Sunday, September 21, 2014

D.B. - "Goin' Full Speed"

Singer and guitarist D.B. brings us his latest single, a blues rock song, "Goin' Full Speed." The track was recorded in August at a studio in Vista, CA and is now available on CDBaby, iTunes, Spotify, Rhapsody and pretty much every other digital retailer.

The recording artist D.B. not only sings and plays guitar for this song but also mans the organ duties on this track as well. The song was written by Dwight Osbourne who does not perform on the track. Overall, "Goin' Full Speed" is a solid, classic rock tune with a  twinge of the blues on it. D.B.'s voice can be reminiscent of a country singer at times with a bit of a twang on it.

"Goin' Full Speed" has a simple narrative, but one that is effective. Essentially, it's a love song with an extended metaphor saying that this love makes the singer feel like he's really moving fast. It's easy to get into the groove of this song. The selection of instrumentation really creates a solid sound that is uplifting and gets your body moving. Overall, this is a feel good song, one that invites you to lay back in the cut and let go of your worries as D.B. takes you on a trip through a story of amazing love.

If you're looking for a track that brings back that classic blues rock sound, that will get your head nodding and your feet tapping, "Goin' Full Speed" will be a great addition to your music library. Head over to to pick up the track for just 99 cents. Also available online at almost every digital music retailer.

Wednesday, September 17, 2014

Jiggley Jones - A Mountain, A Struggle, A Tunnel, A Light

Jiggley Jones presents his debut album from Lamon Records, A Mountain, A Struggle, A Tunnel, A Light.

While this may be the first proper release from Jiggley Jones by his label, this musician brings many years of experience in his playing, songwriting and lyricism that make you feel like this "debut" has been long overdue. With Dave Moody, president of Lamon Records and a grammy nominated artist producing the record, you can hear the high production value that you might expect from a Nashville-based label. The instrumentation on this album prominently features Jiggley's acoustic guitar accompanied by a simple trio of piano, bass and drums on each song. Occasionally we get added accents like affected electric guitar, mandolin, banjo, dobro (or lap steel), orchestral string arrangements and upright bass. While it's obvious that Jiggley has the guitar chops to stand alone here, and I have to imagine he often gigs as a solo singer/songwriter, the added players on this album really bring Jiggley's compositions to life in a wholly different way.

For comparison, you can hear the highlight track from A Mountain, A Struggle, A Tunnel, A Light, "Walk On Me," as a solo performance in the YouTube video embedded below.

"Walk On Me" Solo Acoustic performance by Jiggle Jones during CMA Festival 2014:

Then you can listen to the studio version on the official music video here.

"Walk On Me" Official Music Video:

For me, the solo acoustic version carries a bit more visceral emotion when you hear Jiggley carrying the tune alone, but the studio arrangement for "Walk on Me" really highlights the talent that Dave Moody brings to the table. The resources of such an amazing music city like Nashville are not lost on the production values put to use on this album. The additions to the tracks seem simple until you really break them apart and hear how many different pieces were added. I could easily called it that "Nashville sound," but the producer's touch is much more subtle here. I would have to imagine some great A-list musicians were brought in for the sessions on these tracks, but I think that may only occur to the analytic ear. For the passive listener, the instrumentation and the arrangements are designed in a way that let Jiggley's songwriting and his voice breath throughout each song.

"Walk on Me" is the breakout song on the release, but there is still so much more to offer on A Mountain, A Struggle, A Tunnel, A Light. While "Walk On Me" is a darker song with deeper narrative, the rest of the album brings touches of jazz and rock within Jiggley's americana sound and more light-hearted narratives.

"Look What I Found" shifts the album into a jazzy, meandering composition about luck and love. As love songs or ballads can go, I'm glad to hear a track without the cheese. This composition feels real as Jiggley expresses how love sometimes just finds you in the least expected places. This narrative resonates with me, because so many times in life we don't have that perfect love story. We find our other half by living life and then, out of nowhere, there they are. The Wurlitzer-sounding electric piano in lieu of traditional acoustic piano gives this song a different feel than much of the album and feels more comfortable in that "jazzy" category.

