FESTIVALS

Newport Folk Festival 2017 Recap

1 month ago by Nicole Rodriguez

Every year, folk-lovers from all over the country gather in the beautiful Newport, RI to celebrate the great practitioners of this timeless genre. This year’s lineup included some classics, some newcomers and some newcomers singing the classics, all coming together to make for a weekend that was truly unforgettable. We were there in the thick of it to share our thoughts and capture photos using our Lomography camera. Click here to learn more about Lomography and their line of incredible cameras.

We started off our Newport weekend with one of our favorite bands, Big Thief. The highlight of their set had to be the extended rendition of their song “Mary.” Halfway through the song, lead singer Adrienne Lenker put down her guitar and asked to restart, this time becoming completely consumed by the song with every ounce of her being, and pulling us all into her lyrical kaleidoscope. The song ended with tears and a standing ovation. If you came to Newport not knowing Big Thief, chances are you left with a new obsession. The next act we caught was Ben Gibbard of Death Cab for Cutie playing a strikingly honest acoustic set of songs old and new, from various projects. Aside from the fact that he soundtracked some of the darkest and most important moments of our teenage years, his songwriting rings with a consistent relatability that could get us at any age. Needless to say, Gibbard’s performance of “What Sarah Said” delivered chills through the crowd and was a moment we are still reeling over.

We caught the beginning of Regina Spektor’s set before heading to Fleet Foxes and we wish we could have cloned ourselves to experience both of these simultaneously. Regina’s voice is like butter, and her skill and musicianship shine through in every song. She began her set a bit late, having just run off of the bus and straight onto the stage, yet still delivered flawlessly. We ran over to the Fort Stage after about three songs from Regina to catch Fleet Foxes. The band’s perfect harmonies echoed across the field and reverberated off the waves of the ocean. They played favorites from their self-titled album, Helplessness Blues and new album, Crack-Up. My favorite moment had to be the thousands of voices singing “White Winter Hymnal” as the sun set over the sailboats behind us, ending a perfect first day of the festival.

Our Saturday began with another favorite folk newcomer Julia Jacklin. And even at 11 am, on a cold and rainy morning, the Quad Stage was filled with people eager to hear this new voice. Julia performed so effortlessly, sending her voice to flutter through the air and wrap around us all in what felt like a calming hug from a good friend. She played with a live band and some beautifully blended backup vocals. However, my favorite moment of this performance was her last song “Don’t Let The Kids Win,” which Julia played stripped down by herself with her electric guitar. During this song, you could hear a pin drop, and it was not only because of the beauty of her voice. This song teaches countless lessons about love and life that could allow us all to be better people and to treat the ones we love better. During this song, it felt like Julia was guiding us to a greater understanding, and we were all fully invested in following her word.

The next act that we saw was the great Angel Olsen, who continues to amaze and inspire with every single performance. Angel performed songs from all across her catalog, from early folk number “Acrobat” to recent rock single “Shut Up Kiss Me.” She’s a dynamic musician who can bring in the audience with the intimacy of a whisper, and in the next moment, belt out with a tremendous amount of power. She joked in between songs about the wind (which was going wild during her set), and by her last song, the sun had come out and the wind had calmed, a metaphor for what her music does to our hearts. Jim James came onto stage to perform during “Sister” and “Those Were The Days” and later played his own wonderful set on the Quad Stage.

After that, we caught Grandma’s Hands Band, the Bill Withers tribute band which was star-studded with the likes of Justin Vernon, Natalie Prass, members of Hiss Golden Messenger and more, playing renditions of “Ain’t No Sunshine” and “Lovely Day,” leading the crowd in a celebration of one of the great songwriters of history. Billy Bragg also played a moving set including a version of Bob Dylan’s “The Times They Are A-Changing.” This one was specifically tailored to our political times, and it was called “The Times They Are A-Changing BACK.” The performance created an empowered moment with the massive audience watching over at the Harbor Stage.

The night ended with Wilco joining forces with Billy Bragg to perform “California Stars,” their song with lyrics by Woody Guthrie, one of the most significant musicians in folk music history.

Soon enough, it was the end of our magical weekend at Newport Folk Festival. The final day began with a tribute to Chuck Berry performed by the Texas Gentlemen, Shakey Graves, Nathaniel Rateliff and more. Nathaniel Rateliff also did a full set at the Harbor Stage as the “unannounced” artist of the weekend.

