My favorite memories of Newport are the unexpected, unplanned moments, [like] when someone invited me to join them onstage, in the street or on a boat in the harbor or in the yard of some fucked up mansion early in the morning, or ringing church bells and wrestling wild boar in the chapel late at night, duets with the late great Whitney Houston, night swimming, howling in the streets, singing in the fort. It’s another world.

Jim James, who has played Newport numerous times with projects including My Morning Jacket and Monsters of Folk, in a rambling email

via rollingstone

When Rhode Island roots-punk quintet Deer Tick hit the road last fall for a short California tour in support of Divine Providence, they brought along a special guest: video director Ryan Henriquez, who recruited a film crew to capture the band’s performances at their fiery best. Starting with a Halloween gig in San Diego, the tour continued up the California coast from Santa Barbara and L.A. to San Francisco’s Independent. Divine Providence's “Let's All Go to the Bar” served as not just a final encore but a raucous rallying call, in the Replacements' tradition. As Henriquez explains it, the song “felt like a victory march, complete with flying objects, smashed instruments and a dozen or so folks on stage guzzling red wine from bottles the size of water coolers.”

Sallie Ford and the Sound Outside’s new song may be called “Danger,” but its video is actually quite cozy and tame. The Portland, Oregon quartet performs in a field as a bunch of people in scarecrow costumes look on and dance to the music. “‘Danger’ is a song about falling for mysterious people, even when you know it’s dangerous,” says Ford. “Who knows, you could fall for a scarecrow, and that wouldn’t be good, ‘cause they are empty inside!”

The Felice Brothers’ eerie, self-directed clip for “Fire at the Pageant,” from the band’s recent release Celebration, Flordia, finds the country-folk rockers channeling the Southern mischief of True Blood’s opening credits. The video opens with an ominous monologue suggesting dire things to come, followed by a series of spontaneous – and sometimes unfortunate – circumstances. Supplemented by the grainy images, the scenes provide a mystical, almost haunting feeling that’s intensifed by a shot of bassist Christmas rolling around in the trunk of a car, wearing a dress.

rollingstone:

David Wax and Suz Slezak of David Wax Museum sat down with Rolling Stone for an exclusive interview about the wild year they’ve been having.

Last year you were here as a couple of unknown contest winners. This year, you were invited to perform on the main stage. Does it feel a lot different?

rollingstone:

Even after yesterday’s craziness, 11:30 am isn’t too early for the many fans who got here in time to see David Wax Museum open up the main stage, including those who discovered them at last summer’s festival and led the campaign to get them back today. The band itself is treating the gig like a…