SPARTA

MUSIC INTERVIEW SPARTA Back From The Brink

PARTA’S LATEST RECORD NEARLY DIDN’T happen. After breaking off with their record label, aborting their tour halfway into it and the defection of guitarist Paul Hinojos (who left to rejoin his former At the Drive In bandmates in Mars Volta), Sparta was close to slamming the lid shut. But after a much-needed break, some internal reflection and the addition of new guitarist Keeley Davis, they decided to give it another shot, soldiered on and ended up turning in the strongest record of their critically acclaimed career. Founding member and drummer Tony Hajjar (who also played in At The Drive In before that group splintered off into Sparta and Mars Volta) talked recently about the band’s near demise and the 16- minute movie they created last year, which tells the story of his family fleeing Beirut during the Lebanese Civil War. BY JOHN B. MOORE S

How does Threes compare to Sparta’s first two records?

I think it’s our first album that we didn’t rush. And that’s not really because of anyone else, but because of ourselves. It’s the way we’ve always been. It was the tour, go home and start writing, record and tour again cycle. Since a lot of things happened to us in 2005, it made us slow down because we weren’t even sure if we were still going to be a band – from leaving Geffen to losing a member to leaving a tour – it was a lot of stuff. Anything that could possibly lead to breaking up a band almost happened to us. But we took the right breaks and it just worked out great and I think the big difference was that time and we got to work on the songs three or four times, through three or four versions, and the time let the songs breathe a bit.

Was there ever a period during the break when the band got together and had a serious talk about whether or not you would break up? We kind of got back together and started writing and then we brought out Keeley. I wouldn’t really call it an audition, he just kind of came out because we had known him, and he was in really good spirits and excited to be there and we were just not in the same ballpark and we realized at that point that we should stop again. That was in May of 2005 and we decided “This guy is all happy to be here and we should be excited to be writing” and we weren’t. We knew we didn’t have the right mentality yet. So after that, we said lets try this again a few more times. All it was really about was time and really remembering how fun it was to be in a band. There was never really the big talk. It was about feeling it out and if someone wasn’t into it then it was going to be over.

What did Keeley bring to the band? He total brought that freshness in and he also brought that reminder of how lucky we are. You tend to forget because you get used to things and then all of a sudden, if you let yourself, you can start complaining. That’s just horrible. We’ve never been that way and I think we were slowly going to become that and that would have been the end of our band because we’ve never been those types of people. Keeley just really helped us remember just how lucky we were. He also brought in great songwriting and a different way of doing things and he’s totally faded into how we do things. We needed that fresh start.

Let’s talk about the short movie you made “Eme Nakia” that shows up on the special edition of “Threes.”

Tony: Originally it was an idea I had. At kind of the worst time that the band was going through, in April of 2005, a few weeks after coming back from that tour that we had to cancel, I called everyone and said “How about for the next record we try to do some kind of short film.” Everybody was like, “Yeah that sounds good.” At that point we were a three piece, nothing was going right and I think everybody in the band was kind of giggling at me because we didn’t even know if we were going to do another record. They asked me about what and I didn’t really know. I just wanted to bring that aesthetic back, a la “The Wall.” Jim called me like 10 minutes later and said “You know, if we ever get to do a film, I think the only thing that it should be about is your life.” We had about a year to meet the right people. My cousin is a screenwriter and an actor; he’s the one that really convinced me to do it as professional as possible. That’s when we started hiring people, got a budget. CNN and you see dead people on the floor, you can’t just turn off the TV because you might know those people. You need to know that there are other people that are affected by this that might live next to you. That was one of the big points of the film.

Have you thought about turning this into a much longer film?

Never about the same topic, to be honest. I’m done. It was very difficult to do the film because I had the label counting on me, I had the band counting on me and I had my family to please. It was really difficult, but I got so much trust from everyone.

Have you been back to Lebanon since you and your family left?

No, I haven’t, but I’m hoping to go back in the next couple of years. You can’t go back and just spend a week or two, you have to go back and spend a moth and when I do have that time hopefully I will.

Why did you go back to Texas to write the record?

before I write my part, is listening to Led Zeppelin. I am very, very obsessed with them. It’s just one of the reasons that made me continue to play and continue reaching for more whether it’s live or in the studio. That’s pretty much all I listen to when I am creating, to be hon est. I try not to listen to any music, but sometimes you need something to help you out and I’d rather listen to something that holds that kind of ground.

