Already in its second year, Extra Innings tends to book mostly folk and country acts. That often means a lot more cowboy hats and Pit Vipers, but Extra Innings stands out for more than mere aesthetics and a Nashville-adjacent lineup. The idea to split what could have been one massive, oversold three-day hodgepodge into two separate two-day festivals with their own flavors lends fans a better chance to get what they need. And, despite the relative newness of this event, Extra Innings already has its own identity and sense of purpose down pat. That, and this year didn’t suffer from bloated crowds or lines to ruin anyone’s rodeo, and improvements like AstroTurf enhanced everybody's experience.
The Valley deserves a proud tradition like Extra Innings. Seriously, where else can you go for the fiddles and fastballs, the very essence of Americana? So, whether folks were there for local boy Evan Honer or national faves Kings of Leon, high school girls and ponytail dads alike had their chance to enjoy their many favorites. There were glossy breakup songs, stomping fiddle solos and surprise acrobatics, among other feats of amazement. Mostly, though, there was just so much great food, music, culture and entertainment for the whole dang family.
Alright, Extra Innings, we'll be seeing you real soon for year three.
Friday, Feb. 28
Evan Honer, 2:45 p.m. at Home Plate
Evan Honer is a hometown kid from Surprise that writes good, honest music that could probably be called folk rock (if you cared to lend it a name). There was not a more wholesome performance the entire weekend, and you could feel the joy and the gratitude in every song he played. (And he did it all in a classic Randy Johnson Diamondbacks jersey.) Honer opened with “Everything I Wanted,” his new single that’s come just in time for long summer drives. Although he dipped into some of his more heartbreaking acoustic music, his high energy informed the entire performance. Honer's rendition of “Jersey Giant” was a delight, and it makes sense now that it has almost 125 million streams on Spotify. There were laughs before, during and after the self-aware “idk, shit about cars” line, but the grooving never stopped. You could tell how much this show meant to Honer and his band, and this obvious appreciation made a connection to the crowd all but inevitable.
Honer is a charming dude poised to have a good time wherever his career goes from this fest. We’ll be waiting with as much patience as we can muster for his upcoming record.
Trampled by Turtles, 3:45 p.m. at Right Field
Queue the ponytail dads. Trampled by Turtles, a six-piece bluegrass band from Minnesota, emerged from the haze to more artfully inspire some hootin’ and hollerin’ despite how silly their band name remains. All jokes aside, their musicianship is unquestionable, and they deserve recognition for their consistent, solid production across two full decades. Their set ranged from the wild boot-stomping romps like “Codeine” to the softening sweetness of “Alone,” and every second was engaging and enjoyable. I heard and saw laughs, cries and plenty of dancing in that crowd, and anyone that blew them off to get a better spot for Wyatt Flores should have been left feeling ample remorse.
Wyatt Flores, 4:40 p.m. at Home Plate
Wyatt Flores is another young gun trying to sink his teeth into the country scene. Whether or not your grandpa would put him in the same category as Marty Robbins became irrelevant once he arrived on stage. Backed by an impressive band, Flores was smiling through the entire set. His drummer, who seemed like he might enjoy playing in a metal band, lit a joint at the beginning of “Stillwater” and melted faces with an ending-solo packed with power and grace. Flores' fiddle player, meanwhile, may have even inspired some young kiddos to ask their parents for violin lessons, which could be the most important development from this entire festival.
Evan Honer joined the group on stage for “I Believe In God” before delivering a tight backflip to cap off his appearance. Flores also included his cover of The Fray’s “How To Save A Life,” which really helps a listener better understand how his particular brand of pop country was informed. Sam Barber, slated to perform the following day, later helped Flores out with one of the final choruses (much to the delight of those in attendance).
It's clear from these cameos that Flores has already established himself as someone with a wealth of talent. Yet even without these guests, Flores is a more than competent entertainer ready to dominate country music.
O.A.R., 5:45 p.m. at Right Field
It needs to be said, above all else, that “Love and Memories” is a certified banger. It should also be noted that despite that great song, O.A.R. may have been the odd duckling and the sore thumb of the entire weekend. It’s not clear if the festival management accidentally threw them on the Extra Innings lineup and not the more the rock-centric heavy Innings Fest. Regardless, it did not stop the band from enjoying themselves on stage with a suite of singalongs fit for browsing candles at Target. While it is fun being cynical about commercial bands sometimes, there's something approachable and earnest about O.A.R.'s music that transcends a lot of that initial context.
