With 175 bands storming 14 different venues on Sept. 5–7 in downtown Raleigh, North Carolina’s most eclectic music festival — Hopscotch — gives attendees a lot to choose from.
I arrived downtown Friday evening, on the second day of the festival. Already, Fayetteville Street bustled with hip dads and college students alike.
As synth-pop band Future Islands blasted from City Plaza stage, fest-goers roamed from venue to venue, avoiding the occasional errant glow stick, consulting pocket schedules and texting friends the essential question: who should we see next?
In 15 minutes, Dub Addis would play at Tir Na Nog, all the way over by Moore Square. Soon after, Lady Lamb the Beekeeper would perform in the opposite direction at Fletcher Opera House. On top of that, Kanye West’s DJ protégé, A-Trak, would take center stage 20 minutes before 10:00 p.m. And these are just three of the eight artists playing — each at different venues — around 9:30 p.m.
Contemplating who to see next, I realized I’d not only missed the end of Future Islands’ hit “Balance,” but that the group was already halfway through “Tin Man.” I was so engrossed in deciding on the next group to see that I was missing the one right in front me.
So I stalled in indecision, defaulting to stick around the City Plaza stage for the rest of Future Islands’ set. I realized I might be able to catch the end of Dub Addis’ performance after all. I hustled off towards Wilmington Street.
Like Future Islands’ transforming rhythms, my plans shifted unexpectedly again.
As I walked toward Tir Na Nog, Carrboro-based band Some Army had taken over Hargett street. A frizzy-haired mom head banged to the tightly-harmonized rock, her baby boy in hand. I joined the mom, lingering for the rest of the show.
At this point, I was definitely missing Lady Lamb, but as Some Army singer Russell Bargett said to The Guilfordian, “There are worse things in the world than having too much good music.”
Later that night, I abandoned my friends, who were eagerly waiting to see indie heartthrobs Local Natives, for some golden era hip-hop.
At Lincoln Theatre, highly-influential late-1980s master of ceremonies Big Daddy Kane schooled an enraptured audience with classics like “Ain’t No Half-Steppin’.” While choosing Kane over Local Natives was an easy call, the real challenge came on the festival’s closing night.
Califone or John Cale? Sleep or Kopecky Family Band? Coke Bust or Pissed Jeans? I was revisited by that essential dilemma: who should we see next?
It seemed there were a hundred artists on my plate, but I only had time left for one. I made a decision, sprinting seven blocks, out-running rickshaws and speed-walking hipsters to the Berkeley Café.
Lightbulbs flashed on and off as I entered the club. On time with the Ramones-y garage rock, a trio onstage switched between pure silhouettes and floods of light. I climbed onto a table, and, over the bobbing heads, noticed the lead singers’ blue John Lennon glasses. I wove through the sweaty crowd, searching for a better view of this musical discovery.
“The Beets were so good, I almost cried,” said senior Emily Henderson.
Across the street from the club, I spent my last hour of Hopscotch, not seeing John Cale or Califone or Coke Bust, but sitting on a stoop and chatting with the Beets. We talked about everything from their influences – the Beatles, pro-wrestling and Howard Stern – to their immigration to their home in Queens.
By the end of the weekend, Plan A became Plan B became no plan at all. Once I realized I couldn’t catch everything, turning away from the anxiety of choosing one good show over another, I took Continuing Part-time Lecturer in Music Parke Puterbaugh’s advice.
“Focus on what you like and spend some time with it.”
