band members in sun-dresses, the drummer in cream taffeta and the bass guitarist in a cherry red oversized hat and wig. The drummer’s long blonde wig got in the way of drumming and by the third song he had his Dodgers cap on, and a minute later the wig was discarded entirely. But the set showcased the brilliant music of writer/lead singer Josh Ostrander who was clearly having a great time bantering with the crowd “this is the best day of my life; I got to wear a dress.”, climbing and jumping off the drum kit, and presenting his musical creation backed by a full band. A highlight was title track “Plastic Soul” which he wrote for David Bowie, and the rest of the set just built from there as they closed with a stellar cover of The Verve’s “Bittersweet Symphony”, leading into first single “Shine” which is as powerful a song, if less known, and a U2-reminiscent “Automatic”. Catch this band next time they play in your town.
Catching Prophets of Rage meant missing The Afghan Whigs and losing out on front of the crowd placement for Kendrick Lamar, it but was the right choice. From their initial entrance on a dark stage with raised fists and sirens blaring, you knew Prophets of Rage were here to bring their political rock-rap. For one hour, they never let up, working the stage, trading off lead rapper and alternating between Public Enemy, Rage Against The Machine, Cypress Hill and their own songs, energizing the audience and preaching against police brutality and the current state of affairs, and for social consciousness. Tom Morello’s guitar was awesome and a visual delight as he worked the neck, spewed distorted yet melodic licks, and played the guitar plug at one point. Mid-set they honored Chris Cornell by saying “If you know this song, sing along. If not, say a prayer for peace.” and launched into Audioslave’s “Like a Stone”. As Prophets played, only the crowd sang. Powerful in yet another way. As the crowd tried to slip away to Kendrick Lamar, they launched into Rage songs “Bulls on Parade” and “Killing In The Name”.
But the crowds really got going for top bills LCD Soundsystem and Kendrick Lamar. Unfamiliar with LCD Soundsystem’s music, their expansive grooves were accessible. Front man James Murphy alternated between singing from a small platform front and center, and beating on drums, and the jumbotrons took video to the next level as they presented double images and artsy views, more like a backdrop than a standard live band video feed. Their politics were summed up by the ‘RESIST’ cut into Nancy Whang’s keyboard stand. Again, the beer tent provide a comfortable area to break from the crowd but still see the band and get quality sound (if you could work around the baseball fans surrounding two large TVs streaming the Astros-Dodgers world series game).
Kendrick Lamar was alone on stage yet commanded this huge space and had the crowd in his hand at his entrance. From the first rap “I got, I got, I got, I got” of “DNA.”, he had the entire crowd singing along. By the sixth song or so, he had the entire crowd responding to “Swimming Pools (Drank)” and kept them rapping every word through the rest of the set. Clearly the largest crowd on the night, it seemed that everyone was at this stage. Yet, elsewhere, the evening closed out with a sizeable crowd pulsating along with the beats of Galantis, a Swedish EDM duo immersed in a stage of smoke and lights.
The venue is spectacular in City Park. Lush and expansive, the Spanish moss hanging from the oak trees and the dramatic clouded sky contributed to the spooky feel. It took a while to get a feel for where everything was, but once you got your bearings, and used the Ferris Wheel and Brew Dat beer tent as beacons, it felt manageable. While trekking from stage to stage sometimes felt prohibitively far, the benefit was you never really felt crowded or closed in. Voodoo seems to have solved some of the problems that have plagued past years. There were virtually no lines. Despite a significant security check to enter, the line flowed and the crowd could get in before the music started. Even at peak dinner hours, you could base your food choice on what you wanted and not line length. The bars were everywhere and frequently begging for customers. And the bathrooms were plentiful flush portolets which seemed to be regularly cleaned. All these little things contributed to a pleasant festival experience.