Just because it’s rock for dudes who eat acai bowls does not make it any less important; I mean, “Shattered” was a massive hit for a reason. So much so, the folks at Extra Innings were still singing it 17 years later with complete and total abandon.
It’s meaningful music to so many, and the band deserved to play on whatever weekend suits their schedule.
Megan Moroney, 6:50 p.m. at Home Plate
The most impressive and expressive fanbase was clearly Megan Moroney’s, and she earned such praise. Dazzling is not an easy word to use, but Moroney has this effortless ability to lull a crowd in the palm of her hand and make them dance and sway. Who else could strut out to a Hannah Montana song and look like an absolute legend? (The answer is no one.)From “Lucky” to some live debuts from her recently released deluxe album to the finale “Am I OK?,” her fans never had a chance to stop or rest. There was a sense of relief and validation for so many that count on her music as a balm for the fallout of bad breakups and general heartache. In fact, it seemed like the more someone was aching emotionally, the harder they sang along. Fortunately, these folks had Moroney to guide them through their pain in the glorious setting sun.
The Red Clay Strays, 7:55 p.m. at Right Field
God bless Mobile, Alabama for gifting us The Red Clay Strays. Their performance was as close to a religious experience as you can get in Tempe on a Friday night. Their gospel is rock 'n' roll, and it's good enough to save a world losing its grip on genuine and authentic artistry. The band played tight with plenty of soul, and frontman Brandon Coleman sent folks into fits with his impossible vocal power. It’s safe to assume that “Wondering Why” brought a lot of folks to the Right Field stage, and that song's indicative of the band's immense power and reach. Still, it seemed like every spectator was set to go home, spin the band's discography on repeat and brag to their friends and family that they saw The Strays right in their backyard.
Plus, the band's got range — “Devil In My Ear” was gritty, and “Wanna Be Loved” is the new sweetheart anthem. Those that stayed after “Wondering Why” were treated to the loud and proud “No One Else Like Me,” a tune that could convince even the most cynical grump to bust out some Elvis moves with genuine confidence.
After this, we can only hope The Strays wander on back to Arizona pronto.
The Lumineers, 9:00 p.m. at Home Plate
For one brief, glorious second, The Lumineers ruled the world for a second. They are on the Mount Rushmore of the stomp-clap-hey folk music that reached its height crica 2012. Their first two records went platinum, and their third album debuted at No. 2 on Billboard 200. Their fourth album was just as strong, and they offered even more perfectly cute and vulnerable tunes on their fifth album, this year's "Automatic."The performance itself was composed and clear, bringing pure comfort to fans and surface-level listeners alike. Each one of their hits was played with passion and gusto, serving as a breath of fresh air following the frenzied performance by The Red Clay Strays. Even the folks that didn’t have the lyrics written directly on their heart were given a chance to hum and sway to the classics like “Cleopatra,” “Ho Hey” and “Sleep on the Floor.”
The band were playful, too, and a short snippet of “You Can’t Always Get What You Want” by The Rolling Stones was welcomed with a legion of smiles. The Lumineers even took advantage of the time they had with the adoring crowd, and there was no rush to the end with the extra emotional “Stubborn Love.”
You will never be surprised to hear a Lumineers song in a Kia commercial, but you won't be disappointed by it, either. Some music was made for the masses, and that’s quite alright. The band is navigating a greedy world with good vibes and wide-brimmed hats as best as they can, and they are making damn solid tunes as they go.
Saturday, March 1
Sam Barber, 3:20 p.m. at Right Field
This will be the smallest Sam Barber’s name will ever appear on a lineup for the rest of his career.While he may have already deserved a bigger stage and a better start time, he didn’t waste a single second pitying his place in the sun. It is so simple to hear the pride he takes in his songwriting and storytelling, and it’s both exciting and perplexing to know he’s producing such honest country folk music before he’s even 22 years old. Some people are born with it, and some people have to work for it — Barber has done both, and he's quite the talent for his journey.
It was apparent before the first chorus in his opener “Better Year” that he’s destined for bigger things. The Wrangler advertisements and "Yellowstone" features are just the beginning of the public’s clutches on this young man’s career. Meanwhile, “Man That You Raised” will be playing during millions of mother-son wedding dances to come. The set was simple and the band played with high energy and marked professionalism — that's just how you do it as a country music pro.
