Phaze is a 19 year old rapper/singer from Los Angeles whose style and flow had me hooked the first time I heard his demos. He has been working relentlessly on new music and projects to build up his fan base and is planning to release a new album very soon.
His latest project, a video for his track “Limelight” from his forthcoming project “Camping Trips”, is directed by Peter Sobat and has cameos from the likes of DJ Prophet, DJ Melz, Snoop Dogg aka Snoop Lion aka Snoopzilla, and Daz Dillinger.
If this track/ video are any indication of what’s to come (i.e. unadulterated, west coast, hip hop), I suggest you follow his fan page on Facebook and Twitter to keep his upcoming plans. After all, if Snoop approves of what this young fella is trying to do, you just may too.
I first saw Fiona Apple perform live when I was on location at the Trump Taj Mahal in 2006 working on the short-lived, live-to-tape, VH1 Classics concert series Decades Rock Live! She was a guest artist on the episode featuring Elvis Costello, and she she sang a cover of Elvis Costello’s “I Want You” that absolutely blew my mind and gave me shivers. That one performance was, bar none, my favorite performance from the 8 episodes we were able to tape.
It wasn’t until 6 year later in 2012 that I was able to see her perform again, this time at the Greek Theater supporting her album “The Idler Wheel […]”. I enjoyed the show, but truth be told, I could have done without the groups of drunk girls, sitting around me, chit-chatting throughout the entire show. Apparently, at that show, concert decorum left the building early. To have to tell people to shut up during the quiet, emotional songs is something that I don’t think any concert goer should have to deal with.
When I heard that Fiona Apple was performing at the Walt Disney Concert Hall, I knew that that was a ticket I needed to get. Not only is the Walt Disney Concert Hall a more intimate venue (it seats 2,265 as opposed to the Greek’s 5,870), but it also has superior acoustics and strict rules as to concert etiquette (i.e, strict food, beverage, noise and photography rules). I knew that this time around, I would be experiencing a difference type of Fiona Apple concert.
When I got to the venue, I made a b-line straight to the merchandise booth. For the concert at the Greek, I remember being literally one person late in getting an autographed lithographed poster for that show, taking a picture of the last poster that the woman right in front of me purchased, and I was trying to avoid the same thing from happening again. Nothing special was available, however, and I simply picked up the poster that you can see up at the top of the page.
The stage set up was sparse and simple. Instruments (drum-kit, upright bass, guitar rack, baby grand piano and a stand alone kick drum) were positioned on the stage with carpets under the center microphone and baby grand, and an empty blackboard at the rear of the stage. The players (Sebastian Steinberg on upright bass, Barbara Gruska barefoot on drums and Blake Mills on vocals and guitar(s)) took the stage, and before the music started Fiona announced, among other things, “I don’t do soundcheck,” and, “Now that we’re here, I’m taking the most risks.”
She walked to the chalkboard and began to write a series of words on the board (I wish I could have taken a picture of it, but per venue rules, no pics):
The music of the evening was pure perfection. Fiona and Blake complimented each other’s sound and personalities, and it was a joy to see each of the players be so in tune with each other. The musical brilliance aside, I was particularly excited to see Fiona so comfortable to be performing for us. She was chatty and enthusiastic throughout the entire set, something that wouldn’t have necessarily been expected based on all of the recent gossip.
During “The First Taste”, she sprawled herself on the floor playing percussion on some items she “borrowed” from the hotel she was staying at. After, “The First Taste” she noted her haircut and giggled while stating, “When I get excited, I cut my hair,” and added, “I just wanna feel everything.” During Blake’s first solo song, she draped herself of the stand alone kick-drum and pounded away at it throughout the tune. After “Anything We Want”, she emphasized that the name of tour was the same, and at that point it truly felt like she meant it.
Her emotions poured out on “Regret”. The dynamics on the Blake Mills duet of “Seven” were chilling, especially when Fiona sat on the floor while Blake gently, and at a super pianissamo level, gently plucked away at his guitar strings … all eyes in the room were fixated, and you could feel the tension in the room from everybody worrying about moving around making the slightest bit of noise. When an audience member yelled out “Paper Bag” as a request, Fiona admitted that she totally forgot about that song. Before “Left Alone” she called Rex Reed a cunt for giving her father a poor review, and stoically stated, “That was for you dad.”
