Scott has long asserted that his shows are a place where fans can let loose and rage through mosh pits, crowd-surfing, stage-diving, and general mayhem. He is far from the only rapper to borrow specific elements from the punk or hardcore underground, but the Astroworld tragedy underscores how important it is that chaos coexist with an ethos of community and accountability. A mosh pit is a collective, physical release of energy and there is the understanding—unspoken or otherwise—that if someone falls, you pick them back up. This is not to suggest that concertgoers at Astroworld did not try to help those who were fighting to stay upright: people crowd-surfed unconscious bodies to safety even while the crush made it extremely difficult for anyone to lift their arms, and at least one attendee testimonial describes pleading with event staff to stop the show. But footage from the festival also suggests a pervasive “every-man-for-himself” mentality, from the fans who pushed others to the ground to get inside, to those who danced atop an ambulance as it inched through the crowd to help people who were literally dying. It can never be said enough: one person’s good time should never come at the expense of another’s safety. These kinds of tragedies should lead to a re-evaluation of safety procedures—and in prominent examples, this has been the case. After the Who concert, Cincinnati banned general-admission concert seating for nearly 25 years. Following Roskilde, Pearl Jam took a six-year break from festivals and returned with strict, hands-on safety policies that included the right to “evaluate all operational and security policies in advance, such as design and configuration of barriers and security response procedures in relation to ensuring our fans’ safety,” as well as the ability to stop a show if needed. Roskilde itself implemented preventative crowd safety measures, including a barrier system that divides the audience into separate pens and more intensive training for security workers. This is the level of oversight we need *before* something horrific happens.

Stream on, Waxahatchee and Kevin Morby. Do your thing, James Blake. You all make livestreams suck a little less. What has been really, truly dispiriting is the ceaseless sequence of sanitized at-home performances thrust upon us by the world’s celebrities and major media outlets. These have largely been charitable efforts featuring strikingly similar performance lineups, the likes of Billie Eilish and Elton John working their way across the networks. […] The ordeal suggested that the celebrity class had learned very little from the Gal Gadot “Imagine” debacle. Here again was a parade of celebrities — John Legend and Sam Smith, Shawn Mendes and Camila Cabello, multiple iterations of Keith Urban — attempting to supply inspiration from their luxurious outposts, as if the mere sight of famous people was supposed to make us feel all warm and fuzzy inside. In place of entertainment value, they had substituted somber, faux-profound schlock. It turns out livestreams suck even worse with high production values and the cheery artificiality of TV talk shows. […] We no longer have to wonder what a coronavirus-era “We Are The World” would be like because here it is, an insufferably smarmy Zoom meeting reeking of expensive vanilla. I like some of these people’s music quite a bit, but none of them came out of this looking anything but thirsty. […] Entertainers can present a united front and raise money for worthwhile causes without resorting to treacle like this. Just look at “House Party,” a quarantine posse cut that brought together the unlikely team of New Kids On The Block, Boyz II Men, Big Freedia, Jordin Sparks, and Naughty By Nature. This was pure goofy fun — an insubstantial lark, maybe, but one far too cute to clown. No one was trying to dredge up some humanitarian statement beyond their depth. It was just a bunch of creative people goofing off, having a blast. Such contagious giddiness feels especially like a blessing right now. On the benevolence front, consider Angel Olsen, who embarked on a smaller-scale, more personal fundraising effort by performing a ticketed online concert to support her road crew. There was nothing ostentatious about it, with none of the icky implications of wealthy people soliciting common people’s money from within their comfortable bubble. Fans paid to watch a performance, and the performer passed on the proceeds to people she cares about: simple, beautiful, unpretentious.

Quarantunes is for... - sustaining the creation of (live) music throughout the COVID-19 pandemic. - providing a platform for artists + fans to connect, despite the cancellation of tours and shows in venues. - creating opportunities for artists to recoup lost earnings from cancelled dates through donations from fans via livestream. - encouraging new experiments in sound and music, using digital technologies and social media interfaces.

Great photos from Hallowbaloo this year, including the Baths show that I opened!

Photos by Tracy Chan. “The South Carolina-based ‘chillwave’ musician and his band brought their signature brand of funky, groovy, electronic shoegaze jams to a sold-out show at NextDoor Saturday night. Opening were local acts Clones of the Queen and Painted Highways. Although the club was packed and sweaty, people really got into the music, some dancing and some just swaying with eyes closed.”

Photos by Brian Tseng.

Gary Chun again! “Chaz Bundick and his crew manned their spaceship last night at Nextdoor, and took the good ship Toro y Moi and an audience of eager passengers to a nearby galaxy of sound and rhythm, forward thrusters go.”

Profile/promotional piece from Gary Chun.

Friend and ally Gary Chun gives COTQ and the Toro Y Moi show another shoutout in the Honolulu Pulse picks. Too kind. “Arguably the busiest indie rock band in Honolulu, Clones of the Queen had six shows lined up this month, and will be concluding their run this weekend and Thursday. Band member Matthew McVickar (also known as solo act Lapwing) is promoting his first club concert, and he got a great first mainland act in Toro Y Moi, the retro-pop-funk band led by Chaz Bundick. He and the band, along with fellow indie noteworthy band Painted Highways, will open for Bundick and company Saturday night at NextDoor starting at 9. Tickets are $20.”

Contrast put up the mixtape of MP3s I put together at Ara's request, and I think it helped a lot, because there were 122 downloads (!) of the .zip file. (I mistakenly hosted the ToroMix I made on Ge.tt, who, after that many downloads, removed the file, so the link doesn't work anymore. I was excited about Ge.tt because it's clean and allowed for hot-linking to files without interstitial 'Download This!' pages, but I should have known better to trust a baby webapp with vital data.)

So far, my favorite of the "Takeaway Shows" series. This is why I love music, plain and simple. Absolutely amazing.