Eric Nelson, co-founder of Track Marks
I didn’t know what to expect for my first Sasquatch experience. I have spent the majority of my 20s and 30s exploring music festivals and it was finally time to encounter my first visit to the gorge. When you peer out from the highest point at the main stage over the picturesque backdrop of the Colombia River and what it has created over millions of years, it is truly breathtaking. Being the strongest mid-tier U.S. festival of the year I was anticipating what Sasquatch had to offer me besides the remarkable view. Needless to say, the lineup and minimal scheduling conflicts made it a perfect way to start summer on a Memorial Day weekend across the country. With eagerness and an open mind, I was ready to indulge in an unforgettable weekend where I would get to see my favorite indie artists unleash their inner weirdness. Here are some of the highlights of the weekend …
Julien Baker’s breakthrough album, Turn out the Lights, was one album that was on everyone’s best of the year list including ours. I was excited to see how this would transpose to a live setting and it did not disappoint. Armed with only herself, her instruments and her vision, Julien Baker’s voice echoed through the Gorge with the intent to impress. The belting of “Maybe it’s all going to turn out all right, well I know that it’s not but I have to believe that it is” rang through the audience with such certainty it was clear to the few that attended this early-morning set that they just saw something truly special.
Equipped with horns, soul and a huge personality The Suffers offered a unique, energetic performance that had everyone on their feet dancing and having fun. Between their thoughtful introductions to songs, funky breakdowns and a soulful voice reminiscent of the ‘60s pioneers that came before them, The Suffers got the mood just right to welcome in the first day of the fest.
Tash Sultana was one of the acts I was especially intrigued to see for the first time. How would a one-man show translate to a live setting? Will she have the energy and enthusiasm to hold a full one hour set alone? Her intricate way of looping multi-instruments is truly something to admire. Tash is very talented with the vision and the skills to intertwine a wailing guitar lead, a drum machine, reggae rhythms and a trumpet into an entertaining and inspiring set.
A recent staple in the rap scene is none other than Vince Staples, who’s gaining notoriety for his last few ground-breaking albums. His latest, Big Fish Theory, translated just right for a twilight set on the main stage. He had the charisma and flow to put together a performance that was both heavy on Big Fish Theory but spanned his entire catalog, including hits off of Hell Can Wait, Summertime ’06 and Prima Donna.
After skipping his set at Bonnaroo 2009 to see Beastie Boys (their last performance), I was finally going to get to see Talking Heads frontman David Byrne. His performance was not what I expected but turned into something equally astonishing. It was what you could come to expect from the eccentric visionary—choreographed dance, and a great backing band that moved freely along the stage with no wires to trip over. It seemed to flow effortlessly to utilize the massive space. David Byrne paid homage to his classics like Burning Down the House, Blind and Once in a Lifetime and sprinkled in solo hits like Everybody’s Coming to My House, Like Humans Do and a few covers.
The first headliner of Sasquatch was none other than indie darling Bon Iver. His set spanned his three LPs and even a few songs off his EP, Blood Bank. Even though his newest venture, 22, A Million, is more electronic than his previous works, the songs fit together so eloquently with his first two masterpieces—For Emma, Forever Ago and his self-titled album. They seem to tell a story only Justin’s voice can convey. The visuals of his newer songs work so well with the album that his live performance becomes an experience with you eagerly awaiting the interpretation of the next song. He played the majority of his hits including 33 “God,” Perth, and Holocene, ultimately ending with Creature Fear. It was a time not to be forgotten.
One of the most fun sets of the weekend came from Pacific Northwest’s Polyrhythmics. The nine-piece instrumental band blessed us with guitar, drums, bass, percussion, trumpet, trombone, saxophone and a flute. They got the party started with their grooves; different members take the lead at different times to keep everyone dancing throughout the entire set. It would have been impossible to sit down during their set, and it was a great way to start Saturday afternoon.
What’s better than a DJ with a live drummer and a killer ‘80’s shredder on guitar? A great futuristic Lord of the Ring’s-themed story about a Magic Sword; that’s what. Now I know from the sounds of it that can sound rather corny but done with precision and passion to back it up, it turns into one crazy medieval-futuristic oxymoron. The only complaint I had was that it should have been a late-night set.
