Photo by Ben Kaye
Welcome to Festival Outlook, a new supplemental column that will provide more in-depth analysis for the rumors found on Consequence of Sound’s Festival Outlook. In this installment, Michael Roffman, Frank Mojica, and Carson O’Shoney adjust the power rankings on this year’s Top 10 North American music festivals. Agree or disagree, let us know in the comments below.
Michael Roffman (MR): “We’re gonna build something this summer.” Craig Finn’s words of wisdom are all I can hear while assembling our latest round of rankings. Yes, it’s officially summertime (even if it’s felt that way for months now), two of the Big Four fests are behind us, and we’re only just kissing July. Oy. We have a lot of work cut out for us, gentlemen.
I guess the first thing to discuss is our Spring No. 1, Bonnaroo. It’s now been a few weeks since The Farm shut its doors, and yet we’re still reeling from the four-day extravaganza — and I didn’t even attend! So, what do we think? Was it a success? Does it deserve No. 1? Sure, it was by far the safest installment in the fest’s history, but Kanye’s set wasn’t the heroic comeback it needed to be, Frank Ocean didn’t debut any new material, and maybe it’s just a lack of social networking, but I don’t think people walked away from Elton’s set as “changed” as they were from McCartney’s.
Still, according to our own Alex Young, Jack White put on one of the best sets of his career and of the festival, and as Carson pointed out (and several readers agreed), Nick Cave might have done the same thing. I think there’s a lot to discuss here, and I’m certainly not the authority considering I spent that weekend watching comedians at AV Club’s comedy festival and my team fumble their fourth NBA Finals appearance. So, what say you, Mr. O’Shoney?
Bonnaroo // Photo by Amanda Koellner
Carson O’Shoney (CO): Bonnaroo just keeps getting better somehow. The event has changed so much since I started going in 2007, and it’s (almost) all for the better. It’s a finely tuned machine at this point, firing on all cylinders. Getting there isn’t as much of a chore as it used to be, the lines to Centeroo have been cut down considerably, water stations are now plentiful, the grounds have expanded and remain beautiful, the Food Truck Oasis/Kalliope Stage setup was perfect this year, and it really helped that they removed the center division at the What Stage pit. As you mentioned, it was the safest Roo ever, and what’s more, the weather cooperated and kept everyone cooler than normal. All in all, it was easily one of the best festivals I’ve personally attended. No lie: Bonnaroo’s “Radiate Positivity” mantra really did translate into a good vibe at the fest, even amidst the persistent “Fuck Kanye” graffiti.
Sure, Elton John didn’t leave the crowd ‘changed’ like Macca did in 2013, but maybe people don’t have an emotional connection to Elton like they do with Paul. Instead, they were just there to sing along and have a good time, which they did by the tens of thousands. Throw in Jack White and Nick Cave and the countless other acts who knocked it out of the park this year, and you’ve got a lineup that stands up to the best lineups in the past — both in theory and execution. There were very few disappointing sets, and even those were seemingly disappointing to a very small, albeit vocal, minority (ahem, Kanye, which I personally loved). Let’s not forget about all the SuperJams this year, which you won’t find anywhere but Bonnaroo. From top to bottom, this year was an absolute success, and if you only took the lineup into account, I think Roo would still be top two at worst. Factor in everything else, and it really cements its place as No. 1 in our power rankings.
Jack White at Bonnaroo // Photo by Amanda Koellner
Frank Mojica (FM): I really wish I could have gone to Bonnaroo this year. It isn’t often that I actually watch all of the headliners at a festival, and the lineup was solid from top to bottom. Also, a lower emphasis on EDM is always a good thing.
It wasn’t entirely surprising that Yeezus was figuratively nailed to a cross by attendees. Seriously, children, get over 2008, already. As for Sir Elton, I would love to see him and his hit-stuffed set sounded like a blast, even if it didn’t pack the same oomph as McCartney. But then again, what does? Bonnaroo’s SuperJams are a welcome break from the usual festival fare and are once-in-a-lifetime sets, really. I mean, where else can you see Warpaint covering “Pump Up the Jam”?
Speaking of which, I must say, they goofed by not giving Warpaint a longer set. They would have actually taken advantage of the extra time with their penchant for extended jams. Nevertheless, the webcast sounded incredible. It’s disheartening to hear that only a hundred or so people watched Nick Cave, though. At some point, festivals are surely going to stop booking people like Cave if people don’t start actually watching them, so let’s enjoy these bookings while they last.
