I’m just a little too young to have seen the happenings at the Fillmore East in the 60s but the bills were literally as you describe. There’s one listing I see (and would have uploaded if I could) that had Led Zeppelin, Woody Herman and his Orchestra and Delaney and Bonnie on the same night. Also, another night with Booker T and the MGs, Youngbloods and Chicago. Miles Davis and Steve Miller etc…. It was cool to see different bands and be musically open.
I also loved a Sunday night radio show called “idiots delight” that could feature the Rolling Stones, John Coltrane, Randy Newman, and Sly and the family Stone in the same set.
Genre in many ways ruined what was once a creative and amazing musical environment. Maybe we’ll see a return to the good old days as bands figure out new ways to survive? One can only hope.
i've been trying to find a way to vocalise why turnstile has shot up to becoming my favourite band since i saw them for the first time a few months ago and you perfectly put it into words. their authenticity and passion for their art reflects not just in their music but also how they interact with the community around them. last paragraph hits especially hard for artists of any medium because of how right it is! get off the shelf! reach out to fellow artists and fans and get to know them! what is art for if it's just marketing and selling?
I love this so hard. I love when artists break the rules. If you don't break the rules, what's the point of being an artist? Creativity is not just meant to exist within the lines, you can redraw the lines themselves, or erase them entirely.
Decent read. We've been seeing this in the UK too over the last few years in hardcore with how the guys at Outbreak Festival are booking their line-ups: ¥ØUUK€ ¥uk1matU, EsDee and JPEG on the same bill as Deafheaven, Basement & Deftones
I think festivals is a bit of a different conversation. Festivals have often had a lot of diversity. A touring bill is typically a bit more conservative, in my opinion
Yeah, absolutely agree for major festivals, but Outbreak has pretty much been exclusively hardcore (or at least hardcore adjacent), but now we're seeing electronic & hip-hop artists on the lineup, which I think is very cool and echoes a lot of what you say in this piece.
I'm a prof at NYU's Clive Davis Institute, and have a camp in collaboration with Songtrust that works on this exact premise. Covering a song that cuts against the "original" is not new, and "tribute" albums usually wait for the artist to die, but our question has been: Why wait? Glad Turnstile's on it, and posts like this are why I'm a paid subscriber.
Rolling out the theories and layout of the camp here:
Great band that has built it patiently and mostly lived up to the hype. I’m interested in your live review. I saw them at Primavera at they’re awesome but Brendan’s voice doesn’t cut it live like on the records. He’s not Ozzy Osbourne. But yeah - amazing band that proves you can still breakthrough into the ‘big time’ through an alternative route.
I saw them at Bonnaroo this summer and it was incredible. That voice is haaaaard to replicate I’m sure, especially after dozens of dates back to back. I was caught in the mosh pit screaming the words louder than I could hear, so maybe my review is biased 😅
Incredible. AS a guy in his 40s observing the breadth of their fanbase/demographics (in Paris last night—Rock en Seine), I was thinking the same/asking the same question.
This is so so cool! As a marketing fanatic I love to see this. Outside of getting in front of completely new audiences I also think music fans really appreciate it when artists do unexpected collabs, lift each other up and show which other artists they are into which you might have never guessed.
Hey Pat. I appreciate the commentary but until you start to write your own comments without the obvious use of LLMs I’m not going to have a conversation with you.
I’m just a little too young to have seen the happenings at the Fillmore East in the 60s but the bills were literally as you describe. There’s one listing I see (and would have uploaded if I could) that had Led Zeppelin, Woody Herman and his Orchestra and Delaney and Bonnie on the same night. Also, another night with Booker T and the MGs, Youngbloods and Chicago. Miles Davis and Steve Miller etc…. It was cool to see different bands and be musically open.
I also loved a Sunday night radio show called “idiots delight” that could feature the Rolling Stones, John Coltrane, Randy Newman, and Sly and the family Stone in the same set.
Genre in many ways ruined what was once a creative and amazing musical environment. Maybe we’ll see a return to the good old days as bands figure out new ways to survive? One can only hope.
Thanks for the note Russ, and for bringing that up. It’s a good comparison for sure
i've been trying to find a way to vocalise why turnstile has shot up to becoming my favourite band since i saw them for the first time a few months ago and you perfectly put it into words. their authenticity and passion for their art reflects not just in their music but also how they interact with the community around them. last paragraph hits especially hard for artists of any medium because of how right it is! get off the shelf! reach out to fellow artists and fans and get to know them! what is art for if it's just marketing and selling?
Andrea, thanks so much for the note. They’re my current fav too. Such a good band. Appreciate you
I love this so hard. I love when artists break the rules. If you don't break the rules, what's the point of being an artist? Creativity is not just meant to exist within the lines, you can redraw the lines themselves, or erase them entirely.
Amen
Decent read. We've been seeing this in the UK too over the last few years in hardcore with how the guys at Outbreak Festival are booking their line-ups: ¥ØUUK€ ¥uk1matU, EsDee and JPEG on the same bill as Deafheaven, Basement & Deftones
I think festivals is a bit of a different conversation. Festivals have often had a lot of diversity. A touring bill is typically a bit more conservative, in my opinion
Yeah, absolutely agree for major festivals, but Outbreak has pretty much been exclusively hardcore (or at least hardcore adjacent), but now we're seeing electronic & hip-hop artists on the lineup, which I think is very cool and echoes a lot of what you say in this piece.
Ohhhhhh gotchya!! I stand corrected. Good point
I'm a prof at NYU's Clive Davis Institute, and have a camp in collaboration with Songtrust that works on this exact premise. Covering a song that cuts against the "original" is not new, and "tribute" albums usually wait for the artist to die, but our question has been: Why wait? Glad Turnstile's on it, and posts like this are why I'm a paid subscriber.
Rolling out the theories and layout of the camp here:
There Is No "Master" Anymore
https://musiclyricsandlife.substack.com/p/there-is-no-definitive-version-why
Agreed. It really is just a form of marketing. Gets it in front of tons of new ears. Thanks for the note Mike.
Fascinating
Isn’t it
Great band that has built it patiently and mostly lived up to the hype. I’m interested in your live review. I saw them at Primavera at they’re awesome but Brendan’s voice doesn’t cut it live like on the records. He’s not Ozzy Osbourne. But yeah - amazing band that proves you can still breakthrough into the ‘big time’ through an alternative route.
I saw them at Bonnaroo this summer and it was incredible. That voice is haaaaard to replicate I’m sure, especially after dozens of dates back to back. I was caught in the mosh pit screaming the words louder than I could hear, so maybe my review is biased 😅
Incredible. AS a guy in his 40s observing the breadth of their fanbase/demographics (in Paris last night—Rock en Seine), I was thinking the same/asking the same question.
Man I was so impressed. It actually fires me up- I’m glad that you took note of it as well!!
This is so so cool! As a marketing fanatic I love to see this. Outside of getting in front of completely new audiences I also think music fans really appreciate it when artists do unexpected collabs, lift each other up and show which other artists they are into which you might have never guessed.
Hey Pat. I appreciate the commentary but until you start to write your own comments without the obvious use of LLMs I’m not going to have a conversation with you.