So, without further ado…

• Day One: Delta Spirit, MURS, White Rabbits, Passion Pit, Hockey, Tobacco and more!

• Day Two: David Byrne, Phish, Beastie Boys, Yeah Yeah Yeahs, Animal Collective, Phoenix, St. Vincent, Al Green, Dirty Projectors and more!

• Day Three: Bruce Springsteen & the E Street Band, Wilco, Nine Inch Nails, The Mars Volta, Of Montreal, Bon Iver, MGMT and more!

• Day Four: Phish, Snoop Dogg, Band of Horses, Citizen Cope, Okkervil River, Ted Leo & the Pharmacists and more!

• The Comedy: Jimmy Fallon, Janeane Garofalo, Triumph the Insult Comic Dog and more!

Ah, the final day. Bittersweet? Certainly. A welcome relief for those tired feet and pounding heads? Definitely. But before Bonnaroo ’09 could become an eternal memory, and our bodies could recover, we had one more day of music to get through, and another stellar one at that…

Cage The Elephant:
That Tent: 12:15-1:15

Four days of walking over a mile into a festival can be a drag, which may explain why That Tent was overflowing for the shot of adrenaline that is Bowling Green, Kentucky rock band Cage The Elephant. With a vocal delivery close to that of  Hives lead singer Pelle Almqvist, lead singer Matt Schultz delivered both quick spurts of lyrics and ear shattering screams. Schultz brother, and lead guitar player Brad Schultz enjoyed most of the casual conversation with the crowd as the band added a slightly southern twinge to the groups energetic indie rock. Set wise, Cage the Elephant tromped through tracks off of its 2008s’ self-titled debut including “In One Ear”, “Ain’t No Rest for the Wicked” (which was appropriately dedicated to Bonnaroo) and “James Brown.” The singing Schultz brother delivered an Iggy Pop-esque theatrical performance, which was further validifed when the frotman embarked on an extensive crowd surf. Needless to say, Iggy would have been proud in more ways than one. – BM

Ted Leo & The Pharmacists:
The Other Tent: 1:30-2:30

Sunday afternoon may not seem like the most ideal of performance times, but in the case of Ted Leo & the Pharmacists’ this particular Bonnaroo time slot neither took away from the band’s energy, nor the number of spectators. In front of a packed crowd at The Other Tent, Leo and his bandmates powered through an hour of some of the festival’s most catchy sounds, the result was a set featuring both old favorites and brand new selections from the band’s forthcoming record. Leo embraced the atmosphere with sincere enthusiasm, almost like a kid in a candy store, only the type who responds to the thousands of engaged onlookers with pulsating rifts, sing-a-long choruses, and on stage dancing. This was the type of performance where the performer had as much fun as the audience. – AY

Citizen Cope:
Which Stage: 2:15-3:30

Citizen Cope, the singer-songwriter out of Brooklyn, provided an hour of relaxation on Sunday afternoon with his folk-friendly set caught between Ted Leo, Dillinger Escape Plan, and Todd Snider. As expected, Clarence Greenwood’s stage presence wasn’t too existing, but he delivered solid sounds that had many grooving, with the highpoint being “Bullet and a Target”, a song that won over head nods from most of the crowd. In the end, the only thing missing from Greenwood’s set was a star studded guest appearance. But, we can forgive him. After all, Citizen Cope’s John Ginty showed up to play keys for Gov’t Mule on “Soulshine”. As Warren Haynes put it, it just wouldn’t be Bonnaroo without “Soulshine”. – AK

Jessica Lea Mayfield:
Cafe Where: 2:30-3:30

Tucked away at Cafe Where, and with an ample audience to boot, one of the most intimate performances of the weekend occurred: Jessica Lea Mayfield‘s. The quiet 19-year-old from Kent, Ohio charmed aplenty with her bluesy Midwestern woes, mostly culled from last year’s With Blasphemy So Heartfelt. Though she has been featured on several tunes by neighboring band, The Black Keys, and has toured sold-out clubs with Ray LaMontagne, only the most humble of words came from Mayfield, who showed little to no anxiety, even when she asked the audience if she could “do a few songs by myself,” and shooed the drummer and guitarist off stage. With the experience she has at an incredibly young age, along with haunting vocals, Ms. Mayfield surely has a bright future and many more Bonnaroo’s to look forward to in the future. – BM

Okkervil River:
The Other Tent: 4:30-5:45

Will Sheff and the rest of Okkervil River may take a cynical stab at the concept of being a performer on both The Stage Names and The Stand-Ins, but that doesn’t stop them from taking on the role with flying colors. Sheff and his bandmates soar through ironic tracks such as “Pop Lie” to which every crowd member chants, “He’s the liar who lied in his pop song/And you’re lying when you sing along.” But highlights definitely came about in the form of older tracks such as “Black”, “A Stone”, “For Real”, and of course, the momentous “Westfall”. As Sheff bounced around stage, rubbing heads with his bandmates during their solos, there was more than enough energy on stage. The guys put on a great show, and despite some sound problems (the mix was a little high, and there was a buzzing when Sheff attempted the acoustic songs) the set was one of the best Bonnaroo had to offer. Songs like “A Stone” were executed with pure passion, probably invoking the “cryingest eyes.” Listening to Sheff sing his poetry is a more than worthwhile experience, and catching a beautiful lyric you may have missed in your home will put a smile on your face. I will say that Lauren Gurgiolo doesn’t exactly pull through with her mandolin playing on songs like “Westfall,” but nonetheless, Sheff steals the show and makes it all better. Watching the electricity on stage during Okkervil River’s set was a great way to finish out Bonnaroo, or at least begin to wind down. – DL

Snoop Dogg:
What Stage: 6:00-7:30

Who better to get a crowd “ready” for Phish than with the man who officially endorses Chronic Candy, yes… a marijuana flavored candy. Sure, at first glance, the appearance of Snoop Dogg may not have exactly blended in with the rest of this year’s lineup, but once his early evening set got underway, he had the crowd moving their bodies every way possible. The California rapper’s performances included tunes from his entire discography, as well as other’s, including Jamie Foxx’s “Blame It”, though the latter didn’t last all that long as he soon declared, “Wait a minute, they aren’t singing about my drink.” Snoop, backed up by full band then launched into “Gin and Juice” off of 1993s’ Doggystyle. Shortly following, the hip-hop legend jumped into “Lodi Dodi”, another gem from his hallmark album, which was further highlighted by a guest spot from Erykah Badu, who had owned the same stage an hour earlier. As the sun began to sleep, his set came to an end, and fans prepared to head out, leaving Snoop to cap off his hour with one last chant of his name. Though by then, he’d said it so many times, it wasn’t so much a name, but a brand — perhaps ultimately, his intention. – BM

Band of Horses:
Which Stage: 6:30-8:00

While Snoop Dogg was bringing the beats over at the What Stage, the South Carolina based (formerly Seattle) Band of Horses decided to show its face. Neither the multitude of performances, nor the dope beats of Snoop kept the crowd away as the outfit appeared on the Which Stage around 6:30 p.m.