"Hope In a Bottle" takes the album in a nearly evangelical direction. While the message is uplifting and and spiritual, it fringes on sounding like a religious song. Maybe I misinterpret the narrative, but lyrics like "praise the lord" and "open up your heart now and pray" just strike me as something I would hear at a progressive Sunday service. I don't mean to take a stance against that type of music, but the rest of the album strikes me more deeply than the lyrical content of this song. Unfortunately, after a few listens, I have to pretty much just gloss over this song.

Track four is similar in tone and narrative as the last song, but it strikes me as more genuine. Jiggley sings about how there is "Nothing So Natural" as the love of a parent for their child. This narrative of love sends a similar message in hopefulness and optimism that "Hope In a Bottle" tries to transmit, but somehow it works better. I think it's simply Jiggley's choice of verbiage that feels more natural (no pun intended... well kinda intended).

"Early Morning Light" surprised me by how easily the chorus became stuck in my head. Even days after listening, I found myself humming the melody of "Early Morning Light." This track is mellow and unassuming at first, but I think that is part of it's strength as a composition. The simple instrumentation of acoustic guitar, piano, and upright bass give this track a lot of breathing room. I feel the space within this recording is it's greatest strength. Jiggley's voice is allowed to shine with just the most subtle accents and accompaniment. The effect is resonant and it sticks with you long after you listen.

The final track, "Man on the Run" gives us our largest dose of rock within the americana palette that Jiggley champions on this release. This song creates a good deal of momentum within the overall landscape of the album and leaves you wanting more. This is one of the only tracks on the album that carries a solid backbeat throughout and feels like it could be played with a much heavier tone than is recorded here, but it still fits within Jiggley's overall sound. If the album were any longer, this would be a great launching point into some more traditional rock songs or jam-worthy compositions. But, in the end, it's also a great point to leave the listener hanging. With the bookend of "Man on the Run," the album feels like a real progression. And once it's done, you kinda just want to hear some more Jiggley songs.

As a "debut," A Mountain, A Struggle, A Tunnel, A Light is a nice little porthole into the world of Jiggley Jones. The album gives us a very professionally framed serving of the years of experience that Jiggley brings to the songwriting table. While most of the compositions are thoughtful and very well played, the biggest miss on this album is the lack of composed endings for these songs. Nearly every song carries out through the verse or chorus to a nice little fizzle. The musicians hold out a chord or Jiggley lets the last note of the melody carry over into silence at the end of almost every song. As a whole, this may be the only downside of this album: the lack of a clincher. We're always left wanting a little more. But, maybe this is a good thing, because if Jigglely's past is any indicator, there is surely much more to come.

You can find Jiggley Jones - A Mountain, A Struggle, A Tunnel, A Light on iTunes.

Tuesday, September 3, 2013


WORLD BOOGIE IS COMING. Actually, it is finally here. North Mississippi Allstars' first album since 2011, WORLD BOOGIE IS COMING was released today. NMA has never been too far removed from their roots in the hill country of North Mississippi, but this album returns to the sounds and traditions which got them started as one of freshest, most unique and truly talented groups playing the blues. Two-thirds of NMA is the brother tag-team of Luther Dickinson (guitar and vocals, who recently played a stint with the Black Crows) and Cody Dickinson (drums, electric washboard, vocals, guitar), sons of the legendary piano man and producer, Jim Dickinson. To understand this record, you need to understand Jim. Here is the most abbreviated description I could come up with (and I'm leaving a lot out) for such an interesting guy like Jim. Jim, a.k.a. East Memphis Slim, grew up in the best era of Memphis soul music, playing with the Dixie Flyers. The Flyers backed Atlantic artists like Aretha Franklin and Sam and Dave. Jim played piano on the Rolling Stones "Wild Horses" and organ many of Dylan's newer albums. He played with Taj Mahal, Aretha Franklin, Ry Cooder, Toots and the Maytals and Los Lobos to name a few. His producer credits feature Big Star, Toots and the Maytals, Lucero, Bob Dylan, Mudhoney and G. Love and the Special Sauce among others. Check his rap sheet for more info. Chances are he produced or played on some of your favorite records. Jim was just as well-known for some of his sayings. Hell, I've heard his epitaph reads, "I'm just dead; I'm not gone." My personal favorite is "Hits are in baseball, singles pick each other up in bars, and your royalty lives in a castle in Europe," because it's probably the most accurate description of the record business I have ever heard. And Jim would know. He experienced all sides of it. He was a realist when it came to the business. On a visit to Zebra Ranch in 2008, when he asked where I was moving, I told him Nashville and he replied "Hmm. Yeah. Memphis. A good place to be from. Not a good place to be." He was referring to it being tough to 'make it' out of a town like Memphis. It wasn't something I wanted to admit to myself, but he hit it the nail right on the head and it was something I often thought about. It's crazy how many talented, world-class musicians rot in obscurity in Memphis. More often than not, the best music never makes it out of the Bluff City. Musicians go play for the money-makers elsewhere. It was just the way he said it that stuck with me. But yeah, back to Jim's sayings...He often ended letters with "World Boogie is Coming!" Part of his legacy is this "World Boogie," a timeless, limitless, musical exploration of sorts by Jim and some of his friends in their attempt to rediscover and reshape old and new. NMA is known for putting a new twist on the hill country blues and they wanted to pay homage to their late father, who passed on in August of 2009, by recording an album in their interpretation of World Boogie. 

