Hinterland Festival 2018 : Photo Recap

It was a first-time journey for me to St. Charles, located in NE Iowa. I was joined by the wife and my two daughters. We packed up our camper and made the 8-hour drive from Indianapolis to the Hinterland Music Festival. It was an epic sojourn, well worth the effort.

Hinterland sets up in a huge, perfect bowl shaped field, funnelling down to the grand stage. It affords excellent views from all angles. The crowd is relaxed and friendly. There is only the slightest bit of countrified, Midwestern festival-goer irony. It’s the polite kind. One showgoer explained his “Fight Farmers Fight” vintage cap to me, “It’s funny because you could read it two ways! Right?!” I recently read that if the nearby Pitchfork Music Festival in Chicago was the cool, city mouse fest, then Hinterland sets up perfectly as it’s country mouse cousin. I liked that. It’s a good analogy for the fest, but don’t mistake that to mean that there is anything amateur or backwoods about it. It is a fully professional, perfectly laid out and executed music festival.

The lineup, as I’ve heard it was in years past, was expertly curated. I thought CHRVCHES would be the oddball in a mostly americana-filled card, but they worked in just fine and the crowd responded to them with every bit of enthusiasm as they did for Sturgill Simpson. Rightfully so, to both, as they both put on amazing performances.

Many of the artists could be found roaming the crowd. From a media perspective, the Hinterland PR team was above and beyond accommodating. Artist roamed past the media trailer, and if you were brave enough, you could grab them pretty easily. I made the mistake of scheduling interviews, sadly to have many cancel, and one miss their flight and not make the fest. Still, J Roddy Walston and I had a great sit-down, and Sean Moeller, founder of Daytrotter.com, and I spent some quality time reminiscing about the good ol’ blog heyday of the mid-2000s.

Camping festivals are often fraught with layout and logistical pitfall: Over-crowded camping areas, muddy/dirty pits and walking areas, long lines in and for restrooms…you know the typical problems…but Hinterland was logistically easy, very clean, and worked by willingly helpful and overly polite staff, volunteers and security.

I’m excited for the 2019 lineup announcement, as I hope to make this one an end-of-summer break family tradition. Enjoy my amateur-ish photos below, but first: A major highlight was Sturgill Simpson and Wheeler Walker Jr. joining Tyler Childers on stage…

Sturgill Simpson

 photo Sturgill_Hinter_1_zpsllxcwlaf.jpg

Ben Bridwell of Band of Horses

 photo BoH_Hinter_7_zpsarq4wlzg.jpg

Nathaniel Rateliff & The Night Sweats

Nathaniel Rateliff

Nathaniel Rateliff

Margo Price

Margo Price

Margo Price

Scottish electro-pop trio CHVRCHES

CHVRCHES

CHVRCHES

CHVRCHES

CHVRCHES

CHVRCHES

CHVRCHES

CHVRCHES

CHVRCHES

Tyler Childers

CHVRCHES

J Roddy Walston & The Business

 photo JRoddy_Hinter_1_zpsyowe7n2e.jpg

 photo JRoddy_Hinter_2_zpstwubccms.jpg

Anderson East

Anderson East

Anderson East

Anderson East

Tash Sultana

Tash Sultana

Ancient Posse

 photo Ancient_Hinter_1_zpswmkjiu2d.jpg

Escaping The “Party” With Matt Myers Of Houndmouth

 photo Houndmouth-440_zps6h3f7zum.jpg

Friday of Forecastle weekend, My Old Kentucky Blog made a pit stop on the way to Waterfront Park to catch up with Matt Myers of Houndmouth.

It only seemed right to kick off the festival weekend at Jimmy Can’t Dance, a small jazz club and bar in downtown Louisville, for Houndmouth’s album listening party. With a jam-packed weekend ahead of them, the New Albany, Indiana natives still managed to surprise fans with an exclusive listening party and opportune facetime with the band.

Slated for an August 3 release, the new album Golden Age spun on the house turntable while fans, friends, family and tourmates gathered for a hear-it-first listen and Houndmouth-inspired cocktails. The event also had a celebratory feel, as the band was finally close to home after multiple 2-3 week tours all a part of the album promotion cycle.

Depending on personal preference, concept albums can be hit or miss. I personally am fond of them, as they force you to listen to an album in its entirety to get “the big picture.” Each song can be considered a piece of glass that makes up a colorful mosaic or a chapter in a book that tells your favorite story. And they sound best when spun on your Dad’s old Pioneer turntable or blasted from your car windows on a long drive.