The evening’s first highlight came a few songs in, when after some time on steel guitar, frontman Ben Bridwell stood up and, accompanied by his trusty guitar, kicked off a brilliant rendition of “Is There A Ghost” that had most of the crowd singing along. Other standouts included “No One’s Gonna Love You” and “Ode to LRC” – unfortunately, the equally stellar “Cigarettes, Wedding Bands” was omitted. Overall, the sound was phenomenal, with the band nailing all the harmonies and hitting every note with perfection. The only thing that would have made for a better set? If Snoop Dogg would have turned down that darn bass! – AK

Phish:
What Stage: 8:30-12:00ish

The following events occurred during the three-plus hour epicness that was the final performance of Bonnaroo ’09: Phish takes the stage for the second time this weekend to a thunderous applause. Set one kicks off. First, “AC/DC Bag”. Then, “NICU”, “Gotta Jibboo”, and “Bathtub Gin”. Wait, what’s that? A Bruce Springsteen guest appearance? They play “Mustang Sally”, “Bobby Jean”, and an even more epic rendition of “Glory Days” than what was thought to be humanly possible? (Faints). Set two begins. More of the same. A cover of Velvet Underground’s “Rock and Roll” and “Farmhouse” – how appropriate. Encore time. “Suzy Greenberg” and a reprise of “Tweezer”. Fin.

And after that, there’s really not much to say. After all, trying to describe the scene that was Phish’s Sunday performance at Bonnaroo, beyond just the facts, is pretty much impossible. Words can’t describe the sounds that resonated throughout Manchester once Springsteen took the stage, or during any of the band’s countless jams. So, rather than try, we’ll leave you with something that can…

…because folks, this was the festival that was Bonnaroo ’09.

———

AA Bondy:

Cage The Elephant:

Ted Leo & The Pharmacists:

Okkervil River:

Band of Horses:

Phish:

Sun and The Boss. It was hard not to be excited about those two things as Saturday descended on the green fields of Bonnaroo. And that’s without mentioning everything else making up day three. Trent? Wilco? The Mars Volta? A lack of mud, well, kind of? It was certainly a day worth remembering…

Elvis Perkins In Dearland:
This Tent: 12:30-1:30

There’s a lot of mystique surrounding the man who goes by the name of Elvis Perkins. Most know that his father was Norman Bates in the original Psycho and that his mother was tragically killed in September 11th.  But what does that say about him as a performer? Not much. Unfortunately, when he and the rest of Dearland made their way on stage Saturday morning, much of that air of mystery remained. Elvis Perkins is a weird dude, and his cleverly lackadaisical delivery of slow churning pscyh folk only exacerbates his oddness. He was interesting to watch, and as the set progressed, the band’s energy level rose notably. They even invited the cast of Bon Iver, Justin Vernon and all (why he didn’t have Justin sing on a track was confusing), for the last few songs. It was a good way to start another great day of music. – DL

Booker T & the Drive-By Truckers:
Which Stage: 3:00-4:45

Technically, there was no super jam as this year’s Bonnaroo, though one can certainly make a case that Booker T and the Drive-By Truckers’ performance on the Which Stage on Saturday afternoon was just as good as any super jam of Bonnaroo’s past. Maybe it was just the combination of Booker T’s soulful organ and the rock fury of the Drive-By Truckers shelling out classics like “Green Onions”, but that was just something particularly captivating about the hour-long performance that left quite a bit of awe. – AY

Rodrigo y Gabriela:
What Stage: 3:30-5:00

It’s always a pleasure to hear the glorious sounds of Rodrigo y Gabriela’s flamenco induced, acoustic guitar playing, but it was the magic behind this Mexican duo that kept everyone’s spirits high during the sun’s peak hours on the What Stage. Known for their fast, rhythmic guitar playing the duo captivated the audience with what they’ve always done best, along with impressive solos and a couple of new songs from their currently unreleased album 11:11. As always, Rodrigo continuously grabbed the crowd’s attention by repeatedly asking for our assistance carrying the beat, which made their hour and a half performance fly by almost too quickly, despite of course, our aching and raw palms. By then end, the crowd was left in a stupor; completely numb from watching Rodrigo’s fingers fly vertically along the fret board as Gabriela geared our focus towards her wavering fingers and unique rhythmic knuckle playing. – AF

Bon Iver:
This Tent: 3:30-4:45

The name may translate to “Good Winter” in French, perhaps raising some doubts as to how the chilly, atmospheric folk would translate in the blistering Tennessee heat. But, for Justin Vernon and the rest of Bon Iver, the name could mean “Bad Band” and they would still blow everybody within a hundred feet right off their feet. Justin and the dudes that make up the impossibly humble, yet unbelievably powerful Bon Iver, did exactly that on Saturday. The large “This Tent” was packed tight with bodies. I mean packed. Rumor has it that Drew Berrymore and Justin Long watched on from the equally populated VIP area to the stages side. There really wasn’t a more electric crowd at all of Bonnaroo, and for good reason. This was a hair raising, bone chilling, downright beautiful thing to witness. And it wasn’t soft or cutesy either. Throughout the unbelievable performance, Vernon attacked his electric guitar, two drummers slammed their arms down with great force, and atmospheric textures still found their way in. Perfect control was the key here, and it was there in excess. Vernon sat down with his national resonator for a stirring rendition of “Skinny Love,” with every single audience member singing along. He stood up and thrashed on songs like “Wolves” in a set that included a wonderful cover of Yo La Tengo’s “I Feel Like Going Home” and highlights from the beautiful For Emma, Forever Ago.

