McDowell Mountain Music Festival, Saturday
The Roots, Heartless Bastards, Deer Tick, Iration
1202 N. 3rd St
Phoenix, AZ, 85004
Doors 11:00 AM / Show 12:00 PM (event ends at 11:00 PM)
This event is all ages
McDowell Mountain Music Festival
The McDowell Mountain Music Festival, Arizona’s musical and cultural destination, is celebrating its 11th year since its inception in 2004. Headline performers have included David Crosby, The Black Crowes, Grace Potter and the Nocturnals, Blues Travelers, Michael Franti, The Shins, The Roots, Umphrey’s McGee and many others.
The McDowell Mountain Music Festival is the only 100% non-profit music festival in Arizona. Designed to promote three elements – community involvement, corporate participation and charity – McDowell Mountain Music Festival exists to support, entertain and educate the community, the arts and families throughout the state. The Festival attracts visitors from around the country for great music, beautiful Arizona weather and an opportunity to experience true culture. All of the proceeds from the festival will benefit two local, family-based, non-profits: Phoenix Children’s Hospital Foundation and UMOM New Day Center.
McDowell Mountain Music Festival attracts visitors from around the country for great weather, music and an opportunity to experience true culture. One hundred percent of the proceeds from the festival will benefit two local, family-based, non-profits: Phoenix Children’s Hospital Foundation, and UMOM.
The McDowell Mountain Music Festival is a great opportunity to experience the spirit cultivated when people join together to enjoy themselves and help the community. In addition, the music festival offers a marketplace for shopping, a Kid’s Zone, a silent auction/raffle and more.
The McDowell Mountain Music Festival exists to integrate and support the community, the arts and families throughout the state.
To connect the community through a festival gathering including music, arts and food.
To entertain the community, companies and their employees.
To support and grow the arts for future generations to enjoy.
To support the arts in an effort that they may grow and exist for future generations to enjoy.
To provide financial support and education to family based charities in an effort to provide equitable advancement throughout the community.
"Though popular success has largely eluded the Roots, the Philadelphia group showed the way for live rap, building on Stetsasonic's "hip-hop band" philosophy of the mid-'80s by focusing on live instrumentation at their concerts and in the studio. Though their album works have been inconsistent affairs, more intent on building grooves than pushing songs, the Roots' live shows are among the best in the business.
The Roots' focus on live music began back in 1987 when rapper Black Thought (Tariq Trotter) and drummer ?uestlove (Ahmir Khalib Thompson) became friends at the Philadelphia High School for Creative Performing Arts. Playing around school, on the sidewalk, and later at talent shows (with ?uestlove's drum kit backing Black Thought's rhymes), the pair began to earn money and hooked up with bassist Hub (Leon Hubbard) and rapper Malik B. Moving from the street to local clubs, the Roots became a highly tipped underground act around Philadelphia and New York. When they were invited to represent stateside hip-hop at a concert in Germany, the Roots recorded an album to sell at shows; the result, Organix, was released in 1993 on Remedy Records. With a music industry buzz surrounding their activities, the Roots entertained offers from several labels before signing with DGC that same year.
The Roots' first major-label album, Do You Want More?!!!??!, was released in January 1995; forsaking usual hip-hop protocol, the album was produced without any samples or previously recorded material. It peaked just outside the Top 100, but was mostly ignored by fans of hip-hop. Instead, Do You Want More?!!!??! made more tracks in alternative circles, partly due to the Roots playing the second stage at Lollapalooza that summer. The band also journeyed to the Montreux Jazz Festival in Switzerland. Two of the guests on the album who had toured around with the band, human beatbox Rahzel the Godfather of Noyze -- previously a performer with Grandmaster Flash and LL Cool J -- and Scott Storch (later Kamal), became permanent members of the group.
Early in 1996, the Roots released Clones, the trailer single for their second album. It hit the rap Top Five, and created a good buzz for the album. The following September, Illadelph Halflife appeared and made number 21 on the album charts. Much like its predecessor, though, the Roots' second LP was a difficult listen. It made several very small concessions to mainstream rap -- the bandmembers sampled material that they had recorded earlier at jam sessions -- but failed to make a hit of their unique sound. The Roots' third album, 1999's Things Fall Apart, was easily their biggest critical and commercial success; The Roots Come Alive followed later that year.
