Saturday
Alberta Cross:
New York band Alberta Cross are easy enough to like, with big sound and bigger attitude. At noon with a sparse crowd, it was fine, successfully fulfilling their duty as crowd-warmer without being too much of a bother or asking too much from the audience. For a band I had never really heard and doesn’t intrigue me sonically, it could have been a lot worse.
Photo by Philip Cosores
The Globes:
For most of the weekend it was the local acts that were carrying all the weight during the daytime slots, and Spokane’s own The Globes were another example of a huge turnout for an early show. With the release of their first full length album earlier this month, the fanfare for The Globes was certainly at its peak, as members of the audience sang along and everybody bobbed their heads. The band was tight and technical, all the while jamming with smiles on their faces, the perfect combination to start the day. – Erik Burg
Photo by Erik Burg
The Radio Dept.:
We actually had the chance to sit down with The Radio Dept. on-site (look for the interview in the coming weeks) and asked if something is lost from the live show by seeing it in the middle of the day. The obvious answer is yes, and The Radio Dept. are not the kind of over-the-top crowd-pleasers that thrive in the early afternoon. Regardless, The Radio Dept. stuck to their guns and sounded great, opening with “A Token Of Gratitude” and offering the crowd a dance-along moment in “David.” Despite the reserved nature of the band and the unfortunate position on the bill, The Radio Dept. overcame and impressed while remaining true to themselves. And that is something, indeed. – Philip Cosores
Photo by Philip Cosores
K-OS:
Canadian rapper/producer K-OS took the stage after a country and folk duo, so although the crowd was certainly mixed for his eccentric stylings, his on stage energy immediately lit up the faces of everyone in the gallery. Backed with a DJ whom, at various times, took the show over with his scratches and breaks, K-OS and various backing members put on a great show. K-OS was rambunctious and, living up to his name, chaotic on stage, throwing his dreadlocks side to side as he commanded the stage with his mic. The easiest thing say about the show was that it was fun, but that’s also the most truthful. – Erik Burg
Photo by Erik Burg
The Head And The Heart:
Saturday’s mainstage vibe changed immediately as The Head And The Heart began to set up. Locally based, the group has attracted its fair share of rabid devotees, and this was compounded by the fact that many of the group’s friends were in the audience as well. But, the six-piece hardly took it easy, playing nearly their entire album in their forty-five minute set and having the luxury of Death Cab For Cutie’s Chris Walla singing along side-stage.
During a break, a story was told about how pianist Kenny Hensley had been to the previous year’s Sasquatch as a fan and had vowed to wear his wristband until the band was asked to play the festival. Luckily, it only took a year. But as the fans lined the Gorge’s cliffs to sway to closer “Rivers And Roads,” and eventually shouted in approval as violinist Charity Rose Thielen reached for the song’s peak, the band had clearly become more than just local favorites. They had, as they seem to prove with every performance they give, truly arrived. – Philip Cosores
Photos by Philip Cosores
Local Natives:
The cult following that has surrounded Local Natives since the release of their only album Gorilla Manor has not only made the anticipation for their sophomore album that much larger, but their live shows are a showcase in how to make a crowd go crazy. On tracks like “Airplanes” and “Sun Hands” the entire main stage crowd broke into song and dance, swooning at the every move of lead singer Taylor Rice. Their sound is one that translates perfectly to stage: a few vocal harmonies, heavy on the guitars and light on the rhythm sections, Local Natives’ sound was perfectly paired with the glistening sun on Saturday at Sasquatch. – Erik Burg
Photo by Philip Cosores
Wolf Parade:
Was this, and the immediately following Vancouver club date, the last we will hear from Wolf Parade? My guess is no. After every Wolf Parade album and tour there is talk that the band may be through, and that the two songwriters, Spencer Krug and Dan Boeckner, are going to take time and focus on their personal music projects. But, the fact remains that these guys like playing together, and because of that, Wolf Parade will be back, even if it is after a long break.