Spoon has always been a terrific band, with nine outstanding albums to prove it. The majority of their set came from Ga Ga Ga Ga Ga, They Want My Soul and the newest edition, Hot Thoughts. They started things off with, Do I Have to Talk You Into It and blazed through favorites like Inside Out, Do You and I Ain’t the One, and eventually closed with Rent I Pay. Saturday night came rolling in and the set seemed quick but every great artist keeps you wanting more.
The best set of the weekend came from Sasquatch veterans Modest Mouse. I have seen Modest Mouse several times before but I was especially excited to see them on their own turf. They opened with 3rd Planet from their acclaimed album The Moon and Antarctica, setting the mood right. They played an 18-song set, including the encore, encompassing eight LPs and EPs. It’s no surprise that the audience was very receptive of three songs from their breakthrough album, Good News, including Float on, Bukowski, and Black Cadillacs. They treated us with an early cut, Dramamine, as well as newer singles including Lampshade on Fire and Dashboard. The highest point of the weekend came from the first song of the encore, The World at Large, which transformed that stage into a symphony of sound. Once the vocals ended, the orchestra of musicians played to fireworks exploding in the sky. It was a truly magical moment that made for a truly magical weekend.
How do you follow up fireworks bursting in the sky after Modest Mouse’s headlining set? By bringing out actual Explosions in the Sky. The Austin natives know about dynamics, builds and getting loud … very loud. They have become gods in their cinematic instrumental genre that started years ago. The pivotal moment of their set came with their last song, The Only Moment We Were Alone (from their masterpiece, The Earth is Not a Cold Dead Place).
One of the best singer songwriters on the bill was a member of Conor Oberst’s backing band, Phoebe Bridgers. She writes music in a way that is so relatable, and she does it elegantly and simply. She brought her current tour’s opening band, Soccer Mommy, to the Gorge, as well. Her live performance did her magnificent album justice and had everyone singing along in the early Sunday morning.
Tank and the Bangas took the stage with one of the biggest personalities of the weekend. With a band rival to none, this group showed that although they are a newer band to the festival scene, they are not going to let that stop them from bringing down the house. Their distinct poetic songs were mixed in with snippets of covers and fresh material, which made for a great set to dance to on the hill for the last day of the festival.
(Sandy) Alex G has an interesting way of making his bedroom songs come to life. He is the definition of an indie artist, as he put most of the recordings out himself. He does not limit himself to one genre but that’s the genius of it. It all comes together perfectly on the album, and the live setting. Loud scream rock songs like Brick work just as well as folk songs like Bobby and Charlie-Brown-esque songs like Country. It’s a well orchestrated mess.
If you’ve never witnessed the brilliance of Perfume Genius then you’re missing out. He is everything you want from a performer. He is eccentric, flamboyant, heartfelt, talented, loud, soft and, best of all, weird. He performs ballads with nurturing elegance and belts out the high notes, getting dark and angry at times. The majority of his set came from his last two efforts, No Shape and Too Bright, eventually closing with his first big single: Queen.
Slowdive is a band that pioneered a sound way before the mainstream found it acceptable. Now back after several years, Slowdive shows that not only did they help invent a sound but they recreated and enhanced it. The power of their chill sound washed over the crowd almost like an instrumental band with hidden incoherent voices breaking through. Their set was a great way to lead into the headliner of Sunday night.
What a fabulous way to end a festival with a band where the audience can enjoy it sitting on the field or getting close and personal. The National has that signature baritone voice so distinctive it can lull you into a trance or speak to the inner uncertain adult in all of us. The National has a way of being violently soft and soothingly loud all at the same time. They opened up with Nobody Else Will Be There, off Sleep Well Beast. They explored their discography, playing hits like Squalor Victoria, I Need My Girl, Blood Buzz Ohio, Slow Show and their newest single, The System Only Dreams In Total Darkness. They ended their main set with Boxer favorite Fake Empire. Their encore was full of energy and included Mr. November and Terrible Love. They eventually closed with Cherry Tree classic About Today.