The true high point of the best performance at 2009’s installment of Bonnaroo (yep, I said it), however, came at the set’s bittersweet end. Nobody wanted the guys to exit the stage, but it would have been wrong to attempt to follow up all the raw energy and utter passion that Vernon and the rest of his band brought out during the impossibly climactic “Wolves”. With the crowd filling in by chanting the mantra-like ending lyrics “What might have been lost” Vernon was able to take his falsetto to immeasurable heights, impossibly crooning his way to a finish. Drums crashed, and chaos ensued before it was all over and the guys walked off of the stage, drenched in sweat (at least Justin was). Not one person could say it didn’t leave them standing in amazement, and the festival’s true highlight left everybody wanting to see Bon Iver again as soon as humanly possible. It may not have been a good winter, but it was definitely a phenomenal something. – DL

Of Montreal:
This Tent: 5:30-6:30

Just a few years ago, there weren’t many people who knew of Of Montreal. But, after countless tours and ridiculous stage shows, the media took them under their wing and come Saturday at Bonnaroo, the band’s set at That Stage was packed to the brim. The scene that soon ensued went something like this: After making fans wait 15 minutes past their original start time – thanks elaborate stage setup!, a man dressed in a suit and tiger mask appeared and smashed a bottle over Beatle Bob, who, yes, is still alive and was getting ready to introduce the band. Then, strode out the members of Of Montreal in their flamboyant costumes sending the crowd into a frenzy. A few minutes into the first song a Christmas tree was brought on stage by an assistant in a gas mask. He was joined by three others in zip-up pajamas who danced around opening their gifts; the first two were gas masks and the third was poison gas that resulted in the death of one of the kids. Out there? You bet.

Needless to say, Of Montreal’s hour long performance was easily one of the more entertaining sets of the weekend. Of the music played, because Of Montreal is a band first and foremost, the biggest highlight had to be the 12-minute epic that was “Past Is A Grotesque Animal” from 2007′s Hissing Fauna, Are You The Destroyer? If you weren’t a fan of Montreal before the performance, you certainly left as one. If you were under the influence before the performance, you left scared shitless. – AK

Wilco:
What Stage: 6:00-8:00

Of course, at the Which Stage on Saturday, Wilco did what Wilco always does when they perform. They put on a solid show, filled with explosive energy, laid back whimsical philosophy, and heartbreaking tragedy all in one performance. Playing a great deal of Yankee Hotel Foxtrot and highlights from most of their more recent studio albums, including the brand new Wilco (The Album), Wilco made a good choice by not trying to pull of a new album listening party in the form of a live performance. It was hard not to have a good time with Jeff and the rest of the guys in such highs spirits. Tweedy’s touchingly pathetic attempt at humor made fans remember why they fell in love with him in the first place: “If you guys start booing us, we have a built in excuse tonight.  We’ll just pretend you’re saying Bruuuuce.” With little crowd laughter, Tweedy pleaded, “I worked on that all day.” But there was no booing to be seen as Nels Cline shredded his strings and bent his guitar’s bridge, Glen Kotche effortlessly flailed about his drum set, and every one else did their part. The controlled chaos that Wilco can bring forth to seemingly simple songs is always great to see live. At the end, the guys proved they aren’t lying when they say “Wilco will love you.” – DL

The Mars Volta:
Which Stage: 7:15-8:45

Playing on the main stage at the same time as The Decemberists and Elvis Costello proved to be a rough decision, but it was hard to say no to The Mars Volta, what with their unique progressive-psychedelic-experimental-the-list-could-go-on rock sounds? As guitarist Omar Rodríguez-López slipped into the groove, frontman Cedric Bixler-Zavala revved up his stage show, whipping around his white microphone cable while singing very apt lines like, “Give me that corpse please/That one that tore nightly/I really want it now.” Because he doesn’t play an instrument, Bixler-Zavala sought to match Rodríguez-López’s mind shattering riffs by falling to the ground and gyrating around the stage, all of which could have been more suitable for a nighttime slot.

“We’re gonna play one from our first album,” Bixler-Zavala declared. “Because according to our fans, all the other ones suck!” That, of course, led to “Drunkship of Lanterns”, the long, sweet and sour epic off 2003′s De-Loused in the Comatorium. In the audience, one fan casually remarked that she went to high school with the prog-rockers and when asked what they were like, she said, “Just like this. They did their own thing and told everyone else to fuck off.” Word to the wise: Let them do what they please, The Mars Volta put on an incredible show, even despite the rosy sun. – AK

Bruce Springsteen & the E Street Band:
What Stage: 9:30-12:30

It’s hard to sum up the three hours of heart-stopping, earth-shaking, love-making, Viagra-taking music that descended on Bonnaroo’s What Stage at 9:28 p.m. and refused to let go until three hours later. After all, entering the festival, there were about as many questions surrounding Bruce Springsteen & the Street Band‘s headlining performance as there were sun burnt, wide eyed campers conjugated at the What Stage waiting for Springsteen to appear from the shadows. How would Springsteen translate to a festival with a particularly strong jam base, especially in a year where Phish would be performing two sets? How would the ordinary festival fan react? How would the new material go over? Would he even dare to play it? Would The Boss take advantage of the slew of adoring artists willing to scramble on stage for a guest appearance at a moments notice?

This wasn’t New Jersey. This was Manchester, Tennessee.

By a little after midnight, our questions had been answered, with many perhaps different than what was originally guessed. There were no Morellos, Escovedos, or Anastasios on Saturday night. Minus an appearance from Evan Springsteen during “American Land”, this was strictly an E Street Band performance.

Set wise, Springsteen played it safe, seemingly well aware that a large contingent of the audience wasn’t familiar of selections past the greatest hits. So, following a few numbers from his latest offering, Working on a Dream, The Boss did just that – he opened with “Badlands”, thrilled with “Out in the Street” and “The River”, and offered an encore featuring “Rosalita”, “Glory Days” and “Dancing in the Dark” back-to-back-to-back. When request time came, the vibe was much of the same: Rather than embark on the latest edition of “Stump the Band,” Springsteen took to a performance of “Santa Claus is Coming to Town” – I kid you not!, “Growing Up”, and “Thunder Road”.

Three hours and 28 songs later, Bruce Springsteen & the E Street Band had answered all the aforementioned questions. Some, like most of the 80,000 who watched the band on Saturday night, surely walked away impressed with thoughts ranging from “Wow, I got to see ‘Born to Run’, dude” to “How old is that guy?” Others, such as the small contingent of Springsteen diehards who traveled to Manchester for the weekend, likely had an opposite opinions, perhaps a bit displeased by the greatest hits and cheesy mentality of the set.