MR: Whoa, whoa, whoa. Slow down, Frank. We all know how insane you are about Warpaint. You’ve gotta remember, they’re still a rising, young act. I’m actually surprised they were even a part of the SuperJam, so I’d consider them lucky by Roo standards. Also, maybe I just caught them amidst some weird SXSW malaise, but I’ve yet to go bonkers for them on-stage, and I actually enjoy their albums. ANYWAYS…
Vampire Weekend at Bonnaroo // Photo by Amanda Koellner
I guess when it comes down to it, Bonnaroo really does offer a perfect mix of yesterday, today, and tomorrow. I was going to start this off by discussing how they place such a precedence on the veterans, but really, that’s just not true anymore. They gave Skrillex a SuperJam set entirely to himself, while Elton John, Nick Cave and the Bad Seeds, and Lionel Richie are the only real greying veterans at the top of their lineup. Hell, Vampire Weekend is listed as fifth — fifth! — pitting them ahead of Arctic Monkeys, or Skrillex, or even the festival’s beloved Flaming Lips. Granted, plenty of other fests have done the same thing (e.g., Governors Ball), but Bonnaroo is arguably the weightiest of the colossal Big Four. It just speaks to their eyes and how they’re not looking pre-2000 as much anymore, and that should help as the lineups get more and more difficult to piece together year after year.
“But Lollapalooza did the same thing this year, didn’t they? They booked Kings of Leon, Arctic Monkeys, Skrillex, Eminem, and OutKast, who all claimed their spotlight post-2000,” you might argue, and you’d be right. But here’s the difference: story. With the exception of OutKast, who by then will have played over 30 sets, each one of those acts have played Lollapalooza in the past few years, and even worse, they aren’t supporting anything new. Each of their albums will be almost or a little over a year old, and while seeing how Arctic might fare as a headliner is intriguing, it’s not enough of a narrative to really pull you in. With Bonnaroo, they had a heroic return (Jack White), a rematch (Kanye West), the induction of two legends (Lionel Richie, Sir Elton John), and well, just go look at the lineup… it goes on and on. I think that’s what’s really necessary of the Big Four at this point; you need to have a narrative, a story, or at least character. And yeah, I’d have to agree, Bonnaroo did that again.
Here’s what I’d argue, though. Edge vs. narrative. In that department, FYF Fest wins hands down. This is a festival whose idea of a veteran is an act that’s either been dismissed (Interpol) or relatively out of the spotlight (The Strokes), where reunions require a short trip down memory lane (The Blood Brothers, Slowdive), and the greatest acts of today get the banner space they deserve and could host (HAIM, Grimes, Flying Lotus). Personally, this is the only lineup of the year that had me run to the bathroom to see if I actually did pee in my pants just a little. (Of course, I didn’t; it was just green tea.) I’m still taking my leftover Xanax in hopes to feel better about myself for missing this. And have you been to FYF? It’s one of the only festivals I know of where you can easily smooth over the conflicts by running to and from stages. Son of a bitch, how am I missing this?
Please talk amongst yourselves. Topic: How does FYF fare against it’s little cousin FFF? Are these small-scale reunions overhyped or just chances for the lesser known to get their due applause?
FM: Most people don’t care, sure, but for those that do, there’s little more exciting than the prospect of finally catching that beloved band that’s finally back together again. FYF really nailed it this year. Phoenix and The Strokes secured the attendance of the masses, and having several esoteric reunions guaranteed continuing support from their base of regulars. No wonder the event sold out.
Kings of Leon // Photo by Amanda Koellner
MR: Hmm, it would appear as if that’s a common thread of any successful festival — especially a juggernaut like Lollapalooza. A few anchors move the tickets out the door, and the rest, well, they’re colorful shipmates. Going off that measure, do we value the anchors or the shipmates? Are we going in circles here? Look at last week’s news about C3’s Big Day Out! What happens when there’s a lack of anchors? Does the ship then drift away into nowhere? Or do the shipmates stand up? Sorry, apparently last night’s viewing of Master and Commander struck a nerve. Oh, that Russell Crowe.