North Mississippi Allstars' seventh studio album, WORLD BOOGIE IS COMING was recorded at Jim Dickinson's famous Zebra Ranch in Coldwater, MS. The band went old-school using just a 2-inch tape machine to record and cut most of it live. Cody produced it and even directed the videos. Cody also dons his 'electric' washboard and this isn't just a gimmick. He uses it as a lead and rhythmic instrument adding layers to the already fat drums. And for the purists out there, WBIC features much more drum and fife. Luther's guitar work is nothing short of genius. Whether it's the muddied-down, crunchy riffs or the cleaner slide work he is known for, Luther doesn't disappoint. WORLD BOOGIE IS COMING features Robert Plant on harmonica. Yes. That Robert Plant from Led Zeppelin. His harmonica parts was the only thing tracked outside of Zebra Ranch (he recorded at Memphis' legendary Royal Studios). WBIC also features their friends, Chris Chew, Duwayne and Garry Burnside, Lightnin’ Malcolm, Kenny Brown, Alvin Youngblood Hart, Sid and Steve Selvidge, and more (if you don't know who any of these guys are, do some homework. You're welcome). The record gets back to what made NMA what they are. They take their favorite hill country blues tunes from their biggest influences like Junior Kimbrough, R.L. Burnside and Mississippi Fred McDowell and make them heavier, funkier and yet preserve that raw spirit of the Mississippi hill country.

You can buy WORLD BOOGIE IS COMING at the band's online store or on iTunes.

Rollin 'n Tumblin from North Mississippi Allstars.

Sunday, September 1, 2013

ARISE Music Festival, Saturday Recap - Loveland, CO

As Friday turned into Saturday, Jason Kidd aka Shiba closed out the Syntonic Stage with swelling bass and melodic structures that settled everyone into a meditation dub trance. Fueled by Family support, Shiba, spun tasteful beats that were just enough above down tempo to allow a 7AM crowd to move a little more than usual. Keep an eye on this guy, he's an emerging Denver local that should not be missed.

Shiba at Syntonic Stage, ARISE Music Festival, Saturday Recap
Shiba at Syntonic Stage
Soon after Shiba, I find myself laying in a field to design a human image by Jon Quigley. He plans to plot a sunburst made up of human beings with the word ARISE spelt out in the center. The sun was blazing us and instilling us with the potential energy for our creative task at hand.

Picture from ARISE Facebook page
Later, after a quinoa kale salad and a dosa, we make it to one of the first sets on the Solar Overdrive stage with Denver's own Digital Beat Down. These Wisconsin transplants had a hearty crew of fans who represented while mingling with a nearby "cereal party." Normally a noon set time wouldn't be so conducive, but Saturday was the first day we were blessed with some nice overcast shade. Nick Pilz, guitar and synths, announces that ARISE marks 5 years for DBD. A "disco Stu" doppelganger rocks it in see thru sequined pants.

Digital Beat Down at Solar Overdrive Stage
Three-piece instrumental band featuring guitar, upright bass, and drums plays dramatic, moving soundscapes at the Main Stage. The guitar player and band's namesake, Tierro Lee, beckons the crowd to come closer, "the closer you guys are, the better we'll play. We all do this together." Spacey, tripped out mystic sounding melodies lull us into the sunset.