Day 2
Day Two of the three-day Voodoo Music + Arts Experience dawned with a chill in the air, but at least the threatening rain had done its thing in the night. A quick change in outfit (or costume) was all that was needed to get out the door for the noon opening bands. A line-up change brought immediate confusion as the early crowd discovered that Crystal Castles had cancelled (there were allegations by one member against the other of this electronic duo) and the whole line up shifted and local second-line New Breed Brass Band was now on stage. Their first order of business was to honor the recently departed Fats Domino with their rendition of “I’m Walking”. Surprisingly, it was perhaps the first tribute to Fats at the festival. The other opener was Detroit-based Flint Eastwood, aka dynamo Jax Anderson, seemingly in costume in a black robe and big brimmed red hat with her long ginger hair in braids. She was on a mission to get the crowd moving cajoling them with “do it or I’ll punch you”. The 3-piece had a full sound with the addition of backing tracks. They soon had the crowd grooving with their infectious, edgy pop and brought the intensity up a level when she took out her braids and started flipping her hair and her body all over the stage.
Black Pistol Fire had a huge sound given that it’s just two guys – a guitar and a drum kit. From the moment they launched into the driving beat of “Lost Cause”, Kevin Mckeown was flying all over the stage and onto the amps and into the crowd. A shirtless, drumming Eric Owen, began hammering and never relented for the hour-long set. With seamless segues between the songs, there was barely a half beat rest before they launched into “Hipster Shakes” and a killer version of Fleetwood Mac’s “Oh Well” and then, without warning, Mckeown was across the pit and onto the amps. Every song was spot on; and just when you thought they had just only one (albeit big and awesome) sound, they hit with a completely different, extra heavy version of “Suffocation Blues”. And then without pausing to breathe, Mckeown whipped out his Gibson for the dripping blues of “Speak of the Devil”. When Black Pistol Fire finally got to their closer, an extended version of “Bully” with Mckeown endlessly screaming “Tell Me When You’ve Had Enough” and the distortion hits its peak, all you could do was scream back “Never!” and wish they’d extend the song another twenty minutes.
Another superior set was alt pop/hip hop K. Flay on the Wisner stage. Once she took the stage, she was pacing, singing and rapping her way through stellar songs, many from her new album Every Where Is Some Where. Every track delivered and lessened the pain of having to miss The Record Company on the South Course stage. Other solids acts were Tennessee rockers Colony House and the stage presence of singer Ty Taylor of R&B band Vintage Trouble. Late in the set, Taylor climbed into the audience and sang through the throng to climb the sound board and finish the song, only to then paddle over the crowd back up to the front to do a forward flip into the photo pit and climb back on stage. It was both unexpected and chaotic enough to cause one fan to wonder “Do you think he’s ok?” But all’s well that ends well, as the entire band, including their local horn section, climbed over the barriers into the crowd to end the set. The Black Angels closed out the Wisner stage with an excellent array of heavy psychedelic rock on a dark stage occasionally lit by strobes or dark colored lighting.
The Altar Stage, the main stage, hosted three huge bands – Live, Brand New and Foo Fighters – each with an older and totally enthused and ready to sing audience. Live, reunited after eight years, delivered a decent set surprisingly full of songs that just about everyone knew before closing with their mega-hit “Lightning Crashes”. In tribute to Chris Cornell, they played Audioslave’s “I Am the Highway” that also had the crowd singing along. Emo/alternative rockers Brand New also had the crowd singing every word to every song with their hard rock sound. Even though they just released a new album, Science Fiction, they are threatening break up.
Foo Fighters were a huge disappointment to everyone except for the thousands of fans who packed the field for the headliner. After the energy and authenticity of many of the earlier bands, watching Dave Grohl act the rock star, scream his lyrics, whip his hair around, climb the drum platform, ad nauseam, was unbearable. Every song had a dramatic but unnecessary pause about three-quarters of the way through. And Grohl good naturedly grumbled about only “getting fucking an hour and a half instead of 3 hours to play” and that he’d just have to stop talking and play, but then proceeded to talk….about nothing. Unfortunately the insufferable “My Hero” streamed all over the like-minded exiting festers off to their Halloween parties.
Day 3
Sunday was perfect festival weather. Sunny, clear and the precise temp to be comfortable whether in a skimpy get-up, a pair of jeans or full-on costume with face painting. Despite trying to get in for Church – New Orleans’ underground dubstep and bass weekly – day three festival legs prevented an on-time arrival. Luckily the drop-out of hip-hop singer-songwriter Sam Dew left an early slot unfilled, and there was only one other early band to check out – French indie rock pop band La Femme. Alternating lead, they delivered an engaging set despite my not knowing their music or remembering my French and were a nice start to the day along with a delicious breakfast of BBQ Shrimp and Grits, a New Orleans classic.
