Hop Along, Or One Man’s Stray Thoughts and Observations About Hopscotch 2016 (Part III)

hopscotch-music-festival-raleigh-city-plaza Jasper asked Free Times music editor emeritus, Those Lavender Whales guitarist, and Hopscotch veteran Patrick Wall to go the festival and gives us his thoughts. This, in three parts, is what he wrote.

Part I is here; Part II, here.




I’m pretty sure I was lost somewhere in William Basinski’s haunting and ethereal tape loops and drones at Nash Hall when I checked my phone to a litany of tweets and texts about the life-affirming set Savannah metal band Baroness was throwing down at Lincoln Theatre.

As Hopscotch has expanded and broadened its rock ‘n’ roll offerings, I’ve moved away from them more. Saturday offered plenty of stellar rock options, and, indeed, I caught many of them: the Impressionist soundscapes of 1970s Film Stock; the nervy, rumbling post-rock of Maple Stave; the chirping indie rock of Mac McCaughan; and, later, the warped psych-rock of ET Anderson.

The final day of Hopscotch is the hardest, the final hours especially so. The fatigue from a long Thursday evening followed by back-to-back all-day marathons hits in full force around the time the club shows start on Saturday night — or earlier, if you’re unlucky (or, like me, aging). A band like Baroness, one that’s loud and determined and that melds accessible hooks onto corrosive metal, makes it worth pushing through those final few hours.

But as I get older, I find I no longer need that shot of insurgent energy dangled like a carrot at the end of my night. I no longer find moments of affirmation in bleary, blustery solos or colossal walls of distortion. (As much as I might still like either.) Instead, at Hopscotch, I find them in other places, and in smaller moments.

Patrick Haggerty of Lavender Country didn’t play too much material in the early part of his set; his backing band — comprising members of fellow Paradise of Bachelors bands Promised Land Sound and Gun Outfit — mostly stood idle as he told long, engrossing stories about growing up gay in rural America. It was particularly given how timely Haggerty’s stories of struggling for gay rights felt in the current political climate.

Seeing William Basinski at Nash Hall was about as exciting as one would imagine. Dressed something like a cartoonish representation of spaceman come to earth in oversize sunglasses and a sparkly purple sportscoat, Basinski mostly stood motionless over his setup of two tape machines and a laptop. Occasionally, he’d bend over and tweak a knob. Sometimes, he’d just sit down and lean back. But the gauzy drones his machinations were producing were a hypnotic treat — a sort of lullaby that seemed to me just as fitting a way to close out a festival of mesmeric wonders as any ballistic metal band.

As is my tradition, I ended with a brass band — The Stooges Brass Band, which wound up the would-be winding-down crowd Kings Barcade — to burn off what little energy I had left. Baroness, I was told, was still raging just down Wilmington Street; their first encore wouldn’t come until at least 2 a.m., I’d find out later. And there was an afterparty, too, that some friends from Charlotte told me about that was to be DJed by Sylvan Esso.

Still, I was sated. I had no need to push through anymore. Instead, I biked back to the hotel, got stoned with a friend, and went to sleep. It was the earliest I’d turned in on a Saturday night cum Sunday morning since the first Hopscotch festival in 2010.


Sunday morning, I took my sister to the airport. She’s lived in the Triangle for about as long as Hopscotch has been around; if I don’t stay with her during the festival — I haven’t for several years, as the drive from Carrboro to Raleigh is a long one (and especially ill-advised if you Hopscotch as hard as I used to (buy me a beer sometime, and I’ll tell you about the worst driving decision I’ve ever made; it involves Hopscotch, Drive-By Truckers and weed treats)) — we get together for brunch on the Sunday morning after.

Invariably, we end up at a Whole Foods, and, invariably, she asks me what my favorite act of the festival was. Invariably, I freeze at the question. Invariably, I stammer through an answer, even though, as I’m giving it, I know whatever response is fumbling out of my mouth is variable. I know I will invariably give a different answer every time someone asks me.

