{"id":1376,"date":"2018-09-18T13:50:04","date_gmt":"2018-09-18T13:50:04","guid":{"rendered":"http:\/\/www.woas-fm.org\/?p=1376"},"modified":"2018-09-18T13:58:14","modified_gmt":"2018-09-18T13:58:14","slug":"ftv-pmmf-14-part-2","status":"publish","type":"post","link":"https:\/\/www.woas-fm.org\/?p=1376","title":{"rendered":"FTV: PMMF #14 Part 2"},"content":{"rendered":"

One does not find themselves in a traffic jam in Ontonagon County very often, but there were two that occured on Day 2 of the 14th Annual Porcupine Mountain Music Festival. \u00a0I got caught up in the first one trying to cross the Ontonagon River bridge on the way to the festival. The line up at the temporary stop light chewed up ten minutes leaving me with the distinct feeling that I was going to be late. \u00a0\u00a0Hearing what sounded like a full band playing as I climbed the back stairs of the A-Frame ski chalet made me think I was really late. It turned out to be Ontonagon\u2019s own Ryan Peterson doing his scheduled workshop about \u2018looping\u2019. \u2018Looping\u2019 is the term used to describe a musician playing live along with pre-recorded segments that are \u2018looped\u2019 together to make a much fuller sound than simply accompanying themselves with one instrument. \u00a0If you have seen Ed Sheeran recently and watch him stomping on various footswitches and stomp boxes on his effects board, then you have seen how the process works. Ryan later performed a regular set of his tunes, but my duties on the mainstage kept me from hearing Ryan or the other talented local musicians who performed in the A-Frame like Leo Siren and Eric Hopper.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0While it was now apparent that I wasn\u2019t late, I was a little perplexed that the opening act of the day wasn\u2019t setting up on the mainstage. \u00a0The Artist Liaison rep provided the answer: The Lucky Dutch were on the way, but their Google directions from Chicago had diverted them to beautiful downtown Mass City. \u00a0We geared up to do a quick set and when the band rolled in twenty minutes before showtime, there was a flurry of activity to get them on stage and sound checked. The Lucky Dutch knocked everyone out on the Singing Hills stage last year so I was really happy to see them on the schedule again this year. \u00a0Guitarist\/vocalist Nathan Graham is an exceptional talent and the whole band is well schooled and tight. With no time to talk with their dummer before they went on, I made it a point to take a photo of him in action and made a mental note to talk drums during the load out. The band did not disappoint and one of the highlights of their set is their arrangement of a Prince \/ Hendrix mashup of <\/span>When Doves Cry <\/span><\/i>and<\/span> All Along the Watchtower<\/span><\/i>.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0During the load out, I found out that the drummer was playing a 1972 vintage Ludwig set with a black and silver mosaic pattern. \u00a0This Ludwig kit has been fondly called \u2018The Ringo Set\u2019 since Ringo Starr played a similar configuration during The Beatles first TV appearances in the states.<\/span><\/p>\n

The early 1970\u2019s models sported a newer Ludwig logo but the rest of the drum shells and hardware were not much different than the kit Ringo played. \u00a0As we concluded our little drum workshop, I decided that my mission for the rest of Saturday was to get a photo of all the drummer\u2019s kits.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0During The Lucky Dutch set, word came up from the Artist Liaison that our second act was also running late. \u00a0The band was on the way north from St. Louis and like many bands and tourists before them, they had not gotten the memo that Ontonagon County is on Eastern Standard Time.<\/span><\/p>\n

The A.L. department estimated they would arrive ten minutes before show time. \u00a0Fortunately, The Old Salt Union is a five piece bluegrass band with no drummer. \u00a0Doug and Mary already had a hard copy of the DIs (Direct Inputs used to connect them to the sound system) they needed which allowed them to have the cords and mics preset before the band arrived. \u00a0This is only the second time I have seen a band arrive with a stand up bass that needed to be assembled out of a travel case. The band managed to get on stage, set up, move their van and still start on time. \u00a0I would have liked to hear more of them, but The Ragbirds arrived and the mountain of gear they had to unload and unpack kept us all hopping for the rest of The Old Salt Union set.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0Ann Arbor\u2019s The Ragbirds had been at the festival in 2015 and were another band that I had heard from afar while working at the Singing Hills stage, but I had never seen them perform. \u00a0An eclectic five piece band, they played a variety of music featuring electric violin, guitar, bass, drums, and a second percussionist. The percussionist sat among a sea of instruments that included three<\/span><\/p>\n

