Let's start with the most important part, huh?
Best Set: My Morning Jacket
Bonnaroo is My Morning Jacket's stomping ground. Sure, I wasn't there when they played a three-and-a-half hour set into the morning years ago, but I've heard about it! And even with my heightened expectations, My Morning Jacket's first mainstage show was phenomenal. Starting the set with a single trumpet playing the hook of "Victory Dance," My Morning Jacket became the soundtrack to sundown. Wasting no time between songs, sans the regular "thank you," it seemed the band were making the most out of their "short" two hours. The band played through the hits, the new songs, and even made songs from Evil Urges (never my favorites) into live versions that left a lasting impression. It's hard to explain why this show was so great; I could talk about Jim James busting his ass to perform a show in his ridiculous garb, the phenomenal tightness of the band instrumentally and vocally, or just their sheer energy playing through every right song from their catalog. But, perhaps this explains it best. I don't like jam bands, but I might start following My Morning Jacket on tour one day: a jam band for people that hate jam bands.
Most Disappointing: Eminem
I expected a spectacle, seeing one of the biggest rappers around. Seeing Jay-Z a couple of years ago gave me insight as to what a high caliber rap performance consists of: 1. A ton of songs, maybe not every verse, but a ton of songs. 2. Live band. 3. When I say (a) you say (b)
Eminem did all those things, but with such little energy and enthusiasm that it was sorely disappointing. Most songs, especially the newer ones, were heavy on the backing track, and his actual volume was so low it seemed he was just prowling the stage looking angry. The giant production and closing fireworks seemed a bit trite, and you don't have the crowd chant "Weezy" if you're not going to bring out Lil' Wayne.
Also, only one verse of "Stan?" Harsh, Em.
Biggest Fiasco: Robert Plant, The Strokes, Explosions in the Sky, and Beirut at the same time.
Bonnaroo, why? Why would you do this? I'm sure I'm not the only one who complained about this kerfuffle, but here's how I handled it. I got to watch Beirut's set; gladly, they ended a little bit early and I realized I didn't quite want to close my long weekend with "Gulag Orkestar." I later realized, after they played said song, that it actually would've been an excellent closer. Right after, I booked it to The Strokes, and caught "Take it Or Leave It." It was soulless, stoic, and boring. After finishing the song, Julian and co. slammed their microphones and instruments down on the stage and left, the entire act very telling of how the rest of their set probably was. Off to see if I could catch the end of Explosions. Sadly, I did catch the end, but the end wasn't a song. Occasionally, when a crowd goes nuts after they finish a set, Munaf Rayani has to come out and explain that they don't "do encores." They have their reasons, all valid, but that day it was partially to watch the Maverick's game. But, Munaf's speech about how EITS "pours their heart and soul out during the main set" was a nice, heartwarming end to the weekend.
Dancing Queen: Robyn
Robyn powered through a one hour set, nailing all the right songs and notes, and breaking the stereotype of a pop performance in many ways, particularly by putting a spotlight on her band. How many popstars give their band members solos? Not to mention, it was Robyn's birthday, and after the crowd sang "Happy Birthday," she may have been the only non-headliner to come out for an encore.
Best Singalong: Arcade Fire
Arcade Fire played the same exact setlist as when I saw them a year ago: same stage presence cues, different banter, different lights. Luckily, all those things are awesome in an Arcade Fire performance. "Power Out" still remains one of the ballsiest, most intense visual and aural experience live, and "Wake Up" is extensively different in a crowd of 100,000 people. Arcade Fire might be the one band that I'd love to see in a enormous crowd, no matter how big, and have no desire to go back to the days when they played small, intimate venues. I want the full force of a sea of people singing the same "Whoah's" in unison; it just feels right.
Coolest Dudes: Man Man
I've previously written about how amazing a Man Man set is live, and nothing different was expected at Bonnaroo. However, the guys used their soundcheck time to come into the audience and hand out water, and consistently threw water to the sweltering crowd throughout their set. As I said, the coolest dudes.
Best Banter: The Decemberists
The Decemberists challenged Bela Fleck to a "Banjo Off" at the end of the tour, which happens to land at Telluride Blues Fest. Following this challenge, they provided a preview of what the duel would include, as Chris Funk and Colin Meloy played the most dissonant, awful riffs they could. All of this, sandwiched between the beginning and end of "The Chimbley Sweep," may not have been their biggest musical feat of the evening, (that would be playing a phenomenal set despite the sad and conspicuous absence of Jenny Conlee) but it sure was a nice way to see some borderline sketch comedy on Bonnaroo's main stage.
Biggest "Wait, what happened?": Mumford and Sons and The Black Keys
Both bands played the last round of Bonnaroo, and both bands I saw last summer at Lollapalooza. What happened, guys? Both sets suffered the same loss of enthusiasm and soul they used to have. Mumford and Sons used to stomp around the stage and incite a party, hollering at the audience and immersing themselves in the music. Now it seemed as if they are entirely too focused on being overly perfect live, at the risk of losing one of their many, many fans. In addition, the four new songs that they played could easily be renamed versions of songs from their first album. It seems as though by garnering a giant fanbase, they need to keep that base's trust by pigeonholing themselves into the same routing.
The Black Keys lost all their sheer volume and grit. The first time I saw them was an intense, garage-y rock show, even on an enormous stage. The problem seemed similar to Mumford's. The band has become so reliant on staying "tight" that the dirtiness and appeal of their live show seems to have whittled away.
Best Late Night Entertainment: Gogol Bordello, The Scissor Sisters
Gogol Bordello's members were all drenched in sweat by their first tune, yet played a good two hours after, running around the stage and keeping everything as punk rock as possible. I think people underestimate how complicated some of their music is, from the flamenco style guitar to the shredding violin runs, and the band somehow does it while bouncing around the stage and getting the audience to jump in sync. You know how hard it is to jump in sync in sand? Very. You know how worth it it was? Even more.
The Scissor Sisters did a disco version of "Comfortably Numb," and preached about love and equality between their songs. Both were way more uplifting and fun than you'd think. Looking past the lazers and lighting, and the costumes worn on stage, the group got the late night crowd dancing with on-key high-pitched vocals, grooves, and inspirational motivational speaking.
Best Reason to Stay in the Crowd Even Though You Feel Like You're Going to Die/Melt: Sleigh Bells
Sleigh Bells opened with "Crown on the Ground" and the crowd instantly erupted. Hundreds of bodies moved together, either out of synchronization or being stuck together by sweat, but at no point did it seem like anyone disliked that. A couple of groups of people, drenched in sweat, tried to escape the crowd, only to get sidetracked on their way and refocus their attention to the strobe lights and people on the stage. Alexis Kraus' demonic screams and attitude ridden swagger on stage make each song more than a two-and-a-half minute banger, but a wonderful mash-up of hardcore music and dance with the presence to go along.
Best Discoveries: The Drums and The Low Anthem
Best Jack White Sighting: Karen Elsen
Best Lighting: Bassnectar and Ratatat