I prefer to take, especially these days, Hopscotch as a whole, to judge the festival holistically as an end-to-end experience. (Indeed, trying to justify Hopscotch’s ticket price with just one set would be incredibly silly.) I have, I suppose, more regrets about this Hopscotch than any other. Yes, missing Erykah Badu and Young Thug were disappointing. But waiting around for either would have effectively eaten up all of Friday night, and I’d have missed two of my favorite sets in Dai Burger’s and Julien Baker’s stunner at Nash Hall. Yes, if I’d had to do it over again, I’d have traded the disappointing Television for the avuncular 12-string slide guitar of Don Bikoff, or the good but enervating metal band Cobalt for DJ Spinn and the Era Footwork Crew. Or maybe I’d have braved the maddening horde of young, hip white people waiting in line to see bounce queen Big Freedia. Or stayed for those last few minutes of William Basinski’s dissolving drones.

I’m 34 years old, now, and growing up, I’ve realized, is recognizing — and maybe even embracing — your faults and your flaws. And maybe Hopscotch is, too. For all its flaws and foibles, Hopscotch still offers a lot to the music lover with a broad palate and appetite for live performance. And for as much as it’s changed and for all its foibles, Hopscotch hasn’t lost what makes it a great — essential, even — festival.

So has Hopscotch changed more, or have I?


Patrick Wall is music editor emeritus of Free Times. He now lives in Winston-Salem, North Carolina, where sometimes people pay him to write things. He is carbon-based.

Hop Along, Or One Man's Stray Thoughts and Observations About Hopscotch (Part I)

hopscotch-music-festival-raleigh-city-plaza Jasper asked Free Times music editor emeritus, Those Lavender Whales guitarist, and Hopscotch veteran Patrick Wall to go the festival and gives us his thoughts. This, in three parts, is what he wrote.

I was in the middle of City Plaza when it hit me.

I’d honestly been sort of dreading going to Hopscotch this year. Each year, for the past six years, I’ve trekked up to Raleigh for the three-day, indoor-outdoor music festival. And though each year has been ultimately rewarding or affirming — and sometimes both — each year the slog’s gotten longer, tougher, more exhausting.

I still remember my first Hopscotch. In part, anyway: It was 2010; I was in my mid-twenties, going to shows seemingly every night of the week, and running a music desk at an alt-weekly newspaper but more or less drinking professionally. My first few Hopscotches went the same way: Get to Raleigh, start drinking, see as many bands as possible, don’t stop doing either until the wee hours of Sunday morning. It was a herculean effort, one fueled by surges of adrenaline as much as it is by boatloads of caffeine. Rest and food were scarce; calories were consumed in quick chugs and at late-night diners. Success was only achievable through assembling a crew to spur you into hopping to another venue, pick you up when you fell, hand you another five-hour energy drink when you tired.

Things changed in the intervening six years. Hopscotch got bigger, more popular and more populist — and more overrun, it seems, by sponsorship representatives handing out Kind bars and herbal energy drinks. As for me, I quit the alt-weekly desk, freelanced for a few years, then burned out and got a real job. I’ve moved twice. I’ve gotten married. I gained 25 pounds, then lost 40. I’ve quit writing professionally almost entirely. I’ve forgone, even, going to a lot of shows, part and parcel because a lot of what comes through where I live now doesn’t fully grab my interest, but mostly in favor of gathering moss. Instead of slumming in dive bars and seeing yet another in a line of bands who wouldn’t make the minutest impression on me, I dove into other interests: playing hockey and trying to get under a 10-minute mile and going fun and interesting places with my wife and doing any number of things I'm interested in doing that don’t involve popping in earplugs and popping open a PBR. I chalked it up as a consequence of getting older, crankier, less indefatigable.

My friends who’d formed my Hopscotch crew, too, were passing on attending en masse, having chosen on hiking excursions or having moved to bigger cities or having settled into married life or having simply grown weary of the rigors of the Hopscotch wringer. I’d even considered not going to Hopscotch at all. After all, I was in my mid-thirties, and years removed from the ride-or-die rock ‘n’ roll lifer I always thought I’d always be. Was this shit even for me anymore?