CO: Going back to FYF/FFF — even though I just sang the praises of Bonnaroo, smaller fests like these are really where my interests lie these days. They don’t need as many ‘anchors’ since they don’t have to attract a small city to their gates. That also gives them freedom to make interesting bookings that aren’t part of your average festival lineup. FYF snagged Slowdive and Blood Brothers, while FFF got King Diamond and Judas Priest, among many others at both. Some of my favorites lineups in the recent past have been put together by Moogfest/Mountain Oasis, Big Ears, Pitchfork, Hopscotch, and other smaller festivals.
In general — to continue the metaphor — early in your festival-going life, I find you’re more likely to be drawn by the anchors. That’s how they draw the masses in, and hook the first-timers into going to their festival. But the more you go to festivals, the more enamored you become by the shipmates. Some of that has to do with the fact that there are only so many headliners to go around, and while some festivals do a solid job of keeping the top of their lineups fresh, others (*cough* Lollapalooza *cough*) seem content to just keep trotting out the same batch of anchors. In cases like that, you have to start getting more into the shipmates; otherwise, it’s pointless to keep going to the same festival to see the same bands over and over again. Even if your festival(s) of choice aren’t recycling their headliners in that fashion, as you get older and go to more festivals, it just feels natural to be more drawn to the smaller, more intriguing acts.
On the other hand, Big Day Out and countless other failed festivals prove the need for big anchors. There are always going to be huge music fans that get pumped about the bottom half of the lineup, but they are far outnumbered. No matter how established a festival is, or how good of an undercard they have, the masses are mostly just looking at the top two or three lines when making a decision on what festival to attend. They don’t care that Ty Segall is playing a late-night set. They don’t know or care what Mogwai represents. They’re there to party and see the bands in big bold letters at the top of the poster. If you don’t strike a chord with them there, you might be shit out of luck. Like it or not, it’s those type of people that make or break major festivals.
MR: And that’s a tragedy in itself, Carson. I recall in my early days of Lollapalooza — around 2005 and 2006 — I’d be riding with folks who wanted to hit up the festival early to see what they were offering, and I thought that was really open-minded of them. For one, they weren’t the biggest music fans, meaning they didn’t hit up the boards or obsess over songs the minute they surfaced, but they wanted to make every dollar of their purchase count. I don’t know if that’s a good way of thinking, but I imagine it’s led to some great discoveries on their part. Still, like you said, they wouldn’t have bought that ticket if Weezer or the Red Hot Chili Peppers weren’t on the lineup. But maybe one experience is worth an annual tradition regardless of the top-billed talent? Probably not.
Keeping this going, I’d like to re-address the story angle of festivals. What festival works off a powerful mythos this summer?
FM: I think the story of the summer could be Pemberton. The first, and only, edition was apparently well attended but plagued with logistical issues such as traffic and a limited capacity dance tent. These issues have been addressed by the new organizers, though. It will be interesting to see what happens with Pemberton’s reboot because I think it has the potential to be the next true North American destination festival due to its beautiful setting and impressive lineup.
And how about that lineup, eh? Truly something for everyone.
MR: It’s definitely a great lineup and one that also gives a fair shake to a variety of genres at the top level. As we saw with Sasquatch! this year, Soundgarden isn’t exactly a genuine sell, so it’s nice to know they’re getting another shot, albeit behind NIN, OutKast, and Deadmau5. The undercard is pretty brilliant, too. Frank Ocean, Kendrick Lamar, Modest Mouse, and, um, Randy Newman? Come on. That last addition is the sort of creativity every veteran spot should warrant. Hell, they even nabbed Norm Macdonald in the comedy tent, which should account for 65% of the ticket alone. What do you think, Carson?
CO: I love it when major festivals book something completely out of left field. I’ve already talked about some of the more niche fests and their unique bookings, but seeing names like Randy Newman on a huge lineup makes me smile. Hell, just a few years ago we would have scoffed at the notion of Lionel Richie playing prime-time spots at these types of festivals, but now he’s killed at both ACL and Bonnaroo. Plus a vet like Norm and even someone like Tom Green (both at Pemberton) makes a comedy lineup a lot more interesting than your average festival. More bookings like those, please.
MR: If we’re talking about intriguing stories, I have to bring up Moogfest. Their soft return earlier this year kicked our heads with one of the most unique lineups we’ve been able to appreciate in North America. But ultimately, it was a failure, having lost $1.5 million in the process. Here’s the breakdown, according to Asheville’s Citizen-Times:
Moogfest ticket sales totaled more than $712,000, with food, beverage and merchandise sales at around $29,000. Expenses totaled more than $2.7 million. The majority of the festival costs came from talent. Festival organizers Moog Music spent more than $1.5 million on artists and artists travel, hotel, and meals.
