When news broke on October 6 that the sophomore year of Sound on Sound Festival was canceled, many local music loyalists felt as if they’d been punched in the gut. Initially the explanation was vague, citing roadblocks “outside of [their] control” but it would soon come to be known that a major investor had pulled out with a little over a month before the festival was set to commence. The folks at Margin Walker, the company behind SOS Fest, went into crisis mode. As a way to soften to the blow, organizers tried to reschedule as many artists as possible over the festival's original November 10-12 dates by placing them at venues throughout downtown Austin. Original SOS Fest ticket-holders were given first dibs as the new shows were announced, and when it was all said and done, 51 bands performed over the three-day period (Iggy Pop and Yeah Yeah Yeahs being the most notable absences) at venues like the Mohawk, Emo’s and Empire Control Room. Several concert-goers noted that they were relieved to be able to see their favorite acts without having to drive to the festival grounds. Sound on Sound even made it possible to see several bands in the same evening by staggering the set times as one would expect at a festival. With most venues within walking distance or a quick Lyft away, it wasn’t unthinkable for some folks to catch sets across multiple venues in one night. Despite the obstacles, Margin Walker brought loads of music to Austin this past weekend — and the vibe was electric. Sound on Sound may have been put out to pasture, but don’t expect its founders to stay dormant for long. --- Washed Out at Emo’s, Friday November 10
Photo by Daniel Cavazos
When the news broke on October 6 that the sophomore year of Sound on Sound Festival was canceled, many local music loyalists felt as if they’d been punched in the gut. Initially, the explanation was vague, citing roadblocks “outside of [their] control” but it would soon come to be known that a major investor had pulled out with a little over a month before the festival was set to commence.
The folks at Margin Walker, the company that puts on SOS Fest, went into crisis mode. As a way to soften to the blow, organizers tried to reschedule as many artists as possible over the festival's original November 10-12 dates by placing them at venues throughout downtown Austin. Original SOS Fest ticket-holders were given first dibs on the new shows were announced, and when it was all said and done, 51 bands performed over the three-day period (Iggy Pop and Yeah Yeah Yeahs being the most notable absences) at venues like the Mohawk, Emo’s and Empire Control Room.
Several concert-goers noted that they were relieved to be able to see their favorite acts without having to drive to the festival grounds. Sound on Sound even made it possible to see several bands in the same evening by staggering the set times as one would expect at a festival. With most venues within walking distance or a quick Lyft away, it wasn’t unthinkable for some folks to catch sets across multiple venues in one night.
Despite the obstacles, Margin Walker brought loads of music to Austin this past weekend — and the vibe was electric. Sound on Sound may have been put out to pasture, but don’t expect its founders to stay dormant for long.
Crowds flocked to see more than 50 bands play across town over the course of the weekend.
Photo by Daniel Cavazos
Crowds flocked to see more than 50 bands play across town over the course of the weekend.
With 12 Oscar nominations in the past 12 years in multiple categories, Bradley Cooper has turned into not only an acclaimed actor, but also a touted filmmaker. Given that pedigree, it might be difficult to remember that he first gained recognition as a comedy star in movies like Wedding Crashers, Yes Man, and The Hangover series. For his latest directorial effort, he has married comedy with drama in Is This Thing On?.
Unlike the previous two films he directed, Cooper only has a supporting role, ceding the lead to Will Arnett. Arnett plays Alex Novak, who, as the film begins, is starting the process of divorce from his wife of 20 years, Tess (Laura Dern). Forced to move to a depressing apartment in New York City and only getting limited time with his two kids, Alex finds the unexpected outlet of stand up comedy when he signs up for open mic night at the famous Comedy Cellar.
The film follows Alex as he continues to pursue comedy while still having to see Tess on a regular basis, thanks to a shared custody agreement and get-togethers with friends like Balls & Christine (Cooper and Andra Day) and Stephen & Geoffrey (real life couple Sean Hayes and Scott Icenogle). While the comedy serves as a form of counseling for Alex, truly moving on proves more difficult than expected.
The film, co-written by Cooper with Arnett and Mark Chappell, is loosely based on the real-life story of British comedian John Bishop, so one of the biggest things they needed to get right was the comedy itself. Alex’s marital situation lends his comedy more of a confessional style than actual jokes, and his evolution in that space is done well. Shooting in the actual Comedy Cellar and populating the club with real comedians like Amy Sedaris, Jordan Jensen, Reggie Conquest, and more gives those scenes an extra dose of realism.
As if to underscore the personal and emotional nature of the story, Cooper and cinematographer Matthew Libatique make liberal use of closeups with handheld cameras. The camera is constantly moving around and often seems to be right in the actors’ faces, something that is most noticeable when Alex is performing. As if the stories Alex was telling weren’t intimate enough, having Arnett's entire face fill the frame forces the audience to pay attention to what his character is saying.
If there is something to knock about the film, it’s a lack of dramatic stakes. While there’s natural tension between Alex and Tess due to the divorce, it’s way less than in a movie like, say, Marriage Story. There’s also a sneaking suspicion that Cooper was just looking to have fun with the film, casting himself as the comic sidekick and working with good friends like Arnett and Hayes. If ever there was a good hang divorce movie, this is it.
Arnett rarely gets to be in movies, much less as the lead, but he ably embodies this somewhat dramatic part. It helps that he’s given a great scene partner like Dern, who knows when to dial her acting up or down for a particular situation. Cooper and Day are also good despite their story being slightly superfluous, and Christine Ebersole and Ciarán Hinds as Alex’s parents lend the film some extra gravitas.
Is This Thing On? is a much different type of film from Cooper’s first two directorial efforts, A Star is Born and Maestro, and it’s nice to see the filmmaker offer something new. It has a relatable story for anyone who has ever been married while offering an element of uniqueness with someone discovering an undiscovered skill late in life.
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Is This Thing On? opens wide in theaters on January 9.