Ron Gallo then provided what might get my vote for best artist of Voodoo. Backed by RG3, that is bassist Joe Bisirri and drummer Dylan Sevey, the set started with a heavy techno beat as they propelled into an extended intro eventually leading to “Medicine Man” and never let up until a killer, dare I say better than the original, version of The Beatles’ “Helter Skelter”. With punk attitude, guitar phenom riffs and moves, an energetic stage presence, and fantastic songs, you strain to simultaneously catch the lyrics, follow the antics of both Gallo and Bisirri, and feel the music. Reminiscent of if Neil Young had gone electric and distorted earlier in his career and with the word perfect poetry of Patti Smith, Gallo’s songs have the angry energy and droll observations on the conformity and all things lacking in today’s society and music. Whether they were swapping out drummers (or were they playing ‘duck, duck, goose’?), playing bass while writhing on the floor or riding a skateboard around the stage still playing guitar, the music was driving, and Ron Gallo had something to say. Their raw vitality was fantastic. And this was all during broad daylight. Download Heavy Meta and get yourself to their next show!
The line up on the three rock-oriented stages continued strong. Strand of Oaks, whose frontman Timothy Showalter was completely hung over during his early mini-set in the Toyota Music Den, was revived by his full time slot on the South Course stage and delivered a solid performance of expansive guitar-oriented rock. Engaging sets of upbeat musical rock by Cold War Kids and full band soul by the British James Hunter Six unfortunately left little time for the EDM of the Le Plur stage, but I was able to slip over there for a few quick dances with the Ninja Turtles, fish-net stockinged co-eds and other costumed youth who all sported their Camelbak hydration packs to the pulse of G. Jones. When a full wallet got tossed high in the air, it was time to move on.
As the crowd was building for rapper Amine, Voodoo provided a lagniappe of music when Kinfolk Brass Band second-lined out of a “Port-a-John” opening in the backstage fence followed by a few costumed dinosaurs. They took a quick stroll through the back of the crowd waiting for Amine picking up a few more paraders before disappearing back into the portalet door.
The last day of a festival always brings a few regrets. Like never getting to try the Krispy Kreme bread pudding. Or the limited time at Le Plur due to strong line ups on the three other stages, the convenience and central location of the Brew Dat beer tent, a wide variety of activities, food and crafts plus the extra 7 minute walk to the that stage which impinged on the ability to pop over for a song or set or two; and one of the joys of festivals is checking out unfamiliar music. In addition to the last minute cancellations, the death of Charles Bradley a month earlier resulted in true loss in the line up. While Durand Jones, Chicano Batman, James Hunter Six and Vintage Trouble tried to fill this void, they lacked the power or perhaps just familiarity that Bradley and His Extraordinaires had. But the biggest regret without a doubt had to be spending any time in and around the set of Post Malone. Virtually every element of his set was a sad commentary on life. From the moment the side of the stage filled with strippers and other hangers-on twerking and taking selfies to the DJ stand that was a dive bar strewn with bras and the DJ’s lame 10 minute intro to the rail packed with 15-year-old girls chanting “Fuck that Bitch” after Post Malone intro-ed a song about a women that broke his heart, there was little to like. Once Post Malone took the stage with constant stage banter about drinking and drugs, lame crooning and barely adequate guitar, his set was but a parody of a SNL skit gone on too long.
Luckily, The Killers were the closer on the Altar stage, and their upbeat anthem rock helped to undo the negativity that closed Wisner. From the moment they piped in Fats Domino’s “Walking to New Orleans”, they were everything you could want in a headliner – good songwriting, hit after hit with some new material and good covers sprinkled in, a dramatic set and lighting, glitter and confetti, fireworks, back-up singers, good looks and danceable rock. After dispensing with an adequate version of their first and biggest hit “Mr. Brightside”, they played a solid 14-song set with 3 encores. Late in the set they again honored Fats with a rendition of “Ain’t It a Shame” with the Dirty Dozen Brass Band who stayed on for “Bones”. Closing with “All These Things That I’ve Done”, they briefly left the stage before returning for Joy Division’s “Shadowplay”, “Jenny Was Friend of Mine” and “When You Were Young” with the drummer in a King Kong costume and fireworks over the stage. A wonderful end to a successful festival.
