Thursday, April 30, through Sunday, May 3, in downtown West Palm Beach along Flagler Drive from Banyan Boulevard to Lake Avenue. Gates open at 5 p.m. Thursday and Friday and at noon Saturday and Sunday. Tickets cost $10 to $65. Visit sunfest.com.
Thursday, April 30
8:15 p.m. on the Tire Kingdom Stage
Clarence Greenwood — AKA Citizen Cope — occupies an oddly decorated space. His music incorporates elements of blues, turntablism, hip-hop, and R&B, resulting in the sort of moody, languid rock that advertisers lean on to help sell cars. That isn't necessarily a knock, though Greenwood has taken lumps enough for it. Truthfully, he should be commended, but he consistently gets mentioned along with Everlast and the mostly boring Jack Johnson, though even on his worst day, he stands head and shoulders above them. While having a certain dreamlike quality to them, his songs are also anxious and agitated, like they might spin out of his careful control into full-blown rap anthems or Delta blues standards. Others have tried this "everything and the kitchen sink" approach with lesser results, but Citizen Cope has found a way to please both the man drinking a domestic beer and the woman sipping a $12 glass of French wine across the table.
Also performing: Black Finger, 5:30 p.m. on the Pbpulse.com Stage. Griffin Anthony, 6 p.m. on the Tire Kingdom Stage. Risa Binder, 7:15 p.m. on the Pbpulse.com Stage. James Taylor, 8:45 p.m. on the Pbpulse.com Stage.
Friday, May 1
6:50 p.m. on the Pbpulse.com stage
Pennywise isn't so much a band these days as it is an institution. For more than two decades, this Southern California act has pioneered the genre of melodic punk rock — and although it's never had the mainstream success of peers such as the Offspring or Green Day, neither old age nor parenthood has succeeded in tempering the band's aggression. Last year, Pennywise released its ninth studio album, Reason to Believe, as a free digital download on MySpace, and the forward-thinking punk act is currently headlining this year's Jägermeister Music tour. Stop by to sing along, start a circle pit, and relive the 1990s — or, if you're feeling ultra-adventurous, ask frontman Jim Lindberg to sign a copy of his book Punk Rock Dad: No Rules, Just Real Life.
9:50 p.m. on the Pbpulse.com stage
A generation of teenagers is actively pissed off that Sublime's Brad Nowell overdosed after making only three albums — and for them, Slightly Stoopid, joined here by Sly & Robbie, Pepper, and Half Pint, might be the next best thing. During the mid-1990s, Stoopid ones Miles Doughty and Kyle McDonald signed to Nowell's Skunk Records imprint and immediately began churning out recordings that drew on the same sort of modified reggae vibe that inspired Sublime. Granted, their work wasn't modified quite as much, and that remains true to this day. Slightly Not Stoned Enough to Eat Breakfast Yet Stoopid, the band's latest disc, mates odds and sods recorded over the past decade-plus with a few new songs that sound an awful lot like what they've been doing all along. Nowell brought more personality to his work, but both Doughty and McDonald have survived in the music life much longer than he did. Maybe they're not so Stoopid after all.
Also performing: The Ben Robinson Band, 5:15 p.m. on the Tire Kingdom Stage. The Expendables, 5:30 p.m. on the Pbpulse.com Stage. Monty Warren & the Whatevers, 5:45 p.m. on the Coors Light Stage. Crisis in Hollywood, 6:05 p.m. on the Pbpulse.com Stage. The Nouveaux Honkies, 7:15 p.m. on the Tire Kingdom Stage. Mark Gaignard & the Also Ran, 7:30 p.m. on the Coors Light Stage. Pepper, 8:20 p.m. on the Pbpulse.com Stage. Collective Soul, 9 p.m. on the Coors Light Stage. Randy Backman, 9:15 p.m. on the Tire Kingdom Stage.
Saturday, May 2
Cold War Kids
9:15 p.m. on the Coors Light Stage
Members of the rock intelligentsia both love and hate these Kids — and the trio's latest album, last year's Loyalty to Loyalty, is a divider, not a uniter too. On the positive tip, guitarist/keyboardist/vocalist Nathan Willett remains a fiercely intelligent storyteller, as he proves in "Every Valley Is Not a Lake," which brims with grandmotherly wisdom such as "Use your wits, child, 'cause nothing stays the same." But Willett's keening yelp can be irritating at times (mark his repeated "Welcome to the Occupation" claim that "the devil's in the details!" as exhibit A), and the band's sound draws a bit too heavily from the bluesy indie lexicon many others employ. The results are always interesting but only intermittently compelling — promising to some, threatening to others.