Returning back to LA for what could be one of the best festivals of the year, FYF 2012 brought with it an unbelievable lineup.
Moonface
Spencer Krug does it again, but of course. Moonface is psychedelic Wolf Parade with gusto, to say the least, understandably the name and lack of years performing together will tend to get you earlier spots, but why wait for this group to gain more popularity, their performance and show already have proven to be infectious drawing in the masses. Their earlier slated timeslot is one those rarities that comes out of festivals, where you’re allotted a semi-intimate performance with a group that undoubtedly has large growth in the near future.
Two Gallants
After all the bouncing around at Moonface, it was about time to get that customary afternoon rest in—you have to be charged up and ready to go for the rest of the day, right? Two Gallants, the first of the Saddle Creek family to be playing the festival this year proved to have some of the best Saturday afternoon background music.
Chairlift
Did she… did she really just walk off like that? How do you leave yourself so emotionally vulnerable, and then jump that far into the deep end willingly? Caroline Polacheck, Chairlifts lead singer, decided to dedicate her performance to a certain someone from her past who evidently was there at the show…unfortunately for the audience this drudged up some bad memories. This is one of those cases of personal anecdotes needing to be reserved for more private conversations and not an entire festival audience. It was like watching a nightmare on the fear of public performance unfold live on stage, as if it were an one act play… But to be fair there first two songs were pretty good.
Nite Jewel
It’s been a few years, and though a polished act, and stronger musical accompaniment will give any performer clout, the amount of partnering and remixing Nite Jewel’s been involved with in the music world has also been impressive. With that being said I liked the minimalist 4-track sound she had begun with a few years back. Relying more on her presence and voice really worked well for her. With the larger sound she’s been forced to go back and iron out the kinks, while learning how to assimilate with the added help.
Future Islands
A bone chilling musical performance—it was as if I was watching a live story being told, watching it little by little unravel further with such harrowing bravado. The masculine figure of Samuel Herring, brawny and high towering created a façade for the real artistic endeavor. There’s an intensity in Herring’s eyes that somehow has an ability to peer into an audience’s soul.
Chromatics
To be honest there was still the awe of Future Islands dissipating as we scurried over to Chromatics, however once able to collect myself a bit, and hearing Ruth Radlet’s voice streaming through the speakers I was able to focus once again. In retrospect, being able to listen to the Chromatics right at the beginning of the evening, before James Blake, and before M83, there was this amazing spirit of enthusiasm which makes the rush of going to festivals so exhilarating.
James Blake
Just as good as I remember. Fortunately he doesn’t need a solar eclipse, and a green sunset to be as powerful as he came off at Symbiosis (never forget.) Still modest, or maybe arrogant, it’s a fine line, but regardless the banter that is often customary at shows is absent at his, but not in a standoffish way… more in a “let me work this beat for you,” sort of way.
Sleigh Bells
The surprise bit of perfection, unbelievably placed between James Blake and M83, Sleigh Bells bridged the two performances in a way only they could. Walking in to this show was like a jolt, surging through every inch of my body to prime the crowd, not for what’s to come, but for the moment itself. [she] was beyond beautiful in her commanding performance, feeding the crowd with bestial fervor, as she fed off the energy we had to give in return.
M83
Unbelievable. M83’s performance over the years has only grown to match their sound. With the now customary and iconic costumed entrance, to their growing light display, their performance alone warranted the price of admission for the weekend. With the Los Angeles skyline as a backdrop, of course verses out of their single Midnight City, would become perfect anthems for the weekend and not just the night. From the extended versions of We Own the Sky, to opening howls from Steve McQueen, there’s legitimately too many highlights to point out, M83 has grown to be an experience that can’t be passed up for any reason, short of failing health, or Yankee playoff tickets.
