Sasquatch! | 05.23-05.25 | The Gorge
By Team JamBase May 27, 2009 • 3:55 pm PDT

Sasquatch! Music Festival :: 05.23.09 – 05.25.09 :: The Gorge :: George, WA
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Three stages – the Main Stage overlooking The Gorge, the high on the hill Wookie Stage, and the more intimate Yeti Stage – were this year augmented by a colossal manta ray-meets-clam looking white tent. Hailed as the Dance Tent, the clam revealed itself to be a prime piece of real estate, providing respite from each day’s heat and unrelenting sun, a home to comedians by day and DJs and dance oriented bands at night. Regardless of time of day, the clam was shoulder-to-shoulder, nuts-to-butts all weekend long.
The stylistic diversity of the bands was matched only by the range of concertgoers – electro-oriented dance bands, DJs, hip-hop, techno/industrial, rock, bluegrass, gypsy, folk, mope-rock, beard-rock, punk-rock and straight forward rock-rock, all bound together by their (mostly) indie and (mostly) Pacific Northwesty beginnings.
Sasquatch! has always appealed to a broad swath of people. A large part of the crowd was younger than 21, as evidenced by their lack of alcohol wristbands and their penchant for neon, a good segment was Canadian (based on license plate research) and most were Caucasian given the high percentage of sun-pinkened shoulders, backs and noses.
So there we were. Spectacular vistas, blue skies, and many, many bands on four stages with a few hundred feet of elevation gain and loss between them. And about 20,000 of our closest weekend buddies. So, let’s get on with it, shall we? (Court Scott)
Saturday :: 05.23.09
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Passion Pit
As soon as the Blind Pilot crew left, hoards of body painted, American Apparel wearing teeny boppers flooded the Wookie Stage for Passion Pit. It was a bit of a shit show, but it was entertaining to watch. Frontman Michael Angelakos and company are getting a lot of hype, so I was really keyed to see them. When the guys took the stage, the crowd went completely wild and I couldn’t help but wonder why on earth this show wasn’t at night… or in the dance tent? People wanted to rock out and they did, but it was hard to do at 2:30 p.m. in major heat. Now, I love their first album, Chunk of Change, and I’m just getting really into their latest album, Manners, so you know I’m going into this as a fan. But, I have to say I was disappointed. Angelakos didn’t have much of a voice at all. Maybe he had screamed it out the night before in San Francisco? Maybe the dust was affecting him? At any rate, he wasn’t hitting all of the notes and the screams weren’t as charming as they are on the album. That being said, the beat was there and that was all the crowd seemed to need. They played hits “Sleepyhead” and “Smile Upon Me” but spent most of the show playing songs off the new album. Overall, I was a little bummed at the performance, but because I’m a fan I’m going to give them the benefit of the doubt and go check them out at another venue, preferably an inside venue and hopefully at night. (LC)
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Animal Collective
Sorry guys, you lost me. In the weeks leading up to Sasquatch! peeps were coming unglued at the prospect of this show, but in the moment it just felt really unfocused to me. They opened with their singles – nice – and then got all ambient. I don’t dislike ambient at all, but I was unsure about what kind of statement they were making. I don’t think they meant to come out and get all wussy, and I suspect in another (smaller) venue this sound would have filled the room, seeping into every space and coloring the experience beautifully, but at the vast Gorge it was less than dynamic. I know there is talent there, but I think this performance can be chalked up to a lesson in learning. (CS)
Ra Ra Riot
Back on the Yeti Stage, Ra Ra Riot was ripping it up. They are such a genuinely happy band. They all dance, smile and look like they’re having a grand ol’ time up there, which makes you feel like you’re having a grand ol’ time as well. Lead singer Wes Mile sounded great live. He has an incredibly beautiful voice and hearing it echoing through the venue was chill producing. Nothing was lost from the record The Rhumb Line to my delight and surprise. It was a great late in the day performance, playing hits like “Oh La,” “Dying is Fine” and Kate Bush’s “Suspended In Gaffa.” The sun started to set as they finished up and everyone walked away with smiles on their faces, hand in hand, arm in arm. (LC)
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The Decemberists
Having just seen their show last week in San Francisco, I was curious to see if they’d be playing their new record, The Hazards of Love, from start to finish, or if they’d come out and play a bunch of hits. To my surprise, they went with their brand new album. Because this record is so new, not many people knew any of the songs. And, it’s not like these songs sounds particularly ‘Decemberists-like,’ so fans around me were definitely confused. To quickly refresh, this new album is a disturbing, dark folk tale about love, starring a woman named Margaret and her finicky shape-shifting lover. Because it’s so musical-like and because they didn’t have the benefit of power lighting and a sexy venue like the Fox Theater in Oakland to support them, it was a ballsy choice, but in the end it turned out to be a good one. Singer-songwriter Colin Meloy and company, including female vocalists Becky Stark and Shara Worden, ended up wowing the crowd. This is a good time to mention that either out of inspiration or boredom, two Sasquatch! attendees decided to drop their pants and make sweet, sweet love in front of everyone during this show. Meloy actually saw this act of love and pointed to it while laughing during one of the songs. Unfortunately for them, they were stopped by some employees, but not for a good while. Nice highlight to the day. (LC)
