FYF Fest 2013, Day 2: Omar Souleyman, Shlohmo, Flume, Glasser and more in Samantha’s Tent
Kevin Bronson on
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Omar Souleyman, Shlohmo, Flume, Glasser, How to Dress Well, Pional, Antwon
- ||| Photos by Carl Pocket
After the jump, more photos and capsule reviews:
You Should Have Been Here Because: It capped a long, strange day in Samantha’s Tent. Some gut-busting comedy (Which comic did the “FYF Fest Public Service Announcements” bit we heard from afar? Brilliant. “The last five American Idol winners will be performing at 5 p.m. near the Porta-Potties …”) Horrible hip-hop from somebody named Antwon. (Not a minority opinion, by the way.) Ethereal things from How to Dress Well and Glasser … electronic bliss from Schlohmo … and finally Omar Souleyman, the Syrian pop phenomenon in a khaffiya and sunglasses. Performing with keyboardist Rizan Sa’id, Souleyman got off to a terribly late start – sound problems delayed things 35 minutes – before leading a wildly enthusiastic crowd in a spate of Middle Eastern disco. With the keyboard tones tweaked to sound like instruments of world music, it wasn’t hard to imagine Souleyman as the wedding performer he once was (and possibly still is). Patty-cake style, he bade the crowd to clap and they did; he urged them to jump and they obeyed. Language is no barrier in 4/4 time, and this was perhaps the strangest, most worldly party of FYF Fest.
Downside: The late start meant an early exit to catch My Bloody Valentine’s set.
Postscript: My Bloody Valentine’s set apparently had no effect on Omar Souleyman’s party, which still raged as the headliners had sound issues a couple of football fields away.
– Kevin Bronson
You Should Have Been Here Because: Under a constellation of silver disco balls, a crowd gathered eagerly awaited the young Australian beatmaker, Flume. Some managed the wait more gracefully than others. “These speakers aren’t even that good” sniffed one man in a yellow fedora disdainfully. All gripes were quashed however, when the hexagonal console began pulsing with purple lasers announcing Flume’s arrival. The smoke machines that were at full blast at the front of the stage were mostly unnecessary, considering of reefer in there. When the man of the hour did arrive, the crowd grabbed whatever was near them – a pink inflatable dolphin, a tree branch, a parasol, a small lady – and waved them in the air in greeting. With a nod, Flume began his set, one hand on the console and the other keeping time on an electronic drum pad which cued light to flash, as if it was Thor’s hammer not a drumstick. The beats were at a steady head bobbing speed. On the screen the visuals leapt from rainbow city night scapes to a black and white video of full lipped babe and collaborator Jezzabell Doran singing on the track “Sleepless,” a poor substitute for an actual singer, but not a bad second choice. The bigger the bass got the louder the screams. The biggest hit of the night was “On Top” featuring rapper T. Shirt. The lyrics were all naked ambition: “You don’t just wake up rich one day.” It looks like the 21-year-old beatmaker has big plans.
Downside: Do you have a living room with speakers? A hundred friends? A flat screen TV? A smoke screen? You could recreate this scene at home easily.
Postscript: Personally I find his beats relaxing. I just don’t understand the dance party. With the exception of a couple dramatic moments, it’s just so slow. I probably just need to smoke more.
– Molly Bergen
You Should Have Been Here Because: It was Glasser’s first show in years. Fans haven’t seen Cameron Mesirow since the push behind the release of her highly regarded full-length debut “Ring.” With another album in the works, Mesirow provided one of the best songbird sets of the day, and it took place in the electro-hopping tent, no less. With her serene yet sturdy mezzo-soprano vocals weaving in and out of tribal beats, looped backing tracks and percussion provided by the talented Shayna Dunkelman (Peptalk, Xiu Xiu), the duo (both in seemingly Taekwondo-inspired white outfits) provided quite the textured set. While Mesirow belted, yelped and hopped around stage, Dunkelman held the fort down on vibraphone, congas and drums. A few new tracks leaned toward R&B and there was even a dance tune.
Downside: Although definitely working in tandem with Mesirow, Dunkelman stole the show. (At one point, she busted out two large bows and played them against the vibes.) Numerous crowd members were asking each other who “that rad lady” was. Also, a Glasser set without the hit “Home” is a bummer.
Postscript: Overheard from a kid joining the set toward the tail-end: “She’s not bad but she looks 30.” Head. Exploding.
– Seraphina Lotkhamnga
You Should’ve Been Here Because: Who needs a ’N Sync VMA reunion when you can have How To Dress Well in a tent? Despite starting 10 minutes late due to sound issues, Tom Krell and Co. brought down the house in the late afternoon. They performed multiple new songs, to one he requested of the sound crew, “This should be terrifyingly loud,” and pushed the bass tones until they pulsated through your body. Using both a regular mic and effects mic, and shimmying in a white tank top and small black sunglasses, Krell showcased the incredible power of his voice, from a quiet hush to a no-joke falsetto that soars to the sky. The tracks featured from his 2012 album “Total Loss” had the crowd vibing, including “Cold Nites,” ”When I Was In Trouble,” “Set It Right” and “& It Was U,” remixed with the piano riff from Bruce Hornsby’s “The Way It Is.” He finished the set with another new song, which sounded like new wave Bobby Brown, building bass on drums into a dense and engaging production. The Justin Timberlake comparisons were easy to point out, given that his bangers are better than most of “The 20/20 Experience,” but Krell’s approach has always been from more of an experimental side, giving HTDW a more haunting dimension and soulful distinction than merely “R&B pop.”
Downside: Kurt Vile’s guitars bled through during the early quiet moments.
– Andrew Veeder
very talented person. I want to see more of him