Working with producers Jonathan Rado of Foxygen and Shawn Everett, past credits including Alabama Shakes’ Sound & Color and The War On Drugs’ A Deeper Understanding, it’s no surprise Houndmouth’s Golden Age went from a planned few week recording process to an unexpected eight month creative venture. You simply work with producers like Rado and Everett to do the undone and push boundaries. And the Golden Age concept that was born is unique in its own right.

Towards the end of the shindig, guitarist and lead vocalist Matt Myers and I escaped the party in true Houndmouth fashion to talk hometown shows, the new album and weird party stories you can’t seem to forget–no matter how hard you try.

Interview conducted by Natalie Glidewell after the jump… (more…)

St. Paul and The Broken Bones // Apollo

 photo SPBBs_zpsntlymr5k.jpg

Here’s a soulful new song, “Apollo“, from St. Paul and The Broken Bones from their forthcoming new album, “Young Sick Camellia“. The band will be heading out on an extensive tour, including headlining the Holler On The Hill festival here in Indianapolis in September.

Tour dates after the break…. (more…)

Lollapalooza 2017: The Wet, The Wild and The Wonderous

By: Seth Johnson | Photos: Berto Campos

 photo Drums_1_zpsqxvdvd1s.jpg
The Drums

Lollapalooza never ceases to be a rollercoaster, with twists and turns coming with each and every trek across Grant Park. This year was certainly no different, as the festival provided its fair share of fanfare. Below, follow Seth Johnson’s four-day journey at the fest, with photos from Roberto Campos.

Walking past folks in business attire on the way to a four-day party felt a bit odd, but so it goes with a Chicago festival that starts on a Thursday. Heading into Lollapalooza 2017, I was greeted by the pleasant psychedelic sounds of Temples, before catching a charming set from Jonny Pierce and The Drums. The New York guitar pop group played several selections from their 2017 album, Abysmal Thoughts, while also intermingling in classics from their earlier releases. From here, my wild, wild festival ride kicked it up several notches as I headed to a set from the Atlanta trap trio Migos, who played an abbreviated set due to a late arrival. Following this madness, I briefly popped by Cage the Elephant before making my way to see Kaytranada. A longtime favorite of My Old Kentucky Blog, the 2016 Polaris Prize winner did not disappoint, playing a fantastically groovy DJ set that wound up being my favorite moment of the day. Following Kaytranada, I headed to see Lorde, who would unfortunately have her set cut short after just a few songs due to a torrential downpour.

 photo Migos_1_zpsffvpdmqo.jpg
Migos

 photo Kay_1_zpsqqloyk2m.jpg
Kaytranada

Friday was perhaps my favorite day of the festival, with artists both new and old pulling out all the stops. I kicked off my day with Cloud Nothings, who wowed on one of the fest’s biggest stages. After heading onward, I caught a phenomenal set from The Lemon Twigs. With harmonies that brought Neil Young to mind, the group showed a great deal of versatility throughout their performance, even playing some songs from an upcoming EP titled Brothers of Destruction. After catching high-energy sets from Phantogram and Run the Jewels, I hiked my weary legs over to see Whitney. Another longtime favorite of My Old Kentucky Blog, the group played a quick-fire set that featured a new song as well as a guest appearance from Joey Purp. After having a nostalgia-filled finale to my festival with time split between Blink-182 (no shame), Crystal Castles and The Killers, my photographer and I headed to an intimate Mac Demarco after show, where the always entertaining Viceroy Cowboy gave the audience all that they wanted and then some (he took off his pants near set’s end).

 photo Cloud_1_zpsprcblnrm.jpg
Cloud Nothings

 photo Lemon_1_zpsfmfsoagx.jpg
The Lemon Twigs

Saturday at Lollapalooza was certainly the most underwhelming day of the fest, despite a few bright spots. My day started off with an appropriately sunny set from Alvvays, who unveiled some new tracks from their upcoming album, Antisocialites. Next, I caught a little bit of Glass Animals, before enjoying an intimate smaller-stage performance from Warpaint. After a day of chilled-out pop, I was given an unabashed trap slap from 21 Savage, whose hit song “Bank Account” is all the rage right now. Following this performance, I made my way to catch an endearing set from Chance the Rapper. As expected, Chance gave Chicago all that they could’ve asked for and then some, even welcoming Vic Mensa up on stage to perform his verse on the Acid Rap classic “Cocoa Butter Kisses”. Backed by a band that featured none other than Nico Segal (a.k.a. Donnie Trumpet), Lil Chano from 79th delivered songs from 2016’s Coloring Book with the perfect amount of heart and soul, even treating hardcore fans to a deep cut from 2015’s Surf. After weaving through the late-night masses, I made my way to another after party, headlined this time by Sylvan Esso. Despite it being day three of the festival, I quickly forgot about my tiredness upon walking into the fourth floor venue and hearing the indie-pop duo do their thing. Consisting of singer Amelia Meath (Mountain Man) and producer Nick Sanborn (Megafaun, Made of Oak), Sylvan Esso performed several selections from their impressive sophomore album, What Now, before letting a dance floor full of fans disperse into the night.