Acidophiles & Friends
Acidophiles set was surprised with a reconfigured line up called "Acidophiles and friends." Miss Jaedha led a crew of the Ft. Collins based band's friends through an exciting and diverse sounding set. Goldy Loxx, the other half of the Acidophiles, was seen dancing all around the field during the set, but never took to the stage. Guest musicians, Mr. Danger, Two Scoops, Chando, and Mr. Gemini, added new flare to the Acidophiles set on guitar, looping synths, and turntables. Space Race took the to the tweener stage shortly after setting off the house sound with some improvised guitar on top.

Back at the Main Stage, Zap Mama literally zapped us into outer space - or at least those were her word for the intro to their set. Zap Mama and her band played upbeat reggae tunes that often wander into the psychedelic electronic realm with their eclectic sound effects. The band was a good setup and lead into Michael Franti, who was by all measures the biggest act on the bill for ARISE 2013.

Wednesday, August 21, 2013

5 Tips to Write a Better Band Bio

I've been reading a lot of band bios lately, and as important as they can be to connecting your music to new fans, there are a ton of pitfalls to the practice that can ruin your bio. First, let me say this: I get it. Trying to write a short paragraph about your music that sums up everything that your sound is about while still conveying the pertinent information isn't easy. In fact, it kind of sucks, but it is extremely important for fans, and even more important for promoters and reviewers of your band, to be able to find out quickly and accurately what your music is all about. Remember that when the opportunity comes to get some press for your band, writers often have little time and even less knowledge of your band. They don't necessarily have time to sift through your multitude of Soundcloud, bandcamp, etc. pages to learn what makes you who you are. You need to help them out so that they not only CAN write a good piece about you, but also they WANT to write a good piece about you. If I have the choice of 50 bands to write about, I'm going to choose the one who actually tells me something substantial about their music right off the bat. Then, with that nugget of interest, I may go do more research. But if I have to do a wealth of research just to talk about your genre, well, I'm most likely going to pass on you.

Writing band bios can be challenging

So, after working through a lot of band bios, I have formulated some really simple tips that can help improve your own bio.

1. Keep it simple. Tell us why we would want to see your band. This must be extremely simple. "We make you dance." This is the kind of idea you need to convey with your bio. Give your reader a motivation that is very easy to understand. Put yourself in the reader's shoes. If you were going to go to a show, why would you go? Are the players extremely talented and a marvel to watch on stage? Is the DJ known for playing tunes that make the crowd dance? Is the performer a touching songwriter? Are you going to hear that hit song that you can't get out of your head? There is a very basic reason that most people go to shows, and that reason is: FUN. So tell us, why is your band fun? And tell us in one simple sentence.

2. Avoid Buzzwords. Think about the words that you use and decide whether or not they actually mean anything to the reader outside of the context of your bio. Words like amazing, excellent, exquisite, and thousands of descriptive adjectives are basically only acting as puff pieces. It doesn't make a difference how much you build up your band with buzzwords, because in the end, they don't convey any real information to the reader. With only a few sentences to describe your music, every word counts. Don't waste them on what is essentially bullshit. Think of it this way: if you were going to describe food to someone, you wouldn't want to just hear that it's delicious. This is one time that the “benefit of the doubt” is in your favor. The reader is already assuming that your music is "delicious" or they wouldn't be reading on it. So be sure to tell them about the details that make the dish. Flavor is a good analogy, what gives your music it's unique flavor?

3. Save the History. While some history on the band may be important, it is most likely the least important information in your bio. I don't care if your band members were all high school buddies, I don't care if you have played together for 5 years or 25 years. Things like this are only important after you can tell me WHY I would want to see your band. If you're just another rock band, playing cover tunes, why do you think I need to know that your guitarist and bass player met in middle school? Let me assure you, I don't care. If you are Phish, then it makes more sense to tell us you've been playing together for 20 plus years. This works for a big band like Phish because their story has already captured the reader. Whoever is writing about Phish knows why they are writing about Phish, but do they have any reason to write about you? Probably not, at least not yet. Which is why it is so important to leave the history of your band towards the end of your bio if you put it in there at all. Don't open your bio with: "Ten years of jamming together have made these high school buddies intense and spectacular players together." This sentence really tells me nothing about your band that I can share with my own readers. And now you may have possibly burned up half of your reader's attention. Lead with the important stuff and then leave the history for later. As a side note, if you're going to talk about the band's history, tell us what the band members actually do. It's much more useful to know what instruments the band plays than how they met or how long they have been together.

