Chicago, Ill., has Lollapalooza, Manchester, Tenn., hosts Bonnaroo and there’s Van’s Warped Tour and Pitchfork.

And Drake University has the Residence Hall Association Music Festival.

While the RHA Music Festival wasn’t quite on the same level as Lollapalooza, it provided low-key entertainment for the students who stayed on campus for Labor Day weekend.

The festival took place at the Kragie Newell Agora in Helmick Commons last Saturday from 1-5 p.m. The four artists: Crystal City, Benn Isacksen, Egon’s Unicat and the Atudes played for about an hour each.

A small crowd of about 20-25 people gathered at any given time. Some students worked on homework or studied in the grass nearby; passers-by, drawn by the sound, often stopped to listen for a few minutes.

The breezy afternoon was perfect for outdoor music, but the amount of students gone for the holiday weekend greatly impacted attendance of the festival.

This, however, was expected, Residence Hall Association president Sean Walsh said.

“We realize a lot of people go home for Labor Day, but there should still be activities for people who stay,” Walsh said.

Walsh organized the festival over the summer along with sophomore Emily Lee, the service chair for RHA, and sophomore Christina Guerrero.

“The festival is more RHA-sponsored than organized,” Lee said. “I communicated with RHA, and Christina found the bands.

“Christina and I helped organize the music for the First Year Finale last spring, and since then we’d been talking about having something similar over Labor Day weekend,” Lee said.

The team chose the Agora because of its central location, Walsh added.

“We estimated quite a bit less attendance than normal, but the Agora is a place where we could catch people walking by, and you can hear the music from all the dorms,” he said.

The varying music styles at the festival provided something for everyone. The bands featured different sounds, from acoustic guitar and solo vocals to blaring electric guitars and drums.

In addition to his own songs, Drake sophomore Benn Isacksen sang covers of the Beatles’ “Blackbird” and Jason Mraz’s “I’m Yours.” He played colorful acoustic guitar riffs and joked and laughed with the crowd.

Egon’s Unicat was loud and energetic.

With two fall inflatables in tow (a Halloween cat and a Thanksgiving turkey) the two band members filled Helmick Commons with the sounds of guitar-driven rock and eclectic vocals.

Guerrero said all four bands were volunteers and, while most were local artists, one band, Egon’s Unicat traveled from the Illinois Valley, Ill.

Guerrero added that she focused on finding bands that would capture the interest of passing students and entertain a crowd.

“I used to book shows back home in Chicago, so I had experience with bands,” Guerrero said. “I looked for groups that were well known for stage presence to draw a crowd.”

And while the reaction from the crowd was positive overall, the diminished crowd was a downside.

“It’s good, but no one is here,” sophomore Heather Hall said.

Sophomore Janna Lauer agreed.

“It’s been fun so far, but this isn’t the best weekend to have it,” Lauer said. “It wasn’t very well publicized; I didn’t know about it until this morning.”

RHA music festival may not become an annual event, but members wish to continue bring bands to campus.

“I love working with bands, so I hope I can plan more events in the future,” Guerrero said.

Walsh and Lee both agreed.

“It’s a nice event to get RHA’s name out there, and to catch people stopping by,” Walsh said. “It didn’t cost anything so I could definitely see it happening again.”

Photos: Jessica Mattes

The festival, named after the intersec­tion of interstates 80 and 35, has drawn more than 30,000 attendees over the Fourth of July weekend for two days of live music in Western Gateway Park. The festival is organized by the volunteers of the Greater Des Moines Music Coalition (DMMC), a nonprofit movement committed to build­ing a stronger and more diverse live music economy.

The big-name headliners that will play include Spoon and Slightly Stoopid on July 3, and Modest Mouse and Railroad Earth on July 4. Other acts include The Walkmen, Avi Buffalo, Earl Greyhound, Cashes Rivers, The Heavy and Dar Williams. All of the acts will be announced by 80/35 by mid-May.

Tickets are available through midwestix. com and cost $60 for a two-day pass, and $35 for a one-day pass. Tickets are also sold the day of the concerts for $40. VIP tickets are on sale for $175 and include a two-day festival ticket, free and discounted food and beverages, a preferred viewing area near the main stage, access to separate restrooms and select free merchandise.

