The decade-old Music Fest Northwest, promising every year to be bigger and better, grew a day since 2009 (QRO recap), to become a five-day citywide extravaganza for 2010. While there are more days to take a shower with your festival wristband, the 2010 lineup lacks the cornucopia of choice-y acts, and the international flavor of its previous year. Everyone wants to see The National (QRO spotlight on). The last minute addition of The Smashing Pumpkins (QRO live review at a festival), added the much need spice to its mediocre stew. Other than few sure bets like Ra Ra Riot (QRO spotlight on), Okkervil River (see below), Akron/Family (QRO photos), etc., this year’s MFNW is big on Northwest. Which isn’t necessarily a bad thing, since this region has produced some of the finest acts in recent music history. But for Portland resident, it’d be nice to catch bands that one doesn’t have the luxury to see every few months.
The third day of the festival turned out to be the longest and busiest. My day started ‘early’, little after 4pm, at the Wonder Ballroom in north Portland. The sun was casting full shadows, and you could finally show off your designer shades. Like the day before, Ice Cream Man van was parked at the entrance, waiting for the over-heated victims of poorly ventilated venue, and people in costumes, looking to convert the non-voters.
While I waited for the entrance of U.K. punk band, Male Bonding, my young neighbors provided countless dollar store entertainments. One group argued whether Portland had more guys that were better looking than girls. Another group complained about their buddy’s girlfriend; how she is so lame, and they feel sorry for him… But the most ridiculous side entertainment came from a very young couple in front of me. They were in some kind of trance. With eyes locked, the teens slowly caressed each other. Every time I scanned the room, and my field of view came upon the couple, I cringed – too much PDA! It really didn’t help that Male Bonding started about 20 minutes late.
-Autumn Andel
Male Bonding @ Wonder Ballroom
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With their critically well received, debut album, Nothing Hurts (QRO review), under their belt, the trio were in high spirits. During their amphetamine-fueled noise pop set, three things caught my attention. Singer/bassist 
Kevin Hendrick shuffles his feet like no other. Drummer Robin Silas Christian bangs his drums so hard that his eyes roll back at times. And guitarist/singer John Arthur Webb seeks every opportunity to take a seep of his beer. If Male Bonding couldn’t break the trance of the puppy love infected couple, I don’t know what could.
-Autumn Andel
Surfer Blood @ Wonder Ballroom
Click here for photos of Surfer Blood at 2010 Siren Music Festival on Coney Island in Brooklyn, NY in the QRO Photo Gallery Click here for photos of Surfer Blood at Grand Central – Poplife 11 in Miami, FL on June 12th, 2010 in the QRO Photo Gallery Click here for photos of Surfer Blood at Mercury Lounge in New York, NY on February 28th, 2010 in the QRO Photo Gallery
Click here for photos of Surfer Blood at CMJ 2009 in New York, NY in the QRO Concert Photo Gallery
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Keeping things young, Surfer Blood was another band with just one album in their discography. As the name suggests, and hailing from West Palm Beach, FL (yes, you can catch some decent waves there), Surfer Blood’s music could be filed under ‘surf rock’. But what does that mean? Rock that you listen to when you surf, or music about lifestyle of surfing? Whatever the hell it means, you cannot help thinking about the beach – and 
maybe the Beach Boys, while listening to Surfer Blood. According to their frontman, John Paul Pitts, in an interview for Prefix Magazine: “Surfer Blood is like Andrew W.K. meets the early Cure.” Pitts’ resonant voice, and anthemistic guitar riffs also recalls Built to Spill. At least the Beach Boys reference disappears, when the sextet blasts their instruments, and gets a group of hipster boys moshing. Not sure if there was much substance beneath the surface in their performance.
-Autumn Andel
Dan Mangan @ Crystal Ballroom
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For refreshing change of pace at the Crystal on Day Three, Dan Mangan played his indie-folk rock to a crowd consistent with the opening act’s from the night before: small. Given there were three acts playing, the first is always doomed to see the short end of the stick. That being said, it was still a shame to see such good music be played to a crowd half the size of what it would be two hours later for the headliner, Okkervil River (see below). Aside from the small crowd, Mangan played a fantastic show. With a sound reminiscent a tiny bit of Mumford & Sons (QRO photos), Mangan’s show was most definitely a crowd pleaser. For the last song, he sang his song “Robots” where he included the whole audience to sing the lyrics, “Robots need love too / They want to be loved by you.” Now, admitting the hip robot reference is cheesy, it was also inspiring to hear the crowd sing the lyrics band. Good lyrics, with well-executed and unique music ads up to a great show; perhaps even a show more worthy than the first spot in a concert with three bands.
