So anyone reading this blog may notice that the posts aren’t being put up in a consistent fashion. I apologize for that, as wireless is hard to come by at the festival. However, I promise that by the end of Sunday night, the blog will be updated.

In addition, please check The Daily Illini next week for a more extensive wrap-up, complete with photos, reviews and experiences.

We will try to post all that we can while we are here, but there are no guarantees.

Color, lights, and sounds. Flaming Lips put on a good show. All photos are mine, except for the last one, which is by Eric Heisig.

At 8 p.m., Oklahoma’s Flaming Lips took the stage. They had been practically setting up for this performance all day, and for the excited crowd, it finally arrived (cliche, I know).

This was my fourth time for seeing the Lips, and I have never tired of their show. That being said, they have not really varied the format that much since I saw them for the first time in July 2006. They are all about confetti, balloons, streamers and big, grandiose gestures. All of this is meant to underscore (or overscore?) the introspective, almost depressing lyrics in the music.

The set opened, as all current Lips shows do, with frontman/guitarist Wayne Coyne getting into a giant hamster ball and walking over the audience. The stunt is still impressive, and for me has never lost its wonder. Then came The Soft Bulletin’s “Race for the Prize,” getting the crowd jumping for the entire hour and 40 minute performance.

The band mostly stuck to their guns, not really pulling out any songs I had not seen before (which is not a bad thing. I will never tire of hearing “The Yeah Yeah Yeah Song” or “Fight Test” live, and hearing “Mountain Side” from In a Priest Driven Ambulance is always incredible), but third song into the set came a big surprise. After Coyne encouraged the audience to “take off their clothes and run around naked” (his words, not mine), the band ripped into Led Zeppelin’s “The Song Remains the Same.”

The version was admittedly a little sloppy, but guitarist/keyboardist Steven Drozd’s guitars were something to be amazed at. The guy has chops, and knows what he’s doing. Even more amazing, however, was that Coyne tried to lead by example, bringing up a group of naked women (various levels of nude-ness) to dance with him/each other during the song. It was a stunt that, even though he warned the audience of such a thing, still caught people by surprise.

The Lips’ performance was strong, and even though this was not the best I had seen them (September 2007 at the Aragon was the best show of theirs I had ever seen), it can be forgiven since this was the first show they have played in almost six months.

My only complaint (show-wise) is their constant repetition. Before or after a number of the songs, the band feels compelled to lead the audience in a slowed down sing-along of the same song. It was especially painful to hear during “The Yeah Yeah Yeah Song,” only because they did it before and after the song. It just gets old.

After the band left the stage following their 1993 hit “She Don’t Use Jelly,” they came back to close out the set with “Do You Realize?” It was a perfect set closer which leaves everybody wanting more, but satisfied at the same time.

Okay, here is the debacle: I had gotten clearance from Warner Bros. Records to shoot the Flaming Lips in the front of the stage. It is a standard press pass, and everything should have gone well. Just before the Lips took the stage, a security guard came over and told security at the gate that they would not be letting press in. Nobody, including me, got in to shoot.

Standard practice is that a photographer who gets clearance gets to shoot the first three songs or 15 minutes of a performance (note: third song was the one with the naked ladies). We weren’t even allowed for that. That is fine, good enough. I figured I would find out what happened later.

I was already to do that, and then the representative from Warner Bros. I had been working with called me during the performance to ask if everything went well. I told them what happened, and he was shocked. He said he had me on the list to get in, and that there should have been no problems, and that it must have been the venue. I am usually inclined to not believe things like this if they get defensive and such, but I have worked with Warner Bros. before, and they have been nothing but accommodating.

After the show, I went to Will Call, and found out my name had been on a list for Warner Bros., but all that list would have gotten me is the press pass I received on Friday, which is what I got denied with.

Even weirder, I later met Jay Goldberg, head of Jay Goldberg Events & Entertainment, coincidentally. I was sitting outside the main office using wireless and power, and he said it must have been a problem with the Lips. I don’t know what happened, but the way it was at least handled by security at the stage was poor. There were absolutely no exceptions, and unfortunately it seems to be a running thread with the impatient security here.

It’s just frustrating, and unfortunately it took away from some of the Lips’ performance for me, which is something I never thought. I never thought you could be unhappy seeing the Flaming Lips.

