Welcome to the first part of our coverage of day 2 of Houston’s Free Press Summer Fest. If you missed our first two days of coverage, then you don’t know about the body paint, waterslide, amphitheater-like seating, and over a dozen stellar acts we wrote about over the past two days You can catch that coverage along with outstanding photos right here.
After day one, we were totally won over by many of FPSF’s unique features and psyched to experience day 2. We again kicked off our day with a Houston Band with the vocally powerful, southern-soul sounds of Grandfather Child. The group has been called one of Houston’s best kept secrets for a while now, and it’s no mystery why. Their prominent usage of slide guitar and their rhythm and bluesy instrumentation centered around Lucas Gorham’s voice make for an accessible yet atypical sound. The band forged a relationship with New West Records last year, so hopefully they’ll go from being a locally best kept secret to one of indiedoms celebrated bands.
From there we caught Papermoons, who used to be from Houston, and now reside in Austin. 
Interestingly, the group also uses a lap steel regularly. Papermoons sound an unbelievable amount like early Death Cab for Cutie. And I do not mean that in a derogatory way in the least. There have been plenty a day that I have longed for more early Death Cab. Papermoons sparse, wavering guitar and slow snare recalls songs like “Champagne From A Paper Cup,” and “Styrofoam Plates.” Papermoons have been on a hiatus, so we’re glad they’re back and playing shows.
Wild Moccasins were one of the most refreshing surprises of the entire festival. I wandered over to their set on a whim, knowing nothing about the band, and they simply floored me. Lead singer Zahira Gutierrez’s onstage energy was palpable as she confidently delivered infectious and tight pop. Only later did I learn that the band have recently signed to New West Records, and their last self-released album Skin Collision Past will see rerelease through the label this spring. It’s exciting news for the band and the stalwart label who also houses Grandfather Child, and Ponderosa, who we saw later in the afternoon.
Before that, though, we stuck around stage 2 for Fitz and the Tantrums. Even being familiar with only 
their singles, the set was incredibly enjoyable. They’re a group that truly puts on a show. While it’s only a feeling, it seems to me that the band is eschewed by indiedom at times because of their super-produced, retro sound that might be written off as a novelty. However, lead singer Michael Fitzpatrick has been deliberate and articulate about the direction of the band, and realistically, creating such clever and immaculate indie-pop without using guitars deserves recognition. Fitzpatrick and conspirator Noelle Scaggs have incredible energy and chemistry on stage. The band sounded flawless as they churned out a succession of huge hits including “Picking Up the Pieces” and “Don’t Gotta Work It Out.” They’re a band to see.
I’ve been trying to figure out what to say about Portugal. The Man since standing down front watching their set. Even before that perhaps, when, years ago, a friend sent me one of the first mp3s the band ever released. Live, they perform with energy and they sound solid. I don’t mean to detract from the band, but I’m just still trying to figure out what sets them apart. They have great falsetto and some nice harmonies. But I’m still searching for that thing that makes them distinct. Some of the crowd seemed to know, as they were enthralled with the set, and sang along dutifully.
The first half of our day ended with Ponderosa, an artist we’ve been watching closely in the past few weeks. The band just debuted two great new tracks (listen and read here) from their forthcoming LP, 
Pool Party, out soon on New West Records. Furthermore, lead singer Kalen Nash’s solo album just came out on Normaltown Records last week. Watching their set was a joy, because the band’s sound was clearly a magnet for passersby. Ponderosa certainly had their devoted set of fans hanging around the stage before they ever started, but it was clear that they also managed to stop several new listeners in their tracks to tune in for their set. The band played both of the aforementioned songs, “Navajo” and “Black Hill Smoke,” as well as a nice selection of their other folk-based indie rock. On stage, Ponderosa was genuine and focused, devoting themselves fully to each song. On the heels of their impending album, the band is sure to be busy, so look for their name in your area soon.
Come back tomorrow for our final installment of FPSF coverage including writing about and photos of Young the Giant, The Sour Notes, Willie Nelson, The Descendents, What Made Milwaukee Famous, and The Avett Brothers.