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Yeah Yeah Yeahs
With a brand new album, It’s Blitz!, the Yeah Yeah Yeahs are back in fighting form. Their sophomore effort, Show Your Bones, was less well received than their 2003 debut. A fan of their music, I’d never seen the Yeah3 live, but I finally get it. I totally get it. This is one of those bands that really give you a show. Vocalist Karen O is a physical powerhouse. She shimmies, kicks, struts, howls and coos with personality. Noted as a fashion forward dresser, O is the stylistic embodiment of her vocalizations – well conceived and polished, yet fun and confident. This is one of those instances when instead of being a singer, the lead vocalist is really a crucial part of their trademark sound (think Robert Plant or Eddie Vedder). The Yeah Yeah Yeahs play pretty straight ahead rock songs with fairly simple structure. The addition of guitarist Nick Zinner‘s new penchant for synthesizers creates a perfect electro-layer, complimenting and oddly softening their overall sound. Drummer Brian Chase‘s kit was positioned in front of a giant inflatable eyeball tuned on the audience. The mix on the Main Stage was great despite a little wind rolling off the Columbia River, but the band sounded primed, tight and excited to play for the large crowd assembled. The four college aged girls next to me helped me understand the draw of the band, too, as they pranced around, sang loudly to one another, interpreted lyrics and generally raved on in their leggings, DayGlo sunglasses and in-the-moment smiles. O is this generation’s Madonna (without the sour disposition and batshit crazy control issues). She’s a safe bet for longevity, equal parts sex symbol and smarty and a genuine talent, which you just can’t fake. For that, Karen O and the Yeah Yeah Yeahs get my MVP award for Saturday. (CS)
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Continue reading for Sunday coverage of Sasquatch!…
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M83
M83 played to a huge crowd Sunday night, the same wild crowd that would later rock out with of Montreal. But, before everyone could be mesmerized by futuristic craziness, they needed to take a moment to reflect on their youth, of simpler times… cue M83. Anthony Gonzalez creates beautifully melancholic, John Hughes-esque ambient pop heavy on the synths. He gave the audience everything they wanted including hits from Saturdays=Youth (he thinks Saturday is the ‘coolest day of the week for a teenager’ and that’s why it’s in the title) like “Kim & Jessie,” “Graveyard Girl,” and “Couleurs.” He also played a personal favorite, “Teen Angst,” which echoed hauntingly through The Gorge. Everyone was singing-along, swaying arm in arm with their friends, feeling the good energy that Gonzalez was putting out. It was a high point of the day, mainly because it was a break from running around, sweating and thinking about what’s next, who’s next, where to go next; it was a set that demanded your attention. It made you think about where you came from (everyone suffered teenage years and can relate) and how far you’d come to get to right where you were. Thank you for helping us all enjoy the moment. (LC)
of Montreal
While everyone else was claiming their plot of grass for NIN and Jane’s Addiction, I joined the other half of the crowd at the Wookie Stage for of Montreal. Holy Cirque de disturbing Soleil! There were animal masks, blood, acrobats, cartoon graphics, costume changes, and even a Prince cover. Frontman Kevin Barnes took the already pumped up crowd (as mentioned above, M83 kicked ass right before they came on) to the next level. Their music is catchy, weird, up-beat, Bowie-esque and dance friendly, and even if you didn’t know one song (not many people around me had ever heard of them), you were rocking out. This was truly a spectacle; a vaudeville show at its finest. The entire crowd was smiling at and laughing at Barnes and company, especially when he came out with what looked like a bear fur jacket that was smoking. At one point, musicians who had performed earlier in the day joined them onstage to play ‘paparazzi’ to the crowd, shooting our photos and pointing at us. It was weird and fun and it worked. John Vanderslice was particularly noticeable jumping around shooting fan photos. Overall, this was the best show I saw the entire day. However, I wasn’t at NIN and Jane’s, so maybe Court has something to trump me. (LC)
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Bursting forth from a dense fog rolling off the stage just before sundown with his live touring band, Reznor was immediately the center of attention. Looking and sounding good, he lapped the stage and delivered each lyric like his life depended on it. The sound was big, simple, bright and clean, boasting the industrial-meets-pop sound NIN is known for. And though his music is themed around alienation, despair and less-than-warm-and-fuzzy feelings on the vibe spectrum, Reznor seemed pretty damned happy. “This is one of my most favorite places in the world to play,” he announced with a bit of excitement.
