Food and the Foo Fighters
While inappropriately named for the chilly fog San Francisco calls weather, experimental pop duo Tanlines got the icicle audience to dance with their poppy energy and dynamic beats: "We prepared a sunny set and a cloudy set we haven’t decided which one we’re going to play yet."
The most interesting part of Tanline’s set was the hybrid rhythm that combined the precision of drum machines with the freedom of an actual drum set. Coupled with atmospheric guitar and crooning vocals, the music was upbeat but laid back.
When Fitz The Tantrums got up, everyone got down quite literally when frontman Michael Fitzpatrick commanded the audience to "get down" or else he would call out specific people, which he did ("you with the tie dyed shirt, sunglasses and fro get low").
Even without the usually standard guitar, Fitz The Tantrums demanded audience participation and got it, thanks to Noelle Scagg’s ceaseless energy and tambourine shaking like it was just an extra limb.
While not as big as
cheap ray ban outlet the acts that followed them, Fitz The Tantrums held their own by using every inch of the main stage to dance, jump, mime and otherwise act out their songs from the original hits like "MoneyGrabber" to a funky cover of The Eurhythmics’ "Sweet Dreams."
With leather jacket, Ray Bans and fuzzy guitar solos, Beck gave a straight forward rock set. Though the musician has been known for meddling with pedals, he limited his effects to mainly distortion. Beck nourished the audience with parts of Bob Dylan’s "Leopard Skin Pillbox Hat" and Neil Young’s "After the Goldrush" (no doubt a tribute to the man who stood in Beck’s place later that night), before everyone sang the "nahs" of "E Pro" like a one syllable anthem.
Though Beck was more focused on his guitar playing than remembering lyrics, he smiled and moved on, dedicating "Lost Cause" to recently deceased Beastie Boys member Adam Yauch (aka MCA). Beck recalled the last time he played Golden Gate Park at the 1990s Tibetan Freedom concerts: "The first time I played this field was because of him."
Foo Fighters frontman Dave Grohl walked on stage playing guitar with one hand and finishing his drink with the other. As he released his spring loaded guitar strums into full on noise, Grohl’s growls reared into roars. The crowd went wild even security guards
discount ray bans were air drumming, high fiving and singing along.
Backed by the Cheshire white smile of drummer Taylor Hawkins, Dave Grohl built up so much energy that he catapulted himself down the aisle of the crowds during "My Hero." Fans sang along as he flew by with his guitar: "There goes my hero / Watch him as he goes."
Neil Young and Crazy Horse closed Day 1 by proving he was not too old to still make noise. After launching into "Walk Like a Giant," that’s precisely what the band did, slowly stomping on stage and hunching over amps to create more formless yet engaging feedback noise 20 minutes of it, to be exact.
After the ear recalibrating distortion cleared out the weak of heart, Neil Young shot into his obligatory hits like "Cinnamon Girl" and "The Needle and the Damage Done." Then he ventured into
replica ray bans new territory after asking the audience "How many of you were conceived in a Ramada Inn?" As crowds left the festival, Neil Young’s voice could be heard disappearing through the San Francisco fog: "It’s better to burn out than to fade away"
As sleepy eyed wanders braved the festival security lines for round 2, Cory Chisel and the Wandering Sons kept them company with sweet Americana. Filling up the valley they played with apt songs about lying on the lawn and unforeseen love, Cory Chisel brought a small town feel to the big city.
Yellow Ostrich played an energetic festival set with bursts of songs rather than the more architectural arrangements they’re known for, proving that like the San Francisco sun they could be both light and dark. They let their true experimental colors shine on "Marathon Runner," playing noise dedicated to and reminiscent of Neil Young.
Father John Misty emerged from the bushes to perform songs like "Only Son of the Ladiesman" with the voice of My Morning Jacket’s Jim James and the dance moves of a white James Brown. Playing soft focus rock with a touch of southern twang, the music tasted like a lighter Rolling Stones, with melodic vocals and a hard rock edge.
Next, Alabama Shakes brought out the gravellier side of soul with frontwoman Brittany Howard channeling Janis Joplin as a Staples Sister. Thousands of fans stayed tucked in the valley even after the band played The Single ("Hold On") toward the beginning of the set; the kids still crave the blues and know how to dance to rock ‘n’ roll.
A change was marked when The Kills entered the main stage with the addition of not one but four synchronized and matching drummers. Allison Moss Heart even changed her dark Dead Weather hair to bubblegum blond, but kept her signature sensual prowl. And even after her lioness intensity was broken when the mic fell out of her hand, she just smiled and kept on stealing boys’ hearts and girls’ boyfriends.
Like a tamer little sister, Norah Jones rivaled Allison Moss Heart on the other end of the festival, playing her soulful jazz back catalogue. She also let loose her bouncier R Danger Mouse songs with the producer watching like a fatherly figure from backstage.
Then it was back to basics with guitars and the Grateful Dead’s Bob Weir, who helped her cover the Dead’s "It Must Have Been the Roses." Even men in Metallica shirts stayed for "Come Away with Me," with the metal legends about to go on the main stage.
Metallica was everything you expect Metallica to be: giant flames, James Hetfield shredding in front of a large video screen of himselfand a fireworks show. Like the metal heads at Norah Jones, there were hippies head banging to "Master of Puppets" in another surprising genre crossover of fans.
Sigur Rs provided the perfect juxtaposition to Metallica with their ethereal ambience just across the park literally and physically on opposite end of festival. While the metal fire show invaded some of the Icelandic band’s songs, Sigur Ros captivated completely in the silence that was eventually granted them with classical diligence and aesthetic projections.
Beer Lands. Wine Lands. Chocolate Lands. Outside Lambs? Outside Lands milked its name for all its worth with no complaints from the hordes of people wandering the wooded foodie Disneyland like kids in a candy store (who, if they were lucky, caught Jack White’s secret show).
On the main stage, Fun. proved that they weren’t just pop dolls, but real musicians who could actually play their instruments well though poignantly more people cheered for their cover of The Rolling Stones "You Can’t Always Get What You Want" than the old hit everyone was waiting for and dreading, "We Are Young."
Franz Ferdinand still had the same energy and crowd draw even eight years after "Take Me Out" came out. With a giant Scottish flag waving in the audience, all four members finished their dance rock set drumming together on one drum set.
Jack White continued the vibe of his earlier secret show with a very personal set on the main stage, playing boisterous deep cuts to the city that first broke The White Stripes on mainstream radio. From a savage "Seven Nation Army" to a minimal "We’re Going to Be Friends," Jack White let long time fans know he was still the same boy they’ve always known: "You’ve all been wonderful. And I’ve been Jack White."
Of course the audience was
discount ray bans used to this flattery. And whenever bands greeted or left the audience by calling them "San Francisco," it not only made them aware of where they were but also who they were representing even if they weren’t from the city, they were part of it, ambassadors for one night. As an Arts and Entertainment reporter and columnist for UCLA’s The DailyArticles Connexes：