NICO VEGA:
   
I have been remiss in my duties as a music lover and a native Los Angeleno. Nico Vega was a name I’d always heard tossed around with positive reinforcement, but for some reason had slipped through my curiosity meter.
   
I repent!
   
Dressed as members of the chorus from Jesus Christ Superstar, the band took the stage in the afternoon sun and spread the good word. They make a lot of noise for having only three people on stage, and they infuse the air around with a curiously spiritual musical energy.
   
Whether banging on toms, busting a tambourine or striking a various number of iconic poses, Aja Volkman held command of the stage. And if it makes you feel any better, their whole dusty space age get up is not an onstage persona, but something they carried with them throughout the festival, whether chatting on cell phones or smoking weed out of a can in the pit for MUTEMATH’S performance. Trust me.
   
If you’ve been like me and neglected to check out Nice Vega, remedy this as soon as possible. And if you’re all, Duh man I’ve been listening to them forEVER, then why on Earth didn’t you tell me?!

ASOBI SEKSU:
   
Life can’t be easy for the opening festival acts. Hardly anyone is ready to trudge out to the stages by noon, so audiences are limited, worsening an already un-ideal situation for musicians, a breed not accustomed to operating at full until well past sunset. However, if Asobi Seksu was fatigued they didn’t show it (although lead singer and keyboardist Yuki Chikudate did mention it).
   
They graced the blazing festival sun with loud, eerie rock that shook lazy day three festers out of the midday slump. A wake up call in many respects, Asobi Seksu held one of the most unexpectedly successful shows the weekend.
   
It was clear that much of their audience was accidental, comprised of cries new arrivals wondering what that magical sound could be emanating from the other side of the Hampton Inn. What began as a smattering of curious onlookers quadrupled into a crowd of fans, which is exactly the kind of exposure you expect and hope for at a festival.
   
Most likely they were all wondering how somebody no bigger than a cat can contain such power and presence, leading the band with the ease of a long time heavy hitter like Patti Smith.
   
Perhaps, like a cat, Chikudate has been doing this for many lifetimes.

COWBOY MOUTH:
   
“Give me rhythm!” and “Are you with me?!” are the Southern rock mantras of Cowboy Mouth’s live show. Billed as the festival’s biggest local draw, the New Orleans based quartet seriously, yet amicably rose the the challenge of acquiring dozens legions more unlocal fans.
    Lead singer and drummer Fred LeBlanc, (most NOLA sounding name ever!) sat at the kit in gym shorts, which gave him the appearance of going pants-less. It also enhanced his heartily devil-may-care demeanor. All four rock solidly on their respective instruments and seem to relish in the whole rock starriness of their happy Southern lives. Something about their loud, proud good times had me craving giant belt buckles and hush puppies.
   
They perform without pretense, just diving into the crowd, pulling people closer to the stage and shouting about having a great time. If Burl Ives’ Big Daddy of Tennessee Williams’ imagination decided to form a touring Southern rock band, it would turn out to be Cowboy Mouth, and it would sound great. Which they do.

COLOUR REVOLT:
   
De Luna Fest was full of bands stemming from a local heritage, pleased as a peach pie to be laing for a hometown crowd. Colour Revolt was of this ilk, so pleased in fact, that they opened by introducing themselves as “fellow South Easterners.”
    Perhaps these guys practiced extra hard to impress the hometown crowd, but my guess is they make a point to play this well every time. You just don’t achieve this level of clickiness by cramming for the test. Barely looking at one another, the band executed tricky rhythms, sudden changes in tone and wildly oscillating noise levels from whisper to explosion.
    
All pieces of their indie rock puzzle solidly in place at this set, the stand out element lurked in Sean Kirkpatrick’s backing vocals. He offered a delicately nuanced layer to otherwise good, but typical, scenester music.

BIG BOI:

Every festival that lays on the indie music this thick, that has the stages crawling with sought after DJ’s after 10 pm, that caters to the people who like to bop and jump around has to give us something so we can also bump and grind. Thank you, De Luna Fest, for bringing us Big Boi. It seems that on Saturday you were either most excited about seeing Jane’s Addiction or Big Boi, if I may be so bold as to split the world into two distinct camps. And he killed it.

His entire band was on point, from DJ to back up singer to drummer, “Wildman.” He was pulling stunts on the kit during “Bombs Over Baghdad” that I couldn’t air drum half as fast. And I tried really hard.

I expected big things from Big Boi, as he has a well-deserved reputation of awesomeness, and Southerners in the South tend to do well. I did not, however, expect him to be so terribly entertaining. I went in expecting great music, and I got a great show. He loves to move, and loves to make other people move which is a laudable pursuit in any musical venture. Get people moving.

The crowd hung on his every word, waving hands, shouting lyrics and attempting to get crunk as the occasion called for it. My only regret is I wasn’t one of the girls pulled on stage to shake my booty. My god, I would have delivered.

NEW PORNOGRAPHERS:

The New Pornographers have the delightfully striking balance of apple pie a la mode. There are warm things and cold things in my mouth at the same time what the hell! Oh, but it’s…lovely. A little bit country and a little bit rock and roll, like Donnie and Marie but not at all lame.

They have the advantage of being remarkably proficient at what they do as well. They’re just a tidy band of musical elves executing their musical stylings with precision and enthusiasm. That’s an impressive feat, to be as on top of it as they are, with smiles on their faces.

The New Pornographers will make you feel all warm and fuzzy, and remind you that they’re still on your iPod from college and you should still be listening to them.

MANCHESTER ORCHESTRA:

You know those genre-defying bands that are so marvelous that it doesn’t matter what type of music they’re making as long as they keep making it forever and ever? Outkast is like that. So are Radiohead. And so is, I swear to Jesus, Manchester Orchestra. Their live performance is something from a totally different time, possibly the future. They are just insatiable, rabid, out of control musical beasts.

Their popularity surprised me, as they were one of the bands that crowds flocked to and waited for, filling up the ocean front main stage sand dunes with hungry fans. Their set began at the perfect time, the sun having just gone down, giving them a blank slate of dark sky to play their starkly emotional, feverishly hectic brand of rock.

Sweat sprayed, teeth were bared, Andy Hull roared with his bandmates growling in cultish support, and the entire thing just came off as quite primal. This viscerally engaging experience is a welcome break in the trend of the slick and polished popular rock that rapes our radio waves. It’s not hard core either, a style that tends to take itself to seriously, that relies far too heavily on the very style it’s cultivated. It’s just Manchester Orchestra, shaken and shot out of an aerosol spray can.

Sometimes I wonder if I think about music so much, write about it so often, and force myself to develop an appreciation of it that strips away the magic. Many enthusiasts suffer from this plague. Maybe we like music so much we’ve forgotten how to love it. Manchester Orchestra reminds me that I love music. A whole, big, god-awful lot.