-Shawn Beckman
Bobby Bare Jr. @ Crystal Ballroom
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With their pure Tennessee style, Bobby Bare and company took the stage of the Crystal Ballroom between two amazing acts, one being Dan Mangan and the other Okkervil River. They filled their niche and did their part perfectly as the show went over more than well with the audience. Their country twang stood out from the 
rest of the indie shows going on at MFNW in a very good way. The sweet sound of lap steel nicely coupled with a well-presented blend of acoustic and electric instruments made the Crystal the place to be on Day 2. With the obvious feeling that his name will become more familiar sooner rather than later, it will be exciting to see where Bobby goes next with his music and where he will be in five years.
-Shawn Beckman
Okkervil River @ Crystal Ballroom
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You may not be able to tell just from listening to their records, but Okkervil River had the liveliest performance of the night. Running back 
and fourth, jumping up and down, the more lively tone of the set brought the audience up to a new level of excitement. Their energetic highs were complimented by soft and intimate lows. Playing songs both older and newer, a good amount of their songs came from their 2008 album, The Stand Ins (QRO review). Even though the show was good, it didn’t stand out as the most fantastic show of the week. Still a very good live act, there’s nothing that sort of made it stand out from the rest. However, if you are an Okkervil fan and have not seen them live, then be sure to catch them next time they come around your town; you won’t regret it.
-Shawn Beckman
Mogwai’s Burning @ Bagdad Theater
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Next stop: the Baghdad Theater in the Hawthorne district (a.k.a. ‘hippie hood’), in southeast Portland, to drop in for the screening of Burning, a monochromatic film based on Scottish atmospheric post-rock band, Mogwai. Directed by the prolific and nomadic filmmaker Vincent Moon, with help of Nathanaël Le Scouarnec, the 48-minute piece combines glimpses of New York, and Mogwai’s three live performances. Few weeks ago, I had the privilege to attend an intimate screening of Vincent Moon, organized by Grand Detour. He has a distinctive style – documentary, handheld, sparse, unconventional compositions, usually in high contrast, and in soft focus, suggesting very emotional, visceral state of the musicians. Watching any of Moon’s work, you are drawn into the subject effortlessly. For those who are not familiar with Moon’s work, one may expect the usual concert footage edited with some b-rolls. Burning is more like an abstract concept documentary, more kin to film festival circuit, and not a DVD night with your buddies. If you’re a fan of Mogwai’s hauntingly epic soundscapes, you’ll see Burning as a befitting visual companion. As much as I loved to stay, and watch more than five minutes, I was afraid my sleep might catch up with me, if I didn’t keep moving.
On rare occasion, I made a stop at one of Portland’s many food carts. Unfortunately, the one I chose was the worst food cart experience ever. My so-called vegan pie was a gravy filled, deep-fried dough. Think I saw a kernel of corn, or a sliver of tofu in there. After the regrettable dinner, I headed to the Doug Fir, located on the south side of the road, that divides Stumptown into North and South.
-Autumn Andel
S. Carey @ Doug Fir Lounge
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S. (Sean) Carey was one of the artists I recognized in the Music Fest NW lineup, because I had heard “In the Dirt” on Internet radio. Reminiscent of Owen/American Football, he may also recall another mellow indie rockers, Bon Iver (QRO album review), at times. And that’s because Carey sings, plays drums and pianos for Justin Vernon. But I was hoping the Midwesterner had more than intimate ballads up his sleeve. Looking 
like he just returned from a hiking trail, Carey sat in front of his keyboard, occasionally getting up to play his drum kit, while his gentle vocals enveloped the audience. With the help of his band, consisting of guitarist, double bass player, and a percussionist, the crowd took a shine to S. Carey. But his songs were too safe and square for my liking.