Like Evan Honer, Barber also called on Tyler Childers’ “Jersey Giant” to get boots moving. Meanwhile, “Straight and Narrow,” the first song he wrote at 16 years old, sounded like it was already a certified classic. Just wait until this kid really gets started.
Max McNown, 4:25 p.m, at Home Plate
Max McNown is the new heartthrob on the country scene. He’s based in Nashville (and has all the corresponding country swagger), but he hails from Bend, Oregon. He picked up some traction via his busking videos on TikTok and Youtube, and he continues to grow and impress with his pop country appeal (and accompanying tight jeans).Just because the music is predictable doesn’t make it any less enjoyable, though. The “nice butt” signs were waving as he did his best to smoulder on tracks like “Turned Into Missing You” and “Night Diving.” He ended with his most popular composition, “A Lot More Free,” an exclamation point for his first big festival experience.
Whether or not he matches the massive, unshakable popularity of fellow self-starting crooner Zach Bryan is beside the point — McNown is going to have a hell of a time making his bones.
Grace Potter, 5:30 p.m. at Right Field
Grace Potter was a wildcat throughout her entire set. She deserved more of a crowd than what she got, but she didn’t think twice about throwing her entire body into this performance. Potter has been rocking hard since before 2002, making marks on crowds as an unofficial heir to both Janis Joplin and Stevie Nicks but with her own incomparable style. In that time, Potter has only gained a dynamism in her voice, and in her act she managed to satisfy every true music fan underneath the planes dashing toward Sky Harbor.
She featured songs from her time with the Nocturnals as well as her various solo projects — she even pulled out a soulful Bill Withers cover for good measure. Her time was short, but her energy was abundant in every coo and every scream. Most folks made their way over to the main stage to prepare for Kings of Leon, and it’s a shame because the finale of “Paris (Ooh La La)” was as good as any fireworks show.
Kings of Leon, 6:35 p.m. at Home Plate
I have to admit that I am a Kings of Leon fanboy, and I have been ever since I saw the “Four Kicks” music video on VH1 as a tiny 4th or 5th grader. This was my ninth time seeing the band live since just 2014, and this was clearly the most proud I've ever been of their performance. Time’s a ruthless ringer, and it is not simple to remain both relevant and authentic in the face of massive pressure and expectations (be it your own or those of others). Yet Kings of Leon continue to find new ways to have fun. With an abbreviated set underneath Kacey Musgraves’ headlining performance, it is obvious they took some time to craft a setlist that was both unique and reliable. It’s probable that some fans went home disappointed without being able to hear their fave, but there were still enough little flexes, flourishes and fills throughout to put a smile on a self-proclaimed fan's face.
They cut to the chase by opening with “Closer.” From there, the “Manhattan” to “Revelry” combo was utterly perfect. They somehow reached new levels of fun and joy with “Beautiful War.” There was even a kind of goofy joy about hearing "Arizona" while actually in the Copper State. Meanwhile, “Knocked Up” was a pleasant surprise, and “The Immortals” was massive.
There was sadly nothing rowdy from the first record ("Youth & Young Manhood"), and only “Mustang” from their latest record, "Can We Please Have Fun." So, yeah, it was mostly meat and potatoes, but it was as dependable and fulfilling as it’s ever been.
The stage show during Kacey Musgraves wasn't the only thing dazzling the audience.
Neil Schwartz Photography
Kacey Musgraves, 9:00 p.m. at Home Plate
Kacey Musgraves is a modern classic. Effortless and beguiling in every conceivable way, she earned every second of adoration in the final moments of Arizona’s best baseball-and-country-music-themed music festival. She explored and referenced her entire discography with ease, and even treated those in attendance to a phenomenal cover of Brooks & Dunn's “Neon Moon.” There’s really not much to say about Musgraves, as men fear her and women want to be friends with her. Mostly, though, we all hope to hang onto a bit of the cool magic she displayed in bangers ranging from “Cardinal” down to “Deeper Well.”
Any real review of Musgraves inevitably suffers because her shows are just damn good fun every time out. There's rarely a note or hair out of place, and she delivers sonic precision and emotional prowess with ease. It was, in short, the kind of performance that sends folks home smiling, emotionally spent and appreciative of a long, joyous weekend.
