Dia De Los Toadies 2013: Review and Photos
Of all the different live show scenarios, all the varying combinations of performer and setting, there's nothing quite like seeing a band in their hometown. The sixth annual Dia De Los Toadies Festival, a Texas institution, was the perfect hometown hero live music experience. This year, the fest took place for the first time in Toadies' native Fort Worth. Along with its namesake, this Dia lineup included Gary Clark Jr, Eisley, Dirty River Boys, The Burning Hotels, The O's, Pinata Protest, Oil Boom, Baboon, The Cush, These Machines Are Winning, and School Of Rock band Dean's List. Panther Island Pavilion was an ideal and lush setting for a fond Texas farewell to summer.
On Saturday, the pre-sunset crowd was smaller than one would have anticipated. The grounds were about half full for The O's and The Burning Hotels set, and there couldn't have been more than 70 patrons tubing the river. There have been a couple of previous Dias held in popular tubing destination New Braunfels, but it seems for as beautiful as Panther Island Pavilion is, people aren't quite sure whether they want to sit in the Trinity River. Most attendees opted for some quad-pod soccer mom chairs while they perused the food truck caravan. Those who did their research ahead of time brought coolers full of canned beer. Those who did not payed festival pricing for Tecate with complimentary beer salt.
Dirty River Boys played a boisterous set for a growing crowd as dusk hit the overlooking Fort Worth skyline. The El Paso quartet got fans up on their feet, and lived up to their self-appointed designation of "outlaw folk" with a pretty high energy and action-packed outing. The highlight of their set would come with a cover of "She" by Green Day, setting the tone for the nostalgia to come after dark.
But first there was Eisley, who leaned heavily on newer material as the sun went down. Though diverse, the crowd was made up substantially of '90s babies who no doubt would've loved to revisit the Tyler-based family band's 2003 calling card "Telescope Eyes," or material from their sophomore EP, Marvelous Things. It's understandable that after a decade in the game, Eisley wants to prove that they've evolved since then. But we missed the hits.