Ray La......who cares

[IMHBTR]

Good point. No other artist got as much fodder
as Ray on this thread. Guess someone cares.
Quite comical.

[ShatteredArm]

Good point. No other artist got as much fodder
as Ray on this thread. Guess someone cares.
Quite comical.

The views indicate interest in this particular topic, not interest in Ray himself.

[hello]

Bringing up the issue of VIP sections in festivals as described in the last Rolling Stone and joining the growing number of artists taunting people in the VIP sections (Arcade Fire for one) were most likely his intentions. I agree this festival's poser pit does not compare to $2500 Coachella VIP seats. And I think he came to town with the same negativity that he left with. Our job is to not latch on to that energy. But in general the topic is an important one. A few other Telluride music festivals allow VIP sections to only be in front of half the stage. The other half of the front rows are made up of regular ticket holders. I imagine it's good for the wonderful folks at PB to put that idea on the radar from time to time. Although he could have done it with way less negative energy, I think he did just what he set out to do. 


 Listening to: my daughter chopping onions

[IMHBTR]

Good point. No other artist got as much fodder
as Ray on this thread. Guess someone cares.
Quite comical.

The views indicate interest in this particular topic, not interest in Ray himself.

 Listening to: Ray is the topic.

[completejohn]

Two TBF artists famously avoided the poser pit problem.  John Hartford would stroll thru the crowd to great acclaim.  And Bobby McFerrin jumped off the stage, then climbed the poser pit fence to do most, and the best part, of his performance.

[FaceOnMars]

Ray LaMontagne Tirade

GRAND RAPIDS, MI – Let the debate about concert etiquette begin. Singer/songwriter Ray LaMontagne, playing in front of a sold-out audience of 1,900 at Frederik Meijer Gardens Wednesday night, chastised some concertgoers in the front row for talking during his set, refusing to play until the people left.

“Why don’t you go the (expletive) home and talk?” he spat during a vitriolic, profanity-laden diatribe at the offending party. He dropped several F-bombs, then his guitar, before storming off stage.

Security and a member of LaMontagne’s crew talked with the concertgoers, who packed up their chairs and exited as some audience members cheered. After a delay of about five minutes, LaMontagne returned to the stage and finished the show, without further acknowledgment of the incident.

LaMontagne’s tantrum was a big black eye on an otherwise strong performance. Other concertgoers were angry, either at the talkers for apparently showing a lack of respect for the quiet, acoustic number being played, or at LaMontagne for punishing all for the alleged sins of the few.

Either way, LaMontagne’s lack of grace was unseemly for a veteran artist. Part of his appeal is his passion and reverence for the art of music, and in performance, it comes across loud and clear: his show is all about the songs, which are musically strong, with no goofy banter, no frills to distract from the primary focus. He likely views the stage to be a sort of sacred place, and is protective of it – an understandable sentiment.

But concerts are social gatherings, where people drink alcoholic beverages, dance, mingle and sing along. Some are quiet and appreciative, others can be more rowdy. You expect a professional artist to play through the latter, maybe acknowledge it in a relatively polite manner, and move on. In the meantime, some of the crowd used the delay as an excuse to go home early.

To focus on one incident is unfair, considering the extraordinary concert that surrounded it. During his 105-minute, 19-song set, LaMontagne showcased a variety of tones and moods. He and his four-piece backing group veered from scratchy blues-rock to upbeat pop and gritty Americana. His voice ranged from a down-low Tom Waits rasp to a hoarse whisper to a full-bodied soulful roar, sometimes bolstered by his band’s multi-part harmonies.

LaMontagne paced the set like an emotional rollercoaster of sorts, following downbeat numbers with uptempo songs. “Supernova” and “Ojai” showcased his pop sensibilities; “She’s the One,” “Meg White” (which quotes the White Stripes’ “Seven Nation Army”) and “Repo Man” rocked with beefy beats; opener “Gossip in the Grain” was a contemplative navel-gazer; “Hey Me, Hey Mama” was a danceable country-folk number, evoking strong images of rural life.

A three-song mini-set featuring just LaMontagne on guitar and harmonica and Zachariah Hickman on stand-up bass provided moments of contemplation, via “Trouble” and “Jolene.” But the singer’s eruption came at its conclusion, therefore assuring more people will be talking about his meltdown than his music, surely in direct conflict with LaMontagne’s intentions as an artist.

[landshark]

I think that for some music is like poetry. You need to listen closlely and when they sing it is a gift of themselves of the deeper side of their being, exposed and well perhaps just being receptive is gracious and kind.

Fest is for fun and chat and drink and banter abounds but if you insist on being up front and close you have a polite duty to listen quietly and not chat to much.

I think that being a faceless background noise is not what you want when you share yourself with the world. On stage and no one is attentive would hurt. He sounds sensitive to that and buyer beware. I like that up front

[Arizona Girl]

I have to admit, having been to recent shows where everyone seems more interested in selfies, and amateur videography to the detriment of everyone behind's view, I admire him for standing up for people who really ARE interested in the show at hand.  We go to festival to share in the live music, and experience it in THAT moment.  This is where the magicality lies.  Realistically, is there a single one of you on this thread who would be able to sit and talk through a musician's set while sitting FRONT ROW?  I think that every one of us would be at the very least completely engaged in listening.  It's almost involuntary.  And when you aren't, you leave to go stand in line for dumplings and beer. 

 Listening to: Dire Straits - Heavy Fuel

[Mountainmeezer]

I enjoyed TBF 2014 very much! I was a little (well, more than a little) frustrated during the House band. I was almost standing at the fence and there were 3 teeny boppers having a grand time talking about malls, nails, hair, etc.... REALLY?? Why stand at the front of the crowd and turn your back to the band and jabber nonstop? I realize there is not much that can be done to change this, but honestly. Why take up space at the front and disturb others if you have no interest in the music? I politely asked them to try listening to the music. Worked for about 2 minutes 
Anyway, still a great festival and am already counting down for next year!! Can't wait!!!!!


 Listening to: the birds chirping

[Mountainmeezer]

That is so true, I was amazed at the level of "chatting " on the tarps that often made it hard to hear the artist on stage. On the NOLA Jazz Fest forum they call these people CFWs and that stands for Chatting F#^% Witts. I can't understand why these people sleep out over night to be up front and the stand in front of everybody and chatt at the top of their lungs. When you ask them to be a little quieter they loom at you like you just sole something from them.  we had the misfortune to be in the proximity of one such tarp almost every day and I swear if you asked anyone of them who played the festival this year they would have a hard time coming with 5 acts. 

Glad to hear I am not the only one that felt that way!