There is a subtle art to create the perfect one-hour festival set. Keeping the dial cranked to “11” risks burning yourself and your audience before you reach the midpoint. If you throw too many deep cuts and throw-ins, the viewer will try to evacuate to one of the other six simultaneous performances. A successful festival set requires a skillful blend of hooks, dynamics and raw power. On the third and final days of Austin City Limits’ first weekend, three very different rock bands, Duran Duran, Greta Van Fleet and White Reaper, adopted these elements. At different ratios, at different degrees of success.
The first of these three Sunday performances is from Louisville, Kentucky’s White Reaper, combining camaro rock history, sweet power pop melodies, and the irreverent humor of DIY punk. The sunbathing Honda stage wasn’t the most enviable place in the world at 2:30 pm as the temperature dropped in the 90’s, but Quintet took full advantage of much of it and was full of Thin Lizzy-style guitars. A chorus of harmony and guts pose that rips a breathtaking power hour. The scorching cover of Nirvana’s “aneurysm” stimulated frontman Tony Esposito’s final mosh call audience, and keyboardist Ryan Hater powered up aerobic exercise, including jumping jacks and harkeys. Maximized downtime.
White Reaper took control of indie rock with their second great album of 2017. The best American band in the world.. What started with a heartwarming pride has evolved into a satisfaction guarantee, and White Reaper has delivered products using garage punk anthems such as “Judy French” and “The Stack” and a little poppy material. Sophisticated 2019 album, You deserve love.. The band members still seemed to find a bit of their sea feet on the huge Honda stage, which makes sense as it dwarfed the club stage they usually find. Still, a band that can summon three consecutive circle pits in such repressive heat deserves the highest rating.
By the time Greta Van Fleet climbed to the Lady Bird Stage at 6:30 pm, the sun began to fall terribly slowly below the tree limits, in front of a crowd of tens of thousands over a decade. The Frankenmuth, Michigan quartet has become one of the most disruptive bands in rock since the release of their debut single, Highway Tune, in 2017. Fans write them down as rock and roll messiahs, and critics write them down as shameless Led Zeppelin clones. And certainly, Greta Van Fleet’s bloated, complacent set sank like a lead balloon under the stadium rock cliché flood.
Greta Van Fleet accepts a hero’s bomb without any ironic hints, but lacks the other elements needed to sell it — showmanship, technology, as you know. , Good song. Frontman Josh Kishka ran around the stage like Frodo Baggins in his pajamas one sea, with deafening screams becoming a series of silent vowels. Drummer Daniel Jørgensen started his solo with just three songs. This seemed modest compared to the 7-minute ending solo on guitarist Jake Kiszka’s “The Weight of Dreams.” It’s a sadistic and endless slogan through the pentatonic valley that desperately pursues a melody that never comes true, acting as a microcosm for the entire Greta Van Fleet set, and the embarrassing act of rock’n’roll cosplay has shown any fundamental misunderstanding. Made their ancestors very powerful.
Thankfully, a group of well-meaning legends appeared just two hours later, showing the children the real thing. The rock show looks like. Filling in the 11th hour of Stevie Nicks (who canceled the remaining 2021 show in August due to COVID concerns), Duran Duran immediately went into business and set a 60-minute set with The Reflex’s one-two punch. have started. “Notorious” backed by Nick Rhodes’ futuristic synth arpeggio and John Taylor and Roger Taylor’s urgent drum’n’bass groove. Frontman Simon Le Bon easily scaled the vocal register. His supple tenor wasn’t bad to wear after more than 40 years of playing.
And boy, did he do executionSkip the stage, spin and dance with the reckless enthusiasm of a local artist who just landed on the first noon festival slot. This is a man who tasted all the delicacies, indulged in all the vices, and saw every corner of the world in his heyday. And on Sunday night he still wanted more.
“Have you had a good weekend? Would you like to make new friends?” Lubon asked the crowd with a devilish smile. “Did you have an affair? Do you listen to good music? Do you drink a little? Do you smoke a little Doobie?” Soft ballad “Ordinary World” (“I have felt that it will never happen again in the last two years.” , I’m here “), he was temporarily taken seriously, but most of the time the band stuck to transcendental uptempo dance floor anthems, including chart-top James Bond. rice field The theme “007 Beautiful Prey”, the sneaky electro trash gem “Girls on Film”, and, of course, the euphoric pop-rock smash “Hungry Like the Wolf”.
Grandmaster Melle Mel’s “White Line” cover fits like a glove, and the moody synth ballad “Save a Prayer” has a palate before an encore performance that purifies the soul of “Rio.” It acted as a cleanser. The latter took about 5 minutes longer than Duran Duran’s scheduled set time. Fans would be happy to accept another 25. Instead, the band came out in the treble of victory and achieved its unusual feat that characterized the best one-hour festival set — they made the audience want more.