MFNW | Musicfest NW 2008 Words by J Braxton Cooper
A Brief History of MFNW
From the mid to late ‘90s, North by Northwest (NXNW) – the ill-begotten child of its iconic, Austin-based patriarch – lumbered along, never quite fully realizing its potential, while at the same time suffering from behind-the-scene squabbles between its Portland/Austin counterparts, whose conflicting festival philosophies led ultimately to the demise of their partnership.
NXNW was put out of its misery in 2000, and Musicfest Northwest rose like a Phoenix from its ashes the following year, with an emphasis on spotlighting the city’s vibrant assortment of local acts. Then, in 2006, after a few years of moderate success and growth, temptation became too much to bear, and for the first time since its inception, (relatively) big name bands from across the country began appearing on the bill.
Suffice it to say, attendance has more than doubled in each subsequent year, resulting in the current quagmire that is MFNW. Today, the $50 wristband no longer guarantees admittance to a venue that has reached its capacity, and this year, there were more sold-out shows than ever before, leaving hoards of festival-goers lining the sidewalks like a Communist bread line.
Each year, Portland, OR, the self-proclaimed musical Mecca of the Pacific Northwest, faces inflated expectations with its annual event. Organizers must strike a balance between showcasing local talent while attracting festival-goers with a lineup of (relatively) well-known regional and national acts.
Over the course of four nights in early September, more than 200 bands perform at no less than 20 different venues scattered across town, all brought to you by your favorite local fish-wrap, WW, along with a host of other corporate sponsors such as Nike, Heineken, and Spin Magazine, to name a few.
Why MFNW isn’t an outdoor festival is beyond this writer’s powers of comprehension. Assuming attendance continues to grow at an exponential rate, organizers potentially face a massive overhaul of its current framework out of sheer necessity. But I digress.
MFNW 2008 saw a comely mix of old-school favorites as well as an abundance of buzz-worthy newcomers. What follows is one man’s musical odyssey through the four-day festival that has come to further define our fair city as one of the most fertile artistic communities in the country. Day 1 Mogwai – Roseland Theatre The Scottish instrumentalist/shoegaze pioneers kicked off an otherwise lackluster opening night of the festival on Wednesday. As an aside, the TSA could take a note from the security team at the Roseland Theatre. I, for one, would feel much safer on domestic flights if passengers were subjected to the type of gauntlet this downtown Portland venue puts their patrons through. They even check your cigarette pack for marijuana (which is why I hide mine in my underwear, natch).
Mogwai’s performance was eerie and captivating, yet they barely managed to budge to the Roseland crowd: they stubbornly refused to play their more aggressive and up-tempo tunes, opting instead for a slower and sludgier sort of ambience for the evening. Visit their website to read a highly entertaining tour diary, which includes a scathing review of Portland’s Jupiter Hotel, as well as some good-natured (?) jabs at their tour compadres, Fuck Buttons. Day 2 Battles - Wonder Ballroom This show was easily one of the highlights of the entire festival. Battles’ mix of frantic, arpeggiated guitar riffs, dual keyboards melodies, heart-pounding percussion, and all-around cosmic noise was truly transportive. Kudos to Nike as well (I know) for the first free schwag of the festival: a Battles poster and t-shirt, both prominently bearing the company’s signature swoosh.
Oxford Collapse - Holocene The Brooklyn three-piece blazed through a raucous 45 minute set in front of a moderately receptive crowd. The PA system at Holocene, unfortunately, leaves something to be desired, and many of the songs’ intricacies were lost in a proverbial wall-of-sound.
Del tha Funkee Homosapien/The Cool Kids – Roseland Theatre Not being entirely familiar with The Cool Kids, I feel ill-equipped to offer criticism based solely on a single, abbreviated live performance, but I can honestly report that I remain baffled as to the hype surrounding this rather forgettable and wholly-uninspired rap duo.
Del, on the other hand, had the place thumpin’ for well over an hour, but even an accomplished emcee such as himself isn’t immune to the fact that (most) hip-hop simply does not translate well live, particularly in larger venues. His distinctive vocal style was not even vaguely discernible, reducing the performance to a couple of dudes yelling into their microphones.
Day 3 Rough start to the third night of the festival: denied access, as one fan so eloquently put it, “to see one of my favorite bands (Built to Spill) perform one of my favorite albums of all time (Perfect from Now On).” Tearfully moving on…
It is now after 9PM, and Autopilot is for Lovers, who was scheduled to go on at 8PM, has been attempting to set up their equipment for more than hour. We leave without hearing them play a single song.
Laura Gibson – Doug Fir Lounge Charming and low-key, local singer/songwriter Laura Gibson treats the Doug Fir Lounge to her breathtaking brand of folk music that is, at once, familiar and distinct, not to mention utterly heartbreaking. Be sure to catch her at one of her upcoming nursing home gigs (seriously).
Vampire Weekend – Crystal Ballroom A band surrounded by some of the biggest hype this year is playing one of the premier slots of the entire festival. Fortunately for them, Vampire Weekend came through Portland earlier this year, leaving an obvious impression, as evidenced by the sold-out crowd as well as the flurries of optimistic chatter among the masses prior to their set. To their credit, they do not disappoint. The sound was tremendous and their performance positively flawless.
TV on the Radio – Roseland Theatre I crack wise about TV on the Radio being the modern-day Fishbone, which no one thinks is funny, because it isn’t. First of all, they don’t even play ska music. But what my offhand comment illustrates is the fact that I have absolutely nothing intelligent to say about this band. For whatever reason, they’re simply not my thing. However, on an entirely objective note, they must be commended for putting on an energized performance that has the crowd going nuts.
Day 4 Horse Feathers – Holocene Horse Feathers consists of a local singer/songwriter much in the same vein as Laura Gibson, accompanied by a cello and a violin. The atmosphere at Holocene is solemn and attentive, and the crowd is treated to the soothing caress of Justin Ringle’s nimble falsetto. The only risk here is that one might soon grow weary of its quiet solitude and seek out livelier surroundings.
The Joggers – Berbati’s Pan The Joggers’ infectious blend of math-rock and indie-pop, rather than coalescing in an harmonious, sonic middle-ground, more often than not tends to unravel in an assault of disembodied notes, obscuring whatever melody they intended to produce. But that’s undoubtedly an important aspect of their allure, and there’s no denying this band is a blast to watch live.
The Upsidedown – East End East End has to be the smallest venue per square foot at MFNW this year, yet somehow one of the most accommodating. The bartenders look like they’re in Spinal Tap, the drinks are surprisingly affordable, and The Upsidedown is quickly becoming one of the sleeper hits of the festival. Mad props to our beloved Portland bands for holding their own against an onslaught of out-of-town heavyweights.
