"I Don't Understand Festivals, Really."
Cadence Talks 001 - A How Long Gone Interview
It’s impossible to get on a call with the hosts of How Long Gone without wanting to sound cool. That’s because Chris Black and Jason Stewart have perfected the art of having cool conversations. Or maybe they’ve elevated the art of conversation into something that is cool itself. That’s why an ever-growing list of cool people — actors, chefs, authors, media elites — are all eager to jump on a Zoom and chat with the pair.
The result is something that has been lacking in what Daniel Ek called the “audio-first” space since it took off in recent years. A podcast that takes the embarrassment out of podcasting and gives it the element of cool once found in places like Warhol’s iconic 80s publication Interview, 90s touchstone Sassy and 00s hipster bible Vice. Problematic? Occasionally. But each generation gets the cool it deserves.
Musicians are another cool group who love conversing with Black and Stewart. Charli XCX, Pheobe Bridgers and The 1975’s Matty Healy have all been “down to clown” (as the Goners like to say), as well as MGMT and The Walkmen, both acts that are sharing the bill with How Long Gone at this weekend’s Just Like Heaven festival in Pasadena. So The Cadence asked Chris and Jason to talk to us about the current state of festivals and where they might be heading.
Jason, you were the opening DJ at last year’s Just Like Heaven festival, which meant we missed it. Everyone missed it, actually.
Chris Black: I was outta town, conveniently, so I was unable to support you as well.
Jason Stewart: No, you showed your support by posting a photo of me DJing during soundcheck and posting it as if that was my normal set playing for nobody.
CB: Guess I did support you then. You're welcome.
This year, you are on the bill three times as DJ Them Jeans, How Long Gone Podcast and Cinespace DJs. Will they have to give you a better slot?
JS: I’ll probably play at like three or four or something a little healthier. I mean, I could play later if I wanted to. I just didn't really want to.
CB: Are you double dipping? Do they know you're all the same person?
JS: I am technically getting paid for all three of those things. Our booking agent said, “If you need a retirement plan, you can always work for us.”
Chris, are you gonna make it this year?
Ha! I'm contractually obligated to be there. I mean, I don't understand festivals, really. But I know that that's just kind of my age talking. I can hang out if the music is good.
It’s easier because it’s just a one-day festival.
CB: That's the smartest thing about it. And more of them should be like that.
JS: People seem happy that it’s over at 10 PM because they wanna be able to watch Succession or they have to let their dog out to pee.
CB: I think we have already hit festival saturation. I can't imagine they're all doing as well as they hope. Pharrell's festival in Virginia Beach was last weekend, presented by Walmart. I just dunno how many more we can handle.
We might be there already. It was widely reported that Coachella Weekend 2 didn’t sell out for the first time.
CB: It's weak. I think most people didn’t even think Frank Ocean was gonna show up, which turned out to be true. BLACKPINK and Bad Bunny are obviously huge artists, but they're like SoulCycle music that no one really knows.
JS: Somebody pointed out that two of the three headliners don't sing in English. And they're wondering if that was a factor in American ticket sales. Plus, the age range for Coachella is like 21-year-olds. BLACKPINK, their average fan is probably fucking 11. And if they're adults, they have social anxiety issues, no offense.
People might say you just sound like a hater.
JS: It used to be like-minded artists covering all genres. Half the reason for going to any live music experience is to meet like-minded individuals that you could hopefully have sex with or have a cool friendship with. Whereas now, it's just like, whoever sells the most tickets.
CB: That's what these niche festivals get back to. If I like Them Jeans, I definitely like Azalia Banks, so it all makes sense.
I just saw an ad for a Yeah Yeah Yeahs Fever To Tell 20th anniversary sweater.
CB: A sweater? Or a sweatshirt?
It's definitely a knit garment.
JS: I've seen bands doing holiday sweaters.
But this is like, not ironic. Or maybe it is ironic. I'm pretty sure it’s artwork from the album, but there's literally a tiger and a cheetah and a snake.
JS: That was pretty fucking dope in 2007, bro. Just a tiger. For no reason.
Goldenvoice is doing Cruel World festival with Iggy Pop and Siouxsie the following weekend. It’s kinda Just Like Heaven, but for people who are now in the AARP demographic.
JS: I saw Iggy at the Celine party. He opened for The Strokes and Interpol and he tore the house down. Everyone else was just phoning it in and getting the check—standard fashion party shit.
CB: It was funny because the only thing I saw on Instagram was Iggy Pop.