After the show concluded, I made my way back out to the front of the theater to meet up with a couple friends when I noticed some concert goers walking around the foyer with a poster that looked different that the one I had purchased before show. I stopped one of the patrons with the different poster and she told me it was a limited lithograph of Fiona’s original artwork, signed by both Fiona and Blake. I went back to the merchandise table where the line was considerably longer than before. As fate would have it, this time I was the customer who purchased the LAST one that was available. I guess Karma found it’s way back to me.
A one of fifty lithographs available at the concert of Fiona’s original artwork signed by both Fiona Apple and Blake Mills.
I could totally care less about all of the tabloid fodder that’s out there about Fiona. Her music should speak for itself. And her music is simply, unequivocally, brilliant. In the intimate and acoustically superior Walt Disney Concert Hall, that musical brilliance was transcendent. I must have had the hair on my arms stand up at least 5 times throughout the concert, and I hardly have any hair on my arms.
Although I wish I could have taken some photographs, coming away with 1 of 50, signed lithographs for the show is definitely a worthy consolation prize.
I recorded some audio clips from the show, but rather than edit them to post here, I simply found some video that another concert goer had put up. The video is terrible, but at least you can hear some of the amazing I got to experience at the Walt Disney Concert Hall that wonderful Monday evening. Cheers.
Martin Gore and Dave Gahan of Depeche Mode performing at the Staples Center 9/29/13
Years ago, back in 2009, I got to see one of my favorite bands growing up, Depeche Mode, perform at the Hollywood Bowl. It was a concert that I hadn’t purchased a ticket for, but I was lucky enough to have friends who, for one reason or another, couldn’t go, and I was the lucky recipient. For that show, I literally had the “last seat” in the house (Section X2, Row 4, Seat 3), but it is still one of the handful of concerts that I have ever been to that I am sure will always be somewhere in my top 10 of all time. I’ll have to admit though, I could be a little biased simply based on the fact that Depeche Mode’s music was such an integral part of my growing up.
I remember how I got introduced to their music. While I was in elementary/middle school, I had a cool cousin who graduated from college and was trying to get a job in the film industry. During her job search, she spent a few years living at my parents house, and with her came her music collection. Though I only got to listen to her music in her car, when she found a job and moved out, she left a handful of albums behind. The Fleetwood Mac LPs were cool. The Billy Joel cassette was cool. But all of a sudden, I noticed a black double cassette (the first double cassette I’d ever seen), of some band I thought was named “Depeche Mode 101”.
When I popped in the first cassette, the first thing I realized was that it was a live recording (recorded at the Pasadena Rose Bowl). When I pressed play, I didn’t hear any music. Rather, it was the sound of an audience cheering like crazy. I was enthralled. Each song was something new to me, and whenever a song ended, and the crowd roared with cheers, I truly felt like I was at that concert. I would eventually find out that the band’s name was just Depeche Mode, and the live album was titled 101. The title of that album was fitting, as that album was basically my beginner’s course for a band that I would come to love so whole heartedly.
For some reason, I failed to purchased tickets to any of their shows at the Staples Center when they were released to the public. I checked online for tickets, but they were all exorbitantly marked up. It was a sad oversight, and I figured that I would miss out this time around … but again, the music gods must have been looking over me as another friend messaged me on the 28th about having an extra ticket for the 29th. Without hesitation, I said, “Yes”.
The seats were in the rafters of the Staples Center, but if I learned anything about Depeche Mode from the last time I saw them, seats anywhere in the venue would have been fine. Like the first time I saw them at the Hollywood Bowl, Andy Fletcher, Dave Gahan and Martin Gore did not disappoint. Their live performance was grand and filled with adrenaline rushing moments, contrasted with emotionally charged darkness. Dave Gahan strutted across the stage throughout his songs with such a bravado that one would never guess that he’s over 50 years old.
