Scattered overnight showers weren’t about to stop the second day of FPSF. Unfortunately, the ominous radar images had me moving sluggishly, foolishly procrastinating what I thought would be an early afternoon in the rain. When the showers let up around noon, in plenty of time for things to dry out for Ume’s set, I was pretty pissed at myself for not getting there earlier. Arriving too late to catch her, I caught the final few authoritatively brutal songs from Baroness on the Saturn stage from the back of the crowd.
From there I kept heading to the far end of the festival grounds to see Dawes on the Neptune stage. The folk rock acts sounded as smooth live as they do on record. Lead singer Taylor Goldsmith isn’t exactly a maniac onstage, but he does have an array of affecting facial expressions that go hand in hand with the soulful and rootsy aspects of the band’s music.
Back on the Mars Stage, none other than Houston Mayor Annise Parker herself was in person to introduce Mavis Staples. Onstage, Staples is charismatic, flipping her highlighted hair as she sways and snaps to the music. She performed some of her own songs such as “I Like The Things About Me” as well as notable cover such as The Band’s “The Weight.” Seeing an act like Staples is undeniably enjoyable for almost everyone; it sounds great, and you’re acutely aware that you’re in the presence of an icon.
After watching a couple of songs from The Bronx, I cooled down in an air-conditioned Fancy Pants with a drink before heading back to the Mars stage to see Cat Power. I’ve seen Cat Power four times now; she’s one of my favorite musicians period. You Are Free and Moon Pix are records that expanded my musical taste and stuck with me. So, I always take it a little personally when people trash Chan Marshall’s onstage antics. Being onstage is tough, and she struggles with it. So, every time she gets up there, even for a song or two, I’m happy. Her stage presence now is less dynamic than it is surreally captivating, but what’s incredible is that the songs sound phenomenal live. You just can’t beat Marshall’s voice. Say what you will, I’m a fan through and through.
Just one stage over, at the Saturn stage, it was like a parallel dimension a thousand light years from the emotive grooves of Cat Power. Matt and Kim had taken the stage and an onslaught of spring break co-ed sorority/fraternity sort of late teens had packed the crowd more intensely than I’ve ever seen at FPSF. A large truck was parked just outside of the photo pit and festival-goers had climbed atop, covering it entirely. With people densely packed all around the stage and photo pit, I had no way in, so I lobbied heavily to FPSF staff. They generously walked me backstage and to the less packed other side of the pit. I still had to debate with security to let me in. Eventually, I was told I could walk across the pit, stop, take two shots, and keep walking. I got the one I needed though, plus some great overhead crowd shots as I walked out. I had to crawl backstage again to exit since the crowd was so dense I couldn’t get out of the other side.
I’m not sure when Matt and Kim turned from caustic punk duo into dance party frat-central, and I mean that far less condescendingly than it sounds, but I was just shocked at the audience. I can say that it seemed festival attendees had as much fun at that set as any other during the weekend. Large balloons were bounced out over the crowd as people bounced and danced. It was like a sexed-up, dance-rock version of a 2008 Flaming Lips show or something.
From there I checked out Of Monsters & Men on the Mars stage, and was surprised to find that I kind of get the band more after seeing them live. They still seem to be an over-championed folk rock act who share too many similarities to other contemporary acts. However, they have good energy and the movement between male and female vocalists works well.
I’m not even going to touch all the “sell-out” controversy surrounding Macklemore in recent months. Opinions of the rapper seem ferocious on either side. What I can say is that he’s incredibly endearing and jubilant live. I also have to voice how impressed I continue to be with Macklemore’s outspoken support of the gay community and his unabashed championing of love. It’s truly beautiful. After the first song, Macklemore asked the crowd if anyone had worn anything particularly strange to the festival, only to discover a gentleman in a huge fur coat. Upon request, the jacket was crowd-surfed up to the stage, and following chants of “put—it—on,” Macklemore obliged before launching appropriately into “Thrift Shop,” which totally demolished the crowd and had everyone in an uproar. In fact, I’ve never seen a festival pit barrier have to be barricaded with supports between the wall and the stage scaffolding until now. People truly love Macklemore.
The Men performed on the Jupiter stage soon after Macklemore’s set began, so I couldn’t stick around to watch it all. Although there were less of a buzz act, The Men’s set was one I’d been looking forward to and talking up to others all weekend. It did not disappoint. It’s one of only four sets I watched from beginning to end across both festival days. The band played much material from their newest album New Moon, including epic jam “I Saw Her Face.” All of the members rock out aggressively onstage, swinging their guitars around and plowing through songs with raw energy. My only wish is that they would have had more time on a larger stage. I’m hoping for a return to Texas for a show of their own very soon. Their set was definitively my highlight for day two of FPSF.
The band finished just in time for me to head down to TV on the Radio on the Mars stage. I’ve seen the band before and they’re always great live. So, when the set began slowly and without much energy I was puzzled. However, after two songs of building atmospheric mood, frontman Tunde Adebimpe moved from behind his synthesizer to move around the stage and the band’s electric stage presence began to take shape. Energy increased, leading up to a late set rendition of the excellent crowd-pleaser “Wolf Like Me.” After just seeing The Men, I’d have to say that TV on the Radio was my runner-up highlight for the second day of the festival.
Sticking around watching TVOTR finish their set prevented me from being able to shoot Gogol Bordello from the pit so I snapped a few pictures as the Gypsy punk rock group enticed the crowd to dance and jump with abandon. Dancers onstage and captivating capering from lead singer Eugene Hütz, made for an impressive live spectacle—no surprise from the band that has built their reputation on raucous shows and nonstop touring.
I ended the second day of FPSF by seeing Austin band The Octopus project on the Jupiter Stage. The crowd present was clearly not coincidently and devoted fans cheered loudly as the band took the stage and after each song. The group sounded as danceable as ever, adeptly constructing instrumental electronic pop using an array of synths, guitars, and bass. The highlight of the set has to be watching Yvonne Lambert work the Theremin like a focused ninja. While the Austin band was finishing up their set, my own drive back to Austin was too imposing to hang around for the final closers of the night, and I reluctantly headed for the gates toward Houston’s glimmering nighttime skyline.
This year’s FPSF yielded not only a few solid local acts but also more substantial and solid headliners than ever before, not to mention a cameo by Mayor Parker to introduce Mavis Staples. What felt before like a great annual festival is beginning to feel like an established, citywide mainstay. We’re certainly hoping so. See you next year, FPSF.
All photos © Bryan Parker & Pop Press International. Click any image to open in slideshow viewer.