4. Pick a genre. I know, I know, your band plays lots of different genres and on top of that you're more of a fusion of dub, electro, and psytrance than just electronic. This kind of description is typical because bands don't want to pigeonhole themselves. It's good to be unique, but once again, it's so important to quickly inform your reader, even when talking about genre. If you're a rock band that plays reggae, ska, bluegrass, and jazz, you're still a rock band. My point here is that you have to break it down for people. If you say too much then you're really not saying anything at all. If you outright tell your reader, "We don't fit into any one genre" you're also telling them NOTHING about your music. It might be hard and it might take a little soul searching, but take the time to figure out what you do well and put it into a genre people can recognize. When you're working your day job or talking to your grandparents and someone asks, “What kind of music do you play,” what do you tell them? This knee jerk reaction to the question from someone that doesn’t understand your specific sub genre is probably a good answer for the majority of people asking the same question. Start simple, then when you have their attention, dig deeper.

5. Tell us where you're from. Believe it or not, I've read numerous band bios that say literally nothing about where the artist is originally from or where they currently call home. While this may seem like a trivial detail, it actually goes along way to give context to your music. You don’t need to go overboard with this information. We don't need to necessarily know which suburb or neighborhood you live in or which high school you went to. Just tell us the city. This can give a writer a great launching off point to talk about your music and where it’s coming from. It can also make the music you create more relevant if the city you hail from is really becoming noticed for a certain type of music at the moment. And while I say don't go overboard, at the same time, if you come from a particular neighborhood that is significantly well known for a music scene, then this would be good information to share. Remember, once again, keep it simple and then dig deeper, but only if it’s really worth it.

OK, so there you go! These are my five tips to help improve your band bio and ideally help inform the readers that you are trying to reach. Remember, think of every sentence and every word as valuable real estate. You don't want to waste space on words that don't matter. It may take many revisions to really tighten up your bio to the most pertinent information, but it will be worth it. If you can make an impression on a press contact within a short paragraph, then you are only improving your chances of getting that blog you've been trying to land forever.

Sunday, August 18, 2013

Chali 2na Interview from ARISE Music Festival - Loveland, CO

Chali 2na at the Main Stage, ARISE Music Festival, Friday August 16th
Chali 2na at the Main Stage, ARISE Music Festival
Matt: Can you speak a little bit to the difference of playing festival sets to playing club sets and how it really affects how you prepare for these sets.

Chali 2na: First off, I think festival sets always attract the people who care less about what you think about them. The inhibitions are just gone. Everybody's here to party and its regardless of anything. So, I think that that creates a vibe that makes the audience almost one thing. Its not like nobody necessarily separated at that point.

Matt: You want to make people party.

Chali 2na: Exactly!

(crowd laughs)

Matt: Chali, if you speak a little bit about the difference between the collaborative effort of Jurassic Five on tour versus your solo career on tour.

Chali 2na: Well, y'know, my M.O. that I've been able to establish throughout my twenty years doing this, is that I'm that dude in the group that collaborates with everybody. You know what I'm saying, like I wanted to make that happen so that it wouldn't be strange if you saw me doing something with somebody who you didn't think I was going to be with. That being established, its the same way on both ends. I just think that my work is just that much harder as a solo artist because I got my brothers with me with Jurassic and I do my part. Then, I can listen to them.

Performing by myself is a whole full fledged thought process of:  "OK, I gotta think about every moment." I gotta make sure that every moment is something that people are attached to as opposed to like scaring somebody off or being like "alright, whatever, dude" or someone going to get a drink. I'm looking at it as a way to just be the magnet and keep that attraction going throughout the show, and hopefully after have sex.

Matt: I'm a guy who likes to get drinks. So, what are you going to do in the future to keep me from going to get a drink.

Chali 2na: Play hard as hell! Play some music that's guaranteed to keep you there.

Stay tuned for more interviews from ARISE Music Festival.

ARISE Music Festival, Friday Recap - Loveland, CO

Gate to the Main Stage, ARISE Music Festival, Friday August 16 2013
Gate to the Main Stage
Friday starts hot and slow with acoustic music from Shimshai on the main stage. My wife Leigh went off to do a morning yoga session at the Temple of the Heart and I find myself once again in the tent of the Syntonic Stage to escape the sun. 2NUTS plays a glitchy, downtempo set at the tweener dome. Things are generally chill throughout the festival. My good friend and media partner Matt has gone to hit the pool.