Though the tour is in support of their latest album, Delta Machine, they performed songs from every stage of their careers. Crowd, and radio favorites, “Personal Jesus”, “Enjoy The Silence”, “World In My Eyes” and “Just Can’t Get Enough”, and “classic” Depeche Mode favorites like “Behind The Wheel”, “A Question of Time” were performed, but what really stood out in my mind were the songs that Martin Gore sang solo. Subdued, acoustic and intimate versions of “A Question of Lust” and “Condemnation” were performed during the encore that moved me immeasurably. Those two songs, for me, epitomize Depeche Mode’s ability to reach into the listeners soul to question, consider and forgive all of the intricacies and follys of love. Where Dave Gahan is the bravado, Martin Gore is the soul. Their pairing is what keeps the yin and yang of Depeche Mode in harmony.
Unfortunately, the Flickr slideshow below is not currently available on mobile devices. If you are on a mobile device, please click THIS LINK to get redirected to the set of photos.
Phoenix, Daft Punk, Justice … France turns out some great electro, synth pop bands. Oh yeah … M83 is pretty damn good too. Named after the spiral galaxy Messier 83, M83’s music is as cosmic as that system of stars. Adding a full orchestra and choir to their already sonically complex arrangements like “Midnight City” only raised the level of their cosmic sound.
I wasn’t planning on attending the show. In fact, I had been offered to get in on tickets when they first went on sale, but passed it up since I purchased some tickets for other shows and funds, at the time, were running low. But as fate would have it, a dear friend of mine called me up last minute the day before the concert to see if I wanted to attend the sold out show, and I got to attend the last installment of KCRW Radio’s World Festival series. The stars were definitely aligned for me …
The indie pop/Electronic rock band Phantogram opened for M83. It was my first time listening to their music, but I could tell why they were opening for M83. Their songs were all dance friendly, and had catchy hooks. Sarah Barthel’s vocals were strong and sexy. The band didn’t seem intimidated by performing on the famous stage, but they expressed their humble gratitude by acknowledging the hallowed stage they were on, and thanked the audience for listening.
M83’s performance, back by the Hollywood Bowl Orchestra and its choir, was stunning. For a band whose music is already big with layered synths, guitars and voices, I wondered how the orchestral arrangements would come off and how it would alter the original arrangements. Surprisingly, the orchestra didn’t overpower the band’s sound. Rather, at least in my humble opinion, they seemed to be used only to accent the original sound. Truth be told, it was hard to me to actually note when the orchestra was playing and when they weren’t. M83’s sound, alone, is that big.
M83 used a lot visual media in their performance. Though it was hard for me to actually glean what the purpose of some of the visual montages were, I supposed that it was used to evoke mood and metaphors for the audience to come up with. As visually stunning as the montages were, personally, I think that the performance could have done without it, as I hardly spent time watching the video screens.
M83 brought up a couple of special guests during their performance: grade-school aged Zelly Meldal-Johnsen (performing “Raconte Moi une Histoire”) and Brad Laner (from the band Medicine) and though each special guest’s performance was entertaining (Zelly’s song about the frog was especially cute), I was hoping that the special guests, especially at the Hollywood Bowl, would have been more exciting or well-known…. After all, it IS the Hollywood Bowl.
Special guests notwithstanding, M83’s performance was the kind of show you hope to see- and is typically delivered- at the Hollywood Bowl. Grand in scale. Aurally pleasing. Toss in a seat in a Terrace Box, with great friends on a lazy Sunday? Perfect.
Raconte-moi une histoire (with Zelly Boo Meldal-Jophnsen)
Skin of the Night
Midnight City
Lower Your Eyelids to Die With the Sun
Encore:
Oblivion (Susanne Sundfor)
Outro
Couleurs
Unfortunately, the Flickr slideshow below is not currently available on mobile devices. If you are on a mobile device, please click THIS LINK to get redirected to the set of photos.