As a drummer, you could do a whole lot worse than tapping into John Bonham. Exactly. Who else should I do that with?

This is your first album off Geffen. What made you decide to go with Hollywood Records? We did the first record with DreamWorks. While we were recording the next record we got the call that they had been sold to Interscope. We also heard that 40 of the 60 bands were getting dropped. We knew for sure we were getting dropped. We sold 120,000 records at that point and there were bands that had sold way more than us, but we never got that call that we were being let go. We met everyone at Interscope and played that game then all of a sudden they divided up again and we got shipped to Geffen and had to play the game of meeting everyone with Geffen. At that point our next record was ready to come out and we got lied to and crushed pretty much. They said, let’s start working on the third record and we told them we’d rather be a garage band than be on their label, so we left. I think later, one of the things that crushed us in a sense was that we felt homeless on that last one. Thank God we (left). That was one of the best things we did, leaving that label.

Have you had any problems since signing to Hollywood? Hollywood’s been very, very supportive and great to us. I have zero complaints about this label. And it’s the only label that I’ve been on that I’ve had zero complaints about.

El Paso isn’t as easy as LA to find things like a rehearsal space, but if you want to find an open space or open warehouse, that’s the place to go and we found a great warehouse and we literally drove down everything that we owned that we thought we could be creative with– every instrument, every non-instrument, every piece of re cording gear that we have– and we just set up shop. We spent some days two hours, if nothing was going on, and some days 12 hours if we had a million ideas. The plan was don’t bring a note in, we’re just going to jam and that’s where almost every single song on the record came from. It was the most productive time we ever had. We ended up writing almost 30 songs. We have another record pretty much on a hard drive that hasn’t been recorded officially. It was just so nice to be that productive. They’re really trying to beef up their rock reputation, aren’t they?

Yeah. They need us as much as we need them, if that makes any sense. It is really mutual. We needed a label that has power and money and didn’t have a lot of rock acts and they needed a band that – we’re very, very blessed and lucky to be respected and they needed that too. What made us feel really good was when we turned in the record and they were beyond pleased. It was way more than they expected. You don’t still keep in touch with any of your former band mates from At The Drive In, do you? No, not at all. What are your plans for the summer? We are actually making those plans now. We are right now on tour with mewithoutyou and Aloha and then that stops and we are touring across Canada with a Canadian band called Moneen, then we take two weeks off and fly out to Europe for a few weeks to play some festivals. We are really excited about that because we haven’t gone to Europe on this record yet. You had mentioned earlier that you’ve written enough songs for a new record – will that be coming out soon?

No, there are no plans right now. There has been very, very small talk about eventually taking some of those songs and recording them properly and maybe doing an EP or something, but at this point there’s no time. It’s just so nice to have them. It’s so nice to know that they’re there, because we’ve never had that. It’s really exciting that we can come back to those songs and either think that they’re horrible or think that a few of them can be fixed and turned into songs.

THERE’S ALWAYS UPS AND DOWNS IN EVERY KIND OF RELATIONSHIP. OBVIOUSLY

THIS IS DIFFERENT BECAUSE THERE ARE SO MANY MORE PERSONALITIES THAN IN A REGULAR RELATIONSHIP, BUT IT’S ALWAYS

WORKED OUT AND WE’RE IN A REALLY GOOD PLACE RIGHT NOW.

SUMMER MUSIC PREVIEW 11 th Annual MUSIC 2007

h, summer... The season of barbeque, beer, blockbusters and, of course, beaches. For music lovers, it’s also the time of year when many of the biggest and best artists release new materi al—it’s sink or swim, if you will. While some bands will try to reclaim their day in the sun, we’re generally more concerned about the acts that are bringing something interesting to the table. And this summer, that table is not only a hot list of album releases, but also the growing festival business. Lollapalooza created a viable concert vehicle in the 1990s and, oddly enough, its greatest legacy is a product that doesn’t travel. An eclectic collection of acts remains the draw for a proliferat ing number of city-based music festivals, more or less emulating what has long been a cultural institution in Europe. Of course, this year is also the one in which Ozzy and company will find out if the masses will turn out if you throw a rock festival for free (it certainly worked well enough for Woodstock back in the day). In the face of declining album sales and crowded airwaves, live music has never played a greater role in getting the music to the people. The most anticipated albums of the summer often vanish under bad tours, and the unexpected hits often arise from legendary live shows. We’re not going to prognosticate who will sell and who won’t, but we’ll tell you which artists we’re most excited to hear from. Sit back, grab a cold one, and let your ears be pleased with this handy guide. A BY JOHN DAVIDSON, B. LOVE, JOHN MOORE, ZEN A SCOTT & DEM ARCO WILLIAMS