We got to catch New Jersey indie rock band Pinegrove at the Harbor Stage, whose crowd was not only insanely large but quite loyal, knowing every word to every song they played. This set felt like a big reunion of good friends. Pinegrove’s energy on stage was absolutely infectious, and I now understand what everyone is talking about when they say I “must experience the live thing.” Halfway through this set we ran to the Quad stage to catch Margaret Glaspy whose beautiful voice and quirky songwriting charmed the crowd.

Other highlights of day three included Whitney, Dr. Dog and “Speak Out,” a set of protest songs featuring Sharon Van Etten among others. The night ended with John Prine joined by surprise guests Roger Waters, Lucius, Justin Vernon, Margo Price and Jim James.

We are always amazed to experience the camaraderie of the people and the artists at this festival, as well as everyone’s real devotion to the art of folk music. It is a special space where a two year-old could enjoy the same music as an eighty year-old, who could enjoy the same music as a millennial. The surprises, collaborations and overall memories made at Newport this year felt a lot like magic, and we can’t wait to see what’s in store for the coming years.

Angel Olsen
Bengibbard
Dr. Dog
Fleet Foxes
Hurray for the Riff Raff
Jim James
Joseph
Julia Jacklin
Justin Vernon
Mandolin Orange
Margaret Glaspy
Michael Kiwanuka
Pinegrove
Seratones
Son Little
Whitney
Wild Child
Audience Photos
August 14, 2017 Nicole Rodriguez FESTIVALS 0

Newport Folk Festival 2017 Preview

2 months ago by Nicole Rodriguez

It’s that time of the year again for one of our favorite traditions, the historic Newport Folk Festival. Taking place at Fort Adams State Park overlooking the water in Newport, Rhode Island, the setting is perfect for some acoustic guitars and those songwriters that just always seem to know exactly what to say. Newport Folk Festival has been running since 1959 and has been at the heart of so many memorable and important moments in music. We cannot wait to see what sort of magic will happen on the stages of Newport this weekend.

This year’s lineup may as well just be a comprehensive list of our favorite artists from every part of our lives. It features some as fresh to the scene as Julia Jacklin or Big Thief (you already know we will be belting out “Mary” on Friday), and some acts as timeless as folk legend and headliner John Prine. Fellow headliners include Fleet Foxes and Wilco. More must-sees include the wonderful Angel Olsen, Dr. Dog and the tribute to the late and great Chuck Berry.



Friday

Blind Pilot- 12:40 @ The Fort Stage
Big Thief- 1:35 @ The Quad Stage
Ben Gibbard – 4:10 @ The Quad Stage
The Head And The Heart – 4:40 @ The Fort Stage
Regina Spektor – 5:35 @ The Fort Stage
Fleet Foxes – 6:15 @ The Fort Stage

Saturday

Julia Jacklin – 11:10 @ The Quad Stage
Offa Rex- 1:45 @ The Fort Stage
Angel Olsen- 3:10 @ The Fort Stage
Joseph- 3:45 @ The Harbor Stage
The Avett Brothers – 4:40 @ The Fort Stage
Wilco – 6:15 @ The Fort Stage

Sunday

Steelism (w/ Ruby Amnfu & Nicole Atkins) – 12:15 @ The Quad Stage
Chuck! (A Tribute to Chuck Berry) – 12:30 @ The Fort Stage
Pinegrove – 1:15 @ The Harbor Stage
Margaret Glaspy – 1:25 @ The Quad Stage
Whitney – 2:35 @ The Quad Stage
Dr. Dog – 3:55 @ The Quad Stage
John Prine 6:15 @ The Fort Stage

July 28, 2017 Nicole Rodriguez FESTIVALS 0

10 Artists to Watch from SXSW 2017

6 months ago by Hannah Angst

There are over 15oo bands that played SXSW 2017, and while we tried mightily to see all of them, we’re not super humans. We did see a ton of great bands, though, so many that it was a struggle to narrow down our very favorites. These ten are the ones that we’re sure you’ll be hearing about long after the hangovers subside and the sleep we missed is made up. Check out our 10 [READ ON]

March 24, 2017 Hannah Angst SXSW 0

Top Free Parties at SXSW 2017

6 months ago by Hannah Angst

Graphic by Ryan Gillett

SXSW is nothing if not overwhelming. As Austin shuts down and roving gangs of music industry vets and hopefuls lay waste to the normally peaceful town. We wanted to make life a little easier on those going down to SXSW 2017, so we put together a list of the best parties happening all week long. Check out our picks below, and be sure to head to our shindig The Beehive on Friday at Weather [READ ON]

