Filling in the blank on Forecastle 2014

by Matt Miller, Graham Benson & Rusty Odom

!port stage with boat sliips — These photos were captured by Matt Miller.

Forecastle is the best festival of its size.

In fact, it may even be the best festival of any size.

I’d been hearing for years about Forecastle and how glorious it was but I had never been able to attend.

Well the stars aligned this go-round and through some good fortune and a lineup that couldn’t be ignored, it was time for me to make the four-hour trip from Knoxville.

BLANK has covered this fest, also pronounced fowk-sul and named after the forward-most part of the upper deck of a sailing ship, for the last handful of years, but it was my maiden voyage. And after just one year, I can firmly say that this ship will sail to Waterfront Park in Louisville every July for the foreseeable future.

It all started with Forecastle creator JK McKnight and a handful of bands (six to be exact), a couple of which he may have even played in that first year.

The festival has gone from McKnight loading gear in and out of his parents’ house to what Outside Magazine and now, the lesser-known BLANK Newspaper call the best festival in the region. And the kicker is, well actually, there are several kickers, each as important as the music itself.

First off, there’s the Bourbon Lodge, complete with an array of small batches and single barrels from a myriad of bourbon makers. It’s unlike anything at any festival I’ve ever been to and something that McKnight referred to in an interview we did with him a few years ago as the “Fourth Headliner.” And then there’s Mcknight himself, who is as appreciative and grounded as any promoter I’ve ever talked to on any level. I mean, I’ve met people who throw bass shows in dungeons that no one shows up to who had a bigger ego than McKnight. He’s the kind of guy you want to root for. That’s what I’m saying.

And there’s the proximity. Oh the proximity.

The layout of this festival, which was arranged differently this year according to more tenured attendees than myself, was near perfect in 2014. If anyone that handles that sort of thing is reading this, I’m saying hi. And thanks.

It took a total of four easy minutes to get from one end of the festival grounds to the other and the sound bleed was only present if you didn’t care to find the right spot.

Then there’s the city of Lousiville. Each night the Galt House seemed to become festival headquarters for the movers and shakers of the music industry in attendance. I personally met some new folks whom I’d only known through email since BLANK started seven years ago on the opening night of the festival. Then the following night I had bourbon with my favorite couple that I’ve met through the music biz. If you’re reading this, Crissa and Billy Jack, I’m saying hi. Also thanks.

And the music…I’d never been to a festival where I enjoyed all of the headliners until Forecastle 2014. That was always strange to me, but I guess I just need to move on now, because not only did the headliners top my list, my top four shows of the weekend were the top four acts listed on the poster. So if anyone from Beck, Outkast, Jack White or The Replacements is reading this, I’m saying hi.

– RO

Friday

Midday Highlight

Gary Clark Jr.

Gary Clark Jr. seems to be everywhere. After performing at almost every major U.S. festival in the past 2 years, there is no doubt that he is one of the most well-known, newer blues artists touring today. His modern blend of blues and rock brings a fresh breath to blues music, notable in his opening song, “Next Door Neighbor Blues”, where his powerful guitar riffs and soulful vocals seemed to carry far beyond the main stage area. The most unique aspect of Clark Jr. is his guitar style, both technical and loose, with influences from the Mississippi Delta to Chicago and beyond. Along with flawless covers of Robert Petway’s “Catfish Blues” and Albert Collins’ “If Trouble Was Money”, Gary Clark Jr. continues to win over longtime blues fanatics and gain the interest of those unfamiliar, which has become a rare occurrence in modern blues music.

– MM

Under the Overpass

Nightmares on Wax (Live)

It’s been 25 years since England’s George Evelyn began as Nightmares on Wax, serving as an innovator of ‘trip-hop’, a more experimental breakbeat style spanning genres. In the middle of a rare United States tour (and even rarer live band version), NOW took the Ocean Stage by storm on Friday evening, starting off our festival in great fashion. Evelyn’s compositions are perfect for live instrumentation, as tracks such as “195 lbs.” and “You Wish” have a new level of energy with live drums and vocals. Evelyn proved long ago he is an exceptional electronic music composer, but he’s a performer as well, fully utilizing the versatility that comes with touring with other musicians. He is a legend in his own right, and the veteran of electronic, trip-hop got that message across.

