BayFest closed out the month by revealing an extremely welcome addition to an already popular lineup. Alternative rock legends Jane’s Addiction has been selected to be the main headliner on the Coca-Cola Stage Saturday, Oct. 4. After talk of a hiatus earlier this year, Jane’s Addiction’s involvement in “Alabama’s Largest Music Festival” is a pleasant surprise.
Their eagerness to tour could be the result of the anniversary of the release of their 1988 debut “Nothing’s Shocking,” which contains fan favorites such as “Jane Says” and “Ted, Just Admit It …” While there has been talk of a new album, the band hasn’t recorded since 2011’s “The Great Escape Artist.” With an addition such as this, the BayFest organizers might have a few other impressive surprises for the public. Weekend passes are on sale for $60 until Friday, Sept. 19 at area Circle K locations and through the BayFest website.
The 4-1-1 on 311
This show is being called one of the biggest in Soul Kitchen’s history, and those in attendance would have no problem agreeing. On Monday, July 28, 311 took the stage at the LoDa venue in front of a sold-out crowd. The fact that this show sold out is no surprise, and social media was busy with last minute tweets and posts searching for tickets.
Since their breakout third release, 311 has maintained a tour schedule featuring arena and festival venues. In fact, this is one of the very few times that the group has made a stop in Alabama. However, the rock gods looked with favor on the denizens of the Azalea City as 311 stopped by to give their local fans an electrifying performance in an environment that many would find intimate, when considering the band.
311 provided a proper cross-section of their career. The crowd enjoyed classic songs such as “Feel So Good,” “My Stoney Baby” and “Down,” which served as part of their encore. They also introduced some in the audience to tracks from their new release “Stereolithic,” with “Revelation of the Year” being the most impressive. Throughout their set, 311 flawlessly rolled through songs with a clear perfection that can only be found on a studio album.
At one point, drummer Chad Sexton was allowed to freestyle. As he played, three racks of various percussion instruments were rolled out onto the stage. The assumption would lead one to believe that Sexton was going to give a stereotypical overindulgence of beats. However, the rest of the band dispelled this idea by joining Sexton onstage for a drum circle.
Throughout their set, moments like these made this show unique. This seasoned band brought an arena/festival style show that was crafted for a multitude to a hot and sweaty crowd of a couple thousand, and both parties seemed ecstatic to be sharing this moment.
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