Day 3 has a manic energy to it. The crowd isn’t moving with a sense of urgency, and still stop in their tracks to check a smartphone or shovel down a plate of fries. But the roadies look more tired today. There’s a hell of a lot more litter everywhere. And the thronging mass–a teen and early 20-something dominated crowd that festival organizers estimate at “solidly over 100,000” souls–is more dense than when I was last here on Saturday. Everyone knows today is the last official day of summer music mayhem, and are hustling, in their own way, to make the most of it.
I run into former Seattle Weekly intern Ashley, who just left MGMT’s headlining set. She’s practically breathless. “Their light show was insane,” she says. “But they should have had the show outside, would have been way better.”
Kelton Sears went to the show and shares a similar report of the light show.
Sounds a lot more stimulating than the set I’m fleeing, I think, of the Kopecky Family Band at the Plaza Stage. Not technically a family, after a handful of songs from the poppy, whistling Nashville sextet, I shove off for more original fare. The poorly positioned Plaza Stage, plus the group’s generic sunshine pop, complete with hand claps, couldn’t contain my restlessness.
Luckily, the two bands I see next put some pep in my step.
Mexican electro/dance group Kinky brought an international edge to the day’s events, and rocked hard. Its edgy hit “Mas” hinted at fellow Nuevo Leon neighbors Control Machete’s gritty brand of Mexican hip hop and was a high point. The packed Tune In Stage was loving it.
Canadian rock band The Sheepdogs brought a jam-based Southern rock sound to the Starbucks Stage. It was clearly indebted to the likes of the Allman Brothers but it was breezy and refreshing enough. Plus dude on the organ’s got some serious soul.
I hunker down in the Armory with a glass of wine and plot my next adventure: Superchunk and Justin Townes Earle, reviewed in my next post.