Spoon is an indie-rock band from Aus­tin, Texas, that was formed in 1994. Since then, they’ve had three albums debut in the Billboard 200. In 2009, Metacritic ranked Spoon as the Top Overall Artist of the De­cade, based on the band’s success between 2000 and 2009.

Slightly Stoopid hails from Ocean Beach, Calif., and boasts music that’s a blend of reg­gae, punk and ska. The band was discovered by Sublime front man Bradley Nowell in 1995 and has released six studio records, crisscrossing the country on an almost-con­stant tour schedule.

You won’t want to miss these bands performing at 80/35 music festival:

• MODEST MOUSE Indie rock band, was nominated for a Grammy in 2004. Will perform July 4.
• SPOON From Austin, Texas They have released seven albums and were featured in “500 Days of Summer”
• THE WALKMEN Indie rock group, incorporates piano beats and vintage instruments.

Your band was supposedly created with intentions of wooing crushes and entertaining friends. Have you been successful?

Absolutely. We all weren’t around when it first started, but that’s the main focus of the band. Still is.

What can we expect to hear on your new album?

The new record is pretty much done. There are three more songs that need some more vocals and there are 11 songs in all. It should come in around three months. It’s going to be different than the last record because there’s not going to be as much synthesized stuff. We’ve added a lot of strings and horns. There’s a lot more orchestration in that sense. It’s still a pop record, but it’s just a little more in the classic sense of the genre.

What’s your favorite song to play live?

The last one we played, “Touchdown Turnaround” and “When We First Met” are fun. The new ones are always fun to play just because they’re so new.

What’s the best part about being on the road?

The best part is traveling and seeing cool places. You get to take a break from the world. It’s a life break, and you get to be around people who actually want to be around you.

What’s the worst part about being on the road?

The only part that’s bad is the flying. That really sucks. The lines are terrible. If we could just get a pass that would let us through every time, we’d be so stoked.

As the saying goes, the best things come in threes. Strings will converge with the Time for Three trio in the Civic Center of Greater Des Moines this weekend for the season finale concert of the Des Moines Symphony.

Time for Three (Tf3) is comprised of Zachary De Pue and Nicolas Kendall on violin, with Ranaan Meyer on double bass. The men began playing together as students at Philadelphia’s Curtis Institute for Music and have been making an innovative sound ever since.

Tf3 resonate a mix of classical, jazz and bluegrass genres to the stage and

Brahms Symphony No. 2 and Liszt’s Hungarian Rhapsody are also on the program for performance.

The triad returns to the Civic Center after a well-received performance in 2008.

Want to catch this energetic group while you have the chance? Student rush tickets for $10 will be available for the performances on Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Get tickets by visiting the Symphony Website at dmsymphony.org, through Ticket Master at 800-745-3000 or visiting the Civic Center Ticket Office.

SAY ANYTHING will perform with Angels and Airwaves this Thursday at the Val Air Ballroom at 7 p.m. Photo: http://myplay.com

Q: What can audiences expect from your show?

A: I’d like to think it’s a more intense kind of raw experience seeing us live on record where we’re pretty put together and tight. It’s a very visceral, chaotic sort of punk rock experience.

Q: How have you grown up through music, through the band?

A: I’ve lived a really challenging existence. I think kids appreciate that, and I think that’s what being in a rock and roll band is all about. In a way you’re like a spoiled, prissy diva because people are placing importance upon everything you do, your creation, your lyrics, your personality, even your personal life. On the other end, it really is a kind of daunting, challenging existence because it’s hard to maintain a healthy lifestyle, you’re pushed to the edge spiritually. There’s no other profession like it.

Q: What advice do you have for young musicians?

A: Enjoy it, and make sure you’re in it for the right reasons, and even if you’re not, just enjoy making the music, that’s what it’s about. If you’re still trying to earn your stripes you have to treat it like a medical student going to medical school …. You have to work your ass off at first …. I think anyone that loves music is capable of that.

Q: What can audiences expect from your show?