My answer to the latter perspective? The Giants Stadium, WOAD shows will return. But for one night, in a field in Manchester, Tennessee, The Boss went a different route, one which made for one memorable evening for those 80,000 gathered in that field in Manchester, Tennessee. – AY

Nine Inch Nails:
Which Stage: 1:00-3:00

It’s hard to believe Trent Reznor when he says that this will be Nine Inch Nails’ final tour. After all, Reznor has taken long breaks in between albums up until his recent kick of productivity. But it sounded so sincere when mid-set Reznor stated, “It just dawned on me that tonight is our last show in the US.” If NIN genius is indeed calling it quits for good, then Saturday’s 1 AM set made everyone in attendance quite mournful of the loss. Drawing highlights from nearly every one of NIN’s albums, the set was chock full of raucous sing alongs and heart wrenching ballads that only Reznor could pin down. Skittish drum machines, ominous fog, and glaring strobe lights welcomed Reznor and touring band to the stage. The guys were at the top of their game, in a performance that was different from most other NIN shows. Instead of the usual, perfectly orchestrated, art-piece like NIN show, Reznor’s Bonnaroo performance came across as a raw, impromptu, intimate performance. Perhaps this was due to the rather informal way everything was done, the minimal band size (only four of them), and the lack of ornate lighting (though the lights weren’t completely simple). It was like seeing them in your backyard, despite the huge crowd that looked on. Everybody was chanting along to “Head Like A Hole” and “The Hand that Feeds”, and a surprise cover of Joy Division’s “Dead Souls” was exciting, but not until the stunning rendition of “Hurt” did it feel like this was the last time any of us would see NIN again. As Reznor sang the sad tune, nearly on the verge of tears, lighters went up, and he signed off, possibly for the last time ever on American soil. – DL

Yeasayer:
That Tent: 1:00-1:45

Yeasayer has come a long way since releasing All Hour Cymbals back in 2007, and Saturday night’s set must have been a milestone for them as they played to their largest audience yet in the That Tent. The band’s live set has changed some over the past year and a half as they have expanded it bringing on another member to help out on the electronic percussion which in turn has allowed Chris Keating to become more of a front man. Their sound has also expanded as they continue to rework old favorites like the more guitar focused “2080” and the spacey opener “Sunrise”. The energy was huge in the shrinking tent as the band introduced new songs that had some people wondering if they had been slipped something. Vocal effects, reverb, and some huge bass lines kept the dancing up with the roar of the audience getting louder after every song. For a band that had often been missed at the bottom of festival line-ups, this was their long awaited introduction to the music community, and it was a mind blowing one at that. – EM

MGMT:
That Tent: 2:15-3:45

This time last year, MGMT managed a popular Thursday night spot, which one could certainly argue attested to their rise in popularity over the last year. On early Sunday morning, the duo of Ben Goldwasser and Andrew VanWyngarden, now backed by a full band, returned to Bonnaroo for a much anticipated late night set at That Tent. And, well, some of the things that went down easily rivaled the festival’s biggest names. Although main stage act Nine Inch Nails were set up at Which Stage for an epic late night set at the same time, MGMT seemed to hold more than a candle to Reznor and Co. That Tent proved to be too small, with the crowd not only overflowing the boundaries of the tent itself, but spilled all the way back to the vendor stands and merch tents. Glow stick wars rivaled Phish’s Sunday set and standards “Time to Pretend”, “Electric Feel” and “Kids” electrified the crowd. One can now only wonder what where MGMT will be this time next year. If their Bonnaroo set is any indication, the duo could rise to be one of the most exciting acts in, hell, the entire world. – TB

———

Robyn Hitchcock & The Venus 3:

Elvis Perkins In Dearland:

Booker T & the Drive-By Truckers:

Bon Iver:

Press Conference feat. Triumph the Insult Comic Dog:

Of Montreal:

Wilco:

Bruce Springsteen & the E Street Band:

Nine Inch Nails:

Yeasayer:

There’s always something else at Bonnaroo. Each year, organizers expand on the general idea of a “music and arts festival.” Whether they add more art or make a wider variety of exotic food available, they’re always throwing out old bags and coming back with something new. One of the bigger aspects of the festival, which in recent years has begun to eclipse the musical side of things, is the ever popular comedy tent. This year, Butterfinger (remember, the Bart Simpson-endorsed candy?) sponsored what was called, the Comedy Sweet. Mmm, enriched chocolate-peanut buttery crunch-goodness. Ah…

Candy comas aside, this year comedians of all flavors came in handfuls. With favorites like Jimmy Fallon, Triumph the Insult Comic Dog, and Janeane Garofalo, Bonnaroo’s 2009 comedy lineup boasted a lot of big names. But then again, big names don’t always generate big laughs (Bob Saget, anyone?). That rule of thumb seemed to press upon the crowds this year. Take Janeane Garofalo, for example. Despite this being her second straight appearance in Manchester, she seemed to be trying way too hard, and mainly rambled on and on, which ultimately, didn’t evoke much of a response from the crowd. See, big names are anything but a guarantee.

On the other hand, there was new late-night wonderboy, Jimmy Fallon. Surely, everyone’s familiar with his work on Saturday Night Live, but many might be amiss with his stand up act. Given the recent negative internet chatter (they hate everything), expectations were low, and his appearance was more or less a “Hey, a celebrity!”- sort of thing.  But he wasn’t a disappointment, the internet’s full of it (what a shocker), and the anxious, quirky and lanky Fallon exceeded many expectations.

Throughout his seamless bit, Fallon mocked both fellow Bonnaroo attendees and his peers in the entertainment industry. He started the show with a ballad entitled, “Car Was for Peace”, a song about how washing cars can save the world. Then, to everyone’s enjoyment, he visited SNL staples like his character on The Barry Gibb Talk Show. Half way through, he was surprised by Drew Barrymore running on stage, greeting him with a hug. This would stir up the crowd, sure, but the real highlight came with the onslaught of musical parodies — after all, people at Bonnaroo love their music. There was plenty of tunes to go around, too, as Fallon covered everybody from Katy Perry (“I Kissed Al Gore and I Liked It”) to Snoop Dogg (“Ethanol Production”), to even a spot-on Maroon-5.  Considering the negative hype and scratching heads, Fallon delivered to the packed-in crowd.

Despite being relatively cool in the tent, it’s hard to stick around too long, especially with half of the music industry laying down their best all around you. However, the laughs continued throughout the weekend and some other comedy highlights included Nick Thune (“I have a friend who’s color blind. He’s regular blind too.”), Kumail Nanjiani, (“Have you heard of this new drug called ‘cheese’?  It’s Tylenol PM, and heroin. But really, it’s mainly just heroin. I mean, heroin is doing most of the heavy lifting.”), Amy Schumer, and Christian Finnegan.

Bonnaroo, you continue to impress…

Hot and muddy. Not your PB&J type of combo for sure – after all, if you’ve taken a science class, you’re probably asking yourself how it can be hot and muddy at the same time. Yet, this and more was the scene on day two of this year’s Bonnaroo Music Festival. After a day of monsoon-like rains on Thursday, Friday brought the heat, and lots of it, but not enough to dry the cesspool of mud that besieged both Centeroo and the trails to and from it.