Girl Talk had energy enough to get everyone dancing, including Wayne Coyne of the Flaming Lips. All photos are mine except for the second and the fifth, again by Mr. Eric Heisig. Can you believe its his first time with a digital SLR?

Here is a brief slideshow of the Sound Tribe Secton 9 show on the “Moonshine Stage.” It includes some other photos as well as the band themselves. Security, fire dancers, faeries… All photos by me.

We had some time to kill before we were going to photograph Girl Talk, so while my interview with Gregg Gillis took longer than expected (again, not a bad thing, and that story is forthcoming), Face went and photographed Sound Tribe Sector 9 on the Moonshine Stage. I had never seen them before, and I got there about 20 minutes into their set (after braving the mud and overall soggy trail). I didn’t get to see much, but what I saw was impressive. This is a good jam band, and what they were doing is very interesting. For those of your not familiar with STS9, they are a jam band with electronica influences, and it works quite well. I’ll have to check these guys out later (yes, I am admitting ignorance), but the way today has worked, we haven’t been able to see many full sets.

At 7 p.m., Girl Talk took the stage. Face and I got in the photo pit for the first few songs, and watched most of it outside from there. I have listened to Girl Talk’s third album, Night Ripper, and I had loved it. The show was taken to the next level live though. The setup is simple, just Gregg Gillis and a table full of laptops and a microphone. Still, he didn’t stop dancing the entire time, and as the show progressed, more and more people got on stage and danced with him

Wayne Coyne of the Flaming Lips was visible through parts of the set, and you could see the Lips lent him some confetti and streamers to make it that much more enjoyable.

Then there is the music. This is mash-ups in the best way. Take a beat from Kanye West, a melody by Rick Springfield and a bass line from Parliament (note: that’s not what really happened, but hopefully you get the gist of it) and you have a Girl Talk segment. I had never seen him before, and his stuff works just as well live as on record, if not better.

Gillis himself was able to give off a lot of energy from his physical performance as well as his beats, which is the best thing any DJ (excuse me, producer with samples) can do. It was an impressive set, and may have been the best thing I saw so far that day.

P.S. This is added later, but both Face and I saw a very pregnant woman standing by the loud speakers during Girl Talk’s set. I pray for that baby, and let’s hope the little one won’t come out deaf, dumb and blind or with any mental disabilities. Moral of the story, if you are pregnant, don’t stand directly in front of the speakers.

Okay, I will spill the beans: I have a story I plan to write about my experience with Gregg Gillis/Girl Talk. I will save that for until I get back and have more time. It involves Wayne Coyne of the Flaming Lips. I may be hyping it up a lot, but still, I want to write it. For now, here is the interview:

Eric: How do you, as a DJ, approach a festival such as this?

Gregg: For me, my background, with the earliest music I made, was very experimental, and no one would even classify it as me DJing, it’s more like it’s production using samples, because the material is so far-removed and transformed from the original sources. All of my early days of playing were still at performance-style venues. I’ve never played at dance clubs. I’ve always opened for a band or for a rap group or whatever. For me, it’s like playing for a festival is very natural. I’m used to people staring at me, it’s the format I’m used to.

With normal club shows, I really like to interact with everyone, and get people onstage. It gets pretty crazy, and it becomes impossible to be concerned about everyone at a festival. You just can’t do it; you would get swallowed up in the concept. For me, playing a festival is almost like an underhand pitch, an easy performance. I’m always ready to go, 100 percent at every show. At a club, I can feel it can go really bad or really good. With a festival, it’s like I’m going to be going, and people are going to be with me or they don’t. You can’t be as concerned. For me, it’s very relaxing compared to a normal show.

Eric: Would the interaction be considered part of the show though?

Gregg: Yeah, hugely. I feel like it’s like that with any band. A band like the Flaming Lips does an excellent job of playing at the grand scale, where you don’t need that level of interaction because you put on such an extravagant show. That’s amazing, but you see most normal bands that don’t have such a visual show, and any time you see them at a club there’s a level of interactivity, and it’s very approachable and very exciting, and you can’t really replicate that at a festival. It’s kind of grander than that. It loses that to some degree, but there is where you can’t be close to everyone, but there are so many people there, there is a greater energy that can help overcome that sometimes, so it has a potential.