That being said, their mid-afternoon set at the Gorge, which saw the name “Worf Parade” written on their drum kit along with a picture of the Star Trek character, leaned heavily on the older material (“Shine A Light,” “I’ll Believe In Anything,” “Fancy Claps” and “You Are A Runner…” all made their way into the setlist) and saw staff members of Sub Pop watching the show, giving the feeling that this might be a goodbye occasion. And if it is, my lasting impression will be of the feverish and brutal take on “California Dreaming,” and how both Krug and Boeckner are making music that is nearly as exciting on their own as it is when they are together. So, here is to hoping they follow their hearts and keep making good sounds, in whatever context they need to. More Wolf Parade would be cool, though. – Philip Cosores
Photos by Philip Cosores
Jenny And Johnny:
You know exactly what you are getting into with a Jenny Lewis and Johnathan Rice show. The pair, along with their backing band, will kick out pleasant jams (“Scissor Runner,” “Committed,” “My Pet Snakes”) while making eyes with each other, occasionally sharing some cute stage banter, and at some point will share the same microphone. But hey, stick with what works. The fact remains that Jenny And Johnny are as easy on the ears as they are on the eyes, and sometimes it makes sense to turn off your cynicism and just enjoy something for what it is. – Philip Cosores
Photos by Philip Cosores
Wye Oak:
The holy shit moment of seeing Wye Oak is when you realize that drummer Andy Stack is playing keyboard while he keeps time. But, Wye Oak are more than a one-trick pony. Frontwoman Jenn Wasner has a voice that could reach the next county, though the band was relegated to the tiny Yeti stage. Still, the band (and the crowd) didn’t seem to notice that they were basically at a concert in a food court. And those who waited for a chicken strips basket were treated to a rising band with a world of talent, that is just now accumulating the material to demonstrate it. – Philip Cosores
Photo by Philip Cosores
The Antlers:
The Antlers seemed to draw two types of fans to their early-evening performance on the Bigfoot Stage: those who were interested to see how the new material translated live and those who were hoping for a generous portion of their beloved Hospice. The former of those groups were probably more satisfied, as the four Brooklynites made their way through inspired renditions of Burst Apart‘s “I Don’t Want Love,” “Parentheses,” and live rocker “Every Night My Teeth Are Falling Out.” Still, with the dramatic closer of “Two,” The Antlers honored the reason that people care about them in the first place by playing their best known song. If this performance proved anything, it is that their new material more than holds a candle to their older songs, and it might even surpass it in the live setting. – Philip Cosores
Photo by Philip Cosores
Pink Martini:
Sasquatch’s ace in the hole: Pink Martini. Before this Havana-inspired big band took the stage on Saturday, nobody mentioned Pink Martini without prefacing it with “who are?” But by the end of their slot Pink Martini became everybody’s favorite sexy lounge band. The 26-piece band from Portland, OR included a baby grand piano, a 10-person string section, a harp, two amazing musicians on the trumpet and trombone respectively, and the most charismatic and attractive woman lending her vocals to the arrangements. Essentially a small-scale orchestra with all the pieces, Pink Martini borrowed from Shubert among other classical composers in their arrangements. “We’re as incredulous about being here as you are about having us here,” the band leader and pianist stated at the beginning of their performance, but nobody wanted them to leave. – Erik Burg
Photo by Erik Burg
The Thermals:
The Thermals, from nearby Portland, are an ideal festival band. They have well-known songs from the past decade that they are not afraid to revisit (“Here’s Your Future,” “A Pillar Of Salt”), they have a flamboyant frontman in Hutch Harris who inspired a “marry me Hutch” sign in the crowd, and they have new material that is every bit as good as any that they have previously recorded. The set included audience hand-claps, Harris playing from his knees, and a wealth of strong numbers from Personal Life, including “Never Listen To Me” and “Not Like Any Other Feeling.” The Thermals had little riding on their Sasquatch performance, rather, they came out like the working-class heros that they are and delivered an expectedly strong display of what it means to be a mid-level band. They are one of the best of their class. – Philip Cosores
Photo by Philip Cosores
Matt & Kim:
Do Matt & Kim play music? I’ve seen the walking Mountain Dew commercial a few times, and I never leave with an impression of what I just heard. I mean, except traditional closer “Daylight.” Regardless, another question needs to be asked: is there anything as fun in small doses as Matt & Kim? At least for a few songs, there are few pleasures as pure as seeing the duo stand on their stools, incite near-riot pandemonium from the crowd, and banter like banter has never been bantered before. On top of that, they seem like genuinely nice people who are pretty unaffected by fame, taking the time to work the photo pit after playing and shake hands with their most devoted fans. They are top-tier entertainers and maybe one day their music will click with me, too. – Philip Cosores