THE SHINS:

Often hailed as the greatest thing to come out of Albuquerque, The Shins are an American indie rock staple. Their steady following grows every year as they have yet to put out a disappointing record, an almost unheard of feat not accomplished since, like, The Beach Boys. And they’re great live. So everybody wins.

They performed a tasteful selection from each record, from Chutes Too Narrow, to James Mercer’s collaboration with DJ Danger Mouse, Broken Bells. Their set also included a Pink Floyd cover, but did not include my favorite song. Why Weezer and The Shins decided to conspire against me like this, I don’t know but they’re breaking my me–as-a-15-year-old’s heart.

Mercer’s vocals are just as crisp and chilling live as you’d expect, with just as indiscernible lyrics. You’d have to have their albums in your headphones on repeat for years to be able to sing along. Fortunately, we have. And sing along we did.

THE SOUNDS:

Easily the hottest band alive today, The Sounds give a live show worth seeing. Suspending reality for a minute and pretending there’s anybody who doesn’t like their music, or that you’re deaf, they are still a prize to look at. Seriously, with a band that’s a promo shot for Ford Models, how good looking to you have to be to get backstage? They probably looked Beyonce up and down and were like, No your eyes are too close together, maybe next time. Tonight, we’ll just make out with each other.

Ok, I know I’m here for music reviews but Maja’s legs and the vast number of flawless bangs on stage are a big part of seeing The Sounds live. The other big part is how much fun they are! Felix’s power stance is unbeatable, and the way Maja struts around yelling pop punky things into the microphone riling up the crowd, has to be seen to be believed. If only to see how she does it in sky high stilettos.

I’m not sure if Sweden puts radioactive matter in their water or if these guys made a deal with the devil, but you shouldn’t be allowed to be this good looking, this cool, and this good at something all at the same time. But I’d pay to see it again.

DINOSAUR FEATHERS:

Dinosaur Feathers are a big surprise. As a dino-phile, I expect to certain things from fans, such as complete and accurate Jurassic Park references at their disposal, comparable tattoos, and a childlike reverence for the vast unknown. What I didn’t expect were heavy drums, screechy vocals, fabulous attitudes and insatiable energy. It may have been my first day, but Dinosaur Feathers could easily go home as my favorite festival stumble upon since Anathallo at Coachella 2008.

What is it about bands from Brooklyn that make everything about life bigger, noisier and more fun? I’d like to imagine Dinosaur Feathers, Matt & Kim, and Fang Island all hopping around a Wonka music factory, boinging off sheer walls of sound, giggling and crashing into one another on a glorious noise binge, on their quest to find the funnest job in the world. This secret music factory exists, I know it! Maybe in Greenpoint. It’s the only explanation for the un-ironic joy, unapologetic pop, and unparalleled energy that the Brooklyn scene in privy to these days. Let’s welcome Dinosaur Feathers with open arms OK? On the count of 3… 1! 2! 3! GO!

TROMBONE SHORTY:

Trombone Shorty was a band I’d been beholden to seeing by a close friend and New Orleans resident since I announced my covering of the festival. And that’s fine. I love me some brass, and trombone is my favorite – the cello of the horn section, I always say. Plus anyone who can make the oft-overlooked “brump” machine the centerpiece of his musical direction is worth a look-see.

Turns out, there are not enough good things to be said about these dudes. They are cool. The coolest cats, the heaviest cats, the dopest, gnarliest, wildest cats in the big bad jungle. The bari sax growled and shrieked, and the tenor tap danced on top. The drummer was indefatigable while the percussionist clearly had at least thirteen hands. The bass was loud and dirty, and the guitarist was almost too good. Like, one more note and he would have literally just been too good.

And Trombone Shorty himself is first of all, fine. So be prepared for that going in – this band is lead by a flawless looking man who’s good at everything and really seems to love music.

He can make a trombone dance (and this is a regular slide he’s working with, no tricky valves) and I mean get up on its feet, kick up its heels and cut a rug. That’s a delight for an instrument notoriously laborious to play. He lays the smackdown on the trumpet as well, holding notes for longer than I can hold my breath underwater, and he can sing. He’s a great singer too, but it pales next to his beefy command of the horns and his admirable band leadership skills. Become a fan now, and you will never stop dancing.

MATT AND KIM:

Matt & Kim make me sad. They’re so much fun that all I can think is, Why aren’t we friends yet? We would get along famously, the three of us, and I’m an excellent third wheel. I’m the perfect addition when you want me, and gone like a fox when you don’t. The thing is I am clearly not the only one who feels this way. Matt & Kim shows are crawling with their friends. It’s like this huge pool of BFF’s they’ve never met.

This is part of the accidental genius of Matt & Kim. I say accidental not to rob hem of any credit, but because their whole “thing,” their vibe, their special something seems too natural to be contrived. Could it be that everybody hearts them so much because they have the bloody courage to be themselves? Can they really achieve that without any sense of irony or after school special-ness?

Matt & Kim’s genuine enthusiasm is wildly infectious, so that any request from Kim (“Blow up these balloons with your mouths and throw them at each other!” “Lift me in the air so I can dance on your hands!” “Take off your shirts!”) was answered in seconds. Seconds. She could have said, “March into the Hilton and punch all the people wearing staff shirts in the face!” and her will be done.

But she would never say that because they haven’t a wicked bone in their collective bodies. And besides, we’re all friends here.

STARS:

Stars are solid. There’s not a lot of stage dressing time in festival land, as it’s kind of a mad rush to get lights and sound running smoothly in the fifteen minutes before you play. But these seasoned cuties go the extra mile and festoon amps, monitors and other available flat surfaces with dozens of roses that they intermittently toss to legions of fans.

That’s the kind of band Stars is: sweet, genuine, cheerfully flawed, like the handwritten thank you card of indie rock. Aside from the flowers, they gifted their audience with a never before heard song (presumably from an upcoming album – yeeee!) that featured Amy Millan’s vocal wail high above her normal Irish mother bedtime coo for which Stars is famous.

GIRL TALK:

If you ever attend a Girl Talk show where the fans aren’t dancing on the stage waving miscellaneous pieces of decoration or trash and giant inflatable props aren’t being tossed around in the pit and everyone isn’t dancing/jumping/freaking out then you’re not at a Girl Talk show.

What happens in their brains that shines the light on the notion that it would be a good idea to mash up Phoenix with Busta Rhymes? As far as I can tell that sort of insight can only come from long term usage of potent South American drugs or plain divine intuition. What makes it OK to have Luda’s “Get Low” morph into “Bohemian Rhapsody?”

Don’t know, don’t care, just gonna wave my toilet paper in the air.