The long-awaited Phrenology was released in late November 2002 amid rumors of the Roots losing interest in their label arrangements with MCA. In 2004, the band remedied the situation by creating the Okayplayer company. Named after their website, Okayplayer included a record label and a production/promotion company. The same year, the band held a series of jam sessions to give their next album a looser feel. The results were edited down to ten tracks and released as The Tipping Point in July of 2004. A 2004 concert from Manhattan's Webster Hall with special guests like Mobb Deep, Young Gunz, and Jean Grae was released in early 2005 as The Roots Present in both CD and DVD formats. Two volumes of the rarities-collecting Home Grown! The Beginner's Guide to Understanding the Roots appeared at the end of the year. A deal with Def Jam fostered three riveting, often grim sets: Game Theory (2006), Rising Down (2008), and How I Got Over (2010). Through 2009 and 2010, the Roots expanded their reach as the house band on Late Night with Jimmy Fallon. They also recorded a 2010-issued album with John Legend, Wake Up!, which featured covers of socially relevant songs like Harold Melvin & the Blue Notes' "Wake Up Everybody" and Donny Hathaway's "Little Ghetto Boy." - John Bush, AllMusicGuide
Brimming with confidence and creativity, Arrow sees Heartless Bastards pushing their distinctive sound forward with their most eclectic, energetic collection thus far. The album – the Austin, Texas-based band's first release with Partisan Records – is marked as ever by singer/guitarist/songwriter Erika Wennerstrom's remarkable voice, at turns primal and pleading, heartfelt and heroic. Songs like "Parted Ways" and the searing "Low Low Low" expertly capture the Bastards' multi-dimensional rock in all its strength and spirit. Following upon the difficult introspection of 2009's acclaimed third album, The Mountain, Arrow stands as a powerhouse new beginning for the Heartless Bastards.
"The Mountain was me going through some things after being in a relationship for nine years," Wennerstrom says. "This album is kind of like me being comfortable again."
Arrow serves as the recorded debut of the Heartless Bastards' current iteration, their latest and greatest line-up since Wennerstrom first convened the band back in 2003. Drummer Dave Colvin and bassist Jesse Ebagh – both of whom played on the Bastards' first-ever demo recordings – returned to the fold in order to play live behind The Mountain. Soon after embarking on tour, Wennerstrom decided to put more meat on the band's raw bones by enlisting guitarist Mark Nathan, who had ostensibly come aboard to handle the live sound.
"I wanted to add another guitar," Wennerstrom says, "so I asked Mark, 'What do you think of joining the band?' and he was into it. I've always planned on being a four-piece, but it just takes a while to find somebody that you feel you click with. I'd rather have it be stripped down than just have somebody there for the sake of having them there."
The expanded line-up brought additional color and dynamism to the Heartless Bastards' already colorfully dynamic rock 'n' roll. With their sound honed to a razor's edge by night after night of playing live, the Heartless Bastards were soon ready to record for posterity. But having spent so much of the past year on tour, Wennerstrom knew she needed some downtime in order to turn her musical ideas into fully-fledged songs. In Fall 2010, she embarked on the first of what would be several solo road trips designed to clear the cobwebs and help focus her songwriting. Wennerstrom visited friends and family in Ohio, hung out at All Tomorrow's Parties in the Catskills, spent alone time in Arkansas, a lake cabin in the Allegheny Mountains and at a ranch in West Texas.
"It was really nice," she says. "I didn't feel like I was getting much done, but I realized that a lot of that experience ended up being reflected in the songs. I didn't get a lot of the writing done right then, on that trip, but I feel like getting out there really helped me later on."
2011 saw the Heartless Bastards hitting the highway once more, taking the opportunity to road-test Wennerstrom's new songs on a bare-bones "acoustic" tour as well on a series of dates supporting Drive-By Truckers. The band set to work onArrow just two short days after their return to Austin, a revved-up, well-oiled rock 'n' roll machine.
"We just went right in," Wennerstrom says. "There's a definite sound that comes from a band that's been on the road and I really feel like it's translated on the album."
The band spent the next month with producer Jim Eno at his Public Hi-Fi home studio. Eno – known far and wide as the drummer in Spoon – guided the Bastards through the recording process, helping them to infuse their myriad influences and ambitions into the songs.
"Jim was really great to work with," Wennerstrom says. "He asked me what kind of approach I wanted to take towards each song and we'd take it in that direction. It was like, what were you thinking for each song, as far as inspiration?"