I confessed to a friend of mine over a drink at a Raleigh bar some two months before Hopscotch that I was considering not going. She laughed, rolled her eyes, stirred her drink and said, “Of course you’re fucking going.”

She was right, and there I was, the intoxicating pull of Hopscotch — not to mention the opportunity to see some longtime favorites for free — having proved once again to great to pass up. (I suppose I remembered my Nietzsche: Without music, life would be a mistake.) I’d gotten to City Plaza late after sitting in rush hour traffic outside of Raleigh — not too late, thankfully, to not see Wye Oak reaffirm themselves as an incredible live act — and was starving. Six years ago, I’d have thrown caution to the wind, sniffed out the free booze and played catch-up with the cadre of Hopscotch partiers who’d been drinking all day.

Instead, I slid into the small health-food joint at the top end of City Plaza, ordered something called the Protein Bowl, halved the order of chicken — because, you know, cholesterol — and hoofed it back outside, where I started shoveling it into my mouth in hefty forkfuls. Standing in line for the photo pit, I looked up from my meal and laughed. I, who somehow survived a diet of cheeseburgers and whiskey and innumerable shows in my twenties, was eating a salad standing up. At Hopscotch.

And that’s when it hit me. I wondered aloud — Which has changed more: Hopscotch, or me?



Around midnight on Thursday, I sank into a plush padded chair at the comfy Fletcher Opera House just as Kurt Wagner’s long-running, essential and forever exquisite indie rock band Lambchop was easing into an imaginative trio rendition of “The Hustle,” the first single from its upcoming album.

“Do the hustle,” Wagner intoned, mantra-like, in his AutoTuned baritone near the end of the song’s extended runtime. ”Do the hustle.”

Stylistic pinball has always been the prevailing spirit of Hopscotch. The festival’s breadth has always been remarkable: Its first year featured headlining sets from Public Enemy and Panda Bear and its downticket club lineups featured everything from the rawest garage rock to the raunchiest rap to the most refined experimental music, and it’s followed that model since. Hopscotch works on the pub crawl model: See a bit here, a bit there, a bit somewhere else. But such an approach requires hustle; to see a dozen bands and at least half as many genres in a single night requires hurried rambles around downtown Raleigh at maximum efficiency. (The smartest thing I’ve ever done: brought my bike to Hopscotch. One of the dumbest: neglecting to bring a spare tire, or at least a patch kit.) Hopscotch doesn’t require you to pachinko your way through the night, but the way its schedule is staggered encourages quick and unlikely moves.

I spent my first few Hopscotches accumulating sets like baseball cards, ticking off boxes and circling names on pocket-sized schedules. The intent was willful, deliberate sensory overload — to see as many bands in three days as possible. Those first few years, I averaged more than 50 over the course of three days; at my most active, I saw 61. (And, because I’m an insane person, documented each sighting on Twitter and Instagram.) I wondered, after that exhausting year, if seeing 100 bands was possible, even plausible. I drew charts and started mapping efficient routes. Such an idea is utterly fucking ludicrous to me now.

The flaw in my methodology was my limited random access memory. I wrote, for the now-defunct Shuffle magazine in 2011, when — subsisting solely on adrenaline and consuming nothing but coffee and alcohol — I saw 61 bands, that I’d remember not certain sets but certain moments. But the truth is I don’t really remember either, at least not without considerable prompting. Last year, by comparison, I hit 52 bands without breaking a sweat. This year, I saw even fewer 49. (And I only tweeted 14 times.)

All this is to say I didn’t so much follow Wagner’s advice this year. I saw the fewest number of bands at the Hopscotch since the first one. I hustled less, stayed put longer — even caught entire sets from non-City Plaza headliners. (It’s easy to catch a full set from a City Plaza act, as they’re typically slotted in the dead time between the end of the day parties and beginning of the club shows.) I decided to stick around longer for things I was enjoying. I worried less about festival FOMO. (I will now set myself on fire for using FOMO.)

But if Hopscotch is a lot more sane, is it by turns a lot less fun?

