All Points West 2009: Jay-Z makes his first American festival appearance, Lykke Li takes the crown from Karen O, and just about everybody gets soaked
July 31 - August 2, 2009, at Liberty State Park, New Jersey
By Eleanor Whitney & Dominick Mastrangelo
Published: August 4th, 2009 | 2:00pm
Day One: “Just How Wet Is It?”
On the morning of July 31, WNYC radio host Brian Leher posed the question, “Just how wet is it?” to his listeners. “So wet that my goldfish can play in my front yard,” quipped one. And so began the three-day All Points West Music and Arts Festival, the latest victim of one of New York City’s dampest summers. But even so, the show must go on.
On the Queen of the Valley Stage, comedian Eugene Mirman was quipping about getting a speeding ticket in New Orleans, despite not speeding. On the Bullet Stage, Brooklyn’s Telepathe were preparing to start their set but were running late due to “major drum machine issues” and became disgruntled, belying their usual stoicism. Their vocals were buried under the buzzing synths and pulsating drums, though the noirish, danceable drone seemed a fitting soundtrack to the progressively darkening sky and impending deluge.
Fleet Foxes, performing on the festival’s main Blue Comet Stage, offered a different approach with slow, mellow songs and lovely, soaring vocal harmonies. The crowd was growing steadily, nodding along to their 1960’s-inspired folk-pop. At times, guitarist Skye Skjelset used a violin box on his guitar, adding depth to the group’s sound. As an acknowledgement to the darkening sky, singer/guitarist Robin Pecknold remarked, “We kind of look like a guild of wizards here to deliver an ominous warning … I’m gonna leave the stage on a horse.”
The weather was still holding and excitement building when Ra Ra Riot took to the Bullet Stage. Their bouncy, orchestrated pop drew an enthusiastic response from the crowd who clapped and sang along. Singer Wesley Miles pranced around the stage and sang in a sweet falsetto like a young Morrissey in cut-off shorts.
As The National began their set on the Blue Comet Stage, so did the rain which led singer Matt Berninger to comment, “This looks like England,” a jab at the storied New York group’s heavy Britpop influence. While the National seemed a bit put out by the steadily falling rain, they delivered a solid set that left fans undaunted.
By the time Vampire Weekend took the stage, some in raincoats, it was pouring. So much so that each time drummer Chris Thompson hit his cymbals, droplets of water flew off. Despite the fact the band was getting soaked along with the audience, Vampire Weekend’s bouncy, Afro-pop inspired indie rock still sounded crystal clear. And by the looks on audience members’ faces, they didn’t seem to care they were standing in two inches of muddy water — their focus was squarely on the band.
Next up were the Yeah Yeah Yeahs as the rain, thankfully, let up and a giant eyeball appeared on stage behind the drum kit. A raucous cheer shook the audience when the band finally took the stage. Karen O wore a black mask with grey text printed on it that matched her dress, though she pulled it off after the first song. Her signature powerful voice and cheerleader like antics electrified the stage and delivered the dynamism the band is known for.
Karen O dedicated “Maps” to the Yeah Yeah Yeahs’ friends and family and made a special mention of the Beastie Boys’ Adam Yauch, who cancelled as the night’s headlining act amid word he was undergoing cancer treatment. During the song, large inflatable eyeballs, similar to the one on stage, were launched into the crowd and bounced around like all-seeing beach balls, and show goers who were barefoot or in Wellies cut loose in the mud puddles.
Following the Yeah Yeah Yeahs was Friday’s last-minute headliner, Jay-Z in his first appearance at an American festival. At 9:30 p.m., 20 minutes after his posted set time, a huge timer flashed onstage that counted down the 10 minutes until the show would begin. When it struck zero, Jay-Z burst onto stage to the roar of the crowd. Wearing a black leather jacket and shades, he opened with a cover of the Beastie Boys’ “No Sleep ‘til Brooklyn,” in a high-energy tribute.
Supported by a full band, Jay-Z delivered a high-octane set that was refreshingly low on attitude. His focus was on his performance and he flowed effortlessly from one song to another, the audience joining him to shout, “Fuck Bush!” and next praise President Obama. Further on, he worked in the riff from the Jackson Five’s “I Want You Back” and gave a shout out to Michael Jackson as the “best entertainer in the world.” Jay-Z, also one of the world’s top performers, showed he was still on top of his game and the crowd agreed, even those dressed to the nines who were willing to sully their designer shoes to dance and cheer in the mud. — Eleanor Whitney
Day Two: The Bullet Stage Takes a Bite from the Competition
As the torrential rain subsided from Day One and with the ominous forecast for Day Three looming, Day Two of the All Points West Music and Arts Festival was the eye in the storm. Though Liberty State Park was muddy and soggy and a bear to traverse, the weather was everything Friday was not.
The bands did their best to scatter memories of sideways rain — and the Postelles, Tokyo Police Club, Crystal Castles, and the Ting Tings rallied the Queen of the Valley Stage after a ho-hum first day under the tent.
Gogol Bordello roused the Blue Comet Stage and were followed by My Bloody Valentine who did everything possible to chase away the Tool fans crowding in to see Saturday night's main headliner.