The Pool Party, ARISE Music Festival, Friday August 16 2013
The Pool Party
In a search for some refuse from the noonday sun, we settled under the rarest patch of trees and find ourselves watching the Earth Guardians. Xiuthezcatl Roske Martinez, a young activist from Boulder, CO, leads a motley crew of youth on the Solar Overdrive stage. A hip-hop group with a very strong conscious message, The Earth Guardians are led by the young Martinez brothers, Xiuthezcatl, age 13, and Itzcuauhtli, age 10. At first, the show doesn't strike me as anything more than a novelty, something at the fest for the kids. But within one song, as I hear the brothers backed by around fifteen other kids sing out: "the hope is in our hands," I realized that this was something special.

We decided to wander again and find Freelance Whales at the main stage. In a haze of heat and dust, we settle at the back of the main concert bowl to soak in the dreamy, lush tones of the Queens, NY native band. The melodies off a glockenspiel carry the rich three, four, and even five part vocal harmonies across the dome and out to the campgrounds. The main stage keeps us captive as Nahko and Medicine for the People storm on to the main stage. The crowd is clearly enraptured with the band with wild hoots and hollers rooting for Nahko and the band even as they ride away on a golf cart after their set.

The Main Stage, ARISE Music Festival, Friday August 16 2013
Main Stage

Shortly after Nahko, the Solar Overdrive stage was featuring Mister Loveless from Oakland, California. Post-punk, thoughtful songs serenade us as we lounge and hide in the shade of the trees for only brief stint. Moving along again, we find Greensky Bluegrass stirs up the concert bowl once again with bare feet abound at the main stage. The less traditional bluegrass sounds of Greensky are a welcome progression to Friday's Keller and the Keels show. Followed by festival darling Xavier Rudd, the main stage reaches it's heady apex before hip-hop takes over from Chali 2na.

ATOMGA at the Solar Overdrive Stage, ARISE Music Festival, Friday August 16 2013
Before the big show on Friday, we groove out at the Solar Overdrive stage again, this time with Denver afrobeat band, ATOMGA. A swollen bandstand of at least nine people sets the tone for a heavy night. ATOMGA features a four piece horn section with trombone, trumpet, tenor sax, and baritone sax. The trombone player is dancing so hard I am literally afraid he is going to bounce off the stage.

ATOMGA keeps the secondary stage bumpin', but we depart to catch the lyrical stylings of Chali 2na from the famed Jurassic Five. Backed by his three piece band, House of Vibe, Chali brings us his own "radio station" with a blend of his own material, Jurassic Five tunes, and even covers from Michael Jackson. Clearly inspired by the happenings at ARISE, Chali invites the young brothers of Earth Guardians out on the stage to improvise two of their own original songs with the band. Chali is split from cheek to cheek smiling at the antics of the Martinez brothers. Chali even gladly took the role of hype man, rapping "I'm Young. I'm Positive."

The Magic Beans at the Solar Overdrive Stage, ARISE Music Festival, Friday August 16 2013
The Magic Beans
The night takes a swerve toward the party side when we arrive at the Solar Overdrive stage for the Magic Beans. Denver local jam-band brings a tight almost medley-like sound, skipping smoothly through intricate originals and cheeky covers like Hall and Oates' "Maneater." The fellows of the Magic Beans bring the intense energy of a young, inspired, and motivated jam band. From the many shows that had played the Solar Overdrive stage, the Magic Beans show on Friday began to crystalize the tangible vibe of ARISE.

By this time, I was trying to urge myself toward the main stage for Lynx and then Michal Menert, but the party vibe of the Solar Overdrive stage had firmly taken hold on me. Although I was hesitant to spend the day out in the sun at the Solar Overdrive Thursday and Friday afternoon, the nighttime line-ups had made a clear impression to me that this stage would be the host to some exciting and surprising events.

I began to lose my footing halfway between Michal Menert's main stage set and laid out in the campground listening once again to the sound waves bounce off the cliff side into the tent. For me the night had ended, but the weekend was ripe. Although I felt Friday would be the apex of the festival, it turned out to be truly a penultimate day to what was still in store.