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A weekend's worth of rock n' rolling
all night and partying every day

Voodoo Music Experience 2009
City Park, New Orleans, LA
October 30 - November 1, 2009

Lenny Kravitz

Jane's Addiciton

Fischerspooner

Story and Photos by Andy Argyrakis & Mike Kane

Even if Mardi Gras remains New Orleans' top entertainment attraction each year, the annual Voodoo Music Experience is quickly becoming a close rival. In fact, scheduling this year's extravaganza right smack dab in the middle of Halloween weekend may have given way to the most outrageous costumes the city's ever seen, from freaked out concertgoers, roaming robots and zombies, plus perhaps most visually striking, the rock band KISS in its signature spandex and make-up rounding out the very essence of the holiday itself.

Sure, the aging act that likes to rock and roll all night and party every day is the pinnacle of stadium clichés these days and a mere caricature of its heyday, but key members Gene Simmons and Paul Stanley served as fitting ringleaders for the revelry. Tunes from the new Sonic Boom were met with indifference, but its big hit, alongside towering production, pryo and constant tongue curling, aptly complimented the city's grand excesses.

However, the most musically meaningful reason to get rowdy came Sunday night as Lenny Kravitz continued his bulldozing blend of modern and retro rock, not to mention one of the coolest rock star personas to ever grace the planet. After some self-indulgent jamming, the hits were plentiful, including his blistering cover of The Guess Who's "American Woman," the hook heavy "Fly Away" and the furious riff rocker "Are You Gonna Go My Way."

While Eminem was technically the headline attraction for Friday night, the '90s rapper played a jukebox of rap staples that were once controversial, but are now generally shock proof sing-a-longs. Across the field at the same time, experimental electronica act Fischerspooner kept the beats blasting with more intrigue, merging elaborate chorography, mirrors on wheels and outer-space inspired outfits with synth-inspired sounds ranging from Kraftwerk to Depeche Mode.

But some of the most interesting moments came from the weekend's second tier acts, most notably, The Flaming Lips who continue to cater towards the wild and weird rather than the safe and sanitary. Its over the top show (with some extra steroids this round) revolved around the new album Embryonic, which showcased a potpourri of psychedelic grooves, backed by a stage spectacle loaded with confetti, streamers, dancing sheep and even an unexpected cameo by a completely naked girl.

After co-headlining Lollapalooza earlier this year, the wheels of the recently reunited Jane's Addiction were already turning at full tilt. However, without any new material to promote, this victory lap so to speak was merely a nostalgia trip ("Jane Says" anyone?), which sounded razor sharp and served as the epitome of alternative rock's origins, but begged the question of what Perry Farrell and his fellow players could churn out these days.

The bill also featured many festival circuit regulars who either impressed or annoyed with shorter sets of rippling intensity or unfathomable repetition. The Led Zeppelin-like Wolfmother packed plenty of promise, though Silversun Pickups were bogged down by a muddy sound mix, pirate punkers Gogol Bordello were gratingly bizarre and DJ duo Justice was an absolute snore to watch, merely twirling knobs as glow sticks flew throughout the crowd.

Of course, a Crescent City occasion of this magnitude wouldn't be complete without a handful of natives, including breakout band Mute Math (think The Police reincarnated through a Radiohead lens), plus the funk-saturated Rebirth Brass Band and the always astute Preservation Hall Jazz Band. Though not originally from the Big Easy, George Clinton and Parliament Funkadelic embodied that laid back spirit, simmering through its soulful rumblings that have inspired everyone from the aforementioned Kravitz to the even more innovative Prince. In terms of new school jammers, Robert Randolph and the Family Band unveiled a jaw dropping pedal steel guitar repertoire (plus a bluesy cover of Michael Jackson's "Thriller") that's already reeled in celebrity fans like Eric Clapton and Dave Matthews.

By the end of this year's Experience, it was evident organizers intentionally expanded their diversity palette to reel in a wider audience, and unsurprisingly, it resulted in its largest attendance to date (sans the first night's downpour). Although some of the secondary acts actually trumped the headliners, there remained a steady equilibrium between already established superstars and indie upstarts building recognition on street credibility instead of radio familiarity.

Should this trend continue, Voodoo will indeed be a one stop shop for the classic, current and future music industry trends, which will really raise the competition for Lollapalooza, Bonnaroo and other like-minded events of massive proportions. But speaking strictly in terms of its region, it was hands down the biggest party this city's seen since Mardi Gras and may inspire those planners to stock up on some extra beer and beads to take their title back.