Of course, when you factor in the sounds set to take the stage on Friday, all this didn’t matter too much. Once you got past the fact that your own pair of Converse had become one with the earth and a drenching set would be accompanying you for most of the afternoon, you were home free.

Katzenjammer:
That Tent: 12:00-1:00

On two separate occasions, the lovely Norwegian ladies of Katzenjammer swept us away with their unique combination of fiddles, trumpets, accordions, keyboards, kazoos, banjos, glockenspiel and of course their signature “cat” bass which resulted in a circus frenzy of chaotic energy and unmatchable on-stage fervor. Constantly switching between polka, rock, and country and while continuously trading instruments, watching the ladies of Katzenjammer as they plowed through a collection of mind-blowing jigs and waltzes without a moment’s breath was truly a sight to see! Whether they were frantically hopping up and down, jumping off amps and piano benches, or sweetly teaching you how to make their granny’s delicious cherry pie, Katzenjammer put their hearts on their sleeves and pushed our limits to the max with the ever-burning fire in their bellies. And you could tell how excited they were to be there as well between their ecstatic cries of joy and unwillingness to let any mishaps interfere with their performance, like when their keyboard completely died on them. Nay, they carried on strong and each of their 45 minute sets sent the entire crowd into an uncontrollable dancing frenzy that drenched us in our own beer and left us yearning for more. – AF

Dirty Projectors:
That Tent: 1:30-2:30

Where the hell do I start? This was a performance absolutely not to be missed. It’s hard to pack all of what Dave Longstreth and his Dirty Projectors do into one word, but as the name suggests, dirty is quite an appropriate descriptor. Not the kind of dirty that makes you want to take a shower, but the kind that makes you turn to the random dude next to you and say “Damn, that guy is dirty!” If Bitte Orca hasn’t hit your radar yet, or if you simply don’t “get” the Dirty Projectors, see them live as soon as you can. Hell, see them live as many times as you can. On the heels of their recent masterpiece, the folks that make up the experimental Brooklyn outfit brought forth enough goods to make the rest of Bonnaroo’s Friday, and maybe even most of the weekend, look like a shitshow. If it wasn’t Longstreth’s insanely glitchy, mind bending, intricate guitar work—something that seemed to wander aimlessly during solos, but somehow kept time (how that drummer kept it together was beyond me) — then, perhaps it was the triple (sometimes quadruple) threat of perfectly harmonized oscillating vocals that made it all so good. But, then again, maybe it was the intensely ornate breakdowns and power thrashing that went on in between during songs like ‘Temecula Sunrise’”. Oh hell, it was everything. All of it was almost too much to take in.

There’s nothing better than a pleasant surprise, especially at a music festival. The Dirty Projectors’ mid-day Friday set was that and more. It was a perplexing performance. One that was both awe inspiring and confusing. The crowd went nuts throughout the Bitte Orca heavy set, most notably while watching on as the ever-so-cute Amber Coffman stunned them with “Stillness is the Move,” one of the finest tracks on that record. These guys know what they’re doing, and the wow factor was as high as could be. But to really go for the gold, Longstreth invited “friend” David Byrne onstage to join the group (after all he did curate the stage and invite them to the festival) for a high energy rendition of their Dark Was the Night contribution, “Knotty Pine”, to end the set. Yes, it’s safe to say that the Dirty Projectors’ left their mark in Manchester this weekend. – DL

Animal Collective:
Which Stage: 2:45-4:00

Close your eyes. Let the waves of water drenched electric fuzz swash their way into your innocent ears. There goes your innocence.

After experiencing the event that is Animal Collective, most other things can seem pretty normal. Animal Collective is a group that grabs hold of the boundaries and beats them as hard as they can against the ground. This seemingly violent display of originality, however, is achieved through sheer eloquence. No matter the caliber of an Animal Collective performance, it is sure to leave some in awe, some downright disappointed, others simply bemused. They’re a band that’s as polarizing as they get. But Friday’s mid-day jaunt saw the boys perform the beach boys infused pysch-pop of Merriweather Post Pavilion in the sunny conditions it was inspired by. Sure, Animal Collective would seem better fitting as a late night act (they do translate better in the dark), but on the flipside, it doesn’t get much sunnier than MPP. And what better setting to perform such bright tracks than under the blazing Tennessee sun?

In a set that consisted mainly of Merriweather songs, the collective was as loose as ever, stretching three minute studio tracks into fifteen minutes, to no contest. It was clear that Avey Tare, Panda Bear, and Geologist, were letting the Bonnaroo vibes rub off on ther acid drenched sound. This was one of the jammiest Animal Collective sets we’ve ever seen. But, it was a great one at that. The thing is, with the Baltimore trio, you never do know exactly what you’re going to get. That’s where half the fun lies. As the guys fluttered through their noisy pop, at times the sound was a bit softer than it could have been, but at others you could shut your eyelids and hear waves of static crash against you. They built a wall of sound and it was easy to get lost in it, as was especially clear in the near 20 minute rendition of “Fireworks”. Ending with the dancy “Brothersport”, Animal Collective closed the door on another great Bonnaroo experience. – DL

St. Vincent:
That Tent – 3:00-4:15

18 months ago, St. Vincent was the one-man band consisting of Annie Clark and a bunch of pre-recorded beats. Today, St. Vincent is still Annie Clark, but with a four-piece band accompanying her, complete with a guitarist, bassist, drummer, and saxophonist/violinist. The 18 month span has also brought a few changes in the musicality of Ms. Clark. Following the release of this year’s Actor, her sound is much more synth, though not in overly troubling sort of way. There is more jamming – Phish would be proud, more interaction, with both the crowd and her new found bandmates, and finally, there is more confiedece. As Clark made her way through the Actor heavy set, it wasn’t hard to hear, and feel, the confidence of the Tulsa native. You know, the type of confidence that in a span of 18 months has evolved you into an opener for The National  and Arcade Fire to one of the more anticipated acts playing on one of the biggest tents at one of the country’s biggest music festival. – AY

Yeah Yeah Yeahs:
Which Stage: 4:45-6:00

In what was perhaps the most unsurprising hour of Bonnaroo ’09, Karen O. and the Yeah Yeah Yeahs took to Which Stage for what proved to be a powerful, passionate, and ultimately, pretty fucking awesome performance, aka your standard Yeah Yeah Yeah’s shindig. Karen’s outfit was a hit – leopard tights and multi-colored top, as were most of the selections performed during the hour long set. But the biggest highlight had to be Karen’s deep throating of the microphone shortly after the band kicked off its set. Yes, kids, the fearless frontlady was as crazy as ever. – AY

