While the general consensus may be that solo concert-going is unpleasant, McDowell Mountain Music Festival is the reason I beg to differ.
Disclaimer: I draw energy from large crowds of strangers and friends alike. Still, the nonprofit event was impressive and it is quickly rising in national relevance, drawing increasingly famous bands to perform for wonderful causes — right in Margaret T. Hance Park.
As MMMF 2015 blasted music into the air from early afternoon to late night on March 27 to 29, only one question could be asked: Could downtown music get any better?
Day One
Admittedly, my bias was mostly directed toward Passion Pit at the start of MMMF, but my appreciation for the band failed to keep other musicians from trumping their performance.
Though Passion Pit reached my expectations, providing upbeat performances, including that of the necessary classic, “Take a Walk,” it was Portugal. The Man that pleased me more than I anticipated. Vocalist John Gourley never swayed away from his impressive pitch. The band ended with a beautiful performance of “Sleep Forever,” intertwined with the sweet melodies of The Beatles’ “Hey Jude.”
The assignment of The Senators to the relatively minute local stage didn’t stop the band from leaving an enormous impression on me, in all the best ways. Perhaps it was mostly because the band provided a mellower, happy-go-lucky alternative to preceding acts, but either way, the group shined with a brilliant selection of songs, audience-oriented commentary, and strength in voice and trumpet.
Although I typically avoid electronic genres, I was delighted to see Robert DeLong, an energetic performer of synthesized rock, and Slow Magic. The latter musician brought an entrancing set, though more for his mysterious mask and enchanting performance style than the music itself.
Another notable band was The Hourglass Cats, a local band the opened the festival on the main stage. Even with a smaller crowd, the group delivered a lively performance of reggae-inspired music — a wonderful set that convinced me to dive deeper into their music.
Day Two
Half the reason I value the second day of this year’s MMMF lies in one band alone: Trombone Shorty & Orleans Avenue.
The group personified culture through music that exploded past Hance Park. Taking the audience on a journey through New Orleans, the band incorporated elements of jazz, including a skillfully played baritone saxophone, into a dynamic multi-genre performance of originals and instrumental covers. Trombone Shorty & Orleans Avenue’s set concluded with a memorable finale — the entirety of the band playing one drum set — proving the band worthy of headlining any music festival, despite their early evening placement.
The official headliner for the day was the perfect wrap-up to a wonderful night. Thievery Corporation continued the cultural journey with a variety of talented vocalists representing different genres and backgrounds. Naturally, this diversity made the band the most entertaining headliner, as they provided a less predictable, exciting two hours to end the night.
On the local side of the day, Playboy Manbaby was the act to contend with. The band was fun, passionate and eccentric in the sense that all local musicians should be. With their interactive performance, the crowd happily joined into a sing-along, creating an entertaining atmosphere of audience members chanting about Cadillac cars and f-bombs.
Though most acts were notable on day two, a couple other performances I particularly enjoyed came from Real Estate, for the band’s virtually flawless indie melodies, and Ryan Bingham, a set that displayed guitar skills and raw voices of true rock stars.
Day Three
The final day of MMMF was one for local artists to shine. Even weighed against the harmonies of Trampled by Turtles’ folk set, beautifully gritty in-the-pit performances by David Shaw of The Revivalists (my favorite main stagers of the day), and a crowd-pleasing jam band wrap-up by Widespread Panic, bands on the local stage struck me as magnificently impressive, vastly surpassing my expectations.
Drum circles aside, Sunday’s local stage opened with Sister Lip’s fierce rocker girl attitude, with vocalist Cassidy Hilgers utilizing raw, sultry tones and sexual references.
A few hours later, The Haymarket Squares paraded over any low expectations of smaller bands by introducing the crowd to punk-inspired bluegrass songs with full harmonies and the catchy tunes of “Let’s Start a Riot.” The band’s finale, in which it went acoustic to perform in the crowd, was only a part of what set the group next to Playboy Manbaby and The Senators as my picks for top local acts.
The last local act, Captain Squeegee, reminded me of my pre-teen days that birthed my love for music. The band was active and passionate, making for a wonderful local closer.
If anything was to change about MMMF, I would hope it would be the extent to which the festival was main stage-centric. Some local acts will continue to trump main stage acts, but with emcees, videographers and the loudest amplifiers centered at the large stage, many will never delve deeper into the unique splendor of downtown musicians.
Contact the columnist at Emily.Liu@asu.edu
