On the third and final day of the first-ever Sunset Strip Music Festival on June 28, 2008, the ex-Tower Records parking lot was transformed into “Wasted Space,” a free, outdoor show sponsored by Wasted Space, Carey Hart’s newest rock ‘n’ roll bar at the Hard Rock Hotel in Las Vegas, DJ’d by Indie 103.1, and produced, hosted, decorated, and caffeine-infused by Red Bull. Beginning in the early afternoon, the typically unbearable summer SoCal sun created a sweaty and sweltering scene, but a fine band and entertainment line-up, including a Louis XIV Meet & Greet and a live “Camp Freddy” Indie 103.1 broadcast, made the day a little cooler. In between sets DJ Hapa maintained the Indie spirit and competed for the sound waves with rock hits and boisterous shouts erupting from the Guitar Hero booths. “Wasted Space” welcomed The Lieutenants, Golden State, The Dreaming, Pop Noir, Darling Stilettos, and Camp Freddy who induced the musical mood in preparation for the night time performances at the infamous Viper Room, Roxy Theater, Cat Club, House of Blues, Key Club, and Whisky a Go Go.
One outstanding band that enticed audiences out from the shade and accrued an ample gathering was Pop Noir who donned all-black, long sleeves, and scarves, but managed to avoid perspiring. After catching the ear of the Roxy Theater’s DJ at a previous concert, the group landed a spot at the SSMF. The trio, fronted by twin McGarry’s, Joe and Luke, and backed by Nico Saavedra (drums), was the final band before the Camp Freddy broadcast and the sunset on Sunset. After a gracious introduction, Luke McGarry, the brother that “does most of the talking,” noted that, “This is our first acoustic set…and our first time playing while the sun is still out.” Opening with “Bang the Drum,” an addictive beat surged through the audiences, and the two frontmen launched into their signature moves, a combination of marching in place, stomping to the beat, shuffling from side to side, and pedaling their arms in a forward locomotion. The unusual harmonic melodies of “Thick as Thieves” enchanted listeners with eerie overtones produced by a “melodica,” a small hand-held keyboard operated by blowing into a connected rubber tube. “Rubicon’s” electro vibrations meshed with syncopated rhythms and swelling keyboard drones to accompany the sibling’s swaying swagger and conjoined crooning. Descending rumbling guitar licks on Joe’s acoustic guitar united with Luke’s countering guitar strums and angst-filled vocals on the movement-provoking “Don’t Fool 
Yourself.” Pop Noir’s infectious techno rhythms continued with “Santa Ana,” a perfect song for the LA heat wave, and an ideal song for a clap-along. “DIY,” the beloved track that earned several spins on Indie 103.1’s “Check One...Two with Mr. Shovel,” kept audiences bouncing so much so that one interesting fellow from the crowd took Pop Noir’s lyrics, “I want to dance and have a party by myself,” to a whole other level. Combining yoga poses, rain-dances, and leaps, skips, and jumps into a solo performance that dominated the afternoon, he generated smiles among the press, performers, and public. The shirtless dancer, later identified as “J.J” and generously clothed by a gratis Pop Noir t-shirt, even drew Luke down from the stage to share the “dancefloor.” Since “everyone else was playing a cover,” the band chose The Rolling Stones’ classic, “Paint it Black” to finish off their set, solidifying a Woodstock vibe resurrected by J.J’s hippy hops.
