BY THOMAS CONNER
Some bands from the last loose pages of the notebooks ...
Sunday morning was surprisingly delightful and refreshing for several reasons, which were focused in one area of the park. Rain showers and breezes cooled things down briefly, the Sony Bloggie Stage benefited from this more than most because of its tree-lined, green surroundings, and one of the first acts to grace this stage was Chicago's Company of Thieves. Playing to a remarkably full crowd at this small side stage, the Company played hard. With her band giving its all behind her, singer Genevieve Schatz danced all over the stage, wailing with abandon -- throaty in her range, breathy above it, never stopping to think about which was which, just going for it. This isn't a complex band, they play pretty basic pop-rock, but they were certainly spirited Sunday morning, closing with "Oscar Wilde," a popular download from their latest album, "Ordinary Riches." They were joined on the final number by pirouetting youngsters from Framework Dance Chicago; it was a little "Fame," but fun. When the show wrapped, the people around me gave it three "wow's" and a "holy crap." I heartily agreed.
Company of Thieves was on "Live From Daryl's House" once. Some other pals of Hall & Oates, Chromeo, played in the south field Friday evening just before Lady Gaga. Hearing this gig, I wouldn't put them next to Hall & Oates, though. Klymaxx, maybe, or Rick James, Sylvester, certain corners of the Prince catalog. This Montreal duo gets a not-quite-disco groove on, but it never builds a full head of steam. Even the duo's last song, their new single, "Don't Turn the Lights On," sounded like warm-up music on the PA.
Sort of like Switchfoot, ick. The Christian-mainstream band's early Sunday set didn't sound like a live band, just a modern-rock radio station cranked really loud, all pinched and compressed. "Can you hear me? / This is the sound of the desperation bound," they sang in their penultimate song. Yep.
Dawes, midday Saturday on the Bloggie stage, is a curious new artifact. An L.A. quartet of young bucks, they play a dusty genre of country rock harking back to the 1970s Laurel Canyon days (Jackson Browne, CSN, etc.). Their debut disc is called "North Hills." It's bizarre: here's an up-and-coming indie-rock band -- young ones, no one's older than 25 -- plying a style of music redolent of some of the industry's most bloated corporate-rock indulgences. Just further proof that everything comes back to us. Dawes is good at refreshing this sound, though, a meaty band with a guitarist, singer Taylor Goldsmith, who knows how to punch and pull his lines (just what the world needs, a new Waddy Wachtel). When they harmonize on "Love Is All I Am," they sound not like Crosby, Stills and Nash or Fleetwood Mac but the branch of country music that listened to them. After moseying through "When My Time Comes," I expected an encore of "Magnet and Steel."