LADYTRON:

Ladytron look really cool. They sound cool too, and their live performance was rather flawless, but their visual impact is striking. In this way, they’re more of a multi-media experience than a traditional band, as so many things are dependent on other elements. Helen Marnie’s status as frontwoman was maintained by her stark white silk bat sleeved blouse and overlarge headdress, and the spookiness of their sound enhanced by the laser show lighting design.

I can’t imagine them every performing when the sun is up, and I imagine they don’t even emerge until the threat of UV rays has long disappeared.

If you like the goth/synth/dance sound then you already love them, and if you don’t, go see them anyway. You still get a laser show with vampires in awesome clothes and by the time they come out at night, you’ll be so high it will all sound fabulous.

WEEZER:

Rivers Cuomo is so weird. And might I say, thank god. I haven’t seen Weezer live in a long time, so I don’t know when the transformation took place, if it was gradual or sudden, natural or designed, but he’s definitely morphed from a weird guy unsure of why you’re looking at him or where to put his hands into a weird guy unsure of why you’re looking at him or where to put his hands – and PROUD OF IT!

Rather than hide behind his guitar, mic, and sweater, he boldly climbed off the stage and into, around and through the crowd to sing “Troublemaker” from…somewhere. I lost him, but I’m sure he made some fans in the back’s day. He then proceeded to steal somebody’s gigantic straw hat, demand a band-aid from a roadie for “the tiny cut on my little pinky that’s bleeding,” and sit on the edge of the stage dangling his New Balances so they straddled the shoulders of a volunteer security guard.

In short, he is a delight.

And Weezer are just as awesome as ever, perhaps even more so. I remember being impressed with their ability to sound exactly like the recording, perfectly polished. Perhaps it was the beach party vibe, or maybe they’re all more comfortable with themselves, but this sounded like a real live show. Some grit, some distorted notes, some cracks, but all in the name of going for it. They even traded song singer duties and instruments, something only very talented friends can do.

Infuriatingly, the band did not play one riff off of Pinkerton. I thought their foray last year had lifted the curse, but I was wrong. However, their stirring renditions of Green Album hits “Island in the Sun” and “Hash Pipe” actually had eating my words. Those tunes are great! “Beverly Hills” still sucks, but these guys are rock heroes – not magicians.

I would also like to take this time to point out that Brian Bell is the most dapper man on the planet, and he can pull off a black watch plaid suit with a fat burgundy polka dot tie while wielding a silver guitar. All men should strive to look this killer. Except you, Rivers. We like you just the way you are, windbreaker and wallet chain and all – not that you’d give a flying fuck what we think anyway.

The festival is special for the local focus and the sense of community created when the event occurs and the audacity of how many venues are involved that open their doors to the intimate abyss at night. The new festival grounds, which create an alternate universe right there in the neighbourhood were the headliners, beer tents, cinema and art studios hang out. These are just a few examples of what makes this urban festival authentic.

There is no possible way to catch all of the acts at Rifflandia as after 8 five acts play in different venues simultaneously with an hour slot. That said, choosing the venue that best suits your desires is key, on Thursday night (due to the abundance of excitement) my lovely crew and I decided to stick to D.J’s purely and experience the ethereal sounds of the intoxicating Tokimonsta, who kicked things off nice and sexy. The Californian sultry DJ kept things easy yet vivacious through the work of her alarmingly electric presence. Up next was Eskmo who integrates all things appropriately strange into his electronic music. The two played for just an hour each but the experience seemed to take the audience to another world which we belonged to for the duration of the festival. That’s the thing about strong electronic music – contrary to popular belief, you don’t need drugs.

Day two highlights consisted of Broken Social Scene which was no surprise. I have been a B.S.S fan for several years with particular soft spots for “You Forgot it in People” and “Feel Good Lost”, luckily for me the concert consisted of this material almost entirely. Their sound is ethereal and uplifting with an astringent haunting quality. This makes them one of the strongest Canadian bands out there. They almost had to be kicked off the main stage in which they played for three hours. B.S.S. were proud, loud and consoling. A sobering experience as the sun went down and led me on a wonderful path to the rest of my night which consisted of the broken poet Sage Francis who was alarmingly honest and brave. The Smokey bar lit up his fierce eyes that shot out beams of reflection on mistakes and compassion towards a bright future with a sense of spine and individuality.

On day three I found myself jolting to the set of Funk Hunters with consuming excitement, they penetrated beams of funk into everyone’s body and sent us for a truly memorable dance party. The only communication among the audience was the flailing and petting of arms as words became instantaneously futile as everybody was experience a serious episode of ass shaking.

Up next were a highlighted highlight with the truly resonating Lance Herbstong. Founding members Kamai Soloman and Bill Sarver perfect the art of turntablism along with the ostensibly talented Peter Distefanso who were joined with the percussion ensemble of Thievery Cooperation. As good is this sounds, it sounded even better live as the true talent erupted onstage through the communication and sheer presence of each member. Founding member and former guitar player for Porno for Pyros, Distefano, wailed on his Les Paul seemlingly effortlessly in a way that is best absorbed live. I was lucky enough to have a face to face with Mr. DiStefano who shared buckets of honesty and modesty. This included his current abstemiousness after battling a heroin addiction and serious illness. Sobriety looks good on him as his eyes shine for miles and words reverberate profoundly.

Up next were the sludgy Suuns, fledging from Montreal. This was a sit on the floor experience to not miss a second of the four piece attack their instruments and create distortion beyond recognition. Followed by the never-disappointing Pack AD from just over the pond. The two gals are the embodiments of rock and roll. There new material is bluesier than the last and I definitely dig, they shook up the all ages venue inspiring everyone to get up off their seats and feel the vibrations in the floor.

The next day was a fantastic ode to Hip Hop with some of the pioneers: Blackalicious and De La motherfucking Soul. Blackalicious was an airless and lithe experience contributing to one of the best dance parties ever. Mastering the art of M.C ing (I counted the words “What up Victoria” beyond two hands), strong rapping and dance inspiring beats.

De La have not lost a single spark of playing at some point within four decades. They are the real deal always have been. From sampling, styling and free styling De La Soul not only make great albums they present fantastic shows.

By the end of the weekend I had a dozen new bruises from banging up against the stage, a dozen new friends and a dozen new memories that are at the top of my musical spank bank.

Dave Mathews Band have been playing at the Gorge, one of the most beautiful places on each for over a decade and play three nights in a row for over three hours. This year they decided to invite plenty of their friends to make it the first ever Caravan which toured throughout the states, reserved for particularly spectacular venues.

I was a virgin to the Gorge and thought this would be a good time to trade in my card for a chance to see DMB along with Golgol Bordello, The Roots, Edward Sharpe and Magnetic Zero’s, The low Anthem, Dispatch and many more positive, life is beautiful and a hell of a good time kind of bands.
DMB remain one of the most interesting bands to me to this day. Made up of some of the best musicians on the planet, they’re granted at times hindered but the way they decide to expose that to the world is phenomenal.

