An Interview with Tyler Ritter from Moon Taxi
Earlier this summer, WIUX sent Brenden Spangler to the 2017 Bunbury Festival in Cincinnati, Ohio, where he sat down for a brief talk with Tyler Ritter from Moon Taxi. https://youtu.be/l39sRi0GzpI
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Earlier this summer, WIUX sent Brenden Spangler to the 2017 Bunbury Festival in Cincinnati, Ohio, where he sat down for a brief talk with Tyler Ritter from Moon Taxi. https://youtu.be/l39sRi0GzpI
Most people might not realize it (I certainly forget it from time to time), but the greater American Midwest fosters some of the nation’s most expansive and star-studded festivals brimming with musical talent and massive sets. Bonnaroo, Lollapalooza, Euax Claires, Hinterland, and Pitchfork are just a few of the major summer music festivals, and there are many more medium-sized upcoming festivals to add to that list. After spending the first of June in attendance (June 2-4), I feel it necessary to exclaim that the promising Cincinnati-based, bee-themed festival, Bunbury Festival, deserves inclusion in the lexicon of Midwest music festivals. A Short History of Bunbury This year was the 5th annual occurrence of Bunbury Festival, nestled along the Ohio River inside of Sawyer Point Park & Yeatman’s Cove. The inaugural 2012 opening of the festival featured recognized headliners like Jane’s Addiction, Weezer, and Death Cab for Cutie. The festival normally occurs in early June and lasts 3 days (one weekend), and has garnered hundreds of thousands of attendees to date. While the orientation and design of the festival changes year to year, this year the festival positioned two giant stages on each end of the park, while smaller stages littered the in-between areas. More importantly, though, are the bands who have graced these stages. This year saw the return of Death Cab for Cutie as headliner for the first night (Friday night), but past line-ups have bolstered a variety and magnitude of musicality capable of leaving one utterly duped by how exactly a festival still in its early development years can land such recognizable names. With full transparency, I had little understanding of Bunbury going into the festival. Surely, with the sheer quality of artist, not even considering the amount business and media presence, this festival had to have been a well established event that I’d naively never heard of before. The fact that this was only its fifth year ever enlightened me to exactly how up-and-coming this festival is. It won’t be “just another music festival” for long. The Festival - Friday Full Disclosure, because of some changes in my travel plans, I wasn’t able to make it to the festival until Saturday evening. It kills me to think about the music that I missed throughout the festival opening day. The headliners for Friday were G-Eazy, Wiz Khalifa, and (as mentioned before) Death Cab for Cutie, but 15 other performers preceded them at the 4 separate stages earlier in the day. The Shins, Civil Twilight (probably my biggest regret for missing), Mutemath, Mike Stud, The Cordial Sins, Clubhouse, and Jared Mahone were just a few of Friday’s variety of musical acts. The Festival - Saturday Saturday was yet another day overflowing with music. Forecasts originally thought the weekend would be rained out, but Mother Nature decided that, instead of soaking the attendees in rain, sending an intense heat wave to drench everyone in sweat would suffice - but I’m not complaining. The weather was tremendous, and I arrived in the mid-evening. Regrettably, I had missed a full morning of music, including acts by San Fermin (equal with Civil Twilight on the regretfully-missed-it scale), Frenship, the VHS Collection, Kevin Garrett, Liberty Deep Down, Lemon Sky, and several more terrific talents. I did make it in time to witness the end of performances by CVBZ, SAROB., and D.R.A.M, which would’ve been fun for any fan of music and having a good time. Once SAROB. concluded, Tech N9ne followed shortly after at the festival’s main stage, the Nissan stage. The experience was a phenomenally frantic combination of fist-bumping, crowd chanting, free-styling, and running throughout the venue to capture as many quality pictures as possible. After closing out with a few fan favorites, Tech N9ne wished the crowd a great rest of the weekend. About that time, I hustled over to the park’s opposite side to witness Pretty Lights’ performance, before joining up with the rest of the merry photographers to funnel into the photo pit awaiting Bassnectar. I realized in that photo pit my mistake in not bringing earplugs; I was a mere foot from the speakers that would eventually turn my bones to dust once Bassnectar took the reins. I was so preoccupied photographing the set, the crowd, and Tech n9ne appearing next to me that I didn’t initially realize that Bassnectar had come onstage. Thankfully enough, his sudden onslaught of bass-pounding woke me from my daze like a super-powered alarm clock. I was so unprepared for the incoming sound waves that they literally knocked me back, but after I regained myself, 15 minutes of pure musical heroin accompanied my time in the photo pit (Bunbury would only allow photographers the first 15 minutes of a set to photograph the artists). The rest of the night consisted of the