Al Green:
What Stage: 6:00-7:35

As the sun set, the ever so classy and romantic Reverend Al Green waltzed up on to the What Stage dressed in his Sunday best, flinging roses out to all the ladies. From there began the evening’s groovy lawn party, as millions of viewers jammed out to the legendary soul king’s classic tunes. But that wasn’t enough for the Reverend. No, Green continuously shouted out, “Y’all too far away” in-between breaking it down with his backup vocalists and you could tell all the while that he wanted to break loose from the confines of the stage. Green had a couple of tricks of his sleeve though, whipping out a slew of covers halfway through his performance from a time, as he put it “when the music was good, the lovin’ was good, and everything was good”; including tunes like “My Girl” and “(Sittin’ On) the Dock of the Bay”. Overall, Green dished out a spirited performance with gusto and a cool ease that brought everyone together for a peaceful evening of love, sweat and tears. – AF

Mt. St. Helens Vietnam Band:
Cafe Where: 7:30-8:30

Performing in the least ideal of time slots and locations of perhaps any artist at this year’s Bonnaroo was Mt. St. Helens Vietnam Band. Wedged in a time 99% of the crowd could be found waiting for either David Byrne or the Beastie Boys to take the stage at a stage where a cesspool could be found instead of grass, it wasn’t much of a surprise to see few folks gathered when the Seattle outfit took the stage at 7:30. Yet, once the grungy, Minus The Bear-like sounds of their self-titled debut rang aloud, it didn’t take long for more and more folks to gather, and before you knew it, Mt. St. Helens Vietnam Band became a crowd favorite – an ironic twist considering the circumstances. – AY

Beastie Boys:
What Stage: 8:30-10:00

Staying dry proved difficult throughout Thursday night and when I woke up Friday morning I wasn’t surprised to have a damp pillow and sleeping bag. But, a little dampness is nothing a day full of music can’t fix. At least, that’s what I thought until the weekends biggest let-down slapped me in the face. What could that letdown possibly be, you ask? The Beastie Boys, that’s what. Perhaps it was just where I was standing but when Mike D, MCA, Ad-Rock, and Mix Master Mike took the stage, the sound was less than impressive. Still, since this reviewer had been looking forward to the Beastie’s all weekend, I wasn’t about to let some sound ruin my experience, and headed up to the pit as “No Sleep Til’ Brooklyn” came bumping out of the speakers. Could this be the first of a set doused in Licensed to Ill material, I hoped?

That wish was left unanswered as “Paul Revere” proved to be the only other track the trio managed to play off its debut. Of course, “Intergalactic” made its way onto the list, along with “Body Movin” and to go the extra mile, they brought out New York rapper Nas for a new song called “Too Many Rappers”, which should find itself on the new record, Hot Sauce Committee. In the end, this guest slot might exemplify the hip-hopper’s set best. Choosing to fly someone in for a performance is kind of a big deal, especially when there at so many talented artists at the festival (yes, even rappers). Sure, Nas probably will likely appear on the song once the album surfaces and yes, it made sense for him to appear for its debut performance. But, could you have given us something more, beyond a couple songs, beyond Nas, beyond a set that felt very much like it was by the book? Don’t get me wrong, the performance was by no means bad, but it the end, it left a little to be desired. – AK

David Byrne:
Which Stage: 8:45-10:45

Whereas the Beastie Boys were bringing the beats, just a short five minute walk away, David Byrne was bringing the dance. And a childlike enthusiasm. And an all white fashion statement. And a set consisting of solo selections (“Everything That Happens”, “Heaven”), Talking Head favorites (“Once in a Lifetime”, “Life During Wartime”), and covers (Al Green’s “Take Me To The River”). Needless to say, the former Talking Heads frontman put on a  performance not to be missed. Would awesome be the right word to explain the 85 minute set? Or, perhaps disbelief, courtesy of everything from the choreographed dancing to the fact that Byrne could have and probably wanted to play another 85 minutes. Either way, to quote Byrne, it was a “Once in a Liftetime” performance. – AY

Phish:
What Stage: 11:00-2:00ish

Upon the first note of Phish frontman Trey Anastasio, glow sticks rained from the sky and balloons appeared out of thin air as hippies everywhere rejoiced in the sounds of their worship. Much can be said about the jam band’s three-plus hour performance: The things Anastasio can do with a guitar still baffle me and c be outlawed in at least five states (Utah, anyone?. Covers of AC/DC’s “Highway To Hell” and The Beatles’ “A Day In The Life” and longtime classics, like “Chalkdust Torture”, helped catch the attention of even the smallest of fans. The band couldn’t have looked more happy to be playing the fields of Manchester – something Trey let the crowd know before the band launched into the first of many jam sessions that evening.

After speaking with my fair share of Phish-heads, we could all agree on one thing, Anastasio is a lot more fun without the habbit, thanks for quitting. With a full three hour set on Friday night, one was left wondering how they would dare to top themselves on Sunday night… – AK

Phoenix:
That Tent: 11:30-12:15

“Thank you. You truly don’t know how happy we are to be here,” announced Phoenix frontman Thomas Mars midway through the band’s late night set at That Tent. Happy might be the biggest understatement of the weekend. In what was 45 minutes of nonstop music, the French quartet dazzled a packed crowd, which not only consisted of adoring fans, but members of Passion Pit, Hockey, and Delta Spirit, Flava Flav, Beatle Boy (yes, he’s not dead), and a higher-up from AC Entertainment (one of the company’s behind Bonnaroo) with selections mostly taken from the recently released Wolfgang Amadeus Phoenix. Musicianship was displayed to the highest quality, as was excitement and passion, perhaps the latter of which was best exemplified during Mars crowd surf at the end of the performance. For a weekend jam packed with hyped indie acts, Phoenix separate itself from the back and provided a brilliant example as to why they should be considered king of the genre. – AY

Crystal Castles:
That Tent: 12:45-1:45

Between the hot mess of drug-induced sweat on the dance floor and some overwhelming theatrics, it’s surprising that no one suffered a seizure from Crystal Castles’ late night show at That Tent. Out from underneath a thick, suffocating cloud of fog came a forceful amalgamation of obscure noises and pulsating lights which completely enveloped the band, making it nearly impossible to pinpoint where the chaotic screams of vocalist Alice Glass were coming from. As a result, the audience was left adrift on a sea of fog and chaos, completely blinded by a combobulation of flickering stage lights, glow sticks and laser pointers. While thrilling, The duo’s intoxicating 50 minute set still managed to instill wayward feelings in its audience. Between our inability to see and connect with the band and the underdeveloped distortion of Glass’s vocals, Crystal Castles’ performance almost seemed to suggest that these electro junkies might be better off sticking to the studio. – AF

———

Additional photo support courtesy Karen Dunbar

Press Conference feat. Janeane Garofalo & Ani DiFranco:

Dirty Projectors:

St. Vincent:

Yeah Yeah Yeahs:

Al Green:

TV on the Radio:

Mt. St. Helens Vietnam Band:

David Byrne:

Beastie Boys:

Phish:

Girl Talk:

Pouring rain and ferocious lighting served as the backdrop for most of Bonnaroo day one, making for some extremely muddy situations. Yet for those willing to brave the elements on Thursday evening, there were highlights to be found.