 photo Alvvays_1_zps4qpgkpvr.jpg

 photo 21_1_zpscjcx9fbj.jpg
21 Savage

By Sunday, I had come to the conclusion that my feet and back were going to hurt well into the following week (they did). Nevertheless, I went back at it for one more day, which would turn out to be the most high-energy of them all. My final Grant Park excursion started out with Chicago’s Noname, who dropped her excellent debut mixtape Telefone in 2016.. Next, I jumped over to a set from Car Seat Headrest — a band that continues to gel more and more each time I see them. At Lollapalooza, Will Toledo and company played selections from both Teens of Style and Teens of Denial, while also performing a brand new tune as well. Following this soothing start to Sunday, my turn-up meter nearly burst as I caught back-to-back-to-back sets from Lil Yachty, Big Sean and Joey Bada$$. All three with their own unique styles, Yachty, Sean and Joey gave rap fans all that they wanted and then some, while also giving the festival security a headache too. To close out my time at Lollapalooza, I decided to go out with a bang, enjoying an excellent set from legendary French electronic duo Justice. Much like Daft Punk, Justice orchestrated a DJ set that skillfully meshed songs together from their three-album catalog, helping the remaining Lollapalooza crowd forget about their problems one more time before heading back out into the real world.

 photo Cage_1_zpszyxunjce.jpg
Cage the Elephant

 photo Phanto_1_zpszgjxuqz4.jpg
Phantogram

 photo t-n-s_1_zpssk4rzpxw.jpg
Tegan and Sara

 photo Crystal_2_zpsubr3fywm.jpg
 photo Crystal_1_zpsalp3dp0m.jpg
Crystal Castles

 photo Whitney_1_zpsa6cmxq6e.jpg
Whitney

 photo Run_1_zps3sffyjdn.jpg
Run the Jewels

 photo Justice_5_zpszldhtnkw.jpg
 photo justice_3_zps5fjsnmuh.jpg
Justice

 photo Sean_1_zpsunkao5ka.jpg
Big Sean

 photo Sampha_1_zpshiatuk08.jpg
Sampha

 photo Yatchy_1_zpsv9ocr4xd.jpg
 photo Yatchy_3_zps1fc2gd6c.jpg
Lil Yachty

 photo Tove_1_zps2f9asceu.jpg
Tove Lo

 photo xcx_2_zpsizmrm3qs.jpg
 photo xcx_1_zps56vjrsbt.jpg
Charli XCX

 photo noname_1_zpsosvtrj4g.jpg
Noname

 photo xx_2_zpsp2rwwgpx.jpg
 photo xx_1_zpsjfl7k7rs.jpg
The xx

 photo Sylvan_1_zps7wqcsv9x.jpg
Sylvan Esso

 photo Mac_4_zpsz9ophoau.jpg
 photo Mac_1_zpsqjxasbuu.jpg
Mac Demarco

Five Moments We’ll Never Forget from Pitchfork Music Festival 2017

By: Seth Johnson | Photos: Berto Campos

 photo ATCQ_1_zpsvlkpaddu.jpg
A Tribe Called Quest

It’s a mild summer night in Chicago, and a beautifully diverse crowd of music fans stands attentively, clinging onto each and every syllable from A Tribe Called Quest. After sprinting through an award tour of hits, both old and new, the legendary hip-hop group is nearing the end of their time at Pitchfork Music Festival 2017. But you better believe Q-Tip is not going to let the curtain drop without one more unified chant for equality.

“Say, ‘We the people, we are equal,’” Q-Tip urges, emphatically. “Say, ‘Resist, resist.’”

 photo ATCQ_3_zpst6opot2q.jpg
A Tribe Called Quest

The crowd complies, continuing to follow the emcee’s lead as the chant repeats several times before finally ceasing. This moment of solidarity is what ends Tribe’s performance, leaving a mark on each and every person who stuck around until the end of their headlining set.