tens of thousands of people overflowing from the venue all dancing along, with some straddling nearby light posts, climbing the shoulders of their friends, or reclining along the nearby waterfront as streamers and lights intertwined themselves with the head-rattling sound waves orchestrated by Bassnectar. The Festival - Sunday Sunday: the conclusion. Bunbury’s final day included nearly 12-hours of continuous music by the night’s end. My time at the festival officially began around 1 PM. As I was schedule to interview Tyler Ritter of the acclaimed band Moon Taxi at 1:45 PM, I arrived at the media trailer with ample time to familiarize myself with the interview setting. After the interview concluded, I let loose to capture the remainder of Bunbury’s musical awesomeness. I started with a trip to White reaper’s set, before discovering the band, Circle It, performing a two-person acoustic session at the smaller Southwest music stage. This stage was obviously designed as an outdoor take on a lounge and rest area, as many people were strewn about in the grass, resting against trees, or lying on inflated cushions. Once Circle It’s performance concluded, and I had finished enjoying my lounging, I returned to the usual meet-up point for all the photographers before heading into the photo pit. This hang-out area was situated directly between the media trailer and the stage where the Arkells were performing, so I made sure to capture as much of their set as I could, including the moments when the band brought a random listener up on stage to perform with them. It was an incredibly lively performance. I was somewhat bummed to leave, but I had to make it to the photo pit for my next task: to capture the irish-ridiculousness of Flogging Molly. Guinness (literally) in-hand, Flogging Molly’s multi-piece band gave a rousing performance, with shades of protest rock that would preemptive of what Muse later that night. With Flogging Molly’s set complete, I traversed to the park’s opposite side for Moon Taxi, which would retrospectively become the halfway point of the day for me. In all honesty, while the music thus far for the day was astounding, Moon Taxi’s performance would become the act that would truly elevate that Sunday musical experience for me. They easily could have been a headliner. From then on, every performance was astonishing. The sun was merciless, the breeze nowhere to be found, but Moon Taxi made sure we were too caught up in the music to even notice. It did help that festival workers were occasionally walking around with water guns to bring some sweet liquid relief. The end of Moon Taxi’s set meant another trip back to the Southwest acoustic stage to relax and listen to Hello Luna perform. They finished around 6 PM, which left me a little more time to photograph the festival before catching the end of AFI’s set just in time to hear a stellar rendition of “Miss Murder”. At this point I meandered my way deep into the front of the crowd to wait patiently for Jared Leto and the rest of 30 Seconds to Mars to perform. Also around this time, my camera, shortly followed by my phone, died. This meant that I wasn’t able to photograph or record anything for the remainder of the festival, as I had forgotten to bring with me any portable chargers. But, I was about to see 30 Seconds to Mars, followed by the 1975 and Muse, so I wasn’t too upset. I was about five rows back from the crowd’s front, and with an hour to spare, I naturally made friends with the people around me. We all shared our musical stories from the weekend, and I was able to learn second-hand about some of the performers I missed that day, such as Reverend Horton Heat, Watsky, and Jon Bellion. Finally, 30 Seconds to Mars came out, and, regardless of your musical tastes, anyone would’ve enjoyed the next several hours of music. For your sake and mine, I won’t overload this story with details. What I will say is that I, along with tens of thousands of other people, were engulfed by the magnitude of 30 Seconds to Mars’ outlandish sound, and when it was over an exodus of biblical proportions occurred as everyone switched to the park’s other end to witness the genius of The 1975. If there was one band I was not going to miss at this festival, it was The 1975. To me they could easily become a band to define this decade, as they occupy the unique space between pop, rock, and ethereal noise. Having missed their concert in Indianapolis earlier in the school year, I was desperate to see them - and still they blew me away. At one point I caught myself wishing they would play forever, but, once their set ended, I found myself running back to the Nissan stage for the majestic rockfest Muse had waiting for us. Those last several hours of Bunbury I now regard as one of the greatest musical experiences thus far in my life. While I am a fan of Muse, I had never realized before their headlining act quite how unique and extraordinary they were. I will never forget the image of intergalactic, techno-visuals screaming from giant screens, as confetti burst above me, thousands of people danced along with me, and “Knights of Cydonia” galloped into my ears. And, in the end, such a performance was a fitting capstone to a festival that, before this year, I had never realized was quite such a spectacular experience either.