Allen Stone at The Beach Ball Festival 9/21/13 [ig: @methodman13]
About a year ago, while searching the web for new music, I came across a youtube video of a white soul singer from Seattle, Washington singing a soulful, acoustic version of one of his own compositions. The chorus of the song, and the voice the singer, hooked me instantly. The songs was called “Another Break Up Song” and the singer’s name was Allen Stone.
On October 19, 2012, I was able to see him perform at The Fonda Theatre. His performance that evening was so good that it made it into the top 10 of the concert events I went to in 2012. Since I missed his early afternoon set at Coachella this year, I was ecstatic to hear that he would be performing at the Beach Ball Soul Revue.
If you are unfamiliar with Allen Stone, I would describe this self-professed “hippie with soul” as a throwback to those soul legends who sang lyrics embedded with social commentary. Stevie Wonder, Marvin Gaye, Donny Hathaway … I’m talking the heavy hitters. Lofty comparisons for a relative newbie in the music industry, but with a tenor voice as soulful as his, and poingnant songwriting ability, it’s hard for me not to make them. Back in October 2012, I professed on my Facebook page that Allen Stone could be an artist that we’d see performing at the Hollywood Bowl or Greek Theatre sooner rather than later. I’m going to stick to my guns.
His performance at the Beach Ball was as good as I remembered him at the Fonda, if not more energetic. He fed off the energy from the crowd, who sang along to Allen’s more well known songs. The crowd loved his performance, and clearly loved the messages of love and togetherness Allen professed throughout his set.
After all of the concert festivities for the evening had concluded, I meandered to my “Cheers” (Ye Old Kings Head in Santa Monica) for a few drinks with friends. Out of the corner of my eye, I noticed that Allen and his crew were tucked away in a corner of the bar. Being the gregarious person I am … though, I’m sure the double Dewars I had just consumed also helped … I walked over to Allen’s table and introduced myself. I recall telling him that I was at his show at the Fonda, that I enjoyed his set on the pier, and how I’m always hoping that I’d get to hear him perform “Another Break Up Song”.
Me and Allen Stone at the Kings Head after the Ball Festival 9/21/13 [ig: @methodman13]
I offered to buy him a drink, but he told me that it was his turn to be the designated driver. I think I may have bought his manager a drink though. Not wanting to be a leech, I told Allen that I was really looking forward to hear his next album, and snapped a quick pic before minding my own. A friend of mine who manages the Kings Head has offered to hang a picture of me and Snoop on the celebrity wall of the Kings Head, but I’ve always refused because Snoop’s never been to the Kings Head. I just may have to give him my picture with Allen.
Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]
Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]
Lee Fields has been doing his thing for over 40 years, but I only got really familiar with his music this year. A work associate was selling some LPs in his collection, and while I was looking through his rack, he pulled out Lee Fields LP “Problems”. He assured me that it was an excellent listen, and I trusted him. I’m so glad I did.
When I played “Problems” on my record player, I was immediately immersed in some deep, soulful funk that I was embarrassed to realize I was unfamiliar with. “Problems” was released in 2002, and I realized that I was over 10 years late to the party … but as they say, “better late than never”.
I found out later that he was scheduled to perform at the Troubadour in support of his most recent album “Faithful Man”, but was saddened to discover that the show had sold out. I didn’t see any tickets for sale on second hand ticket brokers websites, so I can only assume that those who were lucky enough to snag tickets, were keeping them for themselves. My extreme loss. Thankfully, for my sake, he was scheduled to perform at the Beach Ball Festival.
Critics compare Lee Fields to artists like Wilson Pickett and James Brown, but those critics should really just focus on what Lee Fields brings to the current music scene. Perhaps, if Lee’s latest albums were released back in the hey day of soul music (i.e. the 60’s), he may have been talked about in the same breath with the soul stars of that time. But, they weren’t. Rather, the albums are part of the current music scene, and they are diamonds in the rough. Current artists, and popular music, don’t make albums like Lee Fields. There are only a handful of artists today (Sharon Jones and Charles Bradley, to name a few) that provide modern day music fans with the kind of throwback soul that existed back in soul’s hey day. That kind of music is unique in today’s musical landscape, and should be judged on their own merits. Just my thoughts …
Lee Fields brought his brand of retro-soul to the stage, and knocked the audience out. Dressed in his bright red, yellow and blue, plaid blazer, he brought an infectious energy to the stage that the crowd couldn’t help but feel. Interacting with the crowd, strutting and dancing back and forth across the stage, swooning and belting the lyrics to his music, his performance was the embodiment of soul music, and he had me smiling dimple to dimple throughout the whole set.