Due to their peculiar talent mash up, they have a great diversity of fans mostly made of (to be completely judgy) Hippies, business men and frat boys. This made for a divine group to party with for three days to their authenticity for activities which varied from Tippy Cup to Sun salutations. Dave and the crew put on four sensational shows, three with the band and one with just the man himself partnered with Tim Reynolds (a personal fav). Each song became it’s own entity, a whole universe touching each audience member in a different way. They also invited many talented folks onstage including Warren Haynes who contributed to an epic (in every sense of that word) version of Neil Young’s Cortez the Killer. Although some moments were slightly irritating I knew that was just the music snob in me that I am attempting to beat down without becoming spineless.

As for the rest of the performers I was heavily impressed. While my counterpart and I ran down the amphitheatre with reckless abandon to hear Golgol Bordello, who were buried in a sea of flailing arms, we knew right then it was going to be a great weekend. They emanated the energy of Gypsy punk paradise while remaining poised and poetic.

Edward Sharpe and the Magnetic Zero’s stood out. Touring for two and a half years with more or less one album must have it’s moments of blandness for any other band, but not these folks. Every second was filled with authenticity without any drop of pretentiousness. It was romantic, electric and lithe. The entire crowd were jaw-dropped impressed and elevated to a land of inspiration and sweetness.

We very happily accidently stumbled upon the Rhode Island based Low Anthem. Truly an exquisite experience; sitting on the grass with the other thirty people who happen to be so lucky so grace upon the festival’s smallest stage. The beautifully talented, diverse and original band played a generous set filled with cut-throat emotion and brilliance. Everybody in the four piece band played everything including the saw and the banjo with a bow. The energetic resonation from a band is crucial at a music festival as it can inspire you to take psychedelics, nap, write a song yourself or maybe tell that person how much you truly love them. Whatever it is, it will contribute to your experience which you will likely remember for the rest of your life. The Low Anthem inspired me to make my own music which ended up being one of the most successful sessions I have ever experienced. Do yourself a favor and check them out; you’ll cry stars.

Other knockouts were the Cave Singers who actually practice in Caves (great acoustics I imagine), the smooth and sultry Roots who perform with sincerity and boldness and the lovely John Butler Trio.

The setting could not go better with the band experience; The Gorge is truly an unbelievable setting. So DMB sharing it with the lovely others was a great call and besides all the bureaucracy that comes with most festivals I am entirely grateful to have been a member of the official first Caravan tour ever.

In addition to a great line up of acts, Live at Squamish included a Silent Disco, which many hadn’t experienced beforehand. What’s a silent disco you ask? Simple; you listen to what the DJ’s spinning through wireless headphones. You can adjust the sound to your own comfort and go from there. Though fairly empty throughout the day, when night fell, the disco got packed. Complete with glow sticks and glow stick jewelry (glow stick bands that you could wrap around your limbs or make circled chains out of), the Silent Disco was a great break from the festival’s normal vibe.

As with the Saturday, picnic crowds sat on their blankets, gazing at the Stawamus stage as if they were watching theatre. Avoiding standing on fingers was a necessity as well as a temptation to get people on their feet.

Brasstronaut kicked off the Stawamus stage, and METRO Presents winners The Belle Game started the day at the Garibaldi stage. Both groups introduced the day properly, but it was surprising that as The Belle Game’s set came towards a close that the group announced they have but one more song left, before being informed they didn’t. When they informed the small (but engrossed) crowd, the audience responded with boo’s.

Shane Kozycan put on four shows during the two day festival and if you missed all of his performances, you truly lost out. The spoken word artist recited several different pieces, each different with each set. His words were heartfelt, entertaining and poignant. I was also intrigued by Panda Watch who came on stage afterwards. The group set up wearing Panda Masks, and it turned out that when they kicked off their set, they weren’t Panda Watch, but in fact Vancouver’s Said The Whale, disguised and apparently that way so that they could experiment with some new material…

Luciterra were wowed fans despite a relatively small audience (Stawamus usually dominated). However despite the smaller audience, the fusion belly dancers and Chris Murdoch (the group’s smooth magic ball artiste) kept the crowd mesmerized. So much so that the audience managed to obtain an encore. An encore at a festival for a dance troupe? That’s unheard of, but that’s what they managed – which sent ripples throughout the rest of the day’s schedule, Murdoch referred to it as their, “First encore ever.”

House DJ Luke Mckeean took the stage a little while after. Starting considerably later than expected, he had to compete with Black Mountain on the other stage and was losing in audience size. Although he had a smooth and cool set (complete with dancers on stilts and girls with hula hoops) it wasn’t until people started wandering away from The Dudes‘ set that his audience grew. At one point Mckeenan took the mic, annoyed, and stated, “It seems DJ’s are the only ones that don’t get introduced here. What’s up Squamish, or should I say what’s up Vancouver? I’m Luke Mckeenan…” It felt a little petit for him as the LCD screen in front of him kept stating “Luke Mckeenan.”

Mckeenan’s set continued on to Dubtribe Soundsystem who also started a little later, but seamlessly as Mckeenan’s music transitioned into theirs. Kneeling above an MPC and their MacBook Pro, the duo sang their material from a knelt position. Odd, but it sounded great.

Surprisingly a few Stawamus artists performed their sets 10-15 minutes early, like The Zolas and Black Mountain. My assumption is that was to ensure everything following could be on time. But when artists start early at a festival, it knocks everything else out of whack. Both sets were strong, but you could see Amber Webber was initially a little bit phased when a topless woman sat dancing on a man’s shoulders, pierced nipples and either drawings or tattoo’s outlining her chest. Isn’t that typically reserved for male singers? Not that I minded.

The night’s headliners blew the audience away. Metric came out strongly, utilizing the energy of “Black Sheep” early on in their set. They replayed (but with the entire band) a good portion of Saturday’s acoustic set and also churned out an enthralling version of “Dead Disco.” As part of Metric, Haines is extremely animated on stage. Very energetic and extremely vocally consistent.

Initially she had little interaction/banter with her audience until about midway through where she utilized her microhphone’s opportunity to utter a mushy little speech about how we’re all “listeners” and not “fans,” and how she just loves music. During the speech, you could see eye rolls and such but seconds later listening to them continue their material, you realized how factual what she’d said was. Extremely solid set. From Metric onwards, the grounds were very easy to navigate as nobody was lurking, they were listening.

Weezer were of course one of the night’s highlights, and more than that, they were the mainstage headliner. Despite their 15 minute late start, Rivers Cuomo et al came out strong, running through their nearly twenty year discography of hits.