A: I’d like them to know that we are just as connected to the music as they are. I think many times when you go see the band they put on the blasé, we’ve done this a million times, whatever type of a attitude. We try to approach it as if what would it be like if someone who loved our band had the opportunity to play our songs? I try to echo what I see in the audience as opposed to having them look up to me and say, ‘Oh God, I could never do this.’ It’s more like, ‘Oh, this is sort of what I was expecting.’ Hopefully, that’s what we get across.

The first thing that came to my mind about Broken Bells was a hybrid genre that incorporated the alternative feel of The Shins and a hip-hop flow that Danger Mouse is so well known for. It seemed ambitious enough as is, and I figured that some innovation couldn’t hurt anyone. So when their first single, “The High Road,” debuted, the anxiousness I felt was a little disheartening.

The tonal intro of a toy organ was confusing enough, and on the first run through of the whole album, I felt like I missed the point. I saw and heard no influence of hip-hop on the record. Straightforward guitar and drum packages made up the majority of the content. Much like The Shins, James Russell Mercer is the one in charge here. He carries tracks with his passive guitar playing and vocals. So where’s Danger Mouse?

It seems that the Mouse has taken a more behind-the-scenes role with things. He does play the drum parts in their songs, but where Danger Mouse thrives is production. He knows how to assemble things seamlessly and make them flow. Luckily, that’s what this album does well. Each of the tracks winds cautiously along this line of being too much of something else. But there are the occasional times when you’re sure that you’re listening to The Shins’ “Chutes Too Narrow.”

When the two musical minds met, they began working in secret on this album in early 2008. The project’s own descrip­tion is something to bear in mind as well. Danger Mouse calls the duo’s music “melodic, but experimental, too.” I couldn’t disagree more. They really don’t try too hard, honestly. It’s nothing if not just a little disappointing.

Right around “Trap Doors” is the area where we finally find ourselves absorbing the album for what it is. Nothing too serious, but not a joke either. Choruses of simplistic “la’s” and the thinned-out vocal range of Mercer sparks up re­minders of The Shins. And “Citizen” continues the trend of the downplayed tracks. Lethargic as it may be, the album doesn’t quite bore either.

The record could easily devolve into a snore fest, but rath­er than fall into a rut on the tail end of the album, Mercer and Mouse switch it up with a heavier track, “October,” to keep what small semblance of momentum they have. The loss of attitude and flair leaves something to be desired.

Piano plays its part in creating a thicker and more emo­tional environment for the album to work through. The back half of this record could’ve so easily turned into a gravel road; slow, inefficient and out of the way.

Instead, tracks like “October” and “Mongrel Heart” come to the rescue of the curiously weaker end of the al­bum. With kiddy-like frequency and Gregorian-like chant, we get something a little different; so much so that it eventu­ally evolves into a Wild West shootout ending.

The album closer, “The Mall & Misery,” brings about a fitting conclusion. Instead of the differing voices that Mercer chimes in with throughout the duration of the debut record, he doesn’t pull any punches. Pulsating mush splashes while a tin-wrapped guitar riff is the centerpiece of the track. With deft kindness, the duo puts together a pretty solid album. But it’s really nothing more than an effort from them. Rather than harness the energy that both brings to the table sepa­rately, they can’t quite seem to put it together as well as we’d hope for. Maybe they can do it on their next album.

photo courtesy of productshopnyc.com

If you’re not familiar with Titus Andronicus, become so quickly. They’re loud and proud Jersey natives. But that doesn’t mean you’re going to get an episode of “Jersey Shore” recorded onto a CD. Far from it. While the full-blooded Italians of “The Shore” are out clubbing and getting drunk, the guys of Titus Andronicus are touring and consistently looking for any floor to sleep on.

Their new album, “The Monitor,” is the band’s second release and only builds off of their last of­fering, 2008’s “Airing of Grievances,” which takes its name from a Seinfeld reference. That’s what is cool about Titus Andronicus: While it seems sort of gimmicky, they manage to rope many references into track and album titles, lyrics and intros, ranging from pop culture to off-kilter.