-MM

Sunset Show

Spoon

Forming in 1993, Spoon has experimented in discovering just what style of rock and roll they truly are. More than 20 years later, the answer is evident; they are a rock and roll band. The opening songs, “Rent I Pay” and “Don’t You Evah” may have been the best two-song punch of the festival, displaying their true stylistic talents alongside catchy rhythms. The electronic-influenced “Who Makes Your Money” soon followed, and it was apparent this deep crowd was here to stay.

Britt Daniel’s voice translates well into a live setting, and the band’s onstage energy matches throughout. Spoon’s set was filled with songs spanning their entire career, including the lesser-known favorite “The Beast and Dragon, Adored” and the encore highlight, 1998’s “Metal Detektor”. Variety and organization in a setlist is not an easy task, but Spoon’s collection allows it, and they know how to execute it. Simply put, this was a great rock set, from a seasoned rock band.

– MM

Headliner

Outkast

Forever doesn’t seem that long until you’re grown

After having Outkast at the top of my musical bucket list going in to 2014, I can now say that I’ve seen my favorite rap duo, well, my favorite rap anything, actually, possibly my favorite band ever, twice over the last two months.

But it took a long time for this fantasy to become reality. And with no plans of a new album, the reunion wasn’t likely in my mind. Then came the news, and even though we’re all a bit older, I was about as happy as I get for an act.

From that first somewhat-awkward set at Coachella that I watched from my computer at home to the Hangout set where I was able to finally sing along, Outkast had gotten much more comfortable. Two months and a handful of festival gigs later, I wondered if the same progression would be noticeable at Forecastle.

A light mist sprayed in front of the duo throughout most of the set, which looked more like snow on the two jumbo screens that banked each side of the stage. It was overcast all weekend (with the exception of some mid-Sunday heat) but the rain never really laid it down after some early Friday showers. The mist became a pleasant detail in what was a much tighter Outkast show than the one we saw two months prior on the beach in Gulf Shores, Alabama. Going in to the show, with the knowledge that ATL’s finest had pretty much fashioned a setlist that they were comfortable with, I was a little nervous that I had already seen everything that would happen. While the setlists from the two shows we saw seemed identical on paper, there was no doubt it was better the second time around. Having another couple of months on the road had indeed tightened the band, all the way from the horns to Andre 3000. Plus we knew to go hit the stalls during Andre’s two-song slow-down session (it’s somewhat of a halftime show before the second half of the set explodes with “Hey Ya”).

Each album was again well represented aside from the soundtrack album for “Idlewild.”

“Southernplayalisticcadillacfunkymusik,” ”ATLiens,” “Aquemini,” “Stankonia,” and the double album each had a handful of appearances. Those who only knew the hits were happy and the diehards like myself were in Heaven, but most of the time it was hard to tell the two listeners apart.

A few lucky fans in the crowd shouted “Roses” alongside My Morning Jacket frontman and Louisville native Jim James, while others shared moves with rose-colored glasses wearing Gillian Welch and Dave Rawlings, whose valour jacket and cowboy hat were right at home in the most diverse crowd of the weekend.

While it’s always fun to see famous folks you admire having a good time, this dancing musical trio really exemplifies what Outkast has been able to do with this tour. They have something for everyone and when that something is played, the crowd goes wild, as if Holyfield had just won the fight.

– RO

Saturday

Under the Overpass

Young & Sick

It had to be the most soothing music ever played directly underneath interstate 64. I mean, if you like 90’s R&B, or current indie pop, you’re gonna love Young & Sick. It’s the L.A. based music and art project from the mind of Dutch artist Nick Van Hofwegen, and not only does this cat have a set of pipes that would make Tevin Campbell raise his eyebrows, he has designed some of the more popular album covers over the last few years. His work on Robin Thicke’s Blurred Lines cover marked the 4^th consecutive album he designed to make it to the top of the Billboard Charts. He seems like good luck, and his music is easy to digest, no matter the setting. Look for more from Young & Sick both on and off the stage.

– RO