There was their now typical Weezer early set cover song, which during Sunday’s set was Foster The People’s “Pumped Up Kicks,” pulled off extremely well, and their almost perfect Radiohead cover later on of “Paranoid Android” which didn’t work due to Cuomo’s singing. Thom Yorke is nearly impossible to cover properly, and doing a mesh of Cuomo’s singing and a loose attempt to slightly resemble Mr. Yorke didn’t work. Musically Weezer nailed the cover, but not the singing.

From “Say It Ain’t So,” “Hash Pipe” and “Beverly Hills” through “Troublemaker” and “My Name Is Jonas,” the entire band achieved the goal of a live show; presenting their material as better than on their recordings.

The one and only Major Lazer took the Garibaldi stage on time (to many people’s surprise due to the delays earlier in the day). If you’d stayed to enjoy Weezer’s set in full, you would have missed a good chunk of Diplo and Switch’s monster, the bass of which could be heard towards the back of the Weezer crowd.

Loud and clear sound (including the bass), great mixing and tons of “Major Laz-er” samplers made for a fantastic and entertaining set. Plus the “man himself” serving as the hype man, and a sexy dancer doing everything from simple dances to hand stand leg flails to the beat (in heels). Superb.

In all seriousness, despite it’s price-tag, Live At Squamish was great event and should be supported to help it grow and remain a staple of the music scene in BC. The fact that the openers of the Garibaldi stage on both days were local contest winners was fantastic, because they were deserving of more exposure. I however would have some up and coming DJ’s begin the festival and slot them later on to really get people aware.

Live At Squamish apparently earned nearly $1,000,000 in revenue for Squamish over the weekend, with the attendance up a good percentage from last year. The organizers have announced next year will be happening, and the festival is expected to continue to 2016 at the least.

2008′s Pemberton Festival set the tone for BC festivals. Although many smaller fests have happened over the years (the Virgin Music festival made an impact but seemingly ended here in 2009, the occasional UBC Thunderbird Stadium event) there is nothing like what the rest of the world, and the rest of Canada is used to.

Last year’s Live At Squamish was it’s premiere, and so with the relatively young event in it’s second year, MVRemix had to see how the experience fared.

With the first year having Dirty Vegas, Z Trip, The Decemberists and Devo on the bill, the second year boasted some comparatively bigger names and also a heftier ticket prices. While the two-day passes in 2010 went for $145.50 as the date got closer, this year it was bumped up to $190 if you waited until the last minute to grab yours. Day passes were also $10 more and even more expensive if you waited to grab tickets at the door.

One of the festival’s smartest moves this year was bringing the dates forward so as not to compete with Bumbershoot in Seattle (which they went head to head with in 2010). Bumbershoot charges considerably less for arguably bigger names (this year will cost $90 for three day tickets).

As we approached the festival grounds (after mistakenly thinking that staying in Whistler would be a shorter trek than staying in Vancouver) my sunscreen had worn off completely and the day’s burn would be setting in soon. Of course once you reach a festival, re-applying sunscreen ends up being futile as bands are constantly performing at one end of the field or another, so you can only apply the cream in the sun (which is not quite as effective as letting it soak in beforehand). For a moment I found the maps confusing but I figured that was more me and the heat, but within a few minutes the festival ground’s layout became extremely familiar.

The smaller of the two stages (another difference from 2010, they removed a stage) was at the one end and the larger (Stawamus) at the other. Food vendors in between and a row of portable toilets, plus small entertainment/activities surrounding the mainstage.

The Proper Villains kicked off the Garibaldi stage. Rapper XO the Show began by staring at the crowd, and slamming his arms in the air to start the band’s music before jumping back and slipping. Now as these guys were the festival’s first performers, and winners of the METRO Presents competition, I’m guessing the slip was accidental. Regardless, XO continued on without paying any attention to his fall and got right into their set. As a group, The Proper Villains weren’t the typical sound I’m used to enjoying, but live their set was strong, energetic, smiling and definitely entertaining. So much so that you didn’t have to love the lyrics to enjoy what you were seeing.

The Proper Villains

It seemed as if the Stawamus stage (which has Squamish’s Stawamus Chief provincial park behind it) was the setting for the weekend’s picnic audience. Many hundreds came to the festival equipped with blankets and a passionate desire to sit and watch the stage as opposed to stand, dance, and really get into the sets. 25 year old band She Stole My Beer bore the brunt of this as the day began because their catalogue to a good number of the younger crowd wasn’t familiar and thus most just sat, listened and stared.

Kim Churchill, soundcheck

The Garibaldi stage was delayed an average of 20 minutes in it’s sets following Kim Churchill. The Australian one man band stood checking his sound for 15-20, ensuring that when he did begin, his material would come off as true to his intentions as possible. Though we all felt frustrated watching his tuning, it proved worth it. After a while, Kim simply swapped guitars and despite the delays he started well, captivating the audience, greeted by a passionate roar after their wait. Minutes in the beach balls began flying, as did the audience’s unison clapping sessions. The festival had properly begun.

As with several other festivals, aside from the main acts, smaller groups seem forced to perform their own soundchecks just prior to coming on stage themselves (without their roadies measuring sound on the monitors). This was the case here with Sweet Thing, with the audience feeling awkward watching their artist check their sound, then leave momentarily, only to be introduced and return to the stage 45 seconds later. When their set started a fraction the crowd gave a huge reception, running to the stage and jumping. It was a pity that more didn’t join until later in the evening. The group kicked off with “Over Me” and despite great performance, and the occasional lone dancer amidst the picnic crowd, most remained planted on blankets. Sweet Thing did a great job, it’s sad the audience didn’t validate that.

Though many quipped about the PS3 kiosk a distance from the Stawamus stage being ridiculous, I would have to disagree. I too thought the same thing, until I indulged and had the experience of playing on a PS3 outdoors with live music playing to the side of me. What struck me as ridiculous were the $50 hoodies and overpriced festival clothing. I would advise that Canadian festivals take a leaf out of the US’ festival pricing, but then I thought about our two economies.

Predictably Garibaldi’s stage was busiest during Emily Haines & James Shaw‘s acoustic set. The two Metric artists have been recording for a while and not performing, so Live at Squamish having two very different performances was a treat for the group’s fans. Performing hits like “Combat Baby” and “Help, I’m Alive” won over the masses in seconds. Haines’ voice live is just as lovely as on their recordings.

Clearly more of a Rock than Rap festival, Kyprios and Shad‘s sets were based on the smaller stage and didn’t have the audience they deserved. Live rap has changed quite a bit over the past five years, with many artists favouring more of a Roots type of performance including a full band behind them. This was true with both Kyprios and Shad. After Emily Haines and James Shaw’s acoustic set, the Garibaldi stage shrank. It had nothing to do with Kyprios, or later on Shad, but the rock audience were off to Stawamus to take in Hey Ocean and Stars.