Alberta Cross:
That Tent: 5:30-6:30

The current musical scene, and even Bonnaroo’s own lineup, seems to be dominated by polished indie rock bands using as many computers to produce their sounds as actual instruments. In a digital world, Alberta Cross is an analog band. The New York outfit’s dirty, haunting vocals and scratchy guitars are rough around the edges, refreshing and honest, garnering them comparisons to older souls like Neil Young and The Band. Their stage presence may be the only thing that didn’t seem polished about their Bonnaroo performance, and maybe the only place they showed their age. You couldn’t tell by listening, but the guys looked a little nervous, maybe a little overwhelmed by practically getting Bonnaroo started for the weekend. But their music never faltered, sounding just as haunting and passionate as their recordings. – MW

Janelle Monáe:
The Other Tent: 5:45-6:45

Things started off on an interesting note as the strange personalities of Janelle Monáe took to the Other Tent’s stage. With a full band dressed in dapper dress wear, the cummerbund toting soulful singer stared crazy eyed at the audience through her intense wails. A prince-esque guitarst, hiply dressed DJ (the only one not in uniform), and drummer accompanied Janelle’s wacky stylings. Bursting with energy and a unique electro meets R&B meets soul aesthetic, she was an excellent surprise and a great way to kick off Bonnaroo. – DL

White Rabbits:
This Tent: 6:45-7:45

Brooklyn’s White Rabbits helped push Bonnaroo into full swing, bringing their own blend of insanely percussive, piano driven, indie rock to the Manchester farm. With up to three drummers at once, all feverishly knocking against snare rims, drum casings, and drum heads, there was a more than apt array of beats to dance to. As the guys played on, the crowd stared on intently as sweat dripped from the faces of the hardworking lads. Their power was cut briefly mid set, but they were able to utilize the crowd’s clapping abilities to smoothly circumvent an otherwise undesirable moment. A solid showing from a band on the fringe of popularity. – DL

MURS:
The Other Tent: 7:15-8:15

With Delta Spirit sidelined by air trouble, Californian hip-hopper Nick Carter, or MURS as he’s more properly known, had the fortune, or the bad luck – depending on your perspective, of being the lone performer gracing any of the festival’s five major stages for a good thirty minutes. MURS accepted this challenge with open arms and responded with 60 minutes of rhymes and beats that have allowed him to become the self-acclaimed president of hip-hop. The crowd responded with equally open arms, especially during the 30 seconds when Carter sampled Sublime’s “Santeria”. Yes, “Santeria”, because that’s the kind of stuff that happens at Bonnaroo. – AY

Hockey:
This Tent: 8:15-9:15

Portland, Oregon new wave rockers Hockey came to Bonnaroo having not yet released a debut full-length – that’s coming this later this summer. With a fresh sense of humor, lead singer Benjamin Grubin cracked a joke about the band’s obscurity remarking “here’s a song that nobody knows” before launching into one of its more upbeat tunes. For an 8:15 set on the first day, Hockey came out with their guns a blazin’ which translates into a lead singer doubling as a percussionist on occasion and the captivation of a nearly full tent. In the end, the performance proved impressive, and likely allowed Hockey to sleep well Thursday night knowing that it just recruited a tent full of new fans. – AK

Passion Pit:
This Tent: 11:15-12:15

As soon as the synth-pop dance beats of Passion Pit rushed over the ears Roo’ers, This Tent melted into a collective bass-heavy dance party. Yes, frontman Michael Angelakos’ falsetto was difficult to interpret at times, but there’s no misunderstanding a perfectly crafted dance beat and the crowd understood exactly what the elctro quintet was trying to say: dance. As it relates to the actual songs performed, perhaps the biggest highlight was “I’ve Got Your Number”, a track released on the band’s Chunk of Change EP in late ’08. – AK

Delta Spirit:
This Tent: 12:30 – 1:30

Five-and-a-half hours after their original timeslot was to begin, the gentlemen of Delta Spirit finally took the stage at This Tent. Yet despite the delay, and a lack of Passion Pit-like hype, the San Diego outfit had little trouble attracting a crowd once their cigarette-driven, ravaging grunge rock resonated aloud. Intensity likely also played a factor, as it’s hard to imagine anyone could break the spell that is frontman Matthew Vasquez’s electrifying presence and equally captivating lyrics. And all that was before a cover of Tom Waits’ “San Diego Serenade” and several new songs were dished out for all to hear. It’s hard to describe a band, especially one as still unknown as Delta Spirit, as possessing a quality of magic, but when incidents such as the pouring rain ending upon the last chord struck, it’s hard to come up with any other reasonable explanation. – AY

Tobacco:
Troo Music Lounge: 1:00-2:00

The rain had just started to pick up again around 1 am and a sizable crowd trickled in trying to squeeze under the canopies outlining the Troo Music Stage. By this point everyone had given up on trying to stay dry, so when Tobacco came out the soaking began. The Black Moth Super Rainbow vocoder kicked things off with the ruckus “Street Trash” that led into a sticky sweet set covering much from his solo record Fucked Up Friends with a few extra surprises. His rare set had a little help onstage from a female friend as he reworked the songs for a fresh live taste. “Berries That Burn” and “Side 8” grooved harder as he incorporated new breakdowns and slight tweaks into the melody. Tobacco managed to provide one of those late night surprises that blew people away. Just one question though, who were those creepy masked characters? – EM

———

Additional photo support courtesy Karen Dunbar

Alberta Cross:

Janelle Monáe:

MURS:

Hockey:

Passion Pit:

Delta Spirit:

