As the teeming, days-long, record-breaking rain subsided to drizzly heavy gray skies on Saturday morning, the Sound on Sound team was still at it on September 30th. Probably now working off Plan Z figuring out how to be able to stage the second-year Sound on Sound festival in the boggy fields of Seaside Park in Bridgeport CT.
A delayed opening from noon to 2:45 pm, probably more than a few Festers deciding to show late, and a hard-working grounds crew did the trick, and Connecticut’s own Deep Banana Blackout, now the festival opener, hit the stage at just a few minutes past their 3:15 set time. Guitarist James ‘Fuzz’ San Giovanni wailed and singer Jen Durkin spun her long blonde locks around as this eight-piece band brought their 25 years of funkiness to the stage and the festival started to fill.
Of course, there was some disappointment as five bands were canceled (eight-piece soul-rockers Julai and the Serotones, singer-songwriter Kiernan Rhodes, up-and-coming Briscoe, the dance party that is Sammy Rae & The Friends, and venerable reggae masters Steel Pulse.) Julai and the Serotones aced an alternative and quickly organized a pop-up free show nearby at Park City Music Hall at noon.
There were a few brief sprinkles of rain but the sun was beginning to peak through the thick clouds by the time Joy Oladokun hit the stage. A singer-songwriter with strong and diverse roots in rock, she is steadily getting more recognition, opening for John Mayer and Noah Kahan and sitting in with Brandi Carlile, supporting her second album Proof of Life. She introduced each of her nine songs giving the audience a bit more insight into her influences and writing process.
During her set she sampled Joan Osborne’s “One of Us” and The Temptations’ “My Girl”, covered Elton John’s “Rocket Man” and wore a Nirvana t-shirt; she bantered that her 5th song, “If You Got A Problem”, is essentially a Bill Withers song. She was supported by another guitarist, drums, and bass except when she played solo for her newest release “Sweet Symphony”. With very brief 10-minute breaks between sets (due to an extremely useful rotating stage that could load in and out quickly), Lord Huron was up next and as they began to rock out mid-set, the crowd had filled in, it was clear the rain was gone, and suddenly it just felt like it was a festival.
Nathaniel Rateliff & The Night Sweats kept the energy high commanding his powerful and large band and the Trey Anastasio Band rounded out the short day which was capped by Red Hot Chili Peppers. Anastasio was playing their first show since the death of saxophonist James Casey in late August. Though he was a bit horse, his eight-piece band was helped out immensely by the all-female horn-playing backup singers anchored by Jennifer Hartswick and the incomparable percussion of Cyro Baptista who seemed to have an “instrument” for every sound imaginable. Phish’s ballad “A Life Beyond The Dream” was particularly stellar. As Anastasio ended his set by creating feedback with his guitar, it was a perfect segue to Saturday’s closer RHCP.
Red Hot Chili Peppers brought a loose set but hard sound to the stage and most of the time the band seemed to be enjoying playing and each other. The excellent festival sound was ideal as their powerful music filled you without crushing your chest and certainly made it to every corner of the festival.
Drummer Chad Smith, guitarist John Frusciante, and Flea kicked off with a long intro (with Flea coming on stage walking on his hands before using them for his bass) and were later joined by singer Anthony Kiedis and launched into “Can’t Stop”. They ran through a few classics including “Scar Tissue”, “Dani California” and “Soul to Squeeze” until Kiedis suggested they slow it down and Flea responded with a monster bass line lead to “Me & My Friends”; I guess that was a no. Their shows have varied during this tour, they have so many songs, and I heard some grumbles, but what can one do with a 14-song set and a mere 75 minutes? Others complained that Kiedis was slurring through “Californication” but chances are the crowd was so pumped, that few noticed.
While Flea stayed fully clothed, not even removing his bright green beanie, he covered every inch of the stage, tuck jumped repeatedly (including close to a dozen during the encore), played on top of the amps, and banged the shit out of his bass. He also brought out his signature purple LA Lakers bass for one song. Kiedis spun around the stage, despite his foot being in a boot. Frusciante provided a calm look but a monster guitar, and Smith held down the stage on drums, looking like he was having the time of his life (though giving his bandmate side-eye a few times). After a short exit, they re-entered for a two-song encore of “I Could Have Lied” straight into an excellent “Give It Away”. Fantastic ending to a salvaged Day One.
Sunday morning, most of the Northeast awoke to their first blue skies in almost two weeks and while locals were predicting massive crowds, the festival still never felt overwhelming. Philly brass band Snacktime kicked off the day followed by an excellent set by Austin singer-songwriter Calder Allen. (He’s playing through late November, go see him.) The music continued non-stop and covered virtually all genres of rock from 90s hitmasters Gin Blossoms to modern songwriter Cautious Clay to today’s rising stars Mt. Joy to indie rockers Dispatch who brought the opener, brass band Snacktime, in for their final song. Each set was worthy of a write-up but a few sets stood out.
