Music » Record Reviews

A Rundown Of This Year's Maverick Music Festival



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  • Courtesy
  • El Campo

Juarez and Arneson River Theatre Stages

Voodoo Boogaloo / Juarez Stage / Friday / 7:15 p.m.

"It will all be perfect for the night," sings Stephanie Cardona on the opener to Voodoo Boogaloo's Yawny. Yelly. Glowy. Floaty. She's quite right. Designed around the simple-as-sophisticated guitar, the duo from Alice is just mysterious enough to soundtrack an adventurous evening. Though the aesthetic works for a date night, Voodoo Boogaloo's R&B loops and eight-bit riffs would sound comfortable in SNES-era Zelda.

El Campo / Arneson River Theatre/ Saturday / 11:40 a.m.

Written by singer Jerid Morris, El Campo's alt-country debut Remember loosely chronicles disparate past events in the life of its weary and scorned narrator — from exquisitely rendered lamentations of love gone wrong to tall tales adopted from his grandfather; from childhood memories fused with bits of waking dream to poignant moments of solitude and reflection. — James Courtney

Sub.Culture / Juarez Stage / Saturday / 12 p.m. & 5:15 p.m.

A recent addition to San Antonio's electronic music community, Sub.Culture began in 2015 as a collective for forward-thinking electronic music. A play on the importance of subwoofer speakers in subculture dance music, the five-person collective ranges from minimal dance to house music filled with EDM décor, unvaryingly working with a heavy dose of bass.

Big Drag / Arneson River Theatre / Saturday / 7:40 p.m.

At the angst-filled crossroads of Blink-182 and Dinosaur Jr., San Antonio's Big Drag made a run in the mid-'90s performing high gain, high intensity rock 'n' roll. In 1995, the Tacoland favorites dropped a self-titled effort on Austin's Only Boy Records before calling it quits in 1998. After their quick, memorable run, guitarist Milton Robichaux and drummer Dylan Phillips went on to create The Dixie Hammers, while bassist Colin Jones became a founding member of Austin punk quintet The Riverboat Gamblers.  

Violinda / Juarez Stage / Saturday / 9:45 p.m.

In the early 20th century, violinist Shinichi Suzuki paved a new way of thinking about serious musical training. Called the Suzuki method, its closest relative is probably cross-training in sports. Expose yourself to a wide variety of activity, perform often and the holistic journey will help inform the singular talent at hand.

San Marcos violinist Linda Lola, nom de plume Violinda, learned her instrument in the Suzuki style, a pedagogy that proves its worth on the 2014 EP Dichotomy. Lola plucks, bows, shakes and loops her instrument to incredible effect, culling every possible texture and rhythm from the instrument. From clouds of psychedelic noise to tightly compacted runs in the style of Steve Reich's minimalism, Lola commands her instrument with jaw-dropping precision.

Maverick Music Festival

$39-$149, 5pm-12am Fri, April 10, 11am-12am Sat, April 11, La Villita, 418 Villita,

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