A Tribe Called Quest’s call for equality is just one of the many memorable moments from Pitchfork Music Festival 2017. Below are some more that stood out to us, along with photos from the festival taken by Roberto Campos.

Danny Brown and Vince Staples Thump and Bump

 photo Vince_1_zps31op9esj.jpg
Vince Staples

Pitchfork’s Friday schedule offered up a dynamic pairing of hip-hop performances, with Vince Staples kicking off the thump and bump. Performing several songs from his phenomenal new album, Big Fish Theory, the Sprite King brought the heat on hard-hitting songs like “745,” “Big Fish” and “Yeah Right”. Following Staples on the same stage, a newly afro-less Danny Brown continued the strong display of icky thick beats, performing several selections from his Warp Records debut, Atrocity Exhibition.

 photo Olsen_2_zps4zlx8wvm.jpg
Angel Olsen

Ladies Reign Supreme on Saturday

Female artists wowed throughout the weekend at Pitchfork Music Festival 2017, but no day was more packed with badass ladies than Saturday. The festivities started off with Cherry Glazerr, as Clementine Creevy and company tore through songs from their 2017 Secretly Canadian release, Apocalipstick. Mitski followed with a stellar set of her own, which was perfectly capped by the Puberty 2 song “My Body’s Made of Crushed Little Stars”. Next up, Angel Olsen took the audience on a genuinely emotional ride, complete with roaring highs and flooring lows, then giving way to the esteemed PJ Harvey, who did not disappoint.

 photo Mitski_1_zpsle6kirtl.jpg
Mitski

 photo Glazerr_1_zpskriajy26.jpg
Cherry Glazerr

Nicolas Jaar Rattles Brains on Sunday

Although his set happened while the sun was still out, Nicolas Jaar gave off all kinds of Day for Night vibes on Sunday at Pitchfork, with a set that was equal parts dance-inducing and thought-provoking. One half of the duo Darkside, the Chilean-American artist proved why he is one of modern electronic music’s most compelling artists.

LCD Soundsystem Brings New Songs to Life

Just a few years ago, LCD Soundsystem lie dormant, as James Murphy pursued a myriad of other projects. Since reuniting last year, however, the influential New York band has returned to full force, electrifying crowds with classics like “All My Friends,” “Dance Yrself Clean,” “Tribulations” and more. In addition to these selections, LCD showed off their two newest songs (“Call the Police” and “American Dream”) at Pitchfork. And much to the delight of fans, both fit right in with the rest of the band’s epic set of hits.

 photo Survive_1_zps0dsamtpe.jpg
S U R V I V E

 photo Glazerr_2_zps23hzrqfk.jpg
Cherry Glazerr

 photo Arca_1_zpsdsfv7vfz.jpg
Arca

 photo Arca_2_zpst6zojye6.jpg
Arca

 photo Thurston_1_zpsi4r94k4w.jpg
Thurston Moore

 photo Jamila_1_zpsmv8jywji.jpg

Houston’s Day for Night Expands Horizons of the Modern Day Music Festival

By: Seth Johnson
Photos: Berto Campos

 photo Crowd_Fur_4_zpsgnedctj2.jpg

Man, oh man, was 2016 a big year for fantastic releases. And with those releases came a slew of acts hitting the road too — many of whom I was lucky enough to catch in concert. Despite a year packed full of show going, however (see Seth’s roundups of Pitchfork Music Festival and Lollapalooza), nothing compared to my time at Day for Night 2016.

 photo Aphex_1_zpsfxdawl2g.jpg
Aphex Twin

Only in its second year, the festival boasted an impressive lineup of acts, including the likes of Aphex Twin (first U.S. show in eight years), Bjork, Run the Jewels, Blood Orange, Travis Scott and more. And while this is certainly what caught my eye, I eventually became more intrigued upon learning that the fest would also feature several immersive art installations curated by artists from all over the world.

Held in and around a different abandoned warehouse in Houston each year, Day for Night 2016 was held at a huge abandoned post office building, with three outdoor stages, one indoor stage, and art installations scattered throughout the vicinity. With so much art in one place, there was never a dull moment, as the stimulating instillations allowed festivalgoers to explore visual art when they weren’t catching their favorite musical acts. Ultimately, this aspect of the festival was incredibly refreshing and gave Day for Night its own one-of-a-kind charm.

