‘Feel It Still’ was so massive, but it allows us to reach a much bigger audience and that’s really cool.” Are we saying we’re not in touch with the things are kids listening to? I don’t know we’re just saying what we do. “You can take our ‘live instruments’ statement several ways. It’s a lot easier to use computerized drums and it makes you sound better, but it’s not our thing. We’ve never done that, although we’ve talked about it. “But, at festivals, it’s funny to see how many bands use computerized drums. We make a ton of electronic music, but we’re more (old-school) analog synthesizer-oriented” A lot of people think No computers up here, just live instruments is a stab, and it’s really not. “It is a little difficult, but we like the challenge and it make us think outside the box,” he said. The Man’s Carothers is well aware of just how much his band sticks out from the rest of this year’s CRSSD Festival acts - and from such past CRSSD headliners as Giorgio Moroder, Flume and Empire of the Sun. They prefer, a festival representative said, “to let the music speak for itself.”Įither way, Portugal. The producers of CRSSD Festival declined several recent Union-Tribune interview requests to discuss this year’s lineup and their plans for the event’s next five years. The Man all the more intriguing, especially since the band’s 2017 American Music Awards performance featured a backdrop that read: No computers up here, just live instruments. That makes this year’s inclusion of Portugal. Indie bands and rock acts have been persona non grata since then.
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The only time the 15,000-capacity daily attendance visibly dipped at the festival, which has otherwise consistently sold-out, was the year Flaming Lips and TV On The Radio were featured. That direction proved decidedly short-lived. “Adding indie bands and rock ‘n’ roll to an electronic music festival is the direction we’re going, but we’re not going to do anything too commercial,” CRSSD Festival co-founder Johnny Shockey said in a 2015 Union-Tribune interview. The only exception came at the event’s second edition in 2015, when Flaming Lips and TV On The Radio were the two headlining acts. Rock bands, no matter how proudly indie or left-of-center, have been almost entirely absent from CRSSD Festival lineups. Produced by San Diego’s FNGRS CRSSD, the festival is a celebration of techno, deep house, neo-disco and other electronic music styles performed predominantly by DJs and producers (but not, by design, EDM, which tends to draw a younger and more rambunctious audience). A homegrown success story, the event debuted at Waterfront Park in 2015 and this weekend stages its 10th edition. We embrace our roots, for sure.”Īny band playing any Metallica song at the 21-and-up CRSSD Festival will mark a first for the twice-yearly electronic music marathon. “And we still open our shows by playing a Metallica song (‘For Whom the Bells Toll’), so kids can hear where we came from. “Because - obviously - you try to follow that up (commercially), and you can’t, but I’m confident we can write a better song. “It’s a double-edged sword,” Carothers replied. Is trying to top “Feel It Still?” remotely realistic? The band is now at work on its ninth album, the group’s first since “Feel It Still” became an international hit and made them a major headlining act. The Man before they sold out.” That was before they co-headlined the 2018 Coachella festival in Indio. It also inspired the previously under-the-radar, neo-psychedelic sextet to poke fun at its own success by selling T-shirts on its website that read: “I liked Portugal.
The Man’s eighth album, 2017’s “ Woodstock,” the biggest of the now 15-year-old band’s career. The success of “Feel It Still” made Portugal. “The next day, ( Metallica drummer) Lars Ulrich said it was his ‘Song of the Summer.’ We were like: ‘Whoa! Between Kathie Lee and Lars, this song will be big!” “When ‘Feel It Still’ came out, the first two people to talk about it were (‘Today’ show TV co-hosts) Kathie Lee (Gifford) and Hoda (Kotb),” Carothers recalled. (Photo by Kevin Mazur used by permission of Atlantic Records)
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