The Main Stage was flanked with huge light banks and strobes that caused my eyes to flutter and pulse with each flick. Both the floor and The Gorge’s cavernous lawn were filled. It felt like something very special was happening, and I think it was. Reznor has said that after this tour, the band will go on ‘hiatus’ (every music fan’s least favorite phrase). Pretty Hate Machine‘s “Terrible Lie,” Downward Spiral‘s “Doesn’t It Make You Feel Better,” as well as newer, instrumental material from Ghosts I-IV was played. “Head Like A Hole” was the closer, and then, lit only by subtle stage lights and hundreds of lighters from the audience, NIN encored with a blistering “Hurt.” Out of nowhere it appeared that the audience was beamed the lyrics as nearly everyone started singing along. It was as chilling as it was beautiful, which perfectly sums up the lure of NIN’s music. (CS)
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Jane’s Addiction Jane’s Addiction is the latest “old” band to reunite for a tour, this time with NIN. The spectacle is still there and the tunes hold up – they were f’n great 20 years ago when they were written. All the material Jane’s played Sunday night on the Main Stage was off their first two studio albums, Nothing’s Shocking and Ritual de lo Habitual. Opening with a ripping “Three Days,” complete with Dave Navarro jamming out during the extended solo, the instrumentation and mix sounded really great from my spot in the center of the floor. Bassist Eric Avery dropped strategically placed, gut rumbling bombs and was tight as could be with drummer Stephen Perkins. Seriously, the rhythm section was tops. Navarro did his shirtless schtick and I have zero complaints with that. The one weakness seemed to be lead singer Perry Farrell‘s voice, and frankly, that was the complaint I had most often heard about Jane’s reunion shows. But who cares? He seemed to be using some sort of looping device to extend the notes and my feeling is it’s fine; at least he knows his limits. His delivery was slower and the phrasing emphasized different lyrics than back in the day.
Farrell conducted the show, proving he’s still one serious showman. He drank from a bottle of wine, at one point, jumped down into the barricade in front of the stage and gave sips to some fans. Farrell seemed honestly pleased to be at The Gorge and did his best to bond with the crowd.