ALBUMS

SPOON GA, GA, GA, GA, GA (Merge) Criminally under looked Austin, hipster band Spoon finally snuck into the mainstream via last year’s Stranger Than Fiction soundtrack. GA, GA, GA, GA, GA, the band’s sixth album is rumored to be fairly similar in sound to the band’s brilliant 2005 release Gimmie Fiction. Banished from Elektra Records after just one record, Spoon is just one of the latest brilliant bands that prove the argument that major labels simply don’t listen to decent music anymore. (July 10)

Zeitgeist (Reprise) After breaking apart his once nearly iconic alt rock band, Smashing Pumpkins front man Billy Corgan is getting the band back together… well at least the drummer, who is the only other original Pumpkin joining Billy in this reunion. After failing to make anyone care about his other ventures (Zwan and a solo record failed to impress most), Corgan cryptically announced the reunion in a full page ad last year. Whether or not Pumpkins 2007 will bring back any of the band’s 90’s appeal remains to be seen. We, like the rest of Gen X, are dying to find out. (July 7)

AESOP ROCK None Shall Pass (Definitive Jux) Though he contributed an “Original Mix” for Nike’s All-Day Workout series, None Shall Pass marks Aesop Rock’s first proper LP release since 2003. With beats provided by longtime collaborator Blockhead and A-Rock’s usual blend of bleak lyrics and dark production that occasionally borders on the bizarre, fans may be thinking they’re in for the same ‘ol same ol’. But the revered underground MC promises several curveballs, including a hefty dose of live instrumentation (used to skirt sampling issues) and a collaboration with John Darni elle, the singer-songwriter behind critically acclaimed indie-folk act Mountain Goats. (August 28)

BEN HARPER Lifeline (Virgin) For his follow-up to last year’s Both Sides of the Gun, Harper and his Innocent Crimi nals band hunkered down in a recording studio in Paris using only analog equipment, ultimately knocking out an 11-song set in a week. Recorded immediately after the band came off tour, the album continues to explore Harper’s broad range of musical styles, from the soulful “Fight Outta You” and the happy-go-lucky “Put It on Me” to the mel ancholy lament of “Fool for a Lonesome Train” and the piano-tinged “Having Wings.” (August 28)

RILO KILEY Under the Blacklight (Warner Bros.) With three full lengths and a handful of EPs in their catalogue, Rilo Kiley has quickly built a reputation as one of indie pops most consistently reliable bands. Their sound has evolved little since their 1999 debut, but they didn’t need much improvement. With full backing from major label Warner Bros., Under the Blacklight may just be the record that finally brings Jenny Lewis and her band to the masses. (August 21)

HOT HOT HEAT Happiness Ltd. (Sire) Canada’s answer to XTC have always been hard to easily classify. Their sound is a little too commercial to be completely embraced by the trendy indie kids, but too New Wave for the mainstream. Regardless, the band has slowly built a fan base in the US through constant touring. Judging from the first couple of leaked tracks, their new record Happiness Ltd., promises to be their most ambitious to date. (September 11)

MOTION CITY SOUNDTRACK Even if it Kills Me (Epitaph) Motion City Soundtrack are the only band on punk rock label Epitaph’s roster that cites both The Rentals and Jawbox as influences. In 2005, the synth-heavy indie pop band managed to avoid the sophomore slump by turning in a stellar follow up to their already solid debut I Am the Movie. With a knack for writing beautiful, but quirky rock, expect more hook-laden, melody-rich pop songs on this, their third outing. (September 18)

COMMON Finding Forever (Geffen) “Forever music” is the music that lasts in your heart long after the CD has ended. With a refocused pen and souled-out beats from Kanye West, Common reached that enviable place in ’05 with Be. On this seventh album, the zoned-in Chi-town MC goes for rap immortality through 15 pre tension- and snap-free tracks that keep with Com’s genuine theme of understanding truth, justice and America’s ways. ‘Ye, Will.i.am and the late J. Dilla guarantee the journey feels good while Dwele, Bilal and English chirper Lily Allen assure choruses sound even better. (July 31)