Before I jump into the music portion of my roundup, I think it’s only appropriate that I give the booking team behind Day for Night proper praise. Unlike many major festivals in the modern age, Day for Night seemed absent of outside influences such as massive media companies. Nevertheless, they managed to bring together a very unique lineup of acts that featured a little bit of something for everyone, while still showing love to Houston with several featured local artists too. In a nutshell, the whole thing just felt genuine.

 photo DJ Windows 98_1_zps6lojov0w.jpg
DJ Windows 98 (aka Win Butler)

After attending the Day for Night pre-party on Friday with excellent DJ sets from Bjork and DJ Windows 98 (a.k.a. Win Butler of Arcade Fire), I wandered back over to Day for Night’s opening day on Saturday, where I was “welcomed to Houston” by a collective of notable Houston rappers (Z-Ro, Bun B, Mike Jones, Paul Wall and more) all performing on stage as one beautiful H-Town family. After catching a bit of this set, I quickly began darting around from stage to stage, catching bits of magic from Tobacco, Thundercat, Clams Casino, Oneohtrix Point Never and The Jesus and Mary Chain. As one might expect, though, the festival truly transformed into another world after the sun went down and the lights made their emergence.

 photo Oneohtrix_1_zpseckh5s3h.jpg
Oneohtrix Point Never

Night one of Day for Night was certainly one for the ages, with stellar performances from Blood Orange, Run the Jewels and Aphex Twin. I was so happy to catch the large majority of all three sets, especially considering the releases of Aphex’s mysterious 12” that day and Run the Jewels’ RTJ3 the following week. As any music lover might expect, this triple play of sets was filled with nonstop greatness, leaving my cheeks sore from all the smiling I had done.

 photo Ariel_2_zps1kgwsfzd.jpg

Day two, I was back at it once again, running frantically around the abandoned warehouse to catch as much music as possible. On Sunday, my path took me from SURVIVE to Ariel Pink to Lightning Bolt, and then from Mykki Blanco to Kamasi Washington to RZA. In the later hours, I was sucked into the festival’s playground of lights once again, revisiting some of my favorite installations before heading back to the tunes. After this short hiatus, I entered the home stretch, catching high-powered sets from Squarepusher, Unknown Mortal Orchestra, Butthole Surfers and Travis Scott, before capping my weekend off with an appropriately scintillating set from Arca.

 photo Blood_OJ_2_zpsvzl0p4e3.jpg
Blood Orange

I look forward to seeing you next year, Day for Night. You truly did change my perception of what a music festival can and should be.

 photo Travis_1_zps1xcislh2.jpg
Travis Scott

 photo Art_4_zpsbqzg82gc.jpg

 photo Butt_1_zpsrk3yhjnb.jpg
Butthole Surfers

 photo Unknown_1_zpsnsj7a0sj.jpg
Unknown Mortal Orchestra

 photo Square_1_zpsqgp2h4kt.jpg
Squarepusher

 photo Art_3_zps7x3u8tti.jpg

 photo Ariel_1_zpsejzcgtdf.jpg
Ariel Pink

 photo DAED_1_zpsyau5edgt.jpg
DAED

 photo Art_2_zps6dlhbwwl.jpg

 photo Art_1_zpspgwr2qom.jpg

 photo Tycho_1_zpsebljhse3.jpg
Tycho

 photo Blood_OJ_5_zpscsemg9tk.jpg
Blood Orange

 photo Blood_OJ_4_zpsdirsuf8k.jpg
Blood Orange

 photo Jesus_Mary_1_zpswrcare3f.jpg
Jesus and Mary Chain

 photo Clams_1_zpsxqxyq5vm.jpg
Clams Casino

 photo Tabacco_2_zpsqhtpr5hm.jpg
Tobacco

 photo Tabacco_1_zpsusqdccp2.jpg
Tobacco

 photo TEE_VEE_1_zps22q8737g.jpg
TEE VEE

 photo Crowd_Lights_2_zps06jwrcnp.jpg

 photo Crowd_Fur_3_zpspycehn04.jpg

Highlights from Lollapalooza 2016

By: Seth Johnson

 photo Marketing-Beauty by Maclay Heriot_17317_zpshi7toeoy.jpg
Photo by Maclay Heriot

We sent writer Seth Johnson to cover Lollapalooza 2016. Here’s a roundup of what he liked most.

