Reviews

Jazz Fest 2013: Notes from the Field and Photos

Kate Russell
Photos: Annie Pennell

New Orleans' greatest festival turned into a music-filled swamp during the two weekends of Jazz Fest 2013. It was dirty, smelly and sonically delicious -- exactly the way Jazz Fest should be.

Jazz Fest 2013

City: New Orleans, LA
Venue: The New Orleans Fairgrounds
Date: 2013-05-05

What will Jazz Fest 2013 be remembered for? The reunion of Fleetwood Mac? The all-encompassing mud? Trombone Shorty’s victorious closing set at the Acura mainstage? Aaron Neville’s solo closing performance?

Jazz Fest is a unique experience any year, a time of year when musicians return home and gig day and night. 2013 was no exception. From street performers slapping buckets to the Funky Meters on a corporate-sponsored stage, sound vibrated throughout pocked streets and shotgun houses. Whether you spent the day at the Fairgrounds, where the festival is located, or chose to attend the many after-parties and late night jams on Frenchmen Street and music clubs, you couldn’t lose. You were surrounded by music.

There’s no way to cover all of Jazz Fest. PopMatters knows that. We’re not going to attempt that. Instead, we’re including an interviews with the legendary Aaron Neville and frequent Jazz Fest performer Domingo "Sonny" from Widespread Panic. Additionally, there’s an amazing, vibrant photo gallery from PopMatters’ photographer Annie Pennell. And finally, there’s my humble little blurb about the stars of Jazz Fest 2013: the mud and Trombone Shorty. Stay tuned for additional features the rest of the week.

JAZZ FEST 2013 IMAGE GALLERY

* * *

I’m at Phoenix’s live show while practically huffing the ripe scent of feces.

“The carb is his asshole,” I overhear one Jazz Fest attendee explain to another. The owner of the bowl -- a piece of glass carefully blown into an elephant shape -- is knee deep in the thick, slurpy mud. The mud isn’t just dirt. It’s also horseshit. Welcome to Jazz Fest at the Fairgrounds.

Jazz Fest 2013 is a messy, dirty affair. That’s a refreshing thing when we consider how much more commercialized Jazz Fest is today than it was 20 years ago. In this Jazz Fest world of $7 beers and $65 tickets, it’s refreshing to see people slip around in what has transformed from a well-kept racetrack into a 145-acre swamp that stinks like a stable. No matter how much money you paid for your tickets, you are going to get dirty.

I eat gumbo from Lil Dizzy’s and sit back for the show. No, not the one onstage -- the much more humorous escapades at the VIP entrance of the Acura stage. VIP-goers confront a severe ditch -- the VIP entrance on one side, their optimum stage-front viewing area on the other. Alarmed and unprepared women in maxi dresses and wedges teeter on the precipice. One inspired fashionista wraps her legs in garbage bags, fashionably tied just above the knee. I dub the creation Jazz Fest Thigh Highs.

Other loyal fans not only stood in the muck, they rolled in it. Dave Matthews’ fans showed the most pluck. The downpour that really doomed Jazz Fest to turn into Mudfest 2013 occurred during his set. Widespread Panic’s fans also did incredibly “well,” slipping in the mud and even losing their pants.

“I never think about not goin’ to Jazz Fest,” one wise Jazz Fester says, a tall man with gray hair from Alabama. The closest he ever came to missing a Jazz Fest was a few years ago, when he felt sick during the drive from Alabama to New Orleans. He pulled over in Pearl River, figuring he’d pass out, but then he put on WWOZ (a New Orleans’ radio station). “I knew I had to go. So I got a drink from the wet bar in the trunk, and kept on riding.”

Besides the mud, the biggest Jazz Fest story of 2013 is Trombone Shorty’s performance. In the festival’s 44 years, local bands historically finish the festival. For the past two decades, one of those bands has been the Neville Brothers (except in Katrina’s aftermath). But this year, Trombone Shorty plays the closing set for the first time. It’s a radiant show that cements the rise of New Orleans’ next great musician and bids goodbye to the Neville Brothers.

On Sunday afternoon, 27-year-old Trombone Shorty (real name Troy Andrews) takes the stage with his superb band, Orleans Avenue. They launch into a funky set that’s a joyous blend of Andrews’ multi-instrumental solos and lively tracks from his last albums. Shorty later describes the set as “emotional” in an NPR interview, and the crowd, which stretches from the stage to the back-fences, feel it in his horn. AP quotes his close friend Aaron Neville (formerly of the Neville Brothers): “I remember when it was Professor Longhair out there and then we did it for a long time. It’s time. Slim is a big musician and I’m proud of the way he’s handled himself.”

During his last song, “Do to Me”, Andrews parades into the audience. He raises his horn above his head. Victory.

JAZZ FEST 2013 FULL IMAGE GALLERY

SELECTED IMAGES

Anders Osborne

BB King

Better Than Ezra

Calexico

Dave Matthews Band

Earth Wind and Fire

Gary Clark Jr.

Irma Thomas

John Mayer

Maroon 5

The Black Keys

The Neville Brothers

The Soul Rebels

Trombone Shorty

Willie Nelson

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

This week on our games podcast, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

This week, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

Keep reading... Show less

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less
3

Gabin's Maigret lets everyone else emote, sometimes hysterically, until he vents his own anger in the final revelations.

France's most celebrated home-grown detective character is Georges Simenon's Inspector Jules Maigret, an aging Paris homicide detective who, phlegmatically and unflappably, tracks down murderers to their lairs at the center of the human heart. He's invariably icon-ified as a shadowy figure smoking an eternal pipe, less fancy than Sherlock Holmes' curvy calabash but getting the job done in its laconic, unpretentious, middle-class manner.

Keep reading... Show less
5
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image