Conga drums, timbales, a couple of djembes, a cymbal, a wood block, guijera, and an assortment of shakers of various sizes and shapes. \u00a0I didn\u2019t get to talk to the drummer about the type of set he was playing, but I did notice he had extensive notes for each song on his iPad and various band members were also giving him cues on certain tempo changes. \u00a0It turns out this was his first gig with the band but if one didn\u2019t notice the few extra cues he was given, one would not have guessed that he was that new to the band. He laughed when I said he was a step ahead of Micky Dolenz of The Monkees who showed up for their first live performance and didn\u2019t even know how to set up the drums. \u00a0They played a great set and both the band and the crowd enjoyed them a lot.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0PMMF veteran Charlie Parr was originally schedule to play the next slot but word had come down the previous week that he had broken some bones in a recreational accident and had to withdraw from this year\u2019s festival. \u00a0In an unscripted turn of events, PMMF was lucky enough to grab a rising guitar star named Jack Broadbent to replace Charlie on short notice. Jack had been finishing up some east coast dates and was scheduled to continue his tour back in Europe when the festival booked him. \u00a0Hailing from England, Broadbent plays electrified blues and slide guitar and has been given endorsements by legendary bass player Bootsy Collins (\u201cThe real thang\u201d) and Joe Bonamassa (\u201cA musician to watch in 2018\u201d). When Saturday\u2019s emcee, Harold Tremblay mentioned Bonamassa\u2019s quote, Broadbent turned around and asked nobody in particular, \u201cDid Bonamassa really say that?\u201d \u00a0We assured him he did. Seated on a small amp turned on end, Broadbent carried the day with some rocking blues and an easy banter with the audience. He employs an old silver whisky hip flask for his slide work which is very fluid and full sounding. He mentioned he has just completed a new album and that he had recently premiered a couple of new songs on Theodora Richards\u2019 (daughter of Keith Richards) show on the Sirius Radio network. \u00a0You need not wonder how the crowd responded when he asked if they would like to hear one of his new songs. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0Judging by how Broadbent closed his set, he has played his fair share of festivals. \u00a0Before I even had to cue him that he had ten minutes left, he told the crowd, \u201cI have time for a couple of more songs, so I will do one and then the last one can be the encore, then we will all be happy.\u201d \u00a0Sure enough, he finished the next song, took his bows and left the stage. We motioned the crowd to make some noise, and he trotted back on stage and performed a great version of <\/span>Hit the Road, Jack<\/span><\/i> which had the crowd singing along with each chorus. \u00a0Jack Broadbent is indeed an artist to watch in the future and we were lucky enough to see him at the front end of his career.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0Harold was setting up to do a workshop\/interview with Donna the Buffalo so I got to do the walk off announcements at the end of Jack Broadbent\u2019s set. \u00a0There was some concern when Tara Nevins and Jeb Puryear hadn\u2019t shown up as the 6 pm interview approached, but about the time everyone was asking, \u201cWhat if they don\u2019t show?\u201d, their bus pulled up and they appeared, asking for directions to the chalet. \u00a0Prior to their arrival, the discussion had turned to whether or not it was \u2018very professional\u2019 for them to cut it so close. When I saw their crew unloading their equipment, I told the other stage volunteer, \u201cNope, they aren\u2019t being \u2018unprofessional\u2019. This isn\u2019t their first rodeo and they know the gig: \u00a0They got here in time, their crew does the unloading, and when it is time to set the stage, the best thing for us to do is stay out of the way. They know their stuff.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0In the meantime, an Indie-rock band who originated in Austin, TX but now work out of Nashville were setting up. \u00a0The Roosevelts were a personable bunch and the drummer was toting a jet black Rogers drum kit he said was from 1964. \u00a0I mentioned that the Rogers, Ludwig, and Slingerland companies all sold drum kits with similar configurations back then because his set was just like my 1966 Ludwigs. \u00a0He said, \u201cOh, I love that vintage Ludwig drums (his Roger\u2019s set included a chrome Ludwig snare drum) and I want to pick one of those up.