It’s no secret that Massachussetts-bred alt-rock outfit — and activist act — Guster is a crowd favorite. Things were no different for the festival crowd at Newport Folk Fest this year, as the band played an energetic set on the coast. Eric Tsurumoto grabbed some photos for us.
De La Soul is one of the most iconic groups of all time. They brought their energetic brand of hip-hop to the Newport Folk Festival to help us close out the last day. Eric Tsurumoto grabbed some snaps of the set.
Award-winning musician and writer Allison Russell has been bringing her unique blend of magic to the Newport Folk Festival for quite some time. She has performed there in bands and as a solo act now, and is absolutely thrilling to watch. Photographer Eric Tsurumoto grabbed some highlights from her set during Day 1, below.
On Sunday, Conan O’Brien stepped out on stage at Newport Folk Festival and proved to us that television isn’t the only thing he is good at. Joined by the incredible band Dawes, O’Brien played guitar and sang to an absolutely delighted audience. Later, Jack White joined him on stage.
Eric Tsurumoto grabbed some early set shots for us.
Crowd favorite Hozier hit the stage to make a sprawling crowd swoon on day 1 of the Newport Folk Festival. His cool stage presence almost seemed to seduce the crowd, even before his booming voice came over the speaker. Hozier ended his set with a bang, bringing out Joan Baez and Mavis Staples to sing “The Weight” with him. Eric Tsurumoto nabbed some great shots for us.
Newport Folk Fest 2024 was one for the ages. Hozier, Mavis Staples, Brittany Howard, Billie Marten, Orville Peck, and more entertained thousands in the sweltering heat over the last weekend in July. The crowd was cooled by the ocean air off the coast of Rhode Island, and blessed with some spectacular views during the three-day fest.
Photographer Eric Tsurumoto was on the ground for Imperfect Fifth, nabbing gorgeous, dimensional highlights from the event for us. Today, some shots of the festival and crowd before we delve into artist coverage.
Despite their recognition being mainly limited to the UK, I love Glasgow-based rock band Primal Scream. Part of the group’s appeal is their wide range of playing styles and music genres. Starting out as an indie-pop band with almost no traction, they reached massive levels of success with 1991’s Screamadelica, which broke musical boundaries by combining their sound with dub, psychedelia, and acid house into something entirely their own. It’s still considered their magnum opus and remains a cultural landmark in both the UK’s indie-rock and rave scenes. Despite their huge new audience, they still continued to push themselves in wildly new directions with their following releases. These include 1994’s blues pastiche Give Out But Don’t Give Up, 1997’s experimental Vanishing Point, and 2000’s blaring industrial-noise-dance epic XTRMNTR. Recently, Primal Scream put out the lead single for their upcoming 12th LP, Come Ahead, titled “Love Insurrection”. This comes eight years after their last release, 2016’s Chaosmosis.
“Love Insurrection” is based on nostalgia in a few ways. The cover for both the single and album is a vintage photograph of Robert Gillespie Sr., father of lead vocalist Bobby Gillespie. I believe this is to relate to the 60s both visually and lyrically, as the lyrics talk about political and social turmoil. Musically, it’s a bit of a throwback to the sound that Primal Had on Screamadelica, featuring a funky “Madchester” shuffle beat, psychedelic wah-wah guitars, and breezy percussion and flutes. However, it keeps the sound fresh by adding influences from 70s soul, with a lush string section reminiscent of seminal artists like Curtis Mayfield who also addressed social consciousness in their work. As usual, the backing vocalists provided by the band give the music a soulful, almost gospel-type feel, not unlike previous Screamadelica singles “Movin’ On Up” or “Come Together”.
The single’s release comes with both a 6-minute full version and a shortened edit at 3 ½ minutes. Both versions are perfectly adequate depending on the type of listener you are, but I definitely recommend the longer cut if you’re willing to ride the groove as the song climaxes in a way that’s both beautiful and groovy. As it stands, “Love Insurrection” is a perfect song for psychedelic raves or summer beach parties, and signals a possible return to form from Primal Scream.
Annie J‘s genre-bending sound is not stereotypical of Seattle–with its grunge and alt-rock history–though her artistic confidence is something that powerhouse artists out of the PNW have held a torch over for decades. Her new single titled “Your Power” is a further demonstration of that confidence, though the sonic approach is very different than you would expect from a song of that name.
Though the upcoming EP (Been Loving You) will be Annie J’s first solo project, she has demonstrated her talent well with impactful artists for years, including The True Loves, Odesza, The Dip, and Allen Stone. “Your Power” is light-as-a-feather in lyrics and composition, inducing goosebumps with each new, impactful line.
Admits Annie of the single:
Imagine embodying that voice in your head, the one you hear from time to time that seems to say: “Hey, I’ve been here loving you the whole time. You can heal, and grow and reach for joy.” This song, to me, is remembering that a patient inner voice exists, though she’s sometimes quiet compared to the rest. And knowing I will fall, again and again, and there will always be a way back,” she continues.
Check out “Your Power” and keep up with the album rollout on your preferred platform.
Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated,
Oh that’s how it goes in happiness season
She didn’t need me, I’ve been defeated,
Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!