So, about Passion Pit saying he’s yet to be paid for GoodVybes…

GoodVybes Festival(Update: GoodVybes released an extended statement, admitting that while there is a “disputed amount of additional costs”, they have paid 86% of the total Passion Pit is owed, and added that “to say that we have not paid them is not only dangerously reckless, but libelous and slanderous.” Michael isn’t happy: “How this is being handled pretty much explains it all.”) This morning Michael Angelakos, aka Passion Pit, started some sort of thunderstorm, tweeting that he has yet to be paid for his appearance at the GoodVybes Festival last year. The festival’s organizers, Vybe Productions, have told Bandwagon that they have, in fact, paid his agency, and raised the possibility that the agency has not paid Michael. (As I write this, we’re still waiting for an official statement from the outfit, but we have a couple of tweets.) It’s a weird situation, at least from my viewpoint. The story took a while to be picked up by some media outlets; I am pretty sure Bandwagon is the only music-centric outfit that has written about it. Manila Concert Scene deleted the tweet – an innocuous one, marking a year since the festival – that Michael replied to. But that’s trivial stuff. As a country that’s looking to be a stop for all these foreign acts – and at the risk of sounding like I’m taking sides – why the hell is this thing happening? Nobody’s sure what the real situation is, but there can’t be no fire if there’s no smoke. There is a deeper story here, I think, but ultimately, in the world’s odd way of doing things, it wouldn’t matter much to the public – what matters to them is that they get to watch their favorite acts live here. All that said, this kerfuffle becoming public is a reminder that there is a lot of work to be done, and constantly. [NB] (Photography by Jobelle Natividad.)

Live things: the highs and lows of the GoodVybes Festival

Hello. Niko here. Our review of the GoodVybes Festival, which took place last Saturday, would be a little different than we envisaged. We planned an essay of observations for the first major (arguably) music festival of 2016. We had a man on the ground: one of our contributing writers, Dexter Tan, bought tickets, making good on his vow to see Chvrches once and for all. And he was there.

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