Moogfest 2014, touted as a new economic development tool to coax more technology talent to the area, received $90,000 in funding from the county and $40,000 from the city of Asheville, along with another $50,000 in in-kind services
Ouch. Odds are it’s not coming back after that. Granted, we’ve seen some resilience with troubled festivals in the past years — Langerado and DeLuna, to name a couple — but with no sign of a return from A/C Entertainment’s Mountain Oasis Festival, it would appear that Asheville is off the map for festival season. So, could we really justifiably call this year’s Moogfest a top festival?
Based on creativity and originality, yes. But from an economical standpoint, perhaps, no. Is this another lesson to what we’ve been discussing all along: the importance of anchors? Or is this a premature conclusion, especially since most young festivals lose money in their fledgling years? Sub-question: Is Moogfest really a young festival anymore? Let’s tackle these and then we can hit up our lists.
Moogfest // Photo by Cap Blackard
CO: To answer your question, yes Moogfest is still a young festival. It shares a name with an older festival, but there’s no relation otherwise. They can go through the same growing pains that any other young fest would go through, especially between year one and year two. I will say that Moogfest definitely gets points for trying something different. Not only did they put together perhaps the most unique lineup of the year, they decided to go five days long and have a “day” lineup of presentations and panels, and a “night” lineup of music. It’s a dream festival for anyone who is into that scene on more than just a musical level.
The problem is, by stretching it out to five days, you’re limiting your audience greatly. Anyone with a job and little to no vacation time is automatically out. Some that would have free time might not be able to afford staying in Asheville for five days. Any way you slice it, five days is a long time for a music festival, no matter what other kind of peripheral activities are happening around the music. I’m taking a stab in the dark here, but I’m guessing that contributed to the small turnout — when you’ve got a niche festival like that, you’ve got to make it more accessible to out-of-towners.
I think they need to find the right balance between their vision of Moogfest and AC Entertainment’s versions if they truly want the festival to be a success. I, for one, hope we haven’t seen the last of Moogfest, no matter where they go from here.
Ryan Hemsworth // Photo by Derek Staples
FM: Moogfest may have been our last shot at a truly original, one-of-a-kind festival experience. Don’t get me wrong, there are some great lineups this year, but they are all massive outdoor events short on esoteric delights. The intimate, specialized event for the discerning music lover is a dying breed. As was the case with ATP, we apparently can’t have nice things and you can’t pay the bills with creativity points.
I agree with Carson’s assessment that five days may have been a bit much for Moogfest, especially for an event in April. Bad timing probably killed the S.S. Coachella, and it may be a factor here as well.
MR: Timing is everything with festivals and, yeah, five days is just too much. It stopped me from being able to attend and this is my life. You can’t aim to be South by Southwest in the first go-around, which is sort of what they attempted to do, come to think of it. Despite the pitfalls, I think we all agree it was a success, creatively speaking, and deserves its spot amongst the best of 2014. It’s just a shame we won’t be using the term “blockbuster” at all.
Boston Calling: Spring 2014 // Photo by Ben Kaye
On the plus side, there are several young festivals that deserve that title already. Look at Corona Capitol! Or Boston Calling’s sister installment for the fall! There are a lot of great junior festivals refusing to pull their punches, and it’s working out well for them.
I think this is about as great a time as any to break into our list. Shall we?
FM: Another solid lineup that puts Lollapalooza to shame. Pitchfork is still the only U.S. festival with St. Vincent this summer, and her set at Sled Island was the best headlining performance I’ve seen all year. Although she’s only sub-headlining here, that’s still a win.
CO: They know their audience, and they play to it well. They also keep bringing in acts that conventional logic says are too big to play P4K — Björk last year, Beck this — and show no signs of slowing down. They keep the bookings interesting too, with Kendrick Lamar, Giorgio Moroder, Grimes, and Slowdive among the many acts you won’t find on many other lineups.
MR: I still hate the way you’re stuck in Union Park once you arrive — I know there’s not much around there, but I just don’t like feeling caged in — so that’s always been a negative for me with Pitchfork. Still, they’ve assembled a fine lineup this year, and although I’ll be missing the weekend’s strongest day (Friday), I’m excited for the rest of the shenanigans. I’m also intrigued to see if they plan on subbing in any acts for Death Grips or The Julie Ruin, two acts that’ll be tough to replace.