March 13, 2017 Hannah Angst SXSW 0

M for Montreal 2016 Recap

10 months ago by Hannah Angst

More than any other festival, the headliner of M for Montreal is the city itself. Everything revolves around the city – from the spread out venues to the actual bus tour that doubles as a showcase. Granted, with a city as creative and vibrant as Montreal as it’s home, it’s little surprise that M for Montreal spends so much time lauding and showing off their city. The festival is spread over different neighborhoods of the city, taking time to show off everything it has to offer. One night you’ll spend in the downtown area’s big theaters, the next you’re in the Quartier des Spectacles never ending stretch of bars and then to Mile End’s quaint [READ ON]

December 1, 2016 Hannah Angst FESTIVALS 0

M For Montreal 2016 Preview

10 months ago by Hannah Angst

With Austin’s SXSW insane success, it seems that more and more cities are trying the homegrown industry festival on for size. Some try to bring all creative industries together at once, some try to woo participants with big names, some take place on the White House lawn — but M For Montreal is going the old fashioned route. There’s no big headliners at the festival, no promise of seeing the next tech disruptor, just 120 emerging artists from the area looking to break out. It’s the kind of festival that CMJ used to be — a place for young bands to play in front of people looking for new music.

bells_can_montreal_oldmontreal_2305-photo-chris-bruntlett-web-copy

M For Montreal takes place throughout the city, moving from venue to venue and encompassing not just music but plenty on panels as well. Like the festival/conference equivalents, the performances are in theaters and set up more like showcases than large stage sets. It helps that the city the festival is based in is, by all accounts, incredible. With European style boulevards and poutine, visiting the city is reason enough to make the trip. Plus, with a manageable amount of bands playing over the five day festival, it’s not the same breakneck marathon as other events, letting you see the shows you want and meet the people you want without mainlining Red Bull simply to survive.

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November 16, 2016 Hannah Angst FESTIVALS 0

Outside Lands 2016 Recap

1 year ago by Alex Familian

Photos by Alex Familian

Outside Lands is on its way to being one of the best festivals in the country. With a stunning location and one of the best lineups of the summer, the festival delivers the kind of amazing, singular experience that lacks in most festivals. It’s the kind of weekend that stays with you for a while — even when Radiohead and LCD aren’t playing, because of the positive vibes that radiate through out the grounds. With [READ ON]

August 12, 2016 Alex Familian FESTIVALS 0

Lollapalooza 2016 Recap

1 year ago by Joseph Mikos

In honor of its 25th year, Lollapalooza added a full extra day to the incredible weekend. And we can say definitively that no one complained. With headliners such as Lana Del Rey, Radiohead, Red Hot Chili Peppers, and LCD Soundsytsem to close each night, that alone could keep a music lover happy, especially one who grew up loving music in the 90s and early 2000s. If you weren’t down with any of those artists, though, Lolla had a major DJ performing during each of these headliners’ sets, including [READ ON]

August 9, 2016 Joseph Mikos FESTIVALS 0

Panorama 2016 Recap

1 year ago by Steven Edelstone

 

I’ve always thought that the undercard is what truly makes or breaks a festival. I mean, when you break it down, a festival lasts for about 33 hours total – noon to 11pm each day – and headliners, at most, only play about 6 hours out of that. That’s only 18%! So while the headliners may be the biggest draw to specific festivals, odds are that for the vast majority of the time, you’re seeing other bands. That being said, Panorama Fest, in its first ever year, went all in on its headliners. Though none of the three headliners were promoting new music – save for Kendrick, who put out Untitled Unmastered, his collection of demos back in March – it really felt that each day was one big lead up to the main acts, much more so than any festival I’ve ever attended.

And what a group of headliners they were. Arcade Fire may very well be the best band of this millennium, at least critically speaking. It’s only a matter of time before Saturday’s headliner, Kendrick Lamar, is commonly ranked as a top five rapper of all time (quite honestly, I already think he’s there). And Sunday’s headliner – LCD Soundsystem – probably the whole reason why Panorama was even created in the first place, is New York City personified in a band. This was their homecoming show; this is why they reunited. But before we fully delve into those three headlining sets, here’s a quick recap of what went down on Randall’s Island this past weekend.

dayone

This was Panorama’s first year and though it was organized by the same people who put on Coachella, it was very apparent from the get go that things wouldn’t go smoothly. I arrived to Randall’s Island a half hour before Broken Social Scene hit The Pavilion Stage, but didn’t get in until after they had finished their hour-long set. After trying to retrieve my pass at the entrance closest to the RFK Bridge, I was told to go back the way I came for a 10 minute walk to the other side of the fest. Turns out there were no signs and I got completely lost, wandering under freeway overpasses for close to a half hour until I finally found will call. And if that wasn’t frustrating enough, Major Lazer took the mainstage and I was trapped, forced to listen to one of my least favorite acts play an absolutely abhorrent set, filled with some of the worst pop hits of the decade.