Arrow showcases the depth and breath of the band's indelible sound, with songs like "Got To Have Rock and Roll" and "Down In The Canyon" lighting upon spaghetti western film scores, Seventies soul, psychedelia, funk, blues, glam, and mudhole-stomping hard rock. Two years of nearly non-stop touring resulted in an astonishing musical telepathy among the Heartless Bastards, with all four players intuitively able to craft Wennerstrom's songs into maximum form.
"I'm so in synch with this band," she says. "Songs seem to go where I want them to go and it doesn't take a whole lot of time. Even though I'm not very communicative, they know me well enough and get it."
Kicking off with the widescreen vision of "Marathon," the album is more wholly fleshed than anything in the Bastards' prior oeuvre, while simultaneously securing the band in all their straight-on, unadorned majesty. Arrow is the glorious sound of a four-piece rock 'n' roll outfit in full flight, with little outside accompaniment bar conga player Matthew "Sweet Lou" Holmes's performance on the evocative "Skin and Bone."
"It's a pretty stripped-down album in a lot of ways," Wennerstrom says. "There's really not a lot added to these tracks, they're really mostly live takes. We talked about adding things, but when we listened back, we thought, 'I don't know if this really needs more.'"
With Arrow complete, the Heartless Bastards are now itching to get back out there. Inveterate road warriors, the band is at their electrifying best while on stage, making deep connections with both their audience and their music.
"It can be hard at times," Wennerstrom says, "but I love it. I love playing on stage. It's that hour and a half, that time that we're up there, that I love most. There's a lot of sitting around, trying to find things to fill in the time, but then we finally start to play, it's so worth it and rewarding."
Arrow sees the Heartless Bastards doing what all great bands do – furthering their artistic scope with each successive effort. With its impressive range and undeniable vigor, the album flies straight, honest and true, the finest distillation yet of this extraordinary rock 'n' roll band's fiery, unforgettable sound.
"I feel like this is the strongest record I've ever done," Wennerstrom says. "I feel like playing with these guys, us all being so connected, really helped make it so fully realized. I'm really, really happy with it."
From the band that's been both accurately and inaccurately labeled just about everything this side of Top 40 comes a true-to-form rock-n-roll record. Scratch that, true-to-form is not Deer Tick's style. Let's start over…
Naturally, after so many years of critics praising [and making fun of] them for their "folk" and "country" sounds and hardly ever mentioning the fact that they've also recorded virtually dozens of other kinds of music, the band wanted to make a record that was truer to their live set (which has gained some notoriety): raw, loud, heartfelt, and completely uninterested in whatever the hell the rest of the music industry is up to.
To produce this record, the band recruited the team of Adam Landry and Justin Collins, who produced McCauley's side-project Middle Brother's debut album. The results are unlike anything you've heard on a Deer Tick album, but Deer Tick achieves something that is a lot more accurate to their live sound. Distorted guitars are aplenty, guitarist Ian O'Neil and drummer Dennis Ryan take lead vocal duties for the first time on record. Man, you can practically smell the sweat and the beer! Shit, you may even hear a guitar or two break somewhere in there! It's got a little Exile, it's got a little In Utero, it's got a little Nilsson Schmilsson, but it's 100% Deer-Fucking-Tick in their purest, and most carefree form… perhaps that's because this is the first record they've recorded in their home state of Rhode Island… GAH!!! No need to over-think this shit!!! Moving on…
The songs are there. The delivery is in your face. There's no studio magic. There's no hiding the fact that Deer Tick is just five regular dudes. This record may rattle your thoughts, and it may make you think differently about Deer Tick, but at least they didn't make the same album four times in a row, right?
The islands of Hawaii are not only the biggest influence on IRATION's sound they are home to all of its members. IRATION was born from a love of all types of music and a desire to create something new. Elements of reggae, rock, and pop are mixed with keyboard/synth and melodic vocal lines to create something truly unique. Iration is best heard in a live setting where you can truly experience the full spectrum of their range. They have proven to truly have an understanding of modern and traditional performance techniques that keep crowds of fans', both younger and older, hands in the air and heads bobbing.
