It is rare to find an artist who is able to both make a spectacle of themselves and deliver a genuine message. Somewhere between the David Bowie adorned jean jacket (he glued the fringe on himself), and speaking seriously about addiction… emerged Macklemore.
He managed to bring the crowd with him back to Seattle, back to the 80s, and most importantly back to life during the waning afternoon of day four. Mind you most of the mob had not seen a day in said illustrious era, but there they were in a sea of fanny packs and neon hats, hands in the air, moving in unison to the infectious rhythm and heartfelt lyrics. With a dynamic stage presence (made most evident during his ever popular song “And We Danced”), and a spirited performance by both he and Ryan Lewis, this was most decidedly one of my favorite shows at Sasquatch.
I was going into Wheedle’s Groove with a blindfold on and heavy-duty ear plugs in; I had no idea who they were, what they looked like, what they played, etc. When twenty or so members band came on stage, I knew I was in for a treat.
They introduced themselves as Seattle’s oldest funk & soul band, but they played like they were still in their twenties. With trumpets, saxophones, tubas, trombones, guitars, and vocalists galore, the band played tunes by Pat Wright & The Total Experience Choir and hits played on Seattle’s KYAC Radio station that forced people to put on their dancing shoes. Since it was one of the opening acts on the Bigfoot Stage on Sunday, the crowd was small but left plenty of room for people young and old to get down to the rhythm and beat. I was very satisfied with the performance knowing that I will probably never be able to see them play live again.
With sounds the human mouth doesn’t normally emit, musical styling beyond his time, and a flurry of comedy came Reggie Watts. Watching this man perform was an event to say the least. This fusion of humor, beatboxing, and imaginative vocals created a unique experience for the packed audience. Not knowing what would come out of this man’s mouth next was the most glorious part of the performance. There was only one problem. Within 20 minutes this man seemed to draw nearly half of Sasquatch to the smallest stage area at the Gorge, and had people spilling out of the building across the way, peering eagerly through the masses just to catch a glimpse.
With the recent release of Torches, I was really excited to see Foster The People live. Playing on the smallest stage at the festival, Foster the People drew a main-stage-sized crowd and made it impossible for people to get around. When the band came out on stage, screams of excitement came out of the mouths of thousands of people waiting to see if Foster The People was the real deal or not. And sure enough they were.
The mellow indie-pop sound echoed throughout the Gorge with the help of Mark Foster’s distinct voice. Overall, I really enjoyed Foster The People’s set. Each band member complimented one another and really used the stage and crowd to their advantage. I cannot wait to see where the world of music will take Foster the People in the future.
Energy. There is no other way to describe every vibrant moment of this duo’s heartfelt and boisterous performance. From effortlessly leaping atop the drum set, sticks in the air, to running down the center of the crowd throwing balloons, Kim was a grinning ball of vivacity. As the sun set behind the crowd, the pair marveled at the ever amazing view of the Gorge, and the infectious happiness spread from the couple out into the crowd. When the song “Daylight” started playing the masses erupted into a sea of jumping bodies, while colorful balloons bounced atop the crowd in the glowing light. The melodies light-hearted, the dancing abundant, the scene surreal, it was a perfect way to end the afternoon.
It isn’t easy being the first show of the day at admittedly one of the smaller stages at Sasquatch. Most of the partiers from the night before have yet to emerge, and only the die-hard music fans and media roam the relatively empty grass.
This being said, Pepper Rabbit was surprisingly memorable. The lead singer Xander Singh managed to pick up a different instrument almost every song, lending variety to the tones rolling over the crowd. Singh once worked at a vintage music store, and each week would take home an instrument and learn to play it with help from videos on YouTube. Playing anything from a keyboard to a Ukulele, this talent and practice was evident. The eclectic haunting music was entrancing; his high and powerful voice did not compete with the music but added depth to Luc Laurent’s drumming. An organic experience, I imagine one could attend hundreds of their shows and not hear the exact same thing twice.
Spanish musician Sutja Gutierrez integrates opposing forces of dark and light, hard and soft to create his latest EP White Ponycorn In My Room. Acoustic guitar, distorted with synths and other noises, accompany his melodic voice in a simultaneously happy and uneasy way. Mellow jam, “Borderline (Hell, I’m The)” and ending lullaby “Oh, Say Good Bye (Outro)” illuminate Gutierrez’s softer side, while “I Don’t Want To Be Alone (Reprise)” and “Another Room (Called Doom)” exude the musician’s fascination with darkness and distortion. Gutierrez’s echoed lyrics and indie pop instrumentals create a sound comparable to Portishead meets Thom Yorke. The record is being sold for $1 on his bandcamp with all donations funding Gutierrez’s US tour.
Electronic duo Kid Infinity captures their LA underground culture in the new music video for “The End Is Never Now.” The music video is an energetic compilation of footage from their live performances and arts collective, FMLY’s organized bike rides, which combine music, bikes, and friends. Costumes, lasers, and dancing crowds galore, Kid Infinity’s video displays their total involvement and dedication to creating aural and visually dynamic live shows. Their party atmosphere and infectious sound are sure to please in their new video.
The Jezabels played The Great Escape in Brighton, England a few weeks ago and there did a session with Right Guard’s “Off Guard Gigs” for “Hurt Me (acoustic).” They have a small set up with just small set-up of bongos, an acoustic guitar, battery-operated keyboard, and of course, Haley Mary’s soaring vocals.
The band is finally working on their debut LP and I can’t wait!