My first act of the day was FKA Twigs, who put on a solid show, full of backup dancers, experimental percussion and interpretive dancing. But Tahliah Debrett Barnett’s silky brand of R&B works best late at night and it felt weird seeing her perform with the hot sun shining right behind her. As a result, her light show didn’t have the same oomph that it would have otherwise. That being said, FKA Twigs is one of the most forward-thinking pop stars at the moment and her live set shows it. From opener “Good to Love” to penultimate set closer “Two Weeks,” she showed why the entire music industry’s eyes must fully be focused on her at all times. The sky is the limit for her and with a couple new songs to boot, she’ll finally get that festival night slot soon enough.

Next was the reliably great Alabama Shakes, who after three Grammys for last year’s Sound & Color, were on a bit of a victory lap. Brittany Howard commands a stage better than almost anyone at this point. Her voice was on point as always and the band’s now trademark sound was perfect for the time slot as the sun set over Manhattan behind them. Somewhat predictably, the highlight was last year’s “Gimme All Your Love,” which featured a huge audience sing along. “This song means so much to me right now,” Howard explained before launching into Sound & Color’s lead single “Don’t Wanna Fight.”

Friday was one giant build up to Arcade Fire. It’s been three years since they’ve released anything (with the exception of the incredible Her score and a couple of b-sides last year) but the band felt as vital as ever. While there have been rumors that Win Butler & co. are gearing up for the release of their fifth record, the band played a greatest hits record, spanning the best songs over the course of their entire discography. It was impossible to be disappointed with their setlist, which featured singles like “Keep the Car Running” and “Afterlife” mixed in with “My Body is a Cage” (my favorite!) and “We Used to Wait.” Win Butler played angrily – probably due to Donald Trump’s RNC speech the night before – and to great effect, putting his all into every song, particularly “Afterlife,” which followed a tribute to David Bowie (whose backup vocals were included in the performance of “Reflektor.”) Directly following the set finale, “Wake Up,” the band, backed by New Oreleans’ legendary Preservation Hall Jazz Band, walked into the middle of the crowd and covered Bowie tracks, mirroring their funeral march a few months prior. With Win screaming into a megaphone, the group covered “Rebel Rebel,” “Suffragette City,” and “Heroes,” while walking to the other side of the festival with most of the crowd following them. It’s been awhile since we’ve heard anything from Canada’s finest band, but fuck, I forgot how much I missed them.

MakenaGranger_Panorama_Atmosphere-1 copy

Saturday was the hottest day of the year in New York, which meant that I drank about as much as my liver could take while hiding underneath a tent until I had the courage to brave the 95-plus heat. As a result, the first band I caught was Foals, who were as powerful as ever. Partly due to the heat or the fact that Panorama didn’t sell that many tickets to begin with, Yannis Philippakis & co. weren’t playing to the biggest crowd, but you’d never know it. Philippakis was running around the stage like a madman, screaming at the top of his lungs. It’s always nice to see “Spanish Sahara” live – a slow burning epic track that cracks my top 10 list of the decade so far. Foals are one of the few bands that are worth seeing every time they come through your city, so don’t miss them in the future.

Next up was Anderson .Paak, one of the most hyped acts at the fest. Playing to a huge crowd, which may have been because it was in a tent, .Paak played the majority of Malibu, his breakthrough record from this year. The audience ate up Dr. Dre’s newest co-sign, going nuts every time .Paak played drums. I may not be as sold on him as much as everyone else, but as one of the most hyped new artists this year, he seems destined for stardom. Look for him to get a nomination for Best New Artist at next year’s Grammys.