The Bullet Stage continued to be the most consistently solid stage where Neko Case and her unmistakable voice proved a worthy headliner, but the undercards in the shape ofSt. Vincent and Kool Keith (featuring an appearance by Ice-T) were every bit as impressive. — Dominick Mastrangelo
Day Three: The Show Goes On, Later Than Expected
The final day of All Points West began with dark gray clouds, heavy rain, and lightning. While the festival’s website and Twitter feed announced that gates were being held due to inclement weather, no updates on the performance schedules were given. When the gates opened four hours late, and two hours after bands were supposed to start, the gathered crowd let out a grand cheer and made a mad rush through ankle deep mud puddles towards the stages.
The rush, however, was partly in vain because a fence in front of the Bullet Stage prevented concertgoers from fully entering the concert grounds. When it was finally removed, no one was sure who would go on and the electronic signboards announcing set times had not been updated to inform concertgoers of any changes.
First up on the Bullet Stage was PT Walkley who appeared unruffled and delivered upbeat, country-inflected, mournful pop complete with Western style shirts. After all the waiting, it was a relief to hear music at all. After just three songs, PT announced, “Alright, sorry, we’re running late, we gotta go,” and hightailed it off the stage.
After this abbreviated set, it was decided that all bands scheduled from 5:00 p.m. on would perform, though whether this was announced to the audience was unclear. While the weather was clearing into a perfect summer evening, the festival grounds were so soaked and muddy that moving from one stage to another became a Sisyphean task. In addition, under the hot sun a distinctly farm-like stench arose from the mud provoking remarks of “Disgusting!” from many.
Despite the confusion and critique from the crowd, when L.A.’s Silversun Pickups went on as scheduled, the excitement and appreciation was palpable. Their performance, Sunday’s highlight, began with a slow, pulsating riff and sweeping, atmospheric effects that quickly transitioned into faster, noisier rock and drew huge cheers from the audience.
Channeling his grunge rock forbearers, drummer Christopher Guanlao flung his long, black mane of hair along to the beat. The band’s set featured favorites such as “There’s No Secrets This Year” alongside the plaintive lead vocals of singer/guitarist Brian Aubert and backed by bassist Nikki Monninger’s sweet, eerie voice. Some of the songs sounded like a mash up between Death Cab for Cutie and Dinosaur Jr — just watching the Silversun Pickups while standing in a muddy field felt like being transported back to the salad days of grunge rock as chronicled in the documentary The Year Punk Broke. Aubert was very grateful to all, and said, “It’s not really about the people who didn’t make it, it’s about all of you who did.”
On the other end of the festival grounds, Britain’s La Roux took to the Queen of the Valley Stage. With her namesake red hair in a stiff pompadour and a heart-shaking bass thump, La Roux pranced around the stage with style cues from 1980’s superstars such as George Michael and Lisa Lisa. When she asked everyone to “rave, just a little bit,” the crowd happily obliged and her powerful, though sometimes shallow, voice floated above the band’s hypnotically catchy beats.
Next up on the Queen of the Valley Stage was Swedish singer Lykke Li. The timing of her set, just 5 minutes into Echo and the Bunnymen on the main stage, forced festival goers to make a choice between pop history and a performer who could be the new face of pop or just another flavor of the month.
Lykke Li’s small stature belied the intensity she brought to the stage. Throughout her barefoot set, Li stomped, rolled her hips, mused her hair, and played bells and a kazoo hanging on a chain around her neck. With machine-generated fog that added atmosphere, Li’s flowing black cape and heavy black eyeliner gave the impression that she was a pop sorceress.
Her antics, including pounding on a floor tom and frenetic, gyrating dance moves, made her appear to be a wired anti-diva, a Nico without the drugs or Britney Spears gone indie. Indeed, most singers, including Karen O of the Yeah Yeah Yeahs, have nothing on Lykke Li. Judging by the huge reaction to songs such as “I’m Good, I’m Gone” and “Breaking it Up,” she’s headed for greater pop stardom. The only drawback of her set was the confusing use of prerecorded backing vocals.
It was then time to squelch across the sodden territory towards Coldplay, catching a bit of Mogwai’s atmospheric rock in the process. Coldplay’s set of purely orchestrated and triumphant pop was fittingly performed in front of a large image of the bare-breasted French Marianne leading her people to victory. Indeed, despite the persistent puddles, spirits were high. “For four guys who grew up in rainy England, we appreciate you coming out to the mud Jacuzzi,” acknowledged singer Chris Martin.
It was a very different scene on the Bullet Stage where MGMT was headlining. Younger fans were running through the mud in a frenzy to reach their set, shrieking “I can hear them!” which was admittedly difficult over the roar of the main stage’s speakers. The set was mellower than one might expect and full of noodling, reverb-soaked guitar solos. “I thought they would be more fun,” remarked one audience member. And with that the festival came to a close, as people departed the grounds with wet feet and heads full of catchy songs. — Eleanor Whitney
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For more photos from All Points West, Day One, visit Venus Zine’s Flickr page
For more photos from All Points West, Day Two, visit Venus Zine’s Flickr page
For more photos from All Points West, Day Three, visit Venus Zine’s Flickr page
Issue #35
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