Margo Price (and the Pricetags, her five-piece band) continues to deliver every time. Defying classification between country and rock, she sings highly personal songs with some country stylings but when she hops behind the drum kit or her guitarists extend the song, it’s up there with a Neil Young & Crazy Horse jam. Once she hit her second song, “Letting Me Down”, she was not letting up nor were the guitars. Not impressed by the empty space up front, Price encouraged the fans to hop the fence and get closer. Mt. Joy delivered a strong set as well; their sets get better with each performance as their fan base explodes.
A personal fave set was Ben Harper & The Innocent Criminals. While most of the acts had highly imaginative video backing their performance enhancing the experience, Harper had a simple green and red bullseye on the backscreen and let his music do the talking. He kicked off his set joined by his four musicians for acapella “Below Sea Level” from his recent Bloodline Maintenance album.
Always a gracious collaborator, he credited his backing musicians, noting they each had the better voices. Next up was “Diamonds on the Inside” and “Mama’s Trippin’” and then Harper pulled out his lap steel guitar. Noting that he typically played too close to the album version, he was going to stretch it out saying “What Would Aretha Do?” And as it waded into “Faded”, he started to shred on his lap steel (to the point of literally shredding his finger) and the rest of the band sat down on stage to enjoy though eventually rejoined Harper to elevate the song even further. He rounded out the set with “Steal My Kisses” (humble enough to start again when he messed it up) and “With My Own Two Hands”.
But the crowds were there to see Hozier. Or was it Alanis Morissette? No, it was John Mayer. Each seemed to have a distinct set of fanatical followers willing to call out requests, crowd the rail hold up signs, and sing along to every word. There is no chance any of them were disappointed.
Hozier’s twelve-song set drew from each of his three albums. He kicked off with “De Delby (Part 2)” from his new release Unreal Unearth. The heavy “To Be Alone” was particularly stellar as was “Cherry Wine” performed solo with a red moon sky scene ever glowing and changing on the backscreen. His backing band of eight, each of whom had a mic to sing backup, elevated the songs as each was multi-instrumentalist. So, whether more guitars, some strings, a B3 organ, or just some rhythmic clapping was needed, it could be done. He of course closed the set with a crowd-pleasing rendition of “Take Me To Church” that went far beyond the studio version.
Alanis Morissette kicked off her set with a lengthy video intro as if anyone needed to be reminded of how 1995’s Jagged Little Pill was ingrained in pop culture. She then launched into “All I Really Want” and the crowd was swaying arm in arm and singing along. The set had sound issues at the beginning but, luckily, they were worked out but the crowd was singing every word anyway. Her final song, “Thank U” featured messages from fans who Morissette had helped over the years with her music. #ThankYouJLP25
As the evening led up to headliner John Mayer, festers were still in light clothing enjoying the warm air of a fall evening, but a choice had to be made – stay to catch all of Mayer’s set or get a jump on getting out of the parking area. Those who stayed were rewarded with a very personal, chatty, excellent show by Connecticut’s own John Mayer. He even had a treat for the photographers in the photo pit who had been thwarted all weekend by the extraordinarily high stage. Noting their plight midway through his second song, “Who Says”, he volunteered to help and moved out front to repeat the guitar solo, quipping “I hope this picture will make the front of the [Connecticut] Post.” He took two fan requests – “Drone Shot of My Yacht” mid-set and “3×5” during the encore. He closed with Petty’s “Free Fallin’”
Marred by major planning errors in their inaugural year, many of which should have been anticipated, Sound on Sound was committed to making their second year a resounding success, and this was mostly achieved. The entire venue was moved within Seaside Park and felt much more spacious without feeling overly big. Moving to just one large stage, where all the music was staged, allowed organizers to focus on great sound, the festival experience, and logistics, and honestly made for a much easier festival even for the viewer, as there were no choices to be made.
SOS had offered anyone who bought tickets last year the opportunity to upgrade to GA+ for the price of GA in an effort to keep this festival on the locals’ radar, and GA+ got you closer access and a lounge area. Clearly, a lot of effort was put into the VIP experience which was exceptional with an expansive lounge area, a beachfront lounge complete with cheaper drinks, beachfires, and s’mores, and the first 30 yards in front of the stage which was never even close to crowded. Unfortunately, their extensive viewing area pushed GA+ back about 40 yards from the stage and GA another 20 yards back which seemed a crime given how much empty space remained to the sides of the stage.
If Sound on Sound can keep delivering the lineups they have over the past two years, and continue to work out the kinks, this will definitely a festival to add to your Fall schedule.