Lying in a reclined chair, needle in arm, as your blood is slowly drawn and recycled for its plasma can only be so comfortable; any pleasant distraction is happily welcomed. Roughly two months ago, from the chained corner of my basement where he lives, my fellow Tiger Den co-host, Matt Hamilton, generously provided five songs to ease your Biolife plasma donation. If you’re anything like Matt and I, feeling relaxed during the entire experience--not just when you finish and remember that you’re being paid for this–is necessary. Because of that, I’ve decided to one-up Matt and present five podcasts to pass the “blood farming." Maybe you don’t want to listen to someone sing while your blood is drawn (what are you, crazy?), or maybe you just don’t like music (definitely crazy). Then again you might just enjoy spending the free moments you having learning or laughing. Whatever the reason is, here are five of my favorite podcasts to drown out the fact that a needle is currently stuck in my arm. Sampler Podcast Unlike my co-host’s list, I won’t bring you listening content that relates back to the fact that you are hooked to a plasma-drawing machine. Instead, I want to give you something bearable–maybe even enjoyable–during your donation… …And because of that, I’m starting with the Sampler podcast, hosted by Brittany Luse. Gimley is the media company that produces Sampler, among many other podcasts, and this podcast is a podcast–wait for it–about podcasts. Say you’re new to listening to podcast and need ideas, or perhaps you want to listen to the highlights of podcast genres. If so, Brittany is here for you. She’s like your friend who’s always happily introducing her friends to you in the form of special guests, host visits, and the perfectly-sized sound tastings of recommended podcasts. Did I just recommend a podcast about recommending podcasts? Rooster Teeth Podcast I have been listening to this podcast for years. I repeat: years. If that doesn’t show you how purely entertaining it is, then no description of it will convince you. Still though, here’s a description. An offshoot of the Rooster Teeth studios, the RT Podcast normally features company founders, Gustavo Sorola and Burnie Burns, along with Gavin Free and Barbara Dunkelman. I say “normally” because several other hilarious members of the RT staff cycle onto the show. This award-winning, self-proclaimed “science & dicks” podcast talks about nearly anything, but often ends up discussing entertainment content (online, movies/TV, videogames), hilarious anecdotes, or discussing confusing science questions in the dumbest, funniest ways they can. Rooster teeth is an Austin-based production company responsible for creating content that millions enjoy. Their podcast is no different. Be warned: This podcast will hook you. Philosophize This! With two entertainment podcasts, I have something for the knowledge-hungry readers. For you wonderful people, I offer Philosophize This! hosted by Stephen West. With his wise but delectable voice, which he describes as sounding like he’s 55 (but he’s not even 30), West brings the profoundly thick world of philosophy into digestible–dare I say entertaining–topic-based segments, ranging from Pre-Socratic philosophy to the most recent discourse. In this podcast, truly tough human questions collide with the historical and cultural backdrops responsible for the philosophical inspiration. No stone is left unturned, no perspective unconsidered. I only recently discovered this podcast, but because that I have a seemingly unquenchable love for junk like this, I listen every chance I get– but especially when I’m trading plasma for money. Embedded Remember how I recommended Sampler to you? (It was the first one, what’s wrong with you?) I found this podcast through Ms. Luse. Essentially, this is your standard podcast. Oft-funny Erin McGathy hosts this dive into topics on relationships, flings, and whatever irreverent tangent she and her guest(s) that week entertain. It started with the creator of Community (ex-husband, then boyfriend), Dan Harmon, appearing on her first episode. Over the years, the podcast catalogued their relationship as it happened, simultaneously indulging Erin’s brand of free-speaking comedy. Now she regularly hosts with guests from across the world to talk about whatever weird thing they can relate to sex and relationships. This is funny, easy-listening–just what you need when you willingly subjugate yourself to having blood sucked from your veins. Beautiful Anonymous This is quite a special podcast. The premise is that, for 60 minutes, host/comedian Chris Gethard takes a live call from an anonymous caller and he can’t hang-up first. The rules are strict and the results are the slow development of a personal narrative, which is oftentimes crushing but sometimes joyous–even hilarious. Occasionally a special guest will host alongside Chris, but normally it is only him, the caller, and the human image that develops. Not all of the episodes are home-runs, but this podcast is certainly capable of transferring you away from the dystopian feel of your current cash-strapped situation.