My “Problems” LP signed by Lee Fields!
After his performance, I head back to the back stage area with the hopes of meeting Mr. Fields. Some people may think that I take my music too seriously, but I felt compelled to bring along my copy of the “Problems” LP in case I was lucky enough to meet him to get it signed. The soul stars must have been lined up, because as soon as I made my way back, Mr. Fields was snapping some pictures with a photographer for the event. I got him to sign my LP and snap a picture, told him how much I enjoyed the show and wished him the best for the rest of the tour.
Mr Fields, terrific set. The pleasure was all mine.
Me and Lee Fields.
Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]Lee Fields in repose at The Beach Ball Festival 9/21/13 [@methodman13]
Myron & E at The Beach Ball Festival 9/21/13 [@methodman13]Myron & E are a soul duo based in the Bay Area. They are currently signed to one of my favorite independent labels, Stones Throw, so even though I wasn’t too familiar with their catalog, I was relatively sure I would be pleased with their music.
The Stones Throw website introduces the band as follows: “The vocal duo is something of a rarity. There have been countless solo stars, trios, quartets and quintets, but the pairing of equally talented singers isn’t nearly as common. Sam and Dave, Ashford and Simpson, the Righteous Brothers and the Everly Brothers comprise a short list of standouts. Enter Myron & E.” A tall order to live up to, for sure, but I’m willing to bet that the Stones Throw folk know what they’re co-signing on.
They had the earliest set in the day so the crowd hadn’t reached critical mass yet, but they had their die-hard fans in the trenches, wearing their screen-print Myron & E T-shirts, and they performed with the type of gusto to satisfy their own, and to drawn in new fans. Half way through their set E mentioned it was Myron’s birthday, and the crowd joined in on an impromptu singing of “Happy Birthday”.
It was a solid set to establish the “soul” mood for the rest of the day, though at times I felt that some of the vocal tuning was a bit off, which I could attribute to the blazing midday sun, but it was good enough want me to follow them on Facebook so to keep up with their music and see how their sound develops. You should too.
They are touring domestically and throughout Europe throughout the fall, so check them out when they are in your neck of the woods.
Myron & E at The Beach Ball Festival 9/21/13 [@methodman13]Myron of Myron & E at The Beach Ball Festival 9/21/13 [@methodman13]E of Myron of Myron & E at The Beach Ball Festival 9/21/13 [@methodman13]
I remember the day I first heard Laura Mvula sing (January 18th, 2013) because I was so amazed by what I heard that I immediately posted a blog entry about it. I kept an eye (and ear) on her music and would post additional blog entries about some of her other songs (“That’s Alright” and “Jump Right Out”) because I was enthralled with her sound and excited about her debut album “Sing To The Moon”.
Laura Mvula’s music cannot be easily classified, as it is a sound that frankly defies stylistic categorization. As allmusic.com proffers, Laura’s music is “rooted in decades-old forms of gospel, jazz, R&B, and, most deeply, orchestral pop . Almost all of the material is as serious and as refined as it is majestic, with vocal showcases and hushed-belted-hushed-belted dynamics galore.” I agree with the assessment, and would even boil it down simply as classy and sophisticated, orchestral neo-soul music. Some seriously good, grown folk sounds for those who appreciate musicality and message in their music.
I was ecstatic when I found out that Laura was scheduled to perform April 16, 2013 at the Bootleg Theater, and I immediately snapped up tickets. As fate would have it, however, I was asked to speak at my Alma Mater that same week, and to my dismay, I had to give my tickets up. As a small consolation, I received my copy of Laura’s debut on vinyl (a UK export that has an amazing recording of Stevie Wonder’s “Something Out of The Blue”) and for the next few months listened to it whenever I needed to set my mind and soul at ease.