With an avantgarde look which included shorts, a short sleeved t-shirt, tie, smart Kangol style hat and backpack, the North Vancouver MC leapt around the stage performing in front of his full band which included a sax player, and trumpet player amongst other instruments. With the signature Hip Hop call and response performance, Kyprios kept his ever growing audience entertained. He ended his set with “This Is My Hit.”

As Canada’s next big rapper, the Juno award winning Shad also took the Garibaldi stage backed up by a live band. His stellar performance and renditions of TSOL songs were met warmly, and the fact that he was able to perform with the initial mic feedback was a testament to his desire not to simply fixate on minor technical issues. His set was fun, the DJ shining as well and as the cliche goes, there was a certain aroma in the crowd…

Stars served as one of the evening’s highlights. With strong live versions of their songs, roses being thrown into the crowd and the start of people crowding the stage, the group engaged in bold and witty quips as well as MPC dabbling and powerful basslines. Torquil Campbell has an amazing stage presence, forehead and neck veins proving his desire to sound a specific way.

The Stawamus stage reached a fever pitch as the John Butler Trio took their position as one of the final acts of the night. With such a sizable audience for the trio, the burlesque set put on by Sweet Soul Burlesque and the subsequent set by Andy Clockwork had extremely insignificant numbers watching, which was a pity. Especially considering Clockwork’s talented dancers, complete with their hula hoops.

The trio’s massive audience (a lot of which that were now on their feet) managed to soak in Butler’s instrumental pieces, drum offs and hits like “Used To Get High,” “Better Than,” “Caroline,” “I’d Do Anything” and “Treat Yo Mama.” Thankfully, from JBT onwards, picnic festival goers became outnumbered tenfold.

John Butler Trio’s vibe provided a great feeling to all those in attendance. Clapping, interacting with the crowd, encouraging the crowd to turn away from the stage and on a count of 4, face the stage and dance crazily. People remained in awe with John Butler in control. The set ended on huge high note, Butler quipping about Jazz flutes and such. Surreal and worth the more expensive ticket price.

Girl Talk addressing his crowd.

As the John Butler Trio set ended, a guy began handing out UNO cards to members of the audience in the front row. These UNO cards would enable the audience members to head backstage and at the right point, a few minutes into Girl Talk‘s set, the UNO card holding audience were encouraged on stage to dance to the set.

Girl Talk soon emerged from the darkness to a Black Sabbath/Ludacris mash up, and within seconds the sea of standing crowd members were flailing their limbs, having the time of their lives. One of Girl Talk’s entourage came out equipped with a gun like machine to shoot toilet paper around, one even being caught on the crane used to film the event for the large projection screens.

The Girl Talk set was a great way to wrap up the day. Mixing all genres of music in his signature mash up style was definitely the right choice. Plus those who were ready for more got to head over to the other stage for a cool set by Donald Glaude.

The pressure is always on the first performers on the second day for two reasons; one, most people don’t arrive early on day two (unless the artist is extremely recognizable and consistently draws huge crowds), and two, if they do have an audience, the audience is expecting something exceptional as they’re a smaller, “more eager” group. Henry Mah (Stawamus Stage @ 1:00PM) and George Osei (Garibaldi Stage @ 1:00PM) have this challenge to face as Sunday begins.

Brasstronaut – Stawamus Stage @ 3:05PM
Vancouver’s Brasstronaut are defined as a mixture of indie rock and jazz. The six members, all possessing a great amount of talent with their particular instrument will be playing material from 2007′s Mt. Chimaera amongst other songs. The set is bound to stand out due to their unique vibe.

The Belle Game – Garibaldi Stage @ 3:20PM
Vancouver’s The Belle Game are Sunday’s METRO presents winners, gaining the opportunity to perform their material to a captivate crowd. This will be The Belle Game’s opportunity to gain a significant following, so the pressure’s on. We’ll definitely be in the crowd looking to hear how they sound. Expect to hear “Tiny Fires” and “Shoulders & Turns” during their set.

Bend Sinister – Stawamus Stage @ 4:00PM
10 years deep, the Vancouver progressive-indie band Bend Sinister will be taking the Stawamus stage in the afternoon. The band takes it’s name from a novel by Vladimir Nabokov, and because their website was down for a few days, that’s all the bio info. I could find. Their music sounds great though.

Shane Koyczan – Garibaldi Stage @ 4:00PM / Stawamus Stage 5:50PM
The spoken word artist and author Shane Koyczan will be performing the most amount of times during Live At Squamish, and so there’s absolutely no excuse if you miss him. If that’s the case, it’s because you were deliberately avoiding. Take in one of his sets today, they’re short and expected to astound.

Panda Watch – Garibaldi Stage @ 4:20PM

The Zolas – Stawamus Stage @ 5:00PM
Sunday’s definitely Vancouver’s day, proof comes with yet another Vancouver band, The Zolas stunning from the Stawamus stage.

Guilty About Girls – Garibaldi Stage @ 5:15PM
For those that don’t know, Mark Henning and Jordy Birch make up Guilty About Girls, a group whose sound comes across as a new wave/electronica mesh. Their buzz has been growing a lot recently, expect them to perform the hit ‘Candy Candy’ amongst others.

The Dudes – Stawamus Stage @ 6:10PM
Nearly 15 years deep, the Calgary, Alberta group The Dudes (yes, Sunday features more than just Vancouver artists) will be holding your attention. Be sure to take in a song or more…

Luciterra – Garibaldi Stage @ 6:05PM
Who doesn’t enjoy beautiful girls involved in fusion belly dancing? If you don’t, then avoid Luciterra, but for the rest of us, be sure to check out their piece before Luke McKeehan.

Luke McKeehan – Garibaldi Stage @ 6:25PM
For those unfamiliar, Luke McKeehan is a fantastic House DJ that established himself into Toronto’s warehouse scene in the 80′s. Whether House is your genre or not, his Squamish set has been whispered about being worth waiting for.

Black Mountain – Stawamus Stage @ 7:10PM
Though three albums deep, the Black Mountain buzz really increased after the release of Wilderness Heart. This Vancouver band composed of Stephen McBean, Amber Webber, Matt Camirand, Jeremy Schmidt and Joshua Wells have been taking over festival stages throughout North America and served as one of my highlights at Sasquatch.

Dubtribe Sound System – Garibaldi Stage @ 7:35PM
The San Francisco based Dubtribe Sound System have been going for nearly two decades. Consisting of Sunshine Jones and Moonbeam Jones predominantly, they’ve also featured guest singers and musicians over the years. You don’t manage to make a living off of music without some talent for twenty years, take heed and check out their set.