There was still plenty of pivoting to be done. In Nash Hall, I surrendered to the exquisite and emotionally provocative avant-garde saxophone quartet Battle Trance, which sounded at times like a blistering death metal band through hyperprecise scalar runs and moments later whistling — literally — in harmony. During their 45-minute set, they employed probably every extended saxophone technique invented, moves that were at once whimsical and magnetic. Nash Hall, a low-ceilinged, intimate space in a downtown church, was a new and much welcomed Hopscotch venue this year, giving the festival a place where reverence is assumed and attention is high; I’d return near the end of my night for Tom Carter’s glacial guitar drones.

Down on Fayetteville Street, Memorial Auditorium returned to use after a two-year absence due to venue remodeling and festival reformatting — it served as a venue for what could be thought of as overarching club headliners. If its first night back was a test run, it stumbled: Sneakers, a small but quietly influential ’70s North Carolina power-pop band whose ranks included Mitch Easter and Chris Stamey, sounded stiff in the outsized auditorium; vaunted indie-rock forefathers Television deployed their trademark guitar heroics, but never caught fire.

But when a set is disappointing at Hopscotch, chances are very good there’s one right next door that’s hitting on all cylinders. Lambchop smoldered perfectly at Fletcher Opera House. Kitty corner at Lincoln Theatre, Mutoid Man and Converge perfectly mixed power and majesty.

The first night of Hopscotch, then, was a classic example of the festival’s longtime format — a big opening show outdoors followed by a mad, prolonged dash between ten clubs of various sizes for several hours — and why that formula remains potent. No other festival promises attendees so many permutations to choose from. But with such diversity comes the paralyzing problem of choice. Moreover, this very approach, which has made Hopscotch so appealing over the years, now threatens to bring it more in line with generalist festivals across the country.


To be continued...

Patrick Wall is music editor emeritus of Free Times. He now lives in Winston-Salem, North Carolina, where sometimes people pay him to write things. He is carbon-based.

Why You Should Go To Shows Vol. 3: Valley Maker CD Release @ New Brookland Tavern 8/10/13

1) Valley Maker himself (itself?), of course. VM is the recent songwriting nom de plume of Austin Crane, who released a few quite-excellent records under his own name and the Valley Maker moniker before departing for graduate school in 2010. Crane only plays a few gigs a year, and all of them mostly here in Columbia on his brief returns. His last record (and first under the VM name) came out in 2010, and is still one of the most-downloaded South Carolina records on Bandcamp to date. All of which is to say that each show he performs becomes a near must-see. Plus, his new full-length Yes I Know I’ve Loved This World is pretty killer.

2) Opener Amy Godwin, who provides the haunting, mood-setting background vocals on Valley Maker records, started the show off my using extensive vocal loops to harmonize with herself on her traditional folk-meets-dream pop sound that is absolutely enchanting.

3) Let’s Go Coyote! frontman Pat Wall (Free Times music editor and Those Lavender Whales guitarslinger Pat Wall) takes a visceral joy in playing the electric guitar as oddly and brashly as he wants, and in the process demonstrates exactly what rock and roll played live should be about.

4) The stage banter bromance of Wall and drummer Aaron Graves, who fronts Those Lavender Whales, also gave LGC an appeal which really only comes through on stage.

5) Those Lavender Whales were co-headliners, and hearing them shoot through songs on their new EP, entitled Parts & Pieces/Goose and Geeses, was worth the ticket price alone. I called their last record my favorite local release of last year, and I’m pretty sure some of these songs are even better.

6) The gang vocals on Valley Maker’s final song (the new record's closing number, “Goodness”). While perhaps not strictly necessary, it was a striking reminder of how the camaraderie of local musicians and their uninhibited affection for each other’s songs is what makes a music scene in the first place. And, of course, just how good of a songwriter Crane is. Musical moments that combine the warm-and-fuzzy with goosebumps are rare, but they happen, as this loveable moment proved.

-K. Petersen

Why You Should Go to Shows is a projected blog series that describes the specific joys of certain live performances rather than providing a strict review of the show in question or speaking of the joy of patronage in the abstract. Kind of.