Saturday was absolutely the festival’s deepest day. Sub-headlining the main stage, Brooklyn legends The National, per usual, absolutely killed it. They’re another band that wasn’t promoting anything new, but unlike Arcade Fire, they broke out two new songs with predictably The National-esque titles – “The Day I Die” and “Can’t You Find the Way.” The former sounded like a louder version of “Graceless,” while the latter was a dark, slow burner with an epic crescendo towards the end. Say what you will about them, but it’s really hard to top the group’s closing triple-attack of “Fake Empire,” “Mr. November,” and “Terrible Love.”

But the next act – Sufjan Stevens – did manage to top that. With an incredibly high energy and neon filled set, this millennium’s favorite singer/songwriter absolutely killed it. Opening with a frenzied take on “Seven Swans,” Sufjan destroyed his banjo, seemingly recreating The Clash’s London Calling cover art. With many costume changes, he too played a greatest hits set, surprisingly focusing on 2010’s The Age of Adz, highlighted by a 25 minute performance of “Impossible Soul,” a song I honestly thought I’d never get to see live. He also recreated two tracks from last year’s excellent and downtempo Carrie & Lowell, reworking “All of Me Wants All of You” and “Should Have Known Better” into sped up, funky songs. Sufjan closed with “Chicago,” resulting in one of the more cathartic sing alongs of the weekend.

Once again – back to the headliners. Saturday’s main act was Kendrick Lamar, whom I believe to be without a doubt the best current rapper & every bit as good as the best of the 80’s and 90’s. The set was heavy on tracks from good kid mA.A.d city, all of which tended to get the best responses of the whole set. Backed by various political imagery, Kendrick once again made the case that set closer, “Alright,” is an anthem for a new civil rights movement. The audience screamed “we gon’ be alright!” for multiple minutes before he launched into it. It felt like I was a part of something much bigger, something more important than just a music festival. People have repeatedly said that Kendrick is gunning to be one of the best of all time. He’s already there.

daythree

Panorama was put on by the same people as Coachella and I blame them for bringing Indio’s desert weather to NYC. Sunday, just as hot as the first couple of days was almost unbearable, especially since the best acts of the day were all on the main stage. As a result, I got there late, electing to sit in front of my apartment’s A/C for as long as humanly possible.

The first act I caught was the best hip hop set of the festival. Kendrick Lamar may have been the best rapper at Panorama this year, but Run the Jewels were hip hop’s best performers. Run the Jewels 3 may be on the horizon, but instead of playing anything new (or unfortunately anything from Meow the Jewels), El-P and Killer Mike ran through the majority of RTJ2, one of the best releases of 2014. The crowd completely ate up tracks like “Oh My Darling Don’t Cry” – I mean, it’s impossible not to enjoy screaming, “RUN BACKWARDS THROUGH A FIELD OF DICKS!” at the top of your voice – and “Close Your Eyes (And Count to Fuck)” and midway through the set, local hero Despot was invited onstage. It was easily the highest energy set of the entire festival and both El-P and Killer Mike were in great spirits, constantly joking around about wearing shorts and pretty much everything else.

Next was Aussie pop star Sia. While I generally view her music as generic pop music, people are still talking about her Coachella set from this past April, so my interest was piqued. Unfortunately, I stopped caring almost immediately as I realized that the video accompanying the set was pretaped, meaning that what we were seeing onstage didn’t reflect what was being shown on the screens. Normally, this wouldn’t be an issue, but in Sia’s case, it was, bringing up several important questions. 1) If the video wasn’t live, do we know if Sia was even singing? 2) Since we can’t see Sia’s face, how do we know it was even her onstage? Sure Maddie Ziegler was there, but since Kristen Wiig, Tig Notaro, and Paul Dano weren’t – they were all replaced onstage by others – do we really know if Sia even bothered to show up?

The entire festival felt like an opening slot for LCD Soundsystem. This was the band’s homecoming show, the reason why they got back together. And even with my extremely high expectations, James Murphy & co’s set lived up to the hype – and more. Opening with “Us V. Them” and going right to “Daft Punk is Playing at My House,” they had the crowd in the palm of their hands for the entirety of their two hour or so set. I’ve never danced harder, sang louder, or cheered more during any show I’ve ever been to – and I’ve been to a lot of shows in my time. Like everyone else in the crowd, I too was brushing away tears during “New York I Love You But You’re Bringing Me Down.” Over the entirety of their career, LCD Soundsystem personified New York City more so than almost any band ever. There’s a reason why you still can’t go to a bar in Brooklyn and not hear their music, even though it’s been six years since they’ve released an album. As a result, this city needed them to come back and they finally did, playing a legendary set that was perfect in almost every way.

finareview

It was impossible to leave Panorama without a smile on my face. My legs may have been sore and I felt like I was sleepwalking across the RFK Bridge one last time, but it was all worth it. While we’re not sure if the festival is returning next year, let’s hope it does… just about 15 degrees colder.