I had never played festivals until last summer, and I thought it was going to be really shitty, because the smaller the show, the better for me, so I can be as crazy as I can get, but I experience festival shows where everyone was just together. It’s not that everyone was being crammed into a small space, but more like its how massive can this get. It’s a whole different thing for me.

Eric: Can you still feed off the audience and do something you wouldn’t necessarily do?

Gregg: Yeah, to a degree. I usually allow people to get onstage just because I like to break it down as much as possible. But in all honestly, the club shows are so chaotic that the level of mistakes on my end are higher. Not that they’d be that audible, but I may not be able to go through the material in the exact way I’d want it. With playing a festival, I have so much room physically, and I’m not being bumped into and it’s not so chaotic, and I almost always overall play a better set. I feel like people wouldn’t know the difference between the two.

Eric: Do you have a preference though?

Gregg: Ideally I’d play a small club. I enjoy this, but I think the real magic is in a small venue. This is very fun to me though, on a very physical level because people are so crowding at a normal show, and then here it is physically very easy to play. It’s relaxing. It’s like I go through training all year long to do a couple of these shows, and then it’s a lot easier for me.

Eric: Is it better musically?

Gregg: It depends. It can be massive. I feel like a lot of bands sound better than electronic performers on a grander scale, but it can sound really cool depending on how it’s done up. Some of the stuff at Coachella, like the place set up specifically set up for electronic music sounds amazing, so it all depends on how it’s set up.

Eric: Take me through the process of when you’re mixing on stage.

Gregg: I don’t use songs; it’s all just sampled elements. I do the arrangements beforehand and I have freedom to jump around, but I know what I want to play together, but it’s just a matter of executing it. Live there’ll be a loop for a high hat rhythm and maybe a kick drum and a melody and a vocal. At any time, there are probably three to 10 loops going, and it’s me mixing and mashing and flowing. The main thing is the vocals and the music but there are always these kinds of subtle elements and transitions that are always going.

Sometimes at the club show it’s so hectic I’ll forget I’ve been playing the same handclap for the last 10 minutes, whereas at the festival it’s easier for me to pay attention. I write the songs before hand and try to get through them. I don’t want it to be an exercise in improvisation or anything like that. I want to play these arrangements I came up with. Even at that, most of it goes into putting it together and then actually performing it isn’t necessarily difficult if you spent the time to memorize it and be familiar with what you’re doing.

Eric: How many samples do you think you have on your computer?

Gregg: I don’t know, I checked recently, but I really can’t remember. It’s funny, because there is a cutoff point. I’ll do stuff in my house, and some amount of that, maybe a quarter of that, will make it to my live show…actually more like an eighth of the samples will make it to the live show, and maybe a quarter of that makes it onto an album. I sample a lot more stuff that never sees the light of day. It’s endless. For example, whenever I sample a piano melody, I cut up half of it, chop it, so even if there’s one part you are hearing, there are probably about 10 other variations of that on the computer. I really couldn’t say how many individual loops I have though off the top of my head.

Eric: Do you consider yourself making an album when you are onstage?

Gregg: No, it’s a lot looser, pretty free-form. A lot of that stuff goes onto the album, a lot of the core ideas, but I’m open to experimenting. If I play something tonight, and maybe something that’s off-key but I like the way it sounds, and if I’d want to see how people would react to it, I’ll do it. If it fails, or if I don’t like the way it sounds, I don’t have to do it again. There’s not as much pressure, but with the album I labor over every individual second. I’m more open to experimentation, I change my set up every weekend or so with the live shows. Just little bits, like a minute each weekend, if that. Then, if you change a minute each weekend and you play every single weekend, after three months you have a new ten minute segment of your set. And I never really play over an hour, because I like to keep it like a band, so if you change a minute each week it amounts to significant stuff over time.

Eric: Would you even consider yourself a DJ then? Because, a DJ would be playing in a club for three or four hours…

Gregg: I’ve never considered myself a DJ; I’ve always considered it producing with samples. Most of my people I look up to as contemporaries or people I have been influenced by are people who work with samples that aren’t necessarily referred to as “DJ’s.” People like John Oswald in the 60s and newer guys like Kid 606 who was my main influence getting into this stuff. These guys who all work with samples were all considered producers, with electronic shows. Right now, it’s at the most successful point and using the most blatant samples.

