Doug Van Pelt

Cornerstone.4

Yesterday at Cornerstone was a blast. After trying unsuccessfully to get online to post the day before's blog, I just chilled and talked with friends until the early afternoon. I took my daughter to see the band we had met in Austin by chance outside Emo's at a double six-band bill on both their indoor and outdoor stages. We had gone to see PlayRadioPlay! and met the guys in Kiros outside the club about to load in. Turns out they were a Christian band from Canada touring the States. Nice guys, crazy pants. This is documented in a blog from that time, as well as in the new issue's Kiros story. Because of the article, friends of the band told them, "You have to wear the pants now." Ha ha. We were able to hear that Austin show from outside the club, but this time we were front and center in the Indie Community generator stage tent and were able to tak e in the spectacle that is Kiros live. They started with flaming cymbals to instill that "what will they do next?" vibe in the air ... and they put out constant energy for a solid 30-minute set. Their tunes translate really well in a live setting -- melodic, full of hooks, and a tight rock sound. Guitarist Ryan used the bounce in his legs to stay airborn much of the time, kicking and jumping and always wearing a big smile. The drummer was like a monster back there, pounding away on a drumkit that his tall body dwarfed. One can't help but be impressed by the non-stop and all-out effort these guys deliver.

I don't think I watched anyone else for the next five hours, which means I missed about 150 sets (and that might be a way-short estimate). Prior to the HM Magazine Stage kicking off at 7pm, I stood behind the Gallery Stage and saw a little bit of the Resurrection Band reunion show. When I finally got in front of a stage and watched some more, it was to see Inhale Exhale. They made it clear from the very first burst of energy that they were all about assaulting the silence and empty air molecules around them. Screams and that dialed in chunky "true metal" sound were loud and clear. If a silver lining can be found in the dissolution of the great band Narcissus, it is the band Inhale Exhale. Good stuff. Too bad the geek that introduced them said something about inhaling (and pausing for a loud audible inhalation of breath), followed by a loud exhale. I'm not surprised that HM Magazine subscription sales did not spike last night (ha ha, I'm a total dork). I hopped back over to the Gallery to see some more Rez Band. I arrived at the tail ending notes of my favorite of theirs -- "Shadows," making me catalog my departure from the HM Stage to see if I could regret doing this or that and catch more of that great song. Nothing stood out, so I didn't stay mad at myself. Hopefully tonight on the Main Stage during the 25th Anniversary celebration they'll play that one again.

Drottnar took the stage at 8pm sharp, clad in their Russian* uniforms. My emcee skills were a little sharper this time, but no one seemed impressed by my Russian greetings. I guess my career dreams of stand-up comedy will never be realized. It is an energetic and visual delight to watch this band. They crank out some metallic sounds with a hardcore vocal delivery that's a tad higher in the soprano direction than most. The military outfits provide a startling impression. It seems to glue the five members together, even though the moves are often in opposite, groove-driven directions. It's just a trip to watch. The lead singer often casts an intimidating glare at the audience. I love the vibe.

Sophia played next on the HM Magazine stage and, unlike the one sloppy generator stage show I saw last year, this performance ruled, matching their well-crafted recorded music and then some. When they want to be heavy and intense, that's what they are. I really like the dynamics they swing into various songs, with keyboards, singing and cool samples. Now I feel even more confident about recommending them as an up and coming band to watch.

The Famine was a band I was dying to watch. I had to forsake seeing Impending Doom and Degarmo & Key (hey, I'm sentimental and nostalgic, too), but I was not disappointed about my decision in the least. In fact, seeing The Famine live exceeded my expectations. They were truly brutal, precise and full of energy. If music itself could be described as violent, their tunes might make a good wikipedia definition. I bet the lifeless, standing still in awe and rapt appreciation rattled frontman Kris McCadden a bit, because he kept requesting that the audience move around "and break some necks." They certainly provided enough massive breakdowns and galloping riffs to stir up a furious mosh pit, but this half-full crowd never seemed to get inspired to move much. Maybe they were tired, surprised, or perhaps like me -- able to pay more attention and absorb more of the experience by keeping still. Their set was absolutely fabulous. They totally killed.

