Guy Incognito wrote:in the same way that scrump as an aesthetic wears the trappings of a pre or early industrial past as a way of signaling faux-authenticity, so too does bro-folk reach back into a pre-electronic past as a way of signaling its own virtues as a "real" artform. It was a beautiful evening filled with great wine and great music. In fact, it's so powerful that if you weren't aware of your love for Fruit Bats, you will be now. Eric strolled in with his guitar and the band burst into a rocking rendition of "The Hobo Girl." The sound in the room was too good to stop there, so they sipped a bit more wine, then eased their way into "Flamingo." In this version, Eric's voice is so powerful it could give God goosebumps. Eric stepped out for a moment as the rest of the band topped off their glasses of red and white. We sat around the table and drank good wine, talking about their amazing new album The Ruminant Band. There was excitement in the air and spirits were high. His reaction was one of surprise, previously unaware of the aural power that the cellars permitted. "We should record in here," said Eric Johnson, the man behind Fruit Bats, as he admired the resonance within the cellars of the Gundlach-Bundschu winery. Ripersnifle wrote:my sister and some of her friends recounted seeing Edward Sharpe at a festival one time, and he was basically universally hated - even by his hardcore fans - because he (predictably?) refused to play and instead went out into the audience and tried to lead some ill-advised group-singing/rounds for over half his set.
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