9. Boston Calling (September)
FM: I’m impressed at how a fairly new festival like Boston Calling has quickly expanded and grabbed a mix of today’s stars, reunions, and artists on the rise. It’s a trimmed-down version of one of the Big Four.
CO: This lineup is basically a dream undercard from a major fest condensed into one smaller fest — from the National to reunions of the moment The Replacements and Neutral Milk Hotel to The War on Drugs. Just add a few Roo sized headliners and you’d be looking at a fantastic Bonnaroo lineup. The fact that they’re keeping it smaller and giving those kinds of bands the headlining spots makes it even better. They even snagged a Nas + the Roots set, which promises to be one of the most special shows of any of these fests.
MR: Full disclosure, folks … I actually designed this festival. The only reason The 1975 and Twenty One Pilots are on there was because of a sign and trade with a nearby street fest. All kidding aside, Boston Calling started off rough with an agreeable lineup last year, but all signs — by Ben Kaye, of course — point to this being a great event to attend. With a lineup like this, it proves that their organizers know how to do this right. Small, poignant lineups that are tangible for the average festival-goer to see top to bottom. What’s the cliche? Best bang for your buck? Yeah, that’s it.
FM: Moogfest remains one of the most unique lineups this season. I wish there were more events like this with a specialized, carefully-curated lineup.
CO: Without a doubt the most unique and specifically catered lineup on this list. I was skeptical when Moog, Inc. decided to break ties with AC Entertainment, but they clearly had a unique vision and made it work for them. Kraftwerk, Pet Shop Boys, Chic, and Flying Lotus all played into that specific niche that they have carved out for themselves.
MR: We’ve said more than enough about this lineup, but I’ll add this: If Moogfest does in fact survive the wrath of their accountants, I hope and pray (?) the adjustments are specific to the timing and scheduling and not the caliber of acts they’re booking. In other words, if Moogfest 2015 lathers on the go-to EDM, it’ll be a full on Gavin from Disturbing Behavior moment for me. Too esoteric of a reference?
7. Newport Folk Fest
FM: Newport Folk knows what they want, and they get it. Jack White and Mavis Staples as headliners, along with the likes of Nickel Creek, Deer Tick, Jimmy Cliff, and Benjamin Booker? What they have this year is an impressive, diverse array of talent.
CO: One of the country’s longest running festivals, they keep molding and expanding the definitions of ‘folk’ to fit their ever-expanding lineup horizons. You don’t typically think Jack White, Jimmy Cliff, or Mavis Staples when you think folk, but there’s room for all of them on this excellent lineup.
MR: I think there’s a name you both forgot: Ryan f’n Adams. With a new album on the way and a solid single to nibble on presently, Adams is a solid get. We didn’t add him on the “rare gets” list, namely because we wanted to hear his new offerings, but that’s just the cynic in us. He’s gonna floor his fans, and I fucking hate myself for not being there.
6. Corona Capital
FM: Normally, I’d avoid any event with Kings of Leon like the plague, but I am seriously considering my first visit to Mexico for Corona Capital. Why? What other festival besides Glastonbury can boast Jack White, Beck, Little Dragon, Lykke Li, St. Vincent, and Chvrches? Plus Damon Albarn, Beck, and Melody’s Echo Chamber? This is my kind of party.
CO: The Pemberton of the opposite side of the US. If neither of those two festivals can get you to put your passport to use, I’m not sure what can. Massive Attack, Beck, and Damon Albarn — and that’s just the 2nd line? Yes please.
MR: What I like about Corona Capital this year is its depth. Look at how deep this thing goes; St. Vincent is on the fifth line, Sky Ferreira is on the seventh, Twin Shadow on the eighth, and so on. There won’t be a dull moment all weekend at this festival, and although Kings of Leon are easy to shit on, I’m sure their Mexican fanbase appreciate the addition. [Slams fist on the table.] Oh man, I keep forgetting they nabbed Massive Attack, too. Wow.
FM: This year was something of a growing pain for Coachella, as if torn between what the current generation of attendees are into and what the festival used to be about. Or more likely, they were trying to satisfy everyone. Either way, the weekend was loaded with stellar performances and one-of-a-kind collaborations and I cannot wait to see what happens in 2015.
CO: If their aim is to be the most European US festival, they once again hit the mark in 2014. Even though this year’s lineup wasn’t as UK heavy as in the past (Muse notwithstanding), they still nail the feel of eurofests better than anything else stateside. The Knife, Pet Shop Boys, and Motörhead almost seem out of place in the US, but they’re all great and unique bookings.