Iggy would be a great guest for How Long Gone. What percentage of your guest are musicians? Like 30%?
CB: I feel like it's probably half at this point. I think musicians listen because they hear their peers and it feeds itself in some ways. It’s also a comfort thing for us. Like anything else, if you're interested in a topic, it's more fun to talk about.
JS: It could also be like our subconscious reaction to boring music journalism where everyone asks the same question and you don't really get to find out about the person.
CB: You just find out about the room that they recorded in with Bon Iver and stuff like that. But we're concerned with anything other than that.
Jason, when did you start DJing? What’s your origins story?
JS: I was playing music at the Beauty Bar when Calie Dewitt was managing the place. I only had so much vinyl, so I would bring an iPod and I would play vinyl on the left side and iPod on the right side and just get blacked out and play music.
And Chris, you somewhat famously hate DJs.
CB: I mean, dance music is just not something I listen to. I've learned a lot from Jason and I respect the art form, but I just need a guitar. I'm a simpleton.
JS: Maybe he's saying, like, when you had The Rapture or something that did have guitar…
CB: Yeah, sure. I fuck with that. There are levels to all of this, right? I'm not going to a warehouse rave that starts at two in the morning. Even when I was on drugs, I wouldn't do that.
The one thing about the DJ stuff that has always been interesting to me is the people who do these marathon sets. It's very interesting to play for eight hours or whatever. That's very impressive. No other musicians are doing that kind of thing.
JS: Phish, maybe. But they're not good.
So last question, are we all going to Powertrip together?
CB: You couldn't pay me to see Metallica in a desert. That's my nightmare. But it's probably doing quite well. It reminds me of when Dead and Company first started touring. There was a story in the Wall Street Journal about how it was causing so much traffic at private airports because everybody's rich now. I think this is gonna be a similar situation.
JS: Too many people love those bands. Even if they're dirt poor, they're gonna find a way to make enough money to get those tickets.
I just don't have the yearning to see that the same way I would want to see Roger Waters do Pink Floyd, even though I listen to more Metallica than Pink Floyd. It's weird. Maybe it’s because I was alive when Metallica was peaking and I know that they're just so stupid and dumb.
Josh Glazer: I think I have similar trauma regarding the Beastie Boys. I respect the Beastie Boys so fucking much. I think they're like the most important group since The Beatles, but the thought of…
CB: Beastie Boys? Hold on, bro. That's fucking crazy.
Josh Glazer: Okay, Chris Black, let's have this debate. As far as impact, influence and innovation, the Beasties are unassailable.
CB: I just think the Beastie Boys are deeply uncool, and the music doesn't hold up at all. I think they're all individually cool, but the band is not cool. It's rare that happens, you know? I think Anthony Keis is like probably pretty cool. But I don't wanna have anything to do with the Red Hot Chili Peppers.
So real last questions. You get one Chili Pepper for a guest on How Long Gone. Who are you choosing?
CB: I'm going Flea just cause he seems like the most fun
JS: I don’t know enough about the Lakers to talk to Flea. And Chad looks too much like Will Ferrell for me to take him seriously. I gotta go John Frusciante.
CB: Actually, when you put it that way, it kind of makes sense.
TAKEAWAYS
Salient statements from this week’s music news.
1. Soundcloud’s New ‘Fans’ Tool Lets Artists DM Their Superfans
Artists who pay for Soundcloud’s Next Pro services will be able to contact “superfans” as identified by the platform’s ‘Fan Powered Royalties’ offering — aka its ‘user-centric’ royalty payout capability.
Takeaway: SoundCloud’s roll-out of this new direct marketing product arrives amidst the platform’s evolution to becoming more of an artist services business.
2. Google Makes Its Text-to-Music AI Public
The tool won’t allow users to copy specific artists, but that doesn’t answer the copyright concerns over training data used to power the AI.
Takeaway: Several lawsuits making their way through the courts will likely have a bearing on music-generating AI, including one pertaining to the rights of artists whose work is used to train AI systems without their knowledge or consent.
3. Ticketmaster CEO Says the Concert Ticket Market is ‘Dramatically Underpriced’
Michael Rappino told investors that the secondary market continues to prove that money is being left on the table.
Takeway: Live Nation’s leadership is aware of the controversy about rising ticket prices, and they stressed efforts to create a wider range of pricing, which would include lower-priced tickets for concerts, as well as higher-priced tickets for premium seats and experiences.