Big Grams

Saturday at this year’s Lollapalooza was packed with standout female artists, including Big Grams, Chairlift (also included in this list) and Grimes. Although a rather unusual combination in theory, Big Boi (also of Outkast) and Sarah Barthel of Phantogram made for a very entertaining duo, often combining both of their strengths to create some pretty special moments. During the course of their set, the two even did a few live mashups, including one that was one part “Ms. Jackson” and one part “Mouthful of Diamonds”.

 photo Big Grams by Charles Reagan Hackleman_11843_zpsqflq5ryu.jpg
Photo by Charles Reagan Hackleman

Chairlift

Years ago during the Wolfgang Amadeus Phoenix craze, I remember seeing Chairlift open for Phoenix at a show in Chicago and thinking they were pretty rad. Since then, I would definitely say the band has grown and matured, which was evident throughout their performance at this year’s Lollapalooza. Fronted by Caroline Polachek, the Brooklyn band played a dazzling Saturday set, that featured several selections from their 2016 full-length, Moth, including “Ch-Ching,” “Moth to the Flame” and “Romeo”.

 photo Chairlift by Charles Reagan Hackleman_9974_zps8futom3u.jpg
Photo by Charles Reagan Hackleman

D.R.A.M.

Of all the up-and-coming acts I checked out at this year’s Lollapalooza, the biggest standout was certainly D.R.A.M. (which stands for Does Real Ass Music). Throughout his set, the 28-year-old singer/rapper captivated the audience with his charismatic energy, repeatedly cuing fans to shout “Yeah doe” if they loved their momma. Throughout his rather short set, D.R.A.M. made sure to touch on all of his hits, including the insanely catchy “Cha Cha” and the Lil Yachty-featuring “Broccoli”.

 photo DRAM by Roger Ho_15093_zpsywjdkxd4.jpg
Photo by Roger Ho

Joey Purp

After hearing Indianapolis rappers like John Stamps and Oreo Jones mention Joey Purp, I figured I would go check out his early set on Friday at Lollapalooza. This turned out to be a great decision (thanks homies) as Purp impressed with his energy, style and flow. While many may know him from the song “Girls @” featuring Chance the Rapper, the Chicago emcee has plenty more to show off to the world, which can be heard on 2016’s iiiDrops.

 photo Joey Purp by Greg Noire_5987_zps0tvxvdpl.jpg
Photo by Greg Noire

LCD Soundsystem

While I am an unabashed LCD Soundsystem fanatic (I even went to their “final” show at Madison Square Garden), there’s no doubt that the band’s set at Lollapalooza was truly something special. Although they supposedly have a new album on the way, LCD stuck to the hits with this appearance, playing songs from all three of their excellent full-lengths. This included an epic final four songs, where the band went from “Home” to “New York I Love You” to “Dance Yrself Clean” to “All My Friends”. Oh James Murphy, how we missed you.

 photo LCD Soundsystem by Cambria Harkey_18616_zps1edbsyav.jpg
Photo by Cambria Harkey

 photo LCD Soundsystem by Cambria Harkey_18535_zpso5vwaqen.jpg
Photo by Cambria Harkey

M83

In keeping with their latest two albums, M83 played a very danceable set of tunes that featured songs like “Go!,” “Midnight City” and “Steve McQueen”. As expected, Anthony Gonzalez’s compositions were even more grandiose in the heart of a big city like Chicago, as building towered all around. As an old school M83 fan myself, I personally was pleased to hear the band close with “Couleurs” from Saturday = Youth and “Lower Your Eyelids to Die With the Sun” from Before the Dawn Heals Us.

 photo M83 by Charles Reagan Hackleman_6942_zpszudrlwhz.jpg
Photo by Charles Reagan Hackleman

Radiohead

Radiohead made the most of the festival’s longest time slot, playing a career-spanning set that exceeded two hours. After opening up with the first two tracks from A Moon Shaped Pool, the iconic British band quickly dove into a smattering of songs both old and new, giving hardcore fans the set they always dreamed of. In addition to expected numbers like “Everything in Its Right Place,” “Karma Police” and “My Iron Lung,” Thom Yorke and company also whipped out some deeper cuts like “Street Spirit (Fade Out),” “There There” and “Weird Fishes/Arpeggi,” giving everyone a little something to smile about.

 photo Radiohead by Cambria Harkey_9181_zpskvagmikb.jpg
Photo by Cambria Harkey

 photo Radiohead by Cambria Harkey_8129_zpsrykctfxk.jpg
Photo by Cambria Harkey

 photo Radiohead by Cambria Harkey_8077_zpsgewvwmie.jpg
Photo by Cambria Harkey