MR: Good point, Carson. You’re right, Coachella has been leaning very European as of late. I guess that’s a good thing; after all, they’re selling tickets. But, I still don’t think their lineups are akin to Primavera Sound, the creme de la creme of festivals across the world, and that’s because they still feel the need to book the lame staple rock act. I’m talking about Muse this year, Chili Peppers last year, or The Black Keys the year before. Something tells me they’d be able to push tickets without these acts, regardless of the nearby KROQ crowd, and I think their lineups would be better for it. Maybe that’s their plan, though.
4. Pemberton Music Festival
FM: If you missed Frank Ocean at Bonnaroo, you can catch him at Pemberton or, well, just Pemberton. Will he play some new music this time? What about Metric? Pemberton also features reliable headliners as well as top-tier live acts, comedy, dance, and a ridiculously stunning assortment of hip-hop. I consider Pemberton’s lineup a declaration of war, and the prize is the honor of Canada’s top festival and one that’s in the same league as the Big Four. The gorgeous mountain backdrop also counts as a fifth headliner.
CO: For such a young festival, they’ve really hit the ground running. Their lineup might not be quite as big or impressive as Governors Ball or the other majors, but they’re carving out quite the name for themselves. Their beautiful landscape in majestic Canada doesn’t hurt, either.
MR: Like you said, Frank, this is a great comeback story, and they’re wearing the right gloves to come back boxing. Ugh. That was an awful metaphor, but just look at this lineup. The deep undercard is solid, too. Dinosaur Jr., Metz, Lettuce, Kaytranada, and a DJ set by Purity Ring? Those are some solid bottom names. Coupled with the headliners, they’re covered musically for sure. Throw in their brilliant comedy lineup and, yeah, I’m with you Frank: they could easily be in the same league as the Big Four.
3. Governors Ball
FM: The so-called Big Four may well become the Big 6 if Governors Ball and Pemberton continue to go above and beyond. New York is already the top vacation destination, and Governors Ball has only made a trip to the Big Apple even more urgent. This year’s edition was the right mix of acts I wanted to see and those I don’t, and with no middle-ground filler.
CO: If this festival stays on a roll, you might be right, Frank. They have every bit as big of a lineup as the rest of the bunch, and they knocked it out of the park this year with OutKast, The Strokes, and many Roo crossovers like Jack White, Phoenix, Skrillex, and Vampire Weekend.
MR: I missed this one. I’d rather not talk about it, but okay, here’s this: To survive in New York City is a feat in and of itself. To thrive in New York City is another beast altogether. I still think this is a bolder lineup than Bonnaroo, musically speaking, but there’s still some growth to be had here. For one, they’re based in NYC and the lack of comedy is preposterous, especially in today’s golden age, so if they tweak that … yeah, you’re talking No. 1 territory.
2. FYF Fest
FM: FYF Fest sold out in record time because they know exactly how to please all their bases. Come for The Strokes and Grimes, stay for Slint and Slowdive.
CO: This festival just keeps getting bigger and better. This year they even nabbed a couple big reunions (Slowdive, Blood Brothers) to go along with their big headliners in the Strokes and Interpol. This little fest is growing up nicely.
MR: Out of all the small ball lineups, FYF Fest immediately came out on top this year. There isn’t one act on this lineup that doesn’t fit their aesthetic, which speaks to its cohesion. Few festivals, if any, are able to walk around with that calling card, and although that’ll be harder to maintain as this festival grows, I think they’ll do a solid job in maintaining face. I love this brand.
FM: Bonnaroo deserves the top honors solely for hosting one of Bobby Womack’s final performances, am I right? The festival keeps getting better and better. It’s hard to find much to nitpick about because it was just a cleverly devised bill. Where else in the world can you see Lionel Richie, Kanye West, and Elton John playing all the hits, plus Jack White’s massive set, Warpaint covering Technotronic and David Bowie, Nick Cave playing to a couple hundred people, plus the likes of Banks and Cloud Nothings?
CO: The Reigning Champion. What else is there to say? They snagged Elton’s first ever US festival appearance, Jack White played all night, Nick Cave slayed, and logistically they’re getting close to perfect. They set the bar year after year and their 13th edition was no exception.
MR: We’re not worthy. We’re not worthy. We suck.