It was about 11pm and D&K had probably started an hour ago, but I took a chance and went over to the Gallery Stage to see if I could catch any of their songs. Sure enough, I was able to hear quite a bit of material. Dana Key introduced a number as "a love song," which turned out to be "666." During "Destined To Win," which sounded slightly stripped down due to the lack of monster BGVs (maybe they were guilty in the 80s, like a lot of band, of using backing tracks for the giant choruses). It still sounded good and it brought a lot of older believers in the massive over-30 crowd to their feet, inspired by the rallying cry. I hope they played some of the great material from the Bruce Springsteen and the E-Street Band type album, Straight On, but I missed it if they did. Dana Key shared a little bit towards the very end. He told a story about this guy named Ed that led him to Christ, promising him that his life would be great all the time if he accepted Jesus. He then laughingly told the crowd not to give Ed DeGarmo too hard of a time for that piece of faulty advice and theology by revealing that young Eddie had only been a Christian for one day at that point ... "and it was a real good day for him," Key added. Then he challenged the crowd that had surely been through plenty of life's disappointments to covenant with him to live the rest of their life from here on out to make a difference for Christ.

The evening had just begun for me and I kinda felt like I was back in good old Austin, Texas, with the ability to "club hop" and see lots of great performances in close proximity. Such was the case. I was able to see The Chariot put on a whale of a show (at least wonderful and intense parts of it) and then see Bradley Hathaway put on a fabulous performance. Before Hathaway and his band of about 7 musicians took the stage Stand True spokesman and founder Bryan Kemper was giving a short talk about being pro-life. It was a great little message about not being offensive. He stated that being pro-life was more than just caring about the babies. It was about loving the abortion doctors, the women, and basically loving our neighbor. It was a very cool talk that dispelled some of the myths some people believe about pro-lifers. Bradley's show started off with lots of brand new material. While the last album was a shocker that transitioned him from slam poetry to music. This material is a great progression from simple songs about love to more complicated and story-telling tunes.

I popped back over to the Sanctuary Stage (passing the Underground Stage, where I heard the raging set by War of Ages) to see the face-painted set by Frost Like Ashes. They were totally tight, on, and very black metal. The lead singer sported forearm-length wristbands with extended spikes all over. At one point he tore up a Satanic Bible. Wow. Hopefully, I'll post some good photos of this set later. They were really good.

I went back to catch more of The Chariot, who were going all out with theatrics and intensity. At times they had changing backdrops and dynamic additives, like soundbytes from speakers, etc and even some meditative oriental instrumental interludes between the thrashing hardcore riffage. I twittered to the Cornerstone Festival twitter.com (you should check this social network thing out ... it's fun) the following post: "Who needs Norma Jean? We've got The Chariot. Just kidding." They were killing and there was tons of blip/counter blip riffing. They're so good.

I went back over to the Encore Two Stage to watch Bradley Hathaway. I was starting to get tired, so I figured I'd watch a few songs and then retire for the evening. I was too enthralled to do so, however, as Bradley and band were killing it. Bradley was often sashaying and swinging around on stage, playing his guitar (who knew he could play?), telling stories kinda like his older poetry. One new song was about a guy named Daniel that he met on campus. Engaging and thought-provoking stuff. It's a nice mix of old and new for him. It's amazing how he seems to be drawing from a deep well (both lyrically and musically) without tipping his hat to any obvious Christian music pioneers, yet creating strong art (and maybe that's why ... he might be going back to greats like Guthrie and Cash). His hand kept cramping, which he openly talked about, sharing his vulnerability with the audience in a way that really connected. The guy seems like a natural and almost a genius. I wonder how much of it's calculated and how much of it is fly-by-the-seat-of-his-pants. It certainly seems totally off-the-cuff, but it hits a home run. Amazing. He explained that maybe his hand was cramping because he ate too much pork on the pig farm, explaining that he was no longer vegan. He was tired of feeling weak and such, and concluded that chicks didn't dig that. Speaking of girls, there were plenty of them in the audience. With his frank talk about his hand cramping and the late, late hour, one might figure the show would be over at any point. But the extended encore-like conclusion went on and on in a grand culmination. He played one last song "for the last time" and the band romped with him through "So Do I Love You," which tons of girls in the audience offered up the perfectly-timed and beautiful response verses of, "so do I love you" from the recording (since there was not a female vocalist in the band). Fantastic. Then he performed "for the very last time" the poem "That Annoying Hardcore Dude That Goes Too Far," speaking most of it, but offering the punchlines to the willing and loud audience. This was "spontaneously" broken up by the band launching back into song with the romping dance melody. Then back to poetry. He'd go off in the middle of a line with an announcement about his poetry class or some merch and then ask the audience, "Where were we?" And he'd start the band immediately back up into the dance ditty. Then back to poetry ... and so forth for an extended medley sort of thing that was just a great finale. Bravo, Bradley!

This kind of night, my friends, is what festivals should deliver. A mixture of great performances on multiple stages. What a great experience.

Posted by Doug Van Pelt at July 4, 2008 01:08 PM