Between set changes, Louis XIV slinked to the side of the stage in preparation for their “meet and greet.” The personable quartet spoke to fans and patiently autographed glossy group photos for each devotee. Next up on the “Wasted Space” stage was a live Camp Freddy broadcast, featuring its usual DJ's, minus Dave Nevarro and Chris Chaney. Donovan Leitch, Jr., whose daughter Violet donned daddy’s headphones and squirmed in his lap, Billy Morrison, and Matt Sorum poked fun at the “huge crowds." Arranged in Q and A seating, the trio encouraged, almost begged, drivers to stop by the parking lot to indulge in the taurine beverages, and even considered running into the street to 
stop traffic themselves. Billy Morrison ventured off stage and pushed those present to scream and give the illusion of wild masses. Mid-broadcast, The Viper Room’s headliner Louis XIV’s Jason Hill (guitar/vocals) and Brian Karscig (guitar/vocals) sauntered up to discuss their recent experiences with the Sex Pistols in Las Vegas, the band’s newest release Slick Dog and Ponies, and their upcoming European tour. After a quick interview with Riders on the Storm’s Brett Scallions in which he revealed, “...it is an honor to wear [Jim] Morrison’s shoes,” Pop Noir were called up. “Let’s get Pinot Noir up here…Wait, no, what are they called?” laughed Morrison. “Billy, that’s an expensive wine…these guys are POP Noir!” jeered Sorum. The brothers McGarry and drummer Saavedra sat between the DJ’s, chatting about their self-released, self-titled album available only at shows, a special track, “Girls of Prey” for download at Rcrdlbl.com, and future appearances and European tour to be explored further on Myspace.com/popnoir, of course.
At nightfall, SSMF attendees scrambled to one of the six We-Ho wonders to catch the variety of headlining artists. The Roxy Theater, one of the busiest, showcased Satisfaction, Derby, and The 88. The upbeat evening kicked off with Satisfaction whose love of the guitar solo, unbridled energy, and playful but sultry attitude proved that pop can rock. A more than satisfactory set-list featured “Feel So Stupid,” “So We’ll Just Take 
the Night,” and the new “Don’t Do This to Me.” Portland’s Derby brought a sweeter sound to the Roxy, with the happy harmonies of “All or Nothing,” smooth melodies of “Streetlight,” and the cheerfulness of “Michigan.” The group from Oregon demonstrated tasteful band-ship by thanking The 88 for “having them on the show with them,” and displayed a genuine exuberance that resonated with the audience. A year since The 88’s last LA performance and the announcement of their new album's arrival on August 26th drew great anticipation and huge numbers to the all-ages venue. As the rainbow-hued velvet curtain rose, The 88, appearing in dapper suits, ties, and skinny pants, launched immediately into their hour and a half set. “How Good It Can Be,” “Hide Another Mistake,” “All Cause of You,” “Nobody Cares,” and “Not Enough," sampled from their first album Kind of Light and their follow-up Over and Over, sparked a wide-spread sing-along. Barely taking any breaks between songs, The 88 sustained the crowd’s enthusiasm by treating them to brand new tracks, the funky “Like You Do” and single-worthy “Sons and Daughters.” As the applause exploded with the set’s final chords, Keith Slettedahl (lead vocals/guitar) 
joked, “Cheer a lot and pretend you don’t know we’re coming back out…” Moments later the group miraculously materialized for an encore which featured the updated adaptation of their 2005 hit “Coming Home” (now available on iTunes), but Slettdahl reassured the hordes that, “All the same parts are there…don’t worry, we’ll get to them.” And sure enough, as the chorus arrived, fans burst into song. The SSMF ended in a mind-blowing finale, when The 88 unleashed their cover of the mighty Led Zeppelin’s “Misty Mountain Hop.” Slettedahl conquered the falsetto Robert Plant vocals, while Anthony Zimmitti (drums) mastered Bonham’s beats. The riveting rendition generated overwhelming excitement; and as Adam Merrin’s descending keyboard chords died away, the evening suddenly seemed too short. Nonetheless, the fulfilling night of bands and music reaffirmed the Roxy’s show as a top pick of the festival.
The future of the Sunset Strip Music Festival can only grow brighter with an expanding notoriety among music enthusiasts, bands, and sponsors. SSMF’s successful turnout demonstrates Angelenos’ demand and love of live, quality music, and the triumphant trial run guarantees a spot on the summer events' calendar for many years to come.