I’ve been at this for eight years, so it’s gone through transitions from there. I feel like I’m using the same exact applications I used to use whenever I started, but back then no one called it DJing. They used to say that this guy is performing his music, and it happens to be sample-based on a computer. And along with that, I can’t just play a song. The goal on the albums is to make music that’s mine. I want people to come to my shows and request Girl Talk songs as opposed to “play Justin Timberlake.” That’s the goal; I want to make my own musical identity out of component parts that have already existed before.

Eric: Do you consider yourself jamming onstage then?

Gregg: Yeah, definitely to a degree. As far as the structure of it, that is completely applicable. I have a structure that I want to get through, and there are a bunch of variables. I can go a bunch of different paths with it, but the general structure remains there. I have songs I work around, but how I work with it changes every night. Occasionally I will be very busy for a couple weeks and play the same material, but if you listen to every show, it will be different. I think that’s definitely relatable to a lot of the bands playing here, or how I imagine I play.

Eric: It kind of makes it less strange to see you on the bill when you say you change it up every night.

Gregg: Yeah, I think I’m still strange on this bill, but I’m really into it. I’m happy they included me; I like to be an outcast if possible. I’d hate to come to a festival where there are 80 guys playing laptops and doing remixes. I can’t even justify why they have me here though, I don’t know why.

Eric: is there an element of punk to what you do?

Gregg: I think so. I never really got into it hard. I mean, I like The Ramones as music but I never got into having a Mohawk or leather patches or anything. But, when I was in high school I got really into noise and completely abrasive avant-garde stuff. The reason I got into that was that it was the most “fuck everything,” and to me that was punk. These guys aren’t just playing their guitars shitty, they’re not playing guitars; they’re smashing them. This is as raw as you can get, you don’t even need any musical training at all. Artists like Merzbow from Japan and Cocky SP, a band from the Midwest. My favorite right now is Wolf Eyes, which is a popular one these days.

It’s a lot more acceptable now to show up at a rock club and do remixes of pop music. Everything has crossed over, it’s okay to be into Madonna or Justin Timberlake these days and be in underground music. But when I started in 2000, when I was playing shows, it really wasn’t like that. I would go around and open for a band and play in a bar, and go up and do Hall & Oates remixes, everyone thinks you are treading. It was like us versus them, the pop underground.

Eric: So being postmodern wasn’t cool?

Gregg: Yeah, and that to me was punk. You guys are up there rehashing ideas from the past, and you aren’t doing anything progressive. In my mind, I am the one challenging the way we are thinking here a little bit. Maybe not that much, but more so than you guys playing your guitars and sounding like the Pixies again. I was very punky in the early days, and I think I have that in some of my roots that I am very open to fucking with the crowd. I try to make this as accessible and digestible as possible, but I am open to pushing the boundaries if it’s not going the way I want it to go.

Eric: So you would be okay with that?

Gregg: I’ve been there a lot. Especially in the early days, there were a lot of crazy shows. I’ve been kicked off stage multiple times. The band I was in in high school was all about pissing off people and seeing how far we can push them, and I think when I started Girl Talk, it was specifically about doing the opposite, saying, “Okay, how far can we please the crowd?” That was more significant as an underground thing, like if you are playing a basement show and 10 people show up, it’s crazier to see how over the top we can make this show. That’s more of the roots of it, and that’s where I’m at now. I’m still like that, and I still want to make stuff that people enjoy. I don’t want to be pretentious and a dickhead, but I still have the roots of, if a show gets shut down prematurely, or everyone hates it, I am completely open to that at least.

Eric: When is the new album coming out?

Gregg: It will be done within two weeks. It will be online then too in two weeks, on Illegal Art. Then, in a couple months, it will be physical, but the moment I finish it, I’m getting it mastered and then it will be available online.

Eric: Sticking around, what are you excited to see this weekend?

Gregg: I’m pumped for the Flaming Lips, who I haven’t seen since eighth grade. It was amazing then, and it was very different from what they are doing now.

I am also very excited to see some of these jam bands who I have never heard that many of before. I always feel like if you don’t necessarily like something on the surface it’s probably because you don’t get it. I don’t believe in good taste versus bad taste or critical acclaim overriding anything. I think that’s all bullshit. I’m not saying any of these bands are or aren’t critically acclaimed, but I’m saying that I’m not that familiar with these bands. I know they’re huge and popular and have their fan bases, so I want to dive in and understand as much as I can and what’s going down and how I can get into this.

