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A preview of KLC radio’s annual “Sunburn”

By Brendan Nagle

As the school year winds down, many Lewis & Clark students are desperate for something to relieve the stress of seven months of diligent school work. One last weekend of fun, before catastrophe strikes in the form of final exams. Luckily for them, KLC Radio’s year-end festival will return to LC! Sunburn will take place on Saturday,  April 15 in Stamm Dining Room, located on the top floor of Templeton. The festivities will begin with Suntan, a daytime warm up at the Co-op in preparation for the big show later in the evening. Suntan starts at 12:30 p.m. and will feature student bands as well as local and touring acts. The performing artists include: Famsmary, Shitbird, HOAGIE, Walter Etc, Rene Aguilar-Weber, Boreen, and Wine and Coffee. In addition to the live music, KLC will have face painting stations, egg toss, and all kinds of other fun activities available.

After Suntan, make your way over to Stamm for Sunburn, starting at 8:30 p.m. This year’s headliners are:

Duckwrth:

Fresh off tour in support of Anderson .Paak, the South Central LA native will bring his eclectic style of hip-hop/RnB to LC. With a wide range of influences that include Kanye West, Bad Brains and André 3000, Duckwrth creates an exciting blend of hip-hop indebted to the past, but always with an eye on the future. His music fuses so many different styles and eras–’70s funk, ’80s synthpop, ’90s house, modern trap–and yet it still sounds entirely singular and unique. You won’t want to miss him.

Father:

As president and founder of the independent label Awful Records, Father has forged his own way his entire career. And his music certainly reflects that. Known primarily for his collaboration with ILoveMakonnen, “Look At Wrist,” which became an underground hit, Father has continued to gain steam with recent singles “Hands” and “Heartthrob.” The de facto leader of the oddball side of Atlanta trap music, Father has developed a style entirely his own, and devoid of many obvious musical influences. His beats tend to be minimal – often the same two- or three- note melody looped for the entire song – but they still manage to get stuck in your head. With a deadpan flow that makes it difficult to differentiate what’s a joke and what isn’t, he strikes a difficult balance between playful vulgarity and poignancy. There’s no doubt this will be an entertaining show.

 

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