T.I. T.I. vs TIP (Atlantic) Though King had its moments, the general consensus around the Air Force One-wearin’, Black-and-Mild-smokin’ set was that T.I.’s last one didn’t quite live up to the hype. Just one summer later, the rapper/actor/Chevy pitchman is back with this eventful, 18-song album that’s aiming to be some sort of operatic Me vs. Myself melodrama. With Jay-Z, Nelly and Eminen collaborating, it might all work. Wyclef (“You Know What It Is”), Just Blaze, Mannie Fresh and a bevy of other producers lay tracks. We only hope it’s not as busy at it sounds. (July 3)

50 CENT Curtis (Universal) “Amusement Park,” huh? Yeah, we know Curtis Jackson’s new single is meant to be a metaphor for all the fun and games to be had in his bedroom, but the winning jingle also can symbolize dude’s improbable rise to superstardom. After two mega-selling al bums, 50 Cent’s sitting comfortably amongst the elite. And thanks to a choice vocal roster (Mary J Blige, Justin Timberlake, Akon), the usually cryptic backdrops from Dr. Dre and Em and a promise of even darker subject matter, the streak should only continue once you buckle up for this ride. (Sept. 4)

TALIB KWELI Eardrum (Reprise) While Kweli’s been rhyming to true hip hoppers since Hillary was first lady, the astute Brooklyn rapper is ready to “speak to the people like Barack Obama” with this third solo joint. Be it through political undertones on “Say Something” or the get-it-together prowess of “More or Less,” the BK MC’s fluid delivery comes at you full throttle without being threatening. Thanks to Pete Rock, Madlib and Hi-Tek tracks and a few surprise guests –Wait, is that Norah Jones?!- Kweli’s declaration of this being the Year of the Blacksmith may, in fact, hold some weight. (July 24)

SWIZZ BEATZ One Man Band Man (Universal Motown) The “It’s Me Bitches” remix is hot. Lil’ Wayne, as is often the case, completely steals the show. And the beat? Whoa! Let’s just put it in that same rapid-fire, spaced-out cat egory Swizz has loved for a decade now. With his first official solo CD, Swizzie isn’t straying from that winning formula—save for the fact he’s doing 90% of the rapping now. A couple of friends (Snoop, Coldplay’s Chris Martin) stop through, sure, but this right here is mostly about Swizz going for self with harmless, self-indulgent bars over zany, self-produced instrumentals that’ll leave your neck aching for months. (August 21)

MYA Liberation (Universal Motown) It’s been four years since R&B sensation Mya has had a studio album and, from the likes of the title, it’s been a therapeutic experience. With a new label and an all new management team, the newly single Mya has a lot to sing about. Recruiting super star producers Scott Storch and Bryan M. Cox and the lyrical prowess of Lil Wayne and Snoop on the album, Mya calls this album, “a lot more aggressive, very honest, in your

face and cut and dry.” With titles like, “Life’s Too Short” & “I Got That”, Mya is more than liberated, she’s grown. Although Liberation has been pushed back several times, the first single “Lock U Down” ft. Lil Wayne has been getting major radio play, just as her second single “Walka Not a Talka” has started to pick up a much talked about buzz. (August 14)

NATASHA BEDINGFIELD N.B. (RCA) The latest female singer/ songwriter to cross the “big pond,” Brit pop star Natasha Bedingfield is no overnight sensation. With dual continental success of her first album Unwritten, many would expect the same sound and focus but new album N.B. flips the script. Collaborating with the likes of Adam Levine and Eve and using obvious influences from both electronica and reggae on the album, Bedingfield is truly an international star. First single “I Wanna Have Your Babies” set the tone of young woman looking for Mr. Right, while “Soulmate” questions whether there is indeed someone for everyone. Being young and inquisitive about everything from love to celebrity status, N.B. is Natasha’s way of saying, “I’m young, I really don’t know what life entails but I’m here and I’m going to have fun and try everything.” (August 7)

GALACTIC From the Corner to the Block (Anti-) For their first post-Katrina album (and first for new label Anti-), this New Orleansbased quintet tones down the extended jam quotient in favor of enlisting an underground hip-hop fan’s dream lineup of guest MCs. Mr. Lif, Lyrics Born, Chali 2Na, Gift of Gab and Ladybug Mecca (of Digable Planets) all stopped by the studio to drop rhymes over the band’s sizzling jazz-funk grooves, while Trombone Shorty and Mardi Gras Indian Big Chief Monk Boudreaux add a bit of NOLA flavor to the proceedings. (August 21)