On the frigid night of November 30, from the stage of the Murat theatre, Fitz and the Tantrums, with a block-leveling opener from Phantogram, set ablaze a remote area of Indianapolis (figuratively – calm down you pyromaniac). Phantogram gave their own great, albeit short, performance, then the stage was left for Michael, Noelle, and Co. of Fitz and the Tantrums to work their magic – and they undoubtedly did. After transforming $30 seats into $70 seats, with sly seat-scoping and a confident meandering to the front rows, my friends and I found ourselves mere rows from stage. To use a clichéd but relatable piece of perspective: from here we could see the performers' sweat; and from here the concert was terrific. But this didn’t just happen by circumstance. Michael and Noelle made the crowd earn it, and looking back, I’m thankful they did. Anyone with enough concert experience can attest to that one concert they went to which, despite expectations of anything else, became a complete dud. They were deathly excited to see the performer(s), but afterwards they left the venue with nothing but disappointment. Maybe they were too excited, maybe the venue was horrible or the performer didn’t care, or maybe they (and possibly everyone else) just couldn’t get into it. There were ominous shades in the opening of Fitz and the Tantrums. In-between the set changes, people left – presumably because they were there only to see Phantogram. Because of this, the seating in the theatre changed and was awkwardly formed for the start of the concert’s second half. Because Phantogram and Fitz and the Tantrums cater to a large, diverse demographic, the concert hall was filled with a large, diverse population of people and ages. There wasn’t a unifying character to the audience, which can help bring everyone together. Fitz (and the Tantrums) came out to cheers and excitement, but settled into a concert hall populated with a disjointed, non-present audience. Personally, I always feel horrible when the performers can’t get a rise out of the audience. To me, there would be nothing worse than putting yourself out there to create this awesome experience for someone, only for them to stare back blankly with their dopey faces, overpriced drink in one hand and cell phone in the other. When Fitz broke onto stage with vibrant energy ready to wow, I felt guilty that the audience, after two songs, was still in hibernation. Understandably, it may take a song or two to achieve full immersion, which is why the opening song is vital, but in this moment the audience wasn’t budging – and Fitz knew this. It is because of this that I’m writing this article (and also because Mary Luncsford will steal $20 from me if I don’t editor's note: this is false). This is what that title all the way up there is for: remember that at concerts you’re meant to enjoy yourself. After Fitz and co. realized what was up with the audience, they immediately set out to squash it, and from then on the concert was riotous with dancing, singing, and a near-limitless stamina for obeying whatever Noelle’s orders were. Let me remind you, this concert was filled with people of all ages and backgrounds; old men and teenage girls were all vibing along. We were lucky to have a group like Fitz and the Tantrums to smack us awake. If we hadn’t, that entire concert would have come and gone with no substance. The concert-goers feed off of the energy of the performance, but the performers themselves also feed off of the audience. It’s a symbiotic relationship, which if nurtured, blossoms into a fantastical experience imprinted onto your memory. This is why you need to remember to have fun at concerts. Whatever happened in the past week, in your love/work/family/whatever life, should be left at the door – or better yet, let go of in concert catharsis. Don’t worry about being embarrassed, you’re at a concert; it’s embarrassing not to dance and sing along. Don’t worry about you friends judging you; they won’t care or they will be dancing along too. If they do judge, they aren’t your friends – forget them (unless their friendship carries perks, in which case keep working that angle). I’ll admit, even I was a little closed off when Fitz came out. I realized my wrong, though, and let go to enjoy the concert. If Fitz had come out behaving just as the subdued audience was (myself included) and gave a lame, low-energy performance, I would have passed the entire concert thinking of how else I could have spent those $30. The same goes for how we, the concert-goers, affect the performers. Since becoming an avid concert-goer, I’ve learned two valuable lessons: the concert is always a good idea, and you can’t see every concert. This experience, the concert, is only happening right here and now. You won’t be able to have this experience again. Concerts are a miraculous thing. All of these people with a unifying love for something come together to experience it presently as it happens. Why waste the moment? Remember to enjoy the concert. Your energy could become the infectious saving grace that inspires the rest of the audience or gives the performers a reason to come back.