Metric – Stawamus Stage @ 8:20PM
Fresh from yesterday’s acoustic set, Emily Haines, James Shaw and the rest of Metric are certain to captivate audiences this evening. If you haven’t already done so, check out our old Emily Haines Interview & James Shaw Interview

Doc Martin – Garibaldi Stage @ 9:10PM
Doc Martin –EDIT– The variation in his style of music is endless. What makes him so different from the rest? A unique ability to spin everything from deep house vocals that have much depth and meaning to us all in some way, to his funky tribal Bass lines mixed with threads of acid, his passive collection of classics rare records that are only to be heard at his gigs. Doc Martin has developed the respect as a house DJ that so many of us admire. It is this respect that keeps him constantly touring; from New York to London, Japan, and everywhere in between.

Weezer – Stawamus Stage @ 9:40PM
I was never a Weezer fan. Like many there was the occasional hit which I gravitated towards, but by and large they didn’t do anything for me. That was until Bumbershoot 2010, at which time Rivers Cuomo et al blew me away. Their set was passionate, energetic and fun, thus forcing me to be waiting front and center for their headlining Live at Squamish set. Be there.

Major Lazer – Garibaldi Stage @ 10:45PM
It’s great to experience artists at other venues/festivals because you can talk with greater insight as to how their performance is likely to be, based on the past. Major Lazer are a dance music anomaly for me, in their short life as “Major Lazer,” the Diplo & Switch project has consistently blown away audiences. If Sasquatch earlier in the year was any indication of their Squamish live set, you’re in for an exhausted Monday morning.

Don’t miss The Zolas, Black Mountain, Weezer and Major Lazer

With gates opening at 2PM, you should be aware of what’s going on and when, so that you can plan out what not to miss. As with any music festival, you may have to cut some sets short or miss some in order to experience your chosen performer’s live show in full.

Below is the breakdown of who’s performing and when.

The Proper Villains – Garibaldi Stage @ 3:30PM
Vancouver’s The Proper Villains are an alternative Hip Hop group that are currently wrapping up their 10 song debut album. The group won METRO daily paper’s competition and thus will have something to prove as they kick off the festival.

She Stole My Beer – Stawamus Stage @ 3:55PM
She Stole My Beer are a well known band that have been performing in the Vancouver area for a while now, although it has been some time since most have seen them. It’s a testament to the festival organizers for having them in the line up, the nostalgia tip alone will work wonders for the slightly older attendees.

Kim Churchill – Garibaldi Stage @ 4:15PM
Having graced some of Australia’s biggest festival’s stages, Kim Churchill. His guitar skills are marveled at and as a busker, Kim made a name for himself. Go check out what the fuss is all about.

Sweet Thing – Stawamus Stage @ 4:50PM
With a sound consistently compared to Fleetwood Mac, the Toronto bred group Sweet Thing thus far have had their music most recognizable from the movie “Easy A” with the song “Change of Seasons,” you’ll probably also recognize “Dance Mother.”

Emily Haines & James Shaw – Garibaldi Stage @ 5:15PM
Emily Haines & James Shaw will be performing a live acoustic set in advance of their traditional set as Metric being performed on the Sunday (21st). Any fan of Emily Haines or James Shaw (well, Metric) should inscribe this set in stone to ensure they don’t miss out on a spectacular performance. While you’re at it don’t forget to check out our quick interviews with both artists from back in ’05 (Emily Haines Interview & James Shaw Interview)

Shane Koyczan – Stawamus Stage @ 5:40PM / 8:00PM
The spoken word artist and author Shane Koyczan will be performing the most amount of times during Live At Squamish, and so there’s absolutely no excuse if you miss him. If that’s the case, it’s because you were deliberately avoiding. He has two sets on the first day and two on the second. Take in one of his sets, they’re short and expected to astound.

Hey Ocean! – Stawamus Stage @ 6:00PM
Hey Ocean! are one of Vancouver’s next big bands. They’ve been together a few years now and have been continually gaining steam, if you’re prefer rock to rap, they’ll be head to head with Kyprios on the Garibaldi stage. The choice is yours.

Kyprios – Garibaldi Stage @ 6:20PM
Lots has changed over the years for North Vancouver’s Kyprios over the years. Having performed at New York’s renowned Nuyorican Poetry Cafe and signing with Sony, Kyprios was heralded as Canada’s Eminem in terms of potential status. Sadly that path didn’t pan out, but regardless Kyprios continues to leave audiences in awe after his stunning sets. Check out our Kyprios Interview from 2004.

Shad – Garibaldi Stage @ 7:10PM
Having beaten out arguably last year’s biggest Canadian artist (Drake) to win a Juno award, Shad‘s level of exposure went through the roof. The Vancouver MC embarked upon a US tour and has been engaging audiences around North America. Being so close to Squamish, it’s only befitting that Shad take the stage in his first performance at the festival. Not to be missed.

Stars – Stawamus Stage @ 7:00PM
As you can see shown in the video MVRemix shot of Stars‘ live performance during the music festivities at the 2010 Vancouver Olympics, the indie pop group are best heard live. The group’s members also help comprise Broken Social Scene and though originally from Toronto, they’re now situated in Montreal.

John Butler Trio – Stawamus Stage @ 8:20PM
Having been making music for over a decade, and hailing from Australia, the John Butler Trio, an ever changing band comprising of John Butler and two other people are inevitably going to be putting on one hell of a show. Having seen stages worldwide, Butler has learned a thing or two about how to impress the festival circuit. Squamish awaits!

Girl Talk – Stawamus Stage @ 9:40PM
When MVRemix first caught up with Girl Talk, he was only just starting to gain attention. Several years later and he’s selling out huge venues and hypnotizing massive audiences. In the prime-time evening festival slot, be sure to take in his set. Before you do so though, take a minute or two to read over our ol’ Girl Talk Interview

My!Gay!Husband – Garibaldi Stage
Though we’re not sure of the exact set time, East Van’s My!Gay!Husband will be performing his brand of club/indie pop mixes. We expect he’ll be on later in the evening, and as per usual, be prepared for ravers to soak up the set.

Sweet Soul Burlesque – Garibaldi Stage @ 8:10PM
Although many women say they’re interested in burlesque dance, any man that read’s that word thinks potentially different thoughts and of course will be immediately intrigued. Sweet Soul Burlesque are Western Canada’s longest running professional neo-burlesque troupe. Founded in 2003 the troupe perform to a variety of different music, from Hip Hop to Punk.

Andy Clockwork – Garibaldi Stage @ 8:20PM
Since 1996 Mr. Andy Clockwork has been DJ’ing funk based sets, regularly mixing several genres of electronic music. The Vancouver based DJ will kick the dance vibe up a notch outside the Garibaldi stage as the tempo increases for Live at Squamish’s Saturday night.

Tommie Sunshine – Garibaldi Stage @ 9:20PM
Originally from Chicago, now residing in Brooklyn, Tommie Sunshine is a seasoned veteran in the electronic rock remix scene. The DJ/Producer/songwriter has been putting in the rounds for a while now and has close ties to the hugely successful Ultra records. Not to mention he also was involved in the music production for a little known game called Dance Dance Revolution.