INTERPOL Our Love To Admire (Capitol) In the waning days of the major label cartel, it’s astonishing to see bands still willing to sign their dreams away. We can only assume that Interpol, who were once darlings of the post-9/11 New York scene but are now buried under an avalanche of skeptics and a forgettable sophomore album, left the inde pendent scene for a shot at something much bigger and better. The early word is that if you like old schoolers such as Joy Division and the Chameleons, you’re going to love the new album. Sound familiar? (July 10)

M.I.A. Kala (Interscope) The biggest bust of the Internet age thus far is eclectic Sri Lankan artist M.I.A., a woman who brought baile beats and quirky ethnic sensibility to dance music. Massive amounts of hype for her debut Arular got her placement on loads of top-10 lists in 2005, but she was relatively unknown outside the coasts and college ra dio. That the hype was justified is lost on the fact that she only sold 126,000 albums, and a lot is riding on Kala given that Timbaland got involved and Interscope is going to spend a ton of money to make sure everyone knows M.I.A. throughout the fall. (August 21)

THE NEW PORNOGRAPHERS Challenges (Matador) There is a sense that The New Pornographers will suffer the same fate as the Shins, that they’ll turn heads on the debut of the new album but won’t make much of a ripple beyond the first week of sales. Their record label seems up for the task of stoking interest, what with the various promotional add-ons they’re giving away if you pre-order and the usual wry quotes they’ve eked out of the band and posted at the usual

EARLIMART Mentor Tormentor (Majordomo) After shopping this finished album for several months and finding no takers, Earlimart is essentially self-releasing this gem and taking on the task of selling it themselves. It’s too bad, given that, like their debut Treble & Tremble, Mentor Tormentor has a lot of good things to show for it: soothing melodies, a shifty sense of wordplay, and a lark that recalls Elliott Smith. And like so many independent efforts of the past few years, Earlimart has proven that a beautiful sounding album can be recorded without the services of an expensive studio; with a little momentum from the heaps of critical praise offered previously, Mentor Tormentor could be one of those little projects that finds a big audience organically. (August 21)

BEN LEE Ripe (New West) A dozen years into his career, Ben Lee contin ues to make music worth listening to. His gentle folk ways and coy pop sense have kept a steady audience in front of him, and despite starting out when he was an early teen, he’s never imploded into a cruel joke or craven ex perimentalist. Instead, Lee has simply gotten better at writing solid songs and letting everyone hum right along with him. Expect Ripe to be more of the same stuff you’ve al ways loved, with the only surprise being that he’s avoided yet another dud. (September 4)

BLACK FRANCIS

Bluefinger (Cooking Vinyl) Maybe it’s the recent revival of the Pixies that has inspired to revert back to his nom de plume of the late 1990s, but most fans are anticipating a lot more rock and less brash folkslinging that a typical Frank Black album. Rumors continue to abound that the Pixies will have a new album in 2007, and seeing the name Black Francis listed on iTunes is only going to stoke that fire. Bluefinger is either going to prime the pump or put away the legendary Pixies forever. (September 11)

KT TUNSTALL Drastic Fantastic (Virgin) The “adult alternative” radio market’s always been for suckers, or at least suburban moms who want to feel cool by listening to something other than Top 40. Tunstall proved herself adept to this territory on last year’s Eye To the Telescope, but we’ll see if she’s more than merely a latter-day Dido when Drastic Fantastic is released in the early Fall. Don’t expect a Nelly Furtado-like makeover or a Fiona Apple-styled embrace of wounded jazz; Tunstall seems a lot more grounded and, well, simple in her vocal read ing. Many think she’s ready to break out big time. (September 18)

FESTIVALS/ TOURS

WARPED TOUR (Through August 25, various cities) A summer rite of passage for mall punks across the country, the Warped Tour has morphed from a money-losing venture that drew a handful of underground bands to the Masquerade a decade ago into one of the most success ful summer outings, cramming in dozens and dozens of up and coming punk/emo/ska bands alongside the genres elder statesmen. This year’s lineup includes graying, but no less brilliant punk icons like Bad Religion,

Circle Jerks, The Vandals, Pennywise and Fishbone, playing alongside genre newbies like Bayside, Daphne

OZZFEST (Through August 30, various cities) How did Ozzfest become the best deal for your money? By not charging anything for tickets. In an experiment that has managed to bring just as much negative press as praise, Ozzfest is relying on spon sors to foot the bill this year, letting metal fans see their favorites free of charge. Joining Ozzy Osbourne on the main stage this year are Lamb of God, Static X and Lordi, while Hatebreed, The Showdown, 3 Inches of Blood and others pack the smaller stages. Rawk on, metal nation!

