Sasquatch 2016 has begun on a slow energy rise, with gates to The Gorge opening no sooner than 3 p.m., atypically later than prior incarnations of the Pacific Northwest getaway weekend. The later start time allowed arriving campers to establish their sites and connect with their surroundings, with frisbees flying a’plenty throughout the early Friday afternoon hours. Eastern Washington’s picturesque canyons sprawled out endlessly behind the main stage, a stunning valley cut by the Columbia River’s winding path. Early psychedelic indulgers could be seen standing slackjawed and wide-eyed upon entry.
Fashion in the PNW is a reliably fascinating freak intersection, and Sasquatch attendees represent with gusto. Between the legions of lumberjack chic and neon bros, men in psychedelic space leggings with samurai buns were paired with flash-tatted and denim-diapered feather goddesses from the land of Can’t Even, smiles far and wide.
Sonic Surprise: Gordi
High winds were blowing away the tents of inexperienced campers before the first note was played, but we dodged any flying debris to make it down for Sydney folktronica chanteuse Gordi on the Yeti stage. Real name Sophie Payten, Gordi (pronounced with a hard ‘G’) possesses a richly enchanting voice, delivered through an execution volleying between luminous electro-folk, pop and passion rock. She’s a new discovery for me. Can’t wait to learn more…
Unknown Mortal Orchestra: is Standard & Straightforward Enough Anymore?
When festival fanatics have 519 options in a massively saturated market, bands need to do more than show up for proper impact. As much as Unknown Mortal Orchestra is on the tongues of buzz-builders far and wide, their set is reminiscent of every show they’d played prior. Singer-songwriter Ruban Nielson often looks as if he’s simply trying to keep up with the chords changes and lyrics while the rest of the band – particularly bassist Jake Portrait, keyboardist Quincy McCrary and drummer Riley Geare – dutifully tore the hell out of their roles.
Fuckin’ Problems: Stop Putting A$AP Rocky on Festival Bills
Just as it was with Austin City Limits last year, A$AP was more than half an hour late to his set at the main stage. Billed among the top names at the festival, Rocky flat-out disrespected the audience and the festival itself when he brought a DJ and two openers for his festival show, before he stepped foot on stage. Once he did, the remaining half of the crowd that wasn’t already disgusted were treated to a half-hearted performance of self-congratulatory nonsense. Award for the most white-girl arm-flailing thug impressions is a hands-down win here. This clown does not deserve to share a stage with quality artists.
Hype Check: Yeasayer
Roughly a dozen friends recommended Yeasayer in anticipation of Sasquatch, and I would like to gather those friends in a room to confiscate their music libraries. Bathed in darkness, singer Chris Keating led his collective through a strangely soulless set of pseudo-psych pop befitting of their stage-prop surrounding: cardboard stand-ups of historical figures, surgically linked with circuit boards. The mood was buoyed by selections from new-album Amen & Goodbye, and they came close to redemption with the one-two sensation of closers “Ambling Alp” and “O.N.E.” – but they were codas on our exit strategy already underway.
Day 1 headliners Disclosure played their radio-ready programmed beats like champions, as we heard from the tents – there’s no shame in finding festival alternatives to jumping around maniacally while recordings of singers and recordings of instruments are queued up with drumsticks on beat pads and played as if it were live. Nighttime adventures are varied and opportune here at Sasquatch, as are the options for breakfast preparation if one should forget some key camping essentials:
Photos: Johnny Firecloud
