Chris Martin performed at this week’s Apple event announcing new iPods and the iTunes Ping social network. He played a solo version of “Viva La Vida,” which received a big bump from an Apple iPod ad, along with a nw song, “Wedding Bells.”

Several weeks ago, we told you about David Gilmour’s plan to join Roger Waters on stage for a one-off reunion show. That plan was sparked by a fundraising gig the two played together. Now, the Hoping Foundation has made the video of that performance available in all its nearly 30-minute glory.

The performance kicks off with The Teddy Bears’ classic “To Know Him is to Love Him” before settling in to several Floyd classics.

Enjoy!

Hoping Foundation benefit performance from Hoping Foundation on Vimeo.

UPDATE: A second show has been added in Bloomington for Saturday, October 30th at the IU Auditorium. Tickets are on sale now via pre-sale as well. The password is “clumsyolworld.”

October 29th, November 8th, and November 11th, John Mellencamp brings his No Better Than This tour to three great Indiana venues. A special presale for tickets begins Friday at 10 a.m. and you are invited! Just follow this link.

Photo by Larry Philpot

WTTS hosted the show in the intimate setting of the Creation Cafe. A couple hundred lucky 92-3 VIP’s sampled a variety of free appetizers and enjoyed beer samples from sponsor Upland Brewing.

Photo by Larry Philpot

Creation Cafe owner Lynn closed her restaurant to the public to host the private event, and replaced many of the dining tables with about seven rows of chairs facing the space reserved for the the band’s performance.

There were a couple of technical hitches with the power to an amp, and the stage lights went out mid performance, but Greg laughed and joked his way through it all, treating the audience to about seven songs, including his latest hit “Take Everything”.

Greg performed in Studio 92 about a month ago, playing a small acoustic set of three songs. With more time and the slightly larger setting of the Creation Cafe he told a story about performing for some women at a wedding shower. He played a song for them he’d written about his own divorce, without making the connection until later. Funny stuff!

Photo by Larry Philpot

The show started just after seven and lasted about an hour, but the band stayed and signed CD’s, talked and posed for photos with the crowd.

What a great way to spend a couple hours after work. Free appetizers — a full bar — and a meet and greet with up and coming musicians. Better yet, there’s another coming up in two weeks.

– Larry Philpot

The Elms’ final show last Friday night at Radio Radio was a 4 1/2 hour marathon performance, with the band taking the audience on a journey through their last 10 years before they reportedly call it quits.

This was my first trip to Radio Radio, a small venue located in Fountain Square on the south side, and I liked it immediately. I was told the place only holds 250 people, and the tickets sold out weeks ago. The bar was smoke free, the restrooms were clean and without lines, and you didn’t have to elbow someone to get to the bar for a drink, even with a capacity crowd. The stage could have been a few feet higher, and the Varilux lighting was a photographer’s nightmare since they were placed behind the band.

The Elms came through the back door and took the stage to an orchestral version of David Bowie’s “Changes,” and the crowd of mostly late 20 and early 30-somethings were nearly silent. Owen Thomas, the band’s singer and frontman, welcomed the audience and struggled to hold back tears even before the Elms started their first song. This was their goodbye performance, but they quickly found their footing.

The guys hit full stride with “Strut”, a live concert favorite which just was released for the Rock Band video game. From there, it was pure energy and endurance. Lead guitarist Thom Dougherty broke loose on this song and didn’t look back. Throughout the show, Owen would tell a story between songs as if he was speaking to a small room full of friends, other times he would just tell the audience that he loved them.

They dedicated “The Workingman” to their fathers, who Owen said were tonight’s road crew, and Thom reached even deeper into screaming guitar territory on “The Tower and the Trains.” Bassman Nathan Bennett laid out the backbeat all night long in an easy, matter of fact style. Owen’s brother Chris, on drums, busted loose only a couple of times.

The band was tight, and the energy was high. The crowd stayed right there with them, giving back as much as they got. At about 3 hours, Owen told the crowd that they were going to set a record for the longest performance on a leopard skin carpet to wild applause — a little poking fun at the decor at Radio Radio.

For 4 hours, the Elms played their hearts out. They rocked with “Nothing to do with Love”, and finished with “A Place in the Sun,” but returned for a two song encore. Owen asked the crowd not to leave, and said they were going to go towel off and then they each wanted to visit and shake everyone’s hand. They signed posters, t-shirts and posed for pictures with fans. Last call meant the venue had to have all patrons out of the building at around 3:30, so Owen and the audience just walked outside and continued to say their goodbyes. It was a night to remember and a blowout 40 song farewell performance.

From my perspective, a lot of people would wonder why a band would quit when they were at the top of their game. The Elms have released four albums in 10 years, and have shared a stage with the likes of Buddy Guy, the Goo Goo Dolls, Dave Matthews and many more. The interaction from the band members during the performance bolsters Owen’s message on his blog that “there are no salacious discrepancies between the band members to report.” It was easy to tell that the band was having as much fun as the audience.

This band has enormous talent and anyone can see they truly love what they do. After that show, it didn’t seem like any of them was in a hurry for it to end. So, why quit now? It’s difficult to imagine this group of guys — genuinely nice guys — just walking away.

– Larry Philpot

WTTS Indy Underground Producer, Craig Shank, had a chance to talk to Graham Wright and Josh Hook, keyboardist and guitarist of Tokyo Police Club ahead of their performance at The Vogue on July 29th. Graham and Josh talked about their previous Indianapolis concert experience, challenging their fans, and filming a video about a dog pool party.