Donald Glaude – Garibaldi Stage @ 10:30PM
Consistently ranked as one of the world’s top House DJ’s, Donald Glaude will be closing the first night of the festival. Traditionally dance DJ’s/acts finish off festival nights, I’m guessing it’s not because their audience stereotypically dabbles in certain substances… Regardless, Glaude appears certain to keep crowds engaged late into the night. Hopefully not too late though, they’ve got to be back at 1:00PM on Sunday for Henry Mah or George Osei.

Don’t miss Emily Haines & James Shaw’s acoustic set, Kyprios, Shad, Stars and Girl Talk

It’s 5:50 PM, and I’m wondering why the hell no one at this music festival has mushrooms. Phish are scheduled to go on in 40 minutes, and I’m sober as a rock because beers cost $9 a pop and my buddies with all the weed stayed to the back of the Polo Fields (the main stage area of Outside Lands) in order to get to the Shins on time after Phish’s first set. So all I’ve got is the company of my good friend, Samantha, and a spot about fifty feet from the stage, and though that would normally more than suffice for a Friday afternoon, right now all I can think about is how hard I want to trip balls.

This is the reason I consider Mike With the Orange Backpack a godsend. Sitting to my right, he has the prime features of a dealer: high, alone, and wearing a backpack. Unless you’re a journalist, photographer, or an excavator who thought it’d be nice to see a band play a 20-minute version of “You Enjoy Myself,” going to a Phish concert by yourself is typically a sign that you’re selling drugs, and the backpack further insinuates that. But that’s when Mike throws me for a loop. His backpack is actually a Camelbak that he ends up filling with three Aquafina bottles, which instantly destroys my hope of being clinically insane for four hours. Not only is this guy high and alone at a Phish concert, but he’s rigid enough to stay hydrated. If Mike With the Orange Backpack ends up having psychedelic drugs on him, he’ll be the Walter White of hippies.

It turns out that Mike With the Orange Backpack is indeed the Walter White of hippies. Within ten minutes, I look over at him as he pulls a Rice Crispies treat out of his shorts pocket, and my heart salivates. (Yup, that’s right.) In a last attempt, I ask him if he knows of anyone selling shrooms.

“Yeah, that’s what this is,” he answers, gesturing to the green treat in his hand. My eyes light up.

“That? That’s not weed?”

“No, I bake the mushrooms into the batter,” he explains. “This is my last one actually. My buddy and I pushed 450 of these already on this west coast tour, so I was gonna have this one all to myself. But here, try some.”

After I stare up at the sky and wonder if a higher deity is looking over me, I offer him twenty bucks.

“Nah, man. That’s not necessary,” he says, and hands me a corner for Sam and I to share, and I realize for certain that a higher deity must be looking over me.

This was the epitome of my Outside Lands experience: excitement and disappointment, spontaneity and shock. Since Phish were the only reason I spent $175 to drive the six-hour trek from Los Angeles, I didn’t really anticipate much from any other act at the place. (Due to being stranded on the West Coast, I never get to see my hippie pals anymore, though ironically they ended up playing the Hollywood Bowl five days before it. Another example of a higher deity’s existence?) As long as I saw Trey Anastasio wail for minutes on end, the rest of the weekend was just icing on the cake.

Not that I didn’t schedule any bands (I added Phantogram, !!!, and Tune-Yards to my must-see list), but I was fine with just catching a bit of everything and exploring as many acts as possible. Yet I learned there’s one good aspect to this procedure at a festival, and one really, really shitty one. The good one is that you get to see said bands and have a valid opinion on their live shows, but the really, really shitty one is that you only end up seeing three songs of a band before you walk fifteen minutes to another stage, then see three songs there, then walk another fifteen minutes to another stage, then see three songs…you get the point. With this procedure, you end up a lot of the time skipping terrific sets for shitty ones (Strfkr for the Arctic Monkeys, for one), as well as becoming increasingly exhausted. Never mind that most rock shows also aren’t built to be exciting during the day, which I discovered MGMT are the perfect example of. Listening to MGMT in broad daylight was akin to watching this video. People blame MGMT for sucking live, but I don’t know if this is the case. Without a badass light show, any song off Oracular Spectacular is going to sound exactly like the studio while listening to it under the hot sun, so hearing “Electric Feel” without trippy lights was the same as listening to it during set break music. For now, I’m giving MGMT another chance in a dark setting.

Of course, then there’s a band like Muse. That British trio may have a light show to their advantage, but I’m gonna bet that their energy would be just as kickass without the aid of any visual technology. They were hands-down the best act of the entire weekend. (And remember, that’s coming from a guy who spent $175 plus tax to see Phish and Phish alone.) For the past couple of years, I’ve bashed Muse for packaging the worst garbage they’ve ever produced. The Twilight saga both shattered their image and rebuilt it even larger than it’s ever been, putting them at the top of the charts and force-feeding us “Neutron Star Collision” for months on end and making me want to punch Matt Bellamy in the throat. But when those three guys stepped out on stage on Saturday, they blew my Goddamn mind. Their light show is without a doubt the greatest I’ve ever seen, and Bellamy proved to me that he’s not just a great riff writer, but that he can fucking rock. “Citizen Erased” was close to ten minutes long as he shred for the latter half, and “Undisclosed Desires” was given an extra spice of eeriness as lasers shot out above the crowd, like aliens calling home.

I’m making this very clear to all of you who haven’t seen Muse: spend lots of money on them. They are worth every cent.

As for other bands that got my attention, San Francisco’s own Stone Foxes are like the little brothers of the Black Keys. Although there are five of them, it makes their sound all the more intense because they’ve got four times the firepower of Dan Auerbach. Blasting ’70s-style blues rock, watch out for these guys to rise up the ranks with Atlantic Records’ new protege, the Sheepdogs. Saratoga Springs duo Phantogram put on a great show despite an early 2:30 set on the first day, which only makes me more excited to see them play a small venue to a bunch of loving fans, and Tune-Yards was one of the most original acts of the fest, as Merrill Garbus looped vocal tracks and funky drum beats while accompanied by saxophone and bass. And can you really ever go wrong with classic acts such as the Roots or the Meters? Funk ain’t ever boring, bitch.

If you read this to find out what I thought of the Arcade Fire’s set, I apologize for wasting your time. Due to a hectic work schedule within the TV industry, I had to book it home early on Sunday night for a 6am call on Monday. (If you’re pondering working in television, remember what I just wrote.) But that couldn’t put a damper on one hell of a weekend. Despite the back-and-forth of my rookie experience at a major fest, the majority of bands put on great shows. But hey, this whole weekend was about Phish anyway. The weekend could have ended on Friday, and I’d have gone home with a smile on my face.