In 2007, they recorded and released their first full length album, No Time for Rest, at Castaway 7 Studios in Ventura, Ca, which featured one of the last recorded performances by reggae legend Mikey Dread, who produced accomplished musicians such as The Clash and UB40. Their single "Cookie Jar" reached number one in Hawaii on 93.9 DaBeat and was featured on Fuel TV's Triple Crown of Surfing recap. Their music was also featured on MTV shows Maui Fever and Living Lahaina.In the spring of 2008, IRATION embarked on a national tour titled "Playboys in Paradise" in support of the band Pepper. They traveled 16,000 miles and played in front of numerous sold out crowds. On October 3, 2008, IRATION released their latest collection of recordings on their Sample This EP – Sample This, is a four song EP featuring two songs, "I'm With You" and "Electricity," which were co-written with a fellow local Hawaiian musician, songwriter, and Grammy winning producer Charles Brotman of Hawaiian recoding company Palm Records. Sample This EP also features IRATION's smash hit "Falling," which has been added to several radio stations in California, Hawaii and Guam. The Sample This EP debuted at #3 on iTunes top reggae albums - "Falling" remains in the top 50 reggae songs on iTunes as of September 14, 2010. IRATION has been MySpace's #1 top unsigned reggae artists for almost all of 2009. "Falling" currently has over four and a half million plays on MySpace with over nine and a half million plays total.
In 2009, "Falling" was added to Santa Barbara's modern rock station, KJEE FM, and had begun to receive specialty plays on XTRA FM, San Diego's alternative rock station 91X (as well as No Time For Rest's "Cookie Jar"). In the beginning of '09, IRATION accomplished sell-out shows at San Luis Obispo's Down Town Brew, West Hollywood's famed the Roxy Theater several times, and San Diego's House of Blues. IRATION also performed at KJEE's Summer Round UP at the Santa Barbara Bowl with Kings of Leon – before heading back to the studio to finish their album Time Bomb. The second half of 2009 was all about touring. IRATION kicked of their summer touring in August by supporting Rebelution's national "Bright Side of Life Tour." In the fall they performed at Los Angeles' Sunset Strip Music Festival, headlined San Diego's Paddle for Clean Water Festival presented by 91X FM, as well as supporting Pepper's national "In the Trenches Tour." IRATION continued touring through the fall supporting 11 dates with jam band legends Umphrey's McGee. They ended the year with four very special California headlining dates.
For IRATION, 2010 started off with big bang! By supporting 47 shows in 52 days on The Expendables' "Winter Black Out Tour," the Hawaiian bred boys proved they could hang touring even in the harshest of conditions. On On March 9, IRATION released their highly anticipated album Time Bomb, via a one week iTunes exclusive debut, peaking at #40 on iTunes' overall music chart, and "Falling" was iTunes' "Discovery Download" of the week. Time Bomb has been as high as #1 on the US iTunes reggae album music chart and their title track "Time Bomb" has been as has high as #12 on the US iTunes reggae single chart. The title track "Time Bomb" has been added to and spun on several radio stations in HI including Q103 FM, Native FM, Da Beat FM, as well as in KJEE FM (modern rock – Santa Barbara, CA) and landed "Song of the Day" on 91XTRA FM (Alternative - San Diego. CA). Time Bomb debuted at #2 on Billboard's reggae album chart and #30 on Billboard's "Heatseekers" album chart. Time Bomb has sold approximately 10,000 copies and 30,000 single track downloads to date.
IRATION released their single "Summer Nights" August 17, 2010, which debuted at #2 on the iTunes reggae singles chart in the US, through their newly formed indie record label: 3 Prong Records. They closed out 2010 with their "Lei'd Back" national 30+ major market headlining tour. Recent standout shows include an NCAA volleyball tournament show for CBS Sports TV at San Diego's Wavehouse, the KJEE FM annual Summer Round Up at the Santa Barbara Bowl, the music festival stage at Hurley's US Open of Surfing in Huntington Beach, and Cyprus Hill's annual Smoke Out Festival alongside Incubus, Manu Chao, and many more. Recently, IRATION was named one of iTunes' "Best Upcoming Artists."
In 2011, IRATION proves they waste no time by releasing another record, Fresh Grounds EP – which will include their most recent release, "Summer Nights." The worldwide release, is scheduled for an iTunes one week debut exclusive Feb 1, and will be available digitally in stores everywhere online Feb 8. IRATION will once again hit the road starting Jan. 13 supporting 18 dates on friends Rebelution's Winter Greens Tour including two dates at the House of Blues Chicago – continuing on throughout the country in 20+ more east coast and southern markets on IRATION's own. These Hawaiian raised naturally talented musicians look forward to spreading their original sound, aloha spirit, and cutting edge (surf) culture as far as possible and will continue to make original music.
GA: $40-$55 - VIP: Sold Out
Kids 12 and under get free admission with accompanying adult.
General Admission ticket pricing:
Jan 1 – January 31: $40
Feb 1 – February 28: $45
March 1 – March 21: $50
March 22- March 24: $55
Margaret T. Hance Park
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