]]> After four long days, which featured torrential downpours, grueling heat, lots of mud, and an over a hundred of music's best acts, the 2009 edition of the Bonnaroo Music Festival is now and will forever will be a memory. Join us, while we remember and review the festival that was Bonnaroo '09... Pouring rain and ferocious lighting served as the backdrop for most of Bonnaroo day one, making for some extremely muddy situations. Yet for those willing to brave the elements on Thursday evening, there were highlights to be found. Alberta Cross: That Tent: 5:30-6:30 The current musical scene, and even Bonnaroo’s own lineup, seems to be dominated by polished indie rock bands using as many computers to produce their sounds as actual instruments. In a digital world, Alberta Cross is an analog band. The New York outfit's dirty, haunting vocals and scratchy guitars are rough around the edges, refreshing and honest, garnering them comparisons to older souls like Neil Young and The Band. Their stage presence may be the only thing that didn't seem polished about their Bonnaroo performance, and maybe the only place they showed their age. You couldn’t tell by listening, but the guys looked a little nervous, maybe a little overwhelmed by practically getting Bonnaroo started for the weekend. But their music never faltered, sounding just as haunting and passionate as their recordings. - MW Janelle Monáe: The Other Tent: 5:45-6:45 Things started off on an interesting note as the strange personalities of Janelle Monáe took to the Other Tent’s stage. With a full band dressed in dapper dress wear, the cummerbund toting soulful singer stared crazy eyed at the audience through her intense wails. A prince-esque guitarst, hiply dressed DJ (the only one not in uniform), and drummer accompanied Janelle’s wacky stylings. Bursting with energy and a unique electro meets R&B meets soul aesthetic, she was an excellent surprise and a great way to kick off Bonnaroo. - DL White Rabbits: This Tent: 6:45-7:45 Brooklyn's White Rabbits helped push Bonnaroo into full swing, bringing their own blend of insanely percussive, piano driven, indie rock to the Manchester farm. With up to three drummers at once, all feverishly knocking against snare rims, drum casings, and drum heads, there was a more than apt array of beats to dance to. As the guys played on, the crowd stared on intently as sweat dripped from the faces of the hardworking lads. Their power was cut briefly mid set, but they were able to utilize the crowd’s clapping abilities to smoothly circumvent an otherwise undesirable moment. A solid showing from a band on the fringe of popularity. - DL MURS: The Other Tent: 7:15-8:15 With Delta Spirit sidelined by air trouble, Californian hip-hopper Nick Carter, or MURS as he's more properly known, had the fortune, or the bad luck - depending on your perspective, of being the lone performer gracing any of the festival's five major stages for a good thirty minutes. MURS accepted this challenge with open arms and responded with 60 minutes of rhymes and beats that have allowed him to become the self-acclaimed president of hip-hop. The crowd responded with equally open arms, especially during the 30 seconds when Carter sampled Sublime's "Santeria". Yes, "Santeria", because that's the kind of stuff that happens at Bonnaroo. - AY Hockey: This Tent: 8:15-9:15 Portland, Oregon new wave rockers Hockey came to Bonnaroo having not yet released a debut full-length - that's coming this later this summer. With a fresh sense of humor, lead singer Benjamin Grubin cracked a joke about the band's obscurity remarking “here's a song that nobody knows” before launching into one of its more upbeat tunes. For an 8:15 set on the first day, Hockey came out with their guns a blazin' which translates into a lead singer doubling as a percussionist on occasion and the captivation of a nearly full tent. In the end, the performance proved impressive, and likely allowed Hockey to sleep well Thursday night knowing that it just recruited a tent full of new fans. - AK Passion Pit: This Tent: 11:15-12:15 As soon as the synth-pop dance beats of Passion Pit rushed over the ears Roo'ers, This Tent melted into a collective bass-heavy dance party. Yes, frontman Michael Angelakos' falsetto was difficult to interpret at times, but there's no misunderstanding a perfectly crafted dance beat and the crowd understood exactly what the elctro quintet was trying to say: dance. As it relates to the actual songs performed, perhaps the biggest highlight was “I've Got Your Number”, a track released on the band's Chunk of Change EP in late '08. - AK Delta Spirit: This Tent: 12:30 - 1:30 Five-and-a-half hours after their original timeslot was to begin, the gentlemen of Delta Spirit finally took the stage at This Tent. Yet despite the delay, and a lack of Passion Pit-like hype, the San Diego outfit had little trouble attracting a crowd once their cigarette-driven, ravaging grunge rock resonated aloud. Intensity likely also played a factor, as it's hard to imagine anyone could break the spell that is frontman Matthew Vasquez's electrifying presence and equally captivating lyrics. And all that was before a cover of Tom Waits' “San Diego Serenade” and several new songs were dished out for all to hear. It's hard to describe a band, especially one as still unknown as Delta Spirit, as possessing a quality of magic, but when incidents such as the pouring rain ending upon the last chord struck, it's hard to come up with any other reasonable explanation. - AY Tobacco: Troo Music Lounge: 1:00-2:00 The rain had just started to pick up again around 1 am and a sizable crowd trickled in trying to squeeze under the canopies outlining the Troo Music Stage. By this point everyone had given up on trying to stay dry, so when Tobacco came out the soaking began. The Black Moth Super Rainbow vocoder kicked things off with the ruckus “Street Trash” that led into a sticky sweet set covering much from his solo record Fucked Up Friends with a few extra surprises. His rare set had a little help onstage from a female friend as he reworked the songs for a fresh live taste. “Berries That Burn” and “Side 8” grooved harder as he incorporated new breakdowns and slight tweaks into the melody. Tobacco managed to provide one of those late night surprises that blew people away. Just one question though, who were those creepy masked characters? - EM --------- Additional photo support courtesy Karen Dunbar Alberta Cross: Janelle Monáe: MURS: Hockey: Passion Pit: Delta Spirit: ]]> http://consequenceofsound.net/2009/06/the-festival-that-was-bonnaroo-09-day-one/feed/ 3 http://consequenceofsound.net/2009/06/farewell-bonaroo-2009/ http://consequenceofsound.net/2009/06/farewell-bonaroo-2009/#comments Mon, 15 Jun 2009 06:55:40 +0000 CoS Staff http://consequenceofsound.net/?p=16064 After four days of torrential downpours, grueling heat, and some of the most mind-numbing music ever heard by man, the 2009 edition of the Bonnaroo Music Festival has come to an end. Soon, we’ll present you an extensive recap of all that was this year’s festivals, reviewed and photographed by the Consequence of Sound staff. But first, some sleep.

Check back soon. In the meantime, we suggest you check out Spiner’s reflections on ‘Roo. They pretty much sums things up perfectly.

In the meantime, all regular news updates will be suspended until Monday. Reviews and and all your other favorite CoS’ features will still be posted, as will any super important, uber crucial breaking news that you need to know about. We’ll catch up on everything else come Monday and Tuesday.

Until then, toodles!