\u201d My second and last emcee duty of the day was to introduce The Roosevelts. \u00a0Their music was what Mary described as \u2018dance pop\u2019 and their new lead singer, Mitchell Kilpatrick, proved to be an able front man. He had an extensive pedal board that controlled both his guitar and vocal effects. \u00a0I am not one who likes vocal effects much, but the way they used them, they fit the music well and this suited the youngsters in the audience just fine. When we had to load them off stage, we found ourselves weaving around a bevy of kids waiting in line to have The Roosevelts autograph their newly purchased band tee shirts. \u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0As I predicted, Donna the Buffalo\u2019s crew did just about all the heavy lifting to get their gear on stage. \u00a0The drummer informed me that his gold sparkle Ludwig set was from 1962 but once we got all the pieces on stage, he was busy enough that I didn\u2019t want to stand around blocking traffic as the rest of the crew got things set up. \u00a0I noticed that other than one guy sporting a Buffalo themed shirt with \u2018Krewe\u2019 on the back, the rest of the road crew consisted of the drummer, bass player and keyboard player. They did all the set up, tuning and sound checking. \u00a0The Hammond B3 organ they were travelling with had an industrial strength, collapsible steel frame that I had no desire to heft. Having spent two years carrying around a Hammond B2 in my gigging days, I already knew what a beast a Hammond can be to lug around. \u00a0While the organ looked like it had gone to war one too many times, the sound the keyboard player coaxed from it were another reminder why we carted one around in Knockdown: nothing sounds like a Hammond!<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0Right on cue, Tara and Jeb appeared for the start of the show. \u00a0I kicked myself for even listening to any discussion about their professionalism because Donna the Buffalo played one of the best live sets I have seen in the last twenty years. \u00a0The rhythm section locked in and the whole band was tight. When the keyboard player soloed, even Tara and Jeb would gaze his way with a look that said, \u201cYeah, he can play.\u201d I couldn\u2019t hear the stage banter very well, so I am assuming that the young lady who came up and sang with Tara a couple of times was part of the family.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0The crowd loved the whole 90 minute set and the band were just kicking into their closer, <\/span>Conscious Evolution<\/span><\/i> when security called the stage hands into the chalet for a little conference. \u00a0There had been a motorcycle accident just down the road from the festival grounds and the police had requested that we try and keep the audience in place until the road reopened. \u00a0As the band came off stage, we filled them about the situation. The crowd were calling for more so Tara and Jeb went back out and did a violin\/guitar improvisation before bringing the rest of the band back for an uptempo finish. \u00a0They played for another thirty minutes. As soon as we got word that the road was open again, I gave Tara a double thumbs up, they said their farewells to the crowd and headed to the merchandize area to sign stuff. Not only were Donna the Buffalo a great live band, they were one of the most professional groups I have had the pleasure to work with!<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0The night ended in the usual fashion: \u00a0we helped the band clear the stage so they could pack their gear and Doug, Mary, and the other stage hands packed up the sound system for the night. \u00a0Having nursed my sore right knee through two eleven hour days, I left the heavy carrying to younger legs and said my goodbyes to Doug and Mary. I went home happy that the new configuration of the festival had gone so well, rain and all. \u00a0The only casualty of the weekend was my other knee. Apparently I took such good care of my right knee that when I woke up Sunday morning, my left knee had ballooned up as if to remind me that it took the brunt of the action! <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0Congratulations to Cheryl and the whole festival crew for putting on a superb PMMF #14. \u00a0I am going to whip my knees into shape for next year and am already getting excited to start spinning PMMF artist music each Friday evening on WOAS-FM \u00a088.5.<\/span><\/p>\n

TOp Piece Video – Jack Broadbent performing\u00a0On the Road Again<\/em> at Montreux (Emcee Harold and I were kidding around back stage about seeing this video from ‘Montrux’ and his poor manager raised her eyebrows and said ‘You mean MonTROW?’ – had to assure her we were kidding!\u00a0 Harold, after all, has French Canadian roots!