Photos by Philip Cosores
Iron & Wine:
As Sam Beam took to the main stage Saturday, it was something of a serene moment for fans of the guitar-wielding singer/songwriter. The sun setting quietly in the background, the beautiful Washington Gorge as the backdrop, and a crowd of adoring fans who greeted Beam and the rest of Iron & Wine with a huge round of applause before they even struck a chord. I was expecting something of a relaxing set from the band, and as a longtime fan I was perfectly content with that. But Beam and company played an exhilarating and monstrous set, turning old favorites like “Boy With a Coin” into modern day rock songs. It was a surprise, but not an unwelcome one, and Beam’s soft vocals still carried over the wailing guitar licks and three-piece brass section. And it was that balance between the now guitar-driven live tracks and the better-known vocals of Beam on his record that didn’t lose its power on stage. There was still an overzealous fan standing next to me, crying during “Walking Far From Home” and a sea of fans singing along to every word on “Pagan Angel and a Borrowed Car.” Iron & Wine absolutely stole Saturday night, and I wouldn’t have had it any other way. – Erik Burg
Photo by Erik Burg
Robyn:
Robyn clearly understands that she is a star. This features a downside, as she kept the audience waiting a solid 20 minutes past her scheduled start time and felt the necessity to import her own subs to the front of the stage. But, in return fans get a larger-than-life pop show, complete with manic dancing, songs you know, outfit changes, and a fair share of canned dramatic moments. From “Fembots” to the sing-along “Dancing On My Own,” the audience went nuts as Robyn ground the microphone pole and flashed her bra, taking the time to shake her ass in the air on more than one occasion. It was fun, it was silly, it was separated from a typical pop show by the quality of music, and, ultimately, it was worth the wait. – Philip Cosores
Photo by Philip Cosores
Bright Eyes:
Oh Conor Oberst, you’re lucky you make good music, cause your stage banter is amateurish and selfish at best. Rants about Osama’s death and how the internet is evil aside, Bright Eyes played a rather lively and enjoyable set. Oberst came out in a hood pulled over his head and bounced around the stage for the first few tracks looking like a poor man’s Eminem, eventually revealing himself and getting up close and personal with the cameras, soaking up every second he spent on stage. And while he jumped the barrier below the stage, a barrage of women jumped from the other side, sparking the crowd into the frenzy of screams and longing arms. It was Oberst’s show, not Bright Eyes, but his band didn’t seem to mind. Both drummers, the backup guitarist and the keyboardist all played with a giant smile on their faces, seemingly loving every second and feeding off the energy of the late Saturday evening crowd. Bright Eyes may not have been the headliners, but they sure performed as if they were. – Erik Burg
Photo by Erik Burg
Sleigh Bells:
If I were to tell you that Saturday’s best set came from Sleigh Bells, you’d probably think I was crazy. I… I still think I’m crazy. But, the sort-of frenzied and apocalyptic live show that the duo of Alexis Krauss and Derek E. Miller put on is nothing short of stunning. There is smoke everywhere. There are vivid colors and rapidly shifting strobes. There are the exuberant moves and inflections from the artists. There is an overwhelming amount of crowd participation. It’s sexy, frightening, disjointed, and controlled all at the same time. And, people have caught on. The Banana Shack tent overflowed to twice its capacity, making a strong case for Sleigh Bells to be the actual headliner, and not the Death Cab For Cutie boys on the mainstage. Still, it is nice to see the right blend of innovation and instigation getting its fair due, and Sleigh Bells are looking like they are without a ceiling on their appeal, both as a festival band and an artistic band. And, that is pretty cool. – Philip Cosores
Photos by Philip Cosores
Death Cab For Cutie:
Hailing from “the city of subdued excitement” in northern Washington, the local talent finished off Saturday night with a terrific two hour set that was anything but subdued. Playing plenty of material from their new album Codes and Keys, along with favorites like “Transatlanticism” during their encore, Death Cab at least performed to expectations. And while their music isn’t necessarily the most bombastic or pop-oriented material in the world, the crowd seemed enthralled and had their hands in the air until the very last note at 11:30. Frontman Ben Gibbard was reserved but professional while orchestrating his band, launching into bouncy and energetic guitar sections when necessary. Hearing from fans after the show who had seen Death Cab multiple times before, even they enjoyed the show, and for myself, who’s barely able to recall three songs from the band off the top of my head, the band sounded precise and lively on stage. Death Cab might never be my cup of tea, but they absolutely deserved the headlining spot, and they filled their extended time slot with plenty of new and old material, a favor that left thousands of fans buzzing with excitement as the night concluded. – Erik Burg
Photo by Erik Burg