Eric: What’s on your iPod lately?

Gregg: My parents got me an iPod for Christmas, but I don’t use it. They put all my dad’s music on it, and I got into that, but this week I bought five new CDs this week, which is big for me, since I don’t buy that many CDs in a week. I’ve always liked The Beatles, but I’ve never actually owned any of their stuff. They are like my favorite band I’ve never dived into, so I bought the 1 album because I was in a Wal-Mart at 2 a.m. and decided I really wanted to hear all these songs. I bought the 8-Ball and MJG greatest hits album, which was amazing. I bought the new Stephen Malkmus album (Real Emotional Trash), just because I may be in a video for an upcoming song off of it, and I heard the song. I was just in a house and they were just filming the video in Portland, and I love the song, so I bought the album but I haven’t heard it yet, but I’m excited to check that out. I also got the new Mariah Carey CD (E=MC2), which I think is amazing. I think she’s respected, but people take her for granted right now, but I think she’s going to be one of the legendary artists of our time. She just tied Elvis for her number of number one hits, she’s making history, and it’s an impeccable career. Also, I got a Sam Cooke album I’ve never heard before that I’ve been getting into. I like Sam Cooke a lot.

After their stellar Friday performance, I was able to talk to a few members of the Chicago Afrobeat Project, and find out a little more about how the band came about. I spoke with guitarist David Glines, keyboardist Kevin Ford and baritone saxophone player Garrick Smith

Eric: How did the band arrive at an Afrobeat sound coming from Chicago?

David: I would say we all came to Chicago first, and everybody in the band fell in love with Afrobeat independently. The first time I heard Fela (Kuti) changed my whole perception of music, and I knew instantly that’s what I wanted to play. I had come from a rock background, and for me it was a lot of the elements of rock and funk and jazz all mixed together. The drummer and I had played in a group together prior to this one, and when that group ended, we said we would do our own version of Afrobeat, which is why we have “project” in it, to show it’s not just straight Afrobeat. We do have our own twist in the music.

When we did that, we found Kevin, the keyboard player, and the original bass player at the time was one of Fela’s old bass players. We had the four of us and then we brought in a horn player and that guy brought in a couple people. The next thing you know, we had 7 solid members and we have had a lot of people coming in and out. I think some of the players in the band were turned on to Afrobeat as a result of this band, so they heard us and joined the band and listened to all of Fela records and the late 60s/early 70’s Nigerian Lagos scene.

Garrick: Chicago’s got a diverse amount of people. If you get up north, there is a very big African community; there are a lot of Ethiopians, a lot of diversity there that you may not realize. It’s an amalgamation of a bunch of the stuff there, the stuff we were starting to check out. I was into a lot of Brazilian stuff, and a couple friends of mine turned me on to African music, and Afrobeat was the natural thing, so we started mixing it with Chicago house music and stuff like that. There’s a lot going down there, but it’s a good city, with a lot of people to play for and a large amount of African people there.

I had been into more Brazilian and salsa and Latino stuff, and a cat was telling me to check this stuff out, and I listened to Fela. I wish I could say I have been into it since I was a kid, but I got into it a little bit before I joined the band.

Eric: How hard is it to go from Latin or salsa to Afrobeat?

Garrick: There’s a lot of stuff that goes between them. A lot of those rhythms made around, but they changed slightly. So it’s different, but African music that has a swing but not the way we think jazz has it. It reverses it a bit, and takes a little while to wrap around it, because it’s not your native music, so to speak. It’s all about feel.

Eric: How hard is it to get noticed in Chicago with your style?

David: I would say that not being known for Afrobeat in Chicago has given us a greater chance of getting known. People would see the name and want to check out the group. Even though there’s not a big Afrobeat scene in Chicago to begin, we’re kind of hoping we started something and bring attention to the genre.

Garrick: It’s kind of here or there. If you can make people dance in Chicago, you’re all good. That’s the big thing, people like to dance in Chicago, it was the birthplace of house music, and people like to get out and make it happen. The most skepticism we have gotten is admittedly white journalists that get on our case about playing African music. They ask why we are doing it. We’ve had people insinuate that we are not allowed to. We have a pretty big African fan base in Chicago and as we travel we meet other Africans that dig what the band does. If somebody that came from there digs what we do, that’s more important than if five hipsters dig it or not.