-Autumn Andel
Mimicking Birds @ Doug Fir Lounge
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I stuck around to sample Mimicking Birds, one of Isaac Brock’s finds, signed to the Modest Mouse’s (QRO album review) frontman’s record label, Glacial Palace. If Brock were to downsize Modest Mouse’s percussion dept., and lachrymosely pondered about the greater meaning 
of the cosmos, while keeping his guitar pristine, the result could sound like Mimicking Birds. But I can’t stop thinking of Will Oldham, listening to the trio’s bedroom folk-pop. MB sounds nice on a solitary, overcast day, but not so good for my energy level. So after getting as much photos I could in the claustrophobic cabin, I crossed the river to downtown.
-Autumn Andel
Abe Vigoda @ Backspace
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11:00 pm on a Friday night painfully reminded me why I don’t cross the bridge to downtown, unless it’s necessary. The city with “keep Portland weird” logo had been transformed into a suburbanites’ meet market. The girls in high heels with overpowering perfumes, and guys with equally unbearable cologne, swarmed the streets.
Finally found a parking spot after 20 minutes, and I walked about ten blocks to Backspace, where Abe Vigoda had the all-ages crowd in the tiny venue bumping around. This coffee bar by day establishment probably gets the worst photo opportunity award. The lighting is so low, only a pro boom mic operator could get a clean shot without a flash. And squeezing your way to the front, for a click or two, is like trying to move a sofa out of an apartment. The L.A. band, named after an actor of The Godfather fame, proved to be one of the most welcoming sounds to my ears. In their four-year career, they have transformed their music from California punk to punk with Euro chillwave flavor. Unfortunately, I could only stay for two songs.
-Autumn Andel
Richmond Fontaine @ Berbati’s Pan
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The last lag of this ten-hour festival coverage day ended at Berbati’s Pan. Oh joy – that’s three venues in a row with crappy lighting. As I walked toward the aging building, the line was about 20 feet long. But it belonged to their famous neighbor, Voodoo Doughnuts, where you can get every imaginable topping on your doughnut – even bacon. They do have vegan doughnuts, but I prefer the fries-filled, vegetarian sub from Big Ass Sandwiches’ food cart, a block away for late-night sustenance.
For someone who doesn’t care for alt-country, I seem to find myself in front of bands, which have found a way to make the American twang cool enough to draw in some hipster crowd, quite a bit. Richmond Fontaine has been around for sixteen years, and has released eight studio albums. One very obviously drunken guy kept telling me how they are the best, but so underrated. I tried to keep open mind about it, but deep inside, I was skeptical. If they’re so good, how come I hadn’t heard about this hometown band?
I soon found out that the drunken guy wasn’t just full of it. The middle-aged quartet proved to be top-notch musicians, delivering excellent live set. With die-hard fans/friends delivering shots of whisky in between songs, the band seemed very much at home. Led by a published writer, Willy Vlautin, Richmond Fontaine’s songs tell stories about the western U.S. – about its people and their situations. Steel pedal guitar, and trumpet added texture to the set that rocked triumphantly at times, while crooned gently at other times.
About half way thorough RF’s set, Berbati’s was becoming a sauna, and I sure could of used a drink, since haven’t had the time to get one for six hours. This year’s big sponsor, Heineken, didn’t feel generous enough to give away any green bottles, and asked you to cough up $2.50. Berbati’s was the only venue last year that I scored a free cocktail with my press status. But by this time, I could barely breathe, and kept refilling my water cup, hoping I don’t have to run to one of the decrepitated water closet.
-Autumn Andel
The Builders and Butchers @ Berbati’s Pan
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The headliner, The Builders and Butchers, deserved a much bigger venue for their thundering live show. This was the latest show scheduled for the whole festival, with a start time at 1:00am. Even the singer, Ryan Sollee, expressed disdain for having to play so late. If Sollee had any more energy, he might have been able to provide power for the whole block. Gyrating around with his guitar, the red haired frontman shook your 
bones with his stadium voice, aided by the two ferocious drummers. The Builders and Butchers incorporate banjo, mandolin, trumpet, and clarinet to the usual rock instrument lineup, to create a sound that makes you think they’re a circus folk rock troupe.
As much as I wanted to be the occasional social butterfly, I would be in no shape to make it to the only festival party. Things would have been different, had I known, I couldn’t fall asleep until about 5am.
-Autumn Andel