Watch the band in their first challenge, The Water Balloon Toss:

Catch Tokyo Police Club and other music from the local, independent, and underground music scene on WTTS Indy Underground, Mondays and 8 and Saturdays at 9. It’s more fun than a puppy pool party!

Montréal’s Arcade Fire has been known for its extreme secrecy: releasing only the artwork for their new album The Suburbs (now revealing that there are in fact 8 different randomly chosen options), then they release only snippets of songs from the new record as a teaser for the fans, but now, they want to let everyone in on the gig… literally.

That’s right, the band’s August 5th show at Madison Square Garden will be streamed live on YouTube for those who can’t make it, those who don’t live in the area or those who possibly live in Montréal. Arcade Fire may be secretive as to what they’re doing or what will come, but they’re finally letting people in.

For more from the local, independent and underground music scene, check out WTTS Indy Underground Monday nights at 8 and the encore presentation Saturday nights at 9. We promise we won’t be as secretive…

WTTS Indy Underground producer, Craig Shank, caught up with Annie Clark, better known as St. Vincent, at the Pitchfork Music Festival in Chicago. Annie followed up on her recent Tweets, talked about working with Beck on his Record Club project, and discussed filming a video with Saturday Night Live’s Fred Armisen.

Here’s Annie, Fred Armisen, and Carrie Brownstein in the video for “Laughing with a Mouth of Blood” from the most recent St. Vincent album, Actor:

Poor Annie. You can show your support by catching her music on Indy Underground, Monday nights at 8pm and Saturdays at 9pm.

WTTS Indy Underground Producer, Craig Shank, had a chance to catch up with Jennifer Turner from Here We Go Magic backstage at the Pitchfork Music Festival in Chicago. Before their performance she discussed their latest album, Pigeons, their Indiana connection, performing at home and overseas, and their most famous fan, Thom Yorke.

WTTS Indy Underground Producer, George Drake Jr., spoke with Jon Philpot from Bear in Heaven at the Pitchfork Music Festival In Chicago. Jon discussed the band’s shrinking lineup, their perception to festivals, their songwriting process, and he attempted to pin down the band’s genre.

Day 3

Day 3 had promise from the beginning — clouds peppered the sky for some much appreciated shade and overall the temperature was set to remain in the low 80’s. Then it started to rain, and we were back at square 1 — soaking wet. After about half an hour, the rain let up and the third day of the Pitchfork Music Festival looked to be the most bearable. The music continued to flow throughout the festival whether it came from one of the three stages or the many booths the festival had to offer. As stated in my prior posts, the photo pits were filled to the brim with photographers and the third day it escalated. Moving from one side of the stage to the other for a different perspective allowed me to not only step on toes, but also force my scalp into other photographers’ viewfinders. Needless to say, they weren’t happy with me. Nonetheless — I bring you a photo journal of Pitchfork: Day 3.

Local Natives

St. Vincent

Big Boi

Pavement

Day 2

Day 2 was not unlike Day 1 — unbearably hot. The day was even longer, the number of acts has multiplied and the photo pits were even more hectic, packed and hotter than the day before. (On a side note, on average, the sun-drenched photo pit is about 20-30° hotter than sitting in the sun-drenched grass due to the collective of people and the disgustingly hot-and-constantly-powered sound equipment littering the front of the stage). But the music still continued and the photo pits needed people in them taking pictures… so there I was.

Wolf Parade

Bear In Heaven

LCD Soundsystem

Day 1

Craig and I walked through the familiar gates at the Pitchfork Music Festival in Chicago and already there were people sitting by the front of the A (Aluminum) Stage set and ready to see Modest Mouse that night. It was an extremely hot day, and by extremely I mean uninhabitable. Everyone was miserable on the outside, soaked to the skin, which was most likely frying at any given point. However, all of us willingly hurried from stage-to-stage to see whatever each stage had to show us. It was a relatively lay back in the shade and enjoy the music type of day, but none-the-less I was able to enter a couple photo pits.

Broken Social Scene

(I also had the ability to have a conversation with Brendan Canning of Broken Social Scene (the one in the blue zig-zags; above), which you can find a listen to here.)

Modest Mouse

A sudden downpour made the first 20 minutes of the day a soggy experience. Kudos to the Pitchfork crew for getting tarps on and off everything so quickly to keep everything on time.

George and I could probably live on Chipotle Chicken Burgers.

The record sale on-site can leave you with a heavy bag of great tunes and a light wallet.

Beach House’s performance was the definition of the word “dreamy.” Victoria LeGrand’s vocals filled the festival grounds with good vibes on another hot day that can test your patience.

Based on their performance and reception, Local Natives probably won’t be playing side stages for too much longer.

The duo known as Lightning Bolt played a blistering set in the blistering heat. Playing that hard and fast in a luchador mask seems very strenuous.

St. Vincent’s set up is so unusual but perfect for her baroque rock explorations. Truly beautiful set featuring woodwinds, vioin, and some more “traditional” rock instruments.

Here we Go Magic didn’t disappoint, but they had to compete with St. Vincent’s last few songs and a giant dragon on stage for Major Lazer.

Big Boi brought some hip-hop flair to help the festival wind down and peppered his set with some huge hits from his group, Outkast.

After years of relative obscurity and influencing a generation of independent musicians, Pavement is getting the respect they deserve through their reunion shows. The set at Pitchfork demonstrated their love of the craft and their fans showed their appreciation of their music.

It’s been a pleasure sharing the experience of the 2010 Pitchfork Music Festival with you. We’ll have more on Indy Underground tonight at 8pm, including conversation with Broken Social Scene, St. Vincent, Here We Go Magic, and Bear in Heaven.