Eric: Do you guys enjoy playing festivals?

Kevin: People tend to be fully submerged in the music scene when they are at a festival. They’re not just out at a bar, or working the next day. It’s a little more intense than your typical shows

Mike: Playing outside is a blast anywhere, and with the fact that everyone is here to see music and hang out is nice. You’re not competing with the TVs in the bar. It’s also a great chance to see other bands we hear about. We can talk to people, and see friends of ours we don’t normally see because we are on the road.

Garrick: Hanging with all the different musicians, and getting to talk with everybody. We’re all on the road, so we like these things where we get to relax and hang for a couple days.

Eric: Do you guys play with loose song structures or very orchestrated?

David: It’s orchestrated. The room for improvisation is in the soloists, and the energy of one song from night to night can have different energy to it, and based upon tempo, but the arrangements are not something we stray from.

Garrick: It’s oddly enough a bit of both. Because the group is so big, there has to be some moments where it’s very set. Then there are other times where we leave it very open-ended and loose. We try to add new tunes and change our set up to keep it interesting. With a big group it has to be slightly orchestrated, but we know each other well enough that onstage there is a level of openness.

Eric: What have you been listening to lately?

David: Vieux Farka Toure is my favorite African artist right now. He’s from Mali and the son of Ali Farka Toure.

Kevin: There are bands that have an Afrobeat influence to them like Budos Band, who we played a show with in New York not too long ago. There’s a band called Poets of Rhythm out of Germany that kind of has an Afrobeat influence to them. Some of the other soul-jazz stuff like Sugarman 3 too. Others like that too, stuff that runs the gamut. A lot of it has that 70’s vibe to it.

Mike: I think all of us like that vibe, with the late 60’s/early 70’s music. That’s my favorite Fela period, that and his really late stuff.
Garrick: I still get into a lot of Brazilian stuff. Seyu, Suba, Zuko 103. Also, anything by Fela. I’ve been listening to a lot of 80’s Fela. He had a bigger band and more money at that point, but well after Tony Allen had left the band. Budos Band out of Brooklyn, they are one of my favorite groups right now. Also, anything on that Daptones label. Sharon Jones and the Dap-Kings, Sugarman 3, all that kind of stuff.

By the graces of Warner Brothers Records and the Flaming Lips, I was able to sit down interview the bass player for the Flaming Lips, Michael Ivins. Their show was tonight as well, and the review and debacle will be posted soon. For now, here is the interview:

Eric: How did the Flaming Lips get to be a festival band?

Michael: I think with a lot of things we do, it comes out of dumb luck. [Pause] Ummm…not that you have prepared answers, but it’s sometimes things you think about a lot, so you can rattle them off, but I don’t think I’ve thought about it. We do it so much, and I think “Sure, we’re doing this thing” but I remember when we first started doing these sorts of festivals, it was purely just, for lack of a better word, “jam band” festivals. I’m not sure if right around that time it seemed like it was, not changing, but rather diversifying. People asked “why are you doing these festivals?” and I would always bring up Europe of having this long tradition and of having these sorts of festivals. I think in its first incarnation, with the first three or four Lollapaloozas, they tried to take that idea of Glastonbury or Reading from Europe and do it here and have it travel around because the states are so big. I think that’s what put people off for a long time. Not that there haven’t been festivals, but you can’t see me doing air quotes on the tape machine, but this idea that it’s becoming a sort of a tradition, especially Bonnaroo and Coachella and Lollapalooza having it not tour the country. It’s a huge three day event, with a million people showing up for three days or whatever the outrageous number of people that show up is.

I think it was at a Bonnaroo that we played and for some reason, people just liked it. It wasn’t like we changed anything or did anything different, but I think as far as fitting into a jam…well I don’t know how to say it because I really haven’t thought about it. I don’t want to be disparaging to people who like jam bands, and again I put that in air quotes, because even meeting some bands like Midlake would do a lot of the festival circuit. But there seems to be some sort of split in the jam band community. Some would be going for sort of the Grateful Dead or Phish route, and some were going for more of the Pink Floyd. Nothing wrong with either one of them, but it seems like even inside the whole community, for lack of a better word, it was starting to diversify, just as all music was starting to diversify.