The opening track of album, “A More Perfect Union,” begins with a reading from the Preamble to the United States Constitution. It seems cheesy, but it gives them that distinct quality that not many other bands possess. But following the almost haunting opening are roaring guitar and raw vocals.

Themed around the American Civil War, specifically the USS Monitor, the band has said that the release of this album is a tribute.

“March 9th, 1862 was the day on which the Monitor and the Virginia did battle off the coast of Hampton Roads, Virginia,” blogged lead singer Patrick Stickles. “Releasing this record is our way of celebrating the 148th anniversary of this historic event.”

Delivering fast-paced performances while still maintaining the harmony of his backing band, Stickles never overpowers his band mates. In fact, they add wondrous support on many tracks.

“No Future Part Three: No Escape From No Future” provides the perfect example. As a sequel track to two tracks off their previous album, “No Future” starts with an off-the-cuff moment for the band. Somber and sluggish lyrics pour over the subdued backing. The track finally takes off as momentum picks up and Stickles’ voice once again shifts back into familiar territory.

“The Monitor” is tighter and more focused than “Airing of Grievances.” And while certain tracks tend to ride the wave of length, it doesn’t lead the album astray. In fact, four of the 10 tracks run longer than seven minutes. The album closer, “The Battle of Hampton Roads,” is a whopping 14 minutes long. But don’t let that make your decision.

With “The Monitor” we get the best of both quality and quantity. Making sure that each track is necessary, there’s more variety and emotion than usual from Andronicus, and that’s definitely a good thing.

“Four Score and Seven,” an 8.5-minute-long barnburner, features languid piano and blues-ori­ented guitar lines. But halfway through the emotional pout fest comes the heavy drums and distorted guitar we’ve come to expect.

Keeping with the emotional journey, “To Old Friends and New” becomes the prototypical ballad of the album. It may be cliché, but it works mightily well for this New Jersey alternative troupe. They tried something they didn’t on their previous album—and it pays off.

According to Stickles, the album is a “concept album.” It uses the Civil War era as a narrative for their “hero” to leave New Jersey for Boston.

All in all, “The Monitor” is chock full of a lot of good, but different elements. Quality music, experimentalism, Civil War references and Shakespeare plays all make appearances. Let the final song tell the story as it tells the entire narrative of the battle that the USS Monitor took place in.

Call it a concept album, call it what you want, but more importantly take part in a growing band and experience their evolution firsthand.

photo courtesy of www.amtaximusic.com

Chance.” The release is set for June 8 on Virgin Records. AM Taxi is composed of lead singer Adam Krier, bassist Jason Schultejann, Chris Smith on drums, lead guitarist John Schmitt and Luke Schmitt on keys. The band has been gaining popularity since its conception in 2007, with a hard-rock sound that is comparable to bands like The Ataris and Sum 41.

When asked about his writing technique, Krier said he tries to “write songs about things people can relate to.” The single off the new album, “The Mistake,” centers on the theme of a relationship that should have never been. Krier’s writing style is up-front; the lyrics speak right to the listener.

Other songs on the new album such as “Dead Street” and “Shake, Rattle and Roll” also deal with the ideas of being out of place in your surroundings, being restless and wanting to get away to a new life. All the songs are relatable to just about anyone’s daily encounters such as problems with your love life in “Charissa” and broken promises in “Champagne Toast.”

AM Taxi has toured with big name bands like The Spill Canvas, The Offspring, Sum 41 and The Ataris in this past year. They’ve performed as open­ing acts at Milwaukee’s Sum­merfest and have made the rounds of most of the inti­mate venues on the Chicago music scene. U.S. summer tour dates are already lined up throughout the United States. In an interview with “Metromix,” AM Taxi said to expect a lot of pure entertainment at their shows.

“We pack a lot of energy. We’re going to take our 40 minutes and try to best represent ourselves.”

AM Taxi has a unique sound, which the band claims came from their reverence of bands like The Wailers, The Clash, Ryan Adams, along with British invasion and garage punk bands.

With a new record label and first album out this summer, AM Taxi is climbing the charts fast. They’re set to perform with The Spill Canvas, Tyler Hilton and New Politics in Iowa Falls on April 21. So hitch a ride—they’re going places.