Photos

Alabama Shakes
Arcade Fire
Aurora
Blood Orange
Broken Social Scene
Caveman
Daughter
DeLux
ExHex
Foals
Grace Potter
Here We Go Magic
Kendrick Lamar
Kurt Vile
LCD Soundsystem
Lindsay Sterling
Major Lazer
Melanie Martinez
Nathaniel Rateliff and the Night Sweats
Oh Wonder
Prinze George
Run The Jewels
Sia
Silversun Pickups
Sufjan Stevens
SZA
The Front Bottoms
The National
July 29, 2016 Steven Edelstone FESTIVALS 0

Panorama 2016 Preview

1 year ago by Steven Edelstone

New York City has a population of over 8.5 million people. Though NYC is far and away the biggest city in the United States, it took until this decade for a big time music festival to not only survive for multiple years in a row, but also be successful. Now, the city is hosting Panorama Music Festival, its [READ ON]

July 21, 2016 Steven Edelstone FESTIVALS 0

Newport Folk Festival 2016 Preview

1 year ago by Hannah Angst

Every year, for one weekend in late July, we get to go to one of the most perfect festivals in the US — Newport Folk Festival. Perhaps it’s the years and years of history, a history that can truly be felt throughout the festivities, that makes it so amazing. Perhaps it’s the extraordinary scenery, perched with a view of the ocean in a state park. Perhaps it’s the consistently incredible line up. Or [READ ON]

July 21, 2016 Hannah Angst FESTIVALS 0

4Knots 2016 Recap

1 year ago by Hannah Angst

Why Village Voice’s annual 4Knots fest is not one of the marquee events of summer, I will never understand. It’s a full, glorious day of garage rock and guitar heavies playing with a beautiful view of the water and the skyline of downtown Manhattan, and it’s free. You can just walk up and start having a good time. There’s no lines, no wristbands, no weird camping – just an awesome view and awesome bands. 4Knots line ups are always streets ahead of the other festivals, with the kind of bands that pepper the small-font of festival posters getting the space they deserve to breath. This year was no exception – with critical darlings like Mothers and Car Seat Headrest playing along true legends Guided by Voices.

The day started off early for us this year at 4Knots. We rolled into South Street Sea Port just post ice coffee just in time for Boulevards. The NYC based funk artist was the perfect energy shot to start the day – with a set so active he was able to turn the early-afternoon crowd into a frenzy despite the high noon sun. From there stayed at the Fulton street stage for Bayonne who offered the same wild energy as Boulevards, jumping around and adding hefty percussion to his tracks.

Mothers gathered a healthy crowd for an early afternoon set, though it was hardly a surprise to see. The Athens, GA based band has been making waves for their expertly crafted indie rock for a while. The band made the large Pier 16 stage feel like a vibey set in a club and filled the port with amazingly angular guitars. From there we ran back to the Fulton Stage to catch Diane Coffee, whose clever indie-rock is matched by his captivating stage presence. In terms of straight up best show, Diane Coffee’s ease on stage and affable presence handily won the day.

From there we headed back to the Pier to catch they incredible post-punk Protomartyr who’s blistering set proved that they are definitely one of the best and most interesting rock outfits playing today. After a quick run for much needed sustenance, we moved over to the last set on the Fulton Stage, GirlpoolThough they were perhaps the most subdued set of the day, they still maintained the energy that characterized the Fulton stage all day.

The Strumbellas were the strangest fit of the day, their roots style not really fitting in with the rock and punk vibes of the rest of the band. But they were such a delight to watch that after a couple songs it didn’t even matter. Finally, with the exhaustion and the slight day-hangover setting in Guided by Voices took the stage. The legends proved that they are still as vital as ever with their set of tracks from their huge and impressivly awesome catalog. It was a blast to end the day with one of the greatest alt-rock bands of the 90s throwing down and made us remember why 4Knots is easily one of the best festivals we go to – it’s just fucking fun from start to finish.

Photos

Bayonne
Boulevards
Diane Coffee
Kirk Knight
Mild High Club
Mothers
Prince Rama
Protomartyr
The Strumbellas
July 15, 2016 Hannah Angst FESTIVALS 0