What we found at festivals like Bonnaroo and Coachella was this diversity of music, where you could see Gov’t Mule to George Clinton to go to Disco Biscuits to Flaming Lips to whoever else is there. It’s just a wide range of music, and that seemed to be, as opposed to the Warped Tour where it’s just one genre of music. There’s nothing wrong with that either, but that diversity is what we’ve always liked. Here, it ends up being like The Beatles’ White Album as an actual festival, where you get all sorts of stuff. And if you don’t like one thing, you can go across the field and check something else out and get turned on to something that you wouldn’t have in the first place. I think that in some ways that happened to us at Bonnaroo. I think some people who didn’t know who we were or what to think came and saw our show. I think the way our show has evolved sort of lends itself to this setting.

I think it’s cool that America has the beginnings of a tradition. There are people who went to Reading in the 60s and now they take their kids as a shared experience. They are 50 with their 20 year olds, or even younger. It’s one of the best shared experiences you have, whether it’s family or friends or your made-up family to come and do something like this. Especially this one, all the tents are right here. A lot of the festivals have the campground to the side and you come to the festival, but this is cool. You just are walking right through stuff.

Eric: Well, with knowing that, what’s different about playing a festival than, say, a show at a theatre in Chicago?

Michael: I think it’s different. I don’t think one’s better, but we just like playing in front of people. That’s our thing, otherwise we wouldn’t be out. It just depends; there are some things you can do. We always try to squish a much bigger show into a container, but there is something crazy about being outside. There is the potential for the crowd to be an unlimited amount of people, and once you’re in here, you’re outside. That has, for the audience, a bit of freedom, especially when you are camping. When the show’s over, you can just roll into bed, as opposed to the Aragon where you have to make the trek home. It’s different. Also, they sound different, so there are different aspects to that.

For our show, I don’t think we try not to let that limit us. We’ve walked into places where we ask ourselves how we are going to fit this in here, and we sort of cram it all in and can still have fun with the confetti and balloons. I think we are always seeing how far we can go, whether it’s outside or inside. Obviously, there are differences, like you aren’t going to get wet at the Aragon, and it was pouring down rain earlier this morning, but I have a feeling that once we get to play, the clouds may even part. It always happens when we play. We have had it to where it’s time for us to play and the rain stops, and the second we play the last note, it starts raining.

Eric: Does that make you think?

Michael: Not really, it’s just a coincidence, but it’s kind of crazy. Also, this is the first show we have played since New Year’s. We have also been finishing up the Christmas on Mars movie, which we are going to premiere at Sasquatch. We are going to build our own tent, and we have a 5.1 sound system. We spent quite a bit of time working on that during the first part of this year.

Eric: What’s the mentality behind the band setting up your own equipment?

Michael: It is our way. I know, and I don’t have anything against it, because I know people are going to do what they want and I am not saying our way is better or worse, but we are used to doing it, from the old days, where you roll in and set up your gear. I think some of it has a weird specialized thing about it, especially with the sound. We know what’s going on, so why wouldn’t we set it up? We’ve always liked being part of the ambience. We roll in here at 8 in the morning, and why would we just stay on the bus or roll into Peoria? You’re out here, we can go out and take a walk and see what’s going on. Just to be connected in that way, instead of playing for an hour and a half and show up 20 minutes beforehand and then leave. Is that fun?

Eric: But some have the mentality that people get into music just to not get a full-time job. With the way you guys work, it is a full-time job.

Michael: Well, whether you are a journalist or whatever, it’s work. We happen to have jobs we really like, and I think that’s more of the point. If you get a job in accounting, and you like it, you win, because a lot of people don’t get to do what we like, and we like what we do. Everything about it, and it’s just not playing, you find out that playing is that much, and I am holding my fingers very close together. All this stuff, the setup, that’s all part of it. We come out here, and it’s not to have a good time playing with each other. It’s cool, we do, but that’s not why we’re here. We are here to put on a show for an audience. There is so much stuff vying for your attention. You can go see a band, buy an Xbox, go see a movie, or stay home and surf the internet.

