For a while, I sat in on the panel on “The Year of Women Breaking the Internet,” with speakers from Lenny Letter and Giant Spoon, but quickly realized that this wasn’t a fluff symposium- they jumped headfirst into the nitty gritty of the industry and, jargon lost on me, I ducked out. Daytime talks clashed with a 9-5 schedule, but from a few friendly conversations (with people who quickly realized I wasn’t anyone glamorous to #network with), I gleaned that many brand consulting firms and digital marketing agencies send their employees to soak up the knowledge and hand out business cards. Sidebar: Since my press pass afforded me access to the Content and Innovation portions of the week long Festival, which clearly models itself to an extent on Austin’s SXSW, I felt I would be remiss if I didn’t stop by at least one event. He stepped out armed with only an acoustic guitar for a heartbreaking rendition of “Wildwood” from his 2014 album, Way Out Weather. Gunn is a bashful front man- “be nice to us,” he exhorted – but a devastating presence when onstage solo. His gravely, gasped vocals flit in and out of the sonic whirlpool, but never overpower the rest of his group, the Outliners, most notably the plaintive cry of the pedal steel. But though Gunn borrows elements from the jam band format, his pieces are carefully constructed and hypnotic in their cyclical ebbs and flows. I was skeptical at first of his opener, Yonatan Gat, but soon fell into the fuzz-heavy “psych-punk” groove, a fitting introduction to Gunn’s extensive, intricate jams. My North Brooklyn musical weekend started off on Thursday night with a heavy wave of nostalgia, listening through McCarren Park’s chain link fence as Wolf Parade played songs from 2005’s Apologies to the Queen Mary on the Fest’s main stage. We opted to boogie only in passing so we could make it on time to one of most hyped shows of the Festival, Steve Gunn’s record release at the Music Hall of Williamsburg. Steve Gunn in Austin by Mounika Garlapati
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