BUMBERSHOOT SEATTLE’ S MUSIC & ARTS FESTIVAL (September 1-3) Though always trailing Lollapalooza and Bonnaroo in terms of press clippings, this annual alt rock music fest, one of the longest running in the country, quietly pulls an amazing line up year after year. This year’s roster includes The Shins, Crowded House, Panic! At the Disco, the Wu-Tang Clan, Ted Leo and the Pharmacists, Lupe Fiasco, the Bouncing Souls and the Kings of Leon, among many, many more. A maze of large and small indoor and outdoor venues, the festival also features comedians, artists, dancers and filmmakers, all competing for your attention.

ROCK THE BELLS (Various Dates)

Put it like this: If “Rock The Bells” only featured reunion per formances from Rage Against the Machine, Wu Tang Clan and Public Enemy, it would be a hot ticket. But seeing as how those three are just the icing on a 10-city tour that spans hip hop legends (Nas, Rakim, EPMD), lyricists (Black star, The Roots, Pharoache Monch) and the little guys (The Coup, Murs, Brother Ali), the show is fast-approaching Hoodstock status. Though not every artist will travel to every city, if this tour comes anywhere close to you, kick yourself in the ass if you aren’t in the stands for it.

ESSENCE MUSIC FESTIVAL NEW ORLEANS (July 5 – 7) After the catastrophic devastation of Hurricane Katrina in 2005, the residents of New Orleans weren’t the only ones in search of a home. While many New Orleans na tives are still spread about the US, the Essence Music Festival finally returns to New Orleans! With 3 full days of concerts planned, the Essence Music Festival goes far beyond, soul-stirring music. As part of this year’s homecoming festivities, expect the 2007 Empowerment Seminar Series to inspire, motivate and rejuvenate its atten dants as they focus on “Claiming Our City & Claiming Ourselves.” With the help of Mary J. Blige, The Isleys, Beyonce’, Chris Brown, Ciara and Maze, just to name a few, there’s no lack of talent. Reigning as one of the most coveted festi vals on the annual concert circuit, the Essence Music Festival is bigger, better and back home.

PITCHFORK Chicago (July 13-15) Once you get past the fact that much of Pitch fork’s content is overwrit ten, overwrought, and overexposed, you see that the website is does what it does pretty well. In other words, while it suffers as a literary journal, it makes up for its dismaying lack of erudition with a whole lot of passion. It’s thus no surprise that it also curates one of the better summer festivals out there: Sonic Youth, GZA, Deerhunter, The New Pornographers, and a couple dozen other A-listers from the indie hipsters. Add in the fact that it’s located in the middle of the country and in the middle of a great city, and its popular ity is assured.

LOLLA PALOOZA Chicago (August 3-5) Although the lineup (Iggy, Interpol, My Morning Jacket, Snow Patrol, Pearl Jam, Amy Wine house, Spoon, etc.) and overall festival vibe is solid, there’s something about the brand that seems absolutely tired. The original Lollas—yep, nearly 15 years ago—were a celebratory burst of youth culture, and the festival’s intent on regaining its lost status often comes off like a ploy for cash. After all, it used to be a traveling festival that rivaled something P.T. Barnum would have put on, and now it seems like Pepsi to Pitchfork’s Coke. Even worse, it rolls into town only a couple of weeks after Pitchfork has left Chicago a muddy mess. Couldn’t they have picked a different city this year?

VIRGIN FESTIVAL Baltimore (August 4-5) If it looks like a big corporate shindig, that’s because it is. Granted, Virgin is a brand with a wide cast, but in the end there’s something a little obnoxious about today’s festival business. The lineup is interesting— Smashing Pumpkins, Wu-Tang, The Police, Beastie Boys, LCD Soundsystem, TV On the Radio, Velvet Revolver, The Fratellis—but it’s not clear whether or not anyone in the country sees Baltimore (!) as a cultural destination, let alone a place that can bond with a slick cellphone carrier and stage an event that is prone to come off as sterile. Still, if it gets the kids listening to all different kinds of stuff, we’re all for it.