Most of the songs were preceded by a few sentences of banter, which was initially directed at the men. There was a lot of talk about penises, snakes and fucking. I mean a lot. But, it took me a few songs to realize they were introductions to songs, and though it was cheesy, again, it was okay because a lot of Jane’s songs are about sex. I was happy to be there to hear a lot of my favorite songs played live and loud. Highlights included “Whores,” “Pigs In Zen,” a thunderous “Mountain Song” and a funk-tinged “Ocean Sized.” The audience at-large seemed to enjoy the singles “Been Caught Stealing” and “Stop!” off Ritual. It was a good show and a solid delivery, but it felt like maybe the performance wasn’t all that different from previous stops on this tour. (CS)
Continue reading for Monday coverage of Sasquatch!…
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Santigold
Santigold, aka Santi White, and her new band took over the Main Stage for the biggest dance party yet. Even though they’ve only played four shows together, they rocked it like a well-oiled ’80s dance/funk/soul/pop machine. She was all suited up in a fantastically late ’80s one-piece jumpsuit, and had two SG-1s (as she called them) flanking her, each wearing gold coats, tight braids and funky eyewear. They played a nice, fat set including all of her hits, and the crowd danced and sang along. She even invited twelve lucky fans onstage for a big dance party for the last song. It was 3 p.m. and hot as oven mitts, but the crowd was on fire and enjoying every second of it. If you feel like a good dance party with some interesting and daring wardrobe choices, Santigold is a must see. (LC)
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Fleet Foxes
Lastly for this scribe, the band that was MADE to sing at the Main Stage at The Gorge, FLEET FOXES! Sorry for the all-caps but these guys are from another planet and deserve the props. The setting for their set was breathtaking, even more breathtaking than when anyone else played for some reason. Maybe because seeing The Gorge makes you believe in something bigger than yourself, and that’s exactly what Robin Pecknold and company do. If you close your eyes and listen to them for just one chorus you just might open those orbs and find yourself sitting on a cloud. At least that’s how you feel – weightless, above ground, cottony. The crowd sang along to “White Winter Hymnal,” “Ragged Wood” and “Blue Ridge Mountains,” and also got a glimpse of two new songs as well. I had the highest expectations of this band because of the perfect venue match, and they didn’t disappoint. These guys have an amazing future ahead of them, lucky for us. (LC)
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Sealing the proverbial deal on Monday night at the Wookie Stage and the clam were the one-two punch of mash-up master, Girl Talk, nee Gregg Gillis, and Canadian duo, Chromeo. It seemed that everyone still at the festival was at these events rather than at the Main Stage for Erykah Badu and Ben Harper and Relentless7, and that was perfectly indicative of the entire weekend. There were tons of people at Sasquatch! who were there to dance their faces off and conversely, there was the folkie vibe. Each day as I looked out at the crowd, I marveled at the irony of bands acoustic, or at least further down the folk spectrum, playing to crowds ready to rage. The Decemberists and Animal Collective are cases in point. But it was the electro-pop bands that stole the weekend and got the crowds off and gave them the communal party vibe that festivals cultivate. At the Girl Talk set the audience was fully and undeniably engaged. Balloons abound, peeps dancing on the stage and Gillis all over the place; it felt like an exercise in reciprocation, and dare I say mutual masturbation. This set was the reward for people who were in it for the long haul. The music moved so fast it was hard to track, but the past 30 years’ hits were all represented. Gillis, on his super-fun albums, Unstoppable, Night Ripper, and most recently 2008’s Feed the Animals, matches bands and beats you’d NEVER think to put together. It’s all unauthorized sampling, but before you can name that cut, it’s gone. I can’t imagine hearing music the way he must; it is a true gift, and thankfully he shared it with us. (CS)
Explosions In The Sky
After Girl Talk’s high octane, dance-your-face-off, gongshow set, it was time to relax a little with Explosions In The Sky. I have to say, the Wookie Stage at sunset is unbeatable. Bon Iver and of Montreal had killed it the previous nights, so I was excited to see if Explosions would have the same magical effect. They did. Most everyone spread out blankets, put on hoodies, and took to laying on the ground for this performance. Lots of staring up into the night sky, lazily smoking cigarettes, reminiscing on the weekend’s debauchery all the while Explosions providing the perfect backdrop soundtrack. At some points they really kicked it into high gear, with loud guitars and big drums, but mostly they stayed inside sprawling cinematic soundscapes. These guys provoke thought and emotion unlike any other… maybe Sigur Ros, okay definitely Sigur Ros, but that’s about it. Several people around me were referencing Friday Night Lights (the movie) as the place they first heard this beautiful music, and to their delight, Explosions played some songs from the soundtrack. They also provide the theme song to FNL (the TV show) in case you’re jonesing for more. This set was the absolute best way to end the day, and more importantly, get you rested up for what was to come next… Chromeo DJ set, uh oh! (LC)
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I guess the Powers That Be booked these two bands for the last night in the hopes of keeping people at the festival longer, but these shows should have been Sunday night, and they should have gone until 2 a.m., or at least past 11 p.m. I feel badly for ubertalents Badu and Harper, playing to diminished crowds, but hopefully next year’s festival will learn from this one’s scheduling weirdness and people will get what they want all weekend long. (CS)
Continue reading for more pics of Sasquatch!…
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Continue reading for more pics of Sasquatch!…
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