There is so much to do these days, and that’s why we spend a lot of time before we go out on the road. It’s not just rehearsing, because we don’t want to get up here and find out a guitar falls apart, or an amp falls apart or the video screen doesn’t work. It’s not that we’re control freaks, but the more you can contain and oversee at the very least, the more you know it works, it’s probably going to work, and if something doesn’t work , you can know that you did everything possible, instead of turning around and putting your hands on your hips and say “Hey, put me down.”

Eric: Election in ’08, what can the Flaming Lips do as a band, if anything?

Michael: I think in a lot of ways, we are preaching to the converted. I think the people that come see different bands are interested in different cultures, kinds of food and lifestyles, people that are young or keep an open mind. I think there’s a contingency of the free thinkers, air quotes again, who don’t vote. That’s a problem. Go and vote, even if it’s just in the presidential election, be a part of what’s going on. I think after a while it becomes that we are just people. I know what I’m doing and I know the choices I’m making, because I am curious. That actually, if somebody is reading this, just be curious, go on the internet and get information on stuff. I happen to be a big fan of the internet. I’ll think of a question, and I can get the answer right now.

What I’m starting to see a little bit, and I know younger kids who might not have families or be thinking of children, but me and my wife are taking a big role in raising our niece. She’s just finished preschool and my wife volunteered helping out at the preschool and stuff. Big forest vision is great and looking at the presidential election is great, but there are a lot of things in your own neighborhood. What are your schools doing? That is just as big of a deal as getting out of Iraq. Instead of rebuilding our country, we should be fixing our country. From what I can tell, there seems to be a systematic gutting of the public school system, pushing it to home schooling or private schooling or religious schooling. I happen to be a big proponent of the public school system. There’s the whole idea that teachers don’t get paid enough, and if you look at it one way if that’s a problem you get another job. But you find out a lot of these people are teachers because they love it.

I don’t know what we as a band can do. Wayne can present our case, which we are all basically on the same page, just sometimes it gets a little silly with four guys onstage yelling and screaming. I think it comes down to avenues like this. I think a lot of people do know. I think either way it’s fine. There are aspects of Hilary Clinton I like, and there’s a lot to Obama I really like. I’d be fine with either one, but there’s the element of the dynasty aspect of Bush/Clinton/Bush/Clinton happening that maybe with Obama that may be good to have a fresh start. But people shouldn’t vote to think they will get a Democrat in or whatever and think that gas prices will go down or the war is going to end anytime soon.

That’s why, and I know Wayne onstage and in interviews makes a big point of it being all about you with a capital “Y” and the people around you. I think if people can start thinking more locally, and thinking about things, where you shop in stores with local produce or farmer’s market. I think naysayers who say ‘oh, changing light bulbs doesn’t do anything’, but I think even doing something like that is on the path of thinking about what you’re doing, and I think if you at least can be thinking all the time about what you’re doing. Live in the moment, and I think if people are doing that, it makes people nicer. If you think about what you’re doing, then you know and other people know if you are nice or if you are an asshole. If you think about what you’re doing, and you go ahead and do things that, say, Dick Cheney do, that’s just an evil man, but everyone knows where he stands. Think about what you’re doing, because there’s nothing worse than someone who’s evil by accident. That’s the worst thing.

Eric: Have you been listening to any new music?

Michael: You know, it’s been a little bit of a genre change, especially since our niece is old enough to go places. We started off around Christmas, and ballet is a new format. This year, I happened to be home for the Cincinnati ballet season and saw five ballets and really enjoyed them. I got to see a live orchestra play most of the music each time. I actually have an appreciation. Our niece loves The Nutcracker, so we have the CD in the car and I know it by heart now. A lot of the music is really great, and that kind of spurred us to listen to more classical music around the house as well.

I don’t dig as deep either. I go through phases since I’ve become a fan of music. There’s catching up, and there’s the new stuff, and there’s the dry area, and then you dig back further or find other stuff. I think I’ve been watching of TV shows and movies.

Eric: What’s your favorite TV show?

Michael: My favorite is Battlestar Galactica. I’m a big sci-fi fan. And, just speaking of the whole everything vying for your attention, the guy we do our records with, Dave Fridmann, he’s a big videogame fan, he loves playing them. I sort of play in the studio, and he’s got every of them at the house and three in the studio. Now it’s all gone online, and Call of Duty came out. I would play in the studio and think I should just get one of those, so I’ve been playing a lot lately. I’m not great, but I know a lot of people like to play video games. That’s what I’ve been doing a lot of.