I received a notice (thank you social media!) that Laura was to do another round of touring in the United States with a stop in Los Angeles September 17th, and I agains purchased tickets to her show. This time, though, I made sure I had no conflicting appointments.
Laura’s show was simply amazing. Me and my friends were able to get up to the very front of the venue for the performance, and as fate would have it, Laura’s keyboard was basically in front of us, and thus we were privileged to have Laura performing no more than 5 yards from us for a majority of the show. I could see her every breath and read the emotions on her face with every lyric. It was a beautiful experience. A moving experience. During the most tender part of the concert, when Laura sang “Diamonds” and “Father, Father” back to back, you could feel the audience release a collective sigh following the last note of “Father, Father”. I did not have to look around to know that there were some in the audience tearing up because … truth be told … I was busy dabbing the corners of my eye as well.
My anticipation for new music from her is at an all time high. My commitment to see her perform live again has been verified. An amazing concert by an amazing artist. Her performance at the El Rey has a spot in my top 10 concert performances of the year. Nuff’ said.
Setlist:
Like The Morning Dew
Let Me Fall (not in the album)
Flying Without You
She
Is There Anybody Out There?/ One Love (Bob Marley& The Wailers cover)
Sing to the Moon
Diamonds
Father, Father
Green Garden
That’s Alright
Make Me Lovely (Encore)
Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13
Every year, since 1999, the Port of Los Angeles in San Pedro holds a Lobster Festival where families can enjoy mouth watering, freshly cooked Lobster, in a carnival like setting, overlooking the Pacific Ocean. I’ve been before, but when I did, I went for the food, and not the entertainment. Not this year. When I saw that Dead Sara was slated to headline the Saturday evening entertainment, I decided that I would head out to San Pedro, eat some lobster, check out some new music, and watch one of the hardest rocking, female fronted bands in music today crush it.
Click through the name of the act below to read my thought, see some pictures and watch some video:
My parents raised me on classical music, and having spent years learning how to play the piano and violin, and playing in a my high school’s orchestra, I have a great appreciation for orchestral music and sounds. The Section Quartet is a Los Angeles based band consisting of a cello (Richard Dodd), viola (Lauren Chipman) and two violins (Eric Gorfain and Daphne Chen). They have been performing since 1998 and their music consists of covers of popular rock songs.
Their music served as the perfect soundtrack for the late afternoon at the port, with patrons of the festival, sprawled out on blankets on the lawn in front of the stage, soaking up with last bits of sunlight as the sun set into the Pacific; their stomachs working to digest all of the Lobster consumed. Their classical renditions of popular rock songs the band performed was fun to listen too and was a good appetizer for what was to come the rest of the evening.
The Section Quartet/ (c) Derrick K. Lee, Esq.The Section Quartet/ (c) Derrick K. Lee, Esq.The Section Quartet/ (c) Derrick K. Lee, Esq.The Section Quartet/ (c) Derrick K. Lee, Esq.
![Allen Stone at The Beach Ball Festival 9/21/13 [ig: @methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05281.jpg?w=1075)
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![Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05233.jpg?w=1075)
![Allen Stone performing at The Beach Ball Festival 9/21/13 [ig: @methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05225.jpg?w=1075)
![Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05096.jpg?w=1075)
![Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05132.jpg?w=1075)
![Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05119.jpg?w=1075)
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![Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05118.jpg?w=1075)
![Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05082.jpg?w=1075)
![Lee Fields performing at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05074.jpg?w=1075)
![Lee Fields in repose at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05140.jpg?w=1075)
![Myron & E at The Beach Ball Festiva 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05054.jpg?w=1075)
![Myron & E at The Beach Ball Festiva 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05060.jpg?w=1075)
![Myron of Myron & E at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05063.jpg?w=1075)
![E of Myron of Myron & E at The Beach Ball Festival 9/21/13 [@methodman13]](https://musicofmymind14.com/wp-content/uploads/2013/09/dsc05065.jpg?w=1075)
#DKLPHOTOS 