When I bought my tickets for FYF I knew Sunday was going to be my favorite day. There
was not one-time slot where I wouldn’t be jamming out. It was constructed of acts that all played to the musical vibe I have been in for the past month or so. And there is/was no better way to start off such an epic day then with Cherry Glazerr. I got to the stage fairly early and was greeted by a couple jacked human sized cherries who were sitting along the the edges. Since it was only about two o’clock in the afternoon, on the last day of the festival, people were trickling in drowsily. I knew the show was going to be energized just based on the bands discography and general aesthetic. A friend of mine had also seen a show of theirs in the past year, after the release of the LA band’s sophomore album Apocalipstick, and was enraptured. So, expectations were present.

The moment the rock group walked onto the stage and Clementine Creevy, the lead
singer/guitarist, spoke into the mic, I knew those expectations would be shredded, literally. As the band bursted right into "Sip O’ Poison", one of their more scream heavy songs, Creevy bounced around the stage with enough energy to give everyone in the audience a needed wake-up call. With a quick interlude to introduce the aforementioned cherries, whom she regarded as Buff and Cherry, the group continued on to riff through a mix of their records. The set was seamless to say the least. There was not a song played that didn’t make the crowd want to join Creevy in flailing their limbsand head banging to the consuming resonance of her voice wailing over creative synths, and pounding drums. I was enamored. Not only was the band able to gift us with their sound, they were also incredibly sweet, fitting in some fun banter both with each other and the crowd. When playing some of my favorite tracks, like "Only Kid on the Block" and "Grilled Cheese", the group gave them a new life, packing them with every bit of their intoxicating spirit. As the set was wrapping up, I decided to attend any shows the band plays. I can not get enough of their, at times haunting, and always fierce, tune.





Just as the sun appeared to be at its hottest in the day, we all took our spots for Ty Segall at the stage generously titled “The Lawn,” which had been trampled so much by the third day of FYF that essentially only dust and sand were left at this point.  Towards the front of the stage, fans were taking their last sips of water as they knew they would be in no place to relax once the show started.  Rocking black pants and a black collared shirt adorned with flowers, Segall took the stage with his band of mostly long-haired guys to accentuate the head-banging that was sure to begin.  Without any words, the band burst into “Break a Guitar”, the first song off of his most recent album, to give the crowd a taste of what was to come during the performance.  The mosh pit in the front of the crowd started small, but even by the end of the first song, one could see more heads banging, arms flailing, and dust filling the air at the front of the stage. 

A few songs into his set, Segall took the energy to a whole other level.  Starting with an extended guitar intro full of distortion and methodically sloppy playing, Segall entered into the intro for “Finger”, off of his arguably most accessible album Melted (2010).  Casual and hardcore fans alike all knew what was about to come, and as the song burst into its loud fast-paced first verse, about 10 full water bottles flew into the air and rained down on the crowd as the mosh pit grew larger and larger.  Playing a full 10 bpm faster than the recorded version, Segall captivated the crowd and left them wanting more, which he gladly delivered throughout the set.

Segall was comfortable to take the right side of the stage, giving center stage to a shirtless, curly-haired drummer who made full use of his tiny 3-piece drum set through intricate and pounding rhythms.  Segall seemed to select songs from his vast discography that highlighted the pounding, high-speed drums, and from start to finish, the drummer kept the energy high, which obviously resonated with every member of the band.  Everyone was head banging at one point or another, including the keyboardist during a new song titled “Fanny,” reminiscent of Jack White’s 2012 album Blunderbuss.  Segall was a man of few words throughout the set, letting the music do the talking for him.  As the set came to an end, Segall left us with a “Thank you, go see Iggy Pop” who took the lawn stage directly after him.  For an artist with an extensive back-catalog, Segall knew how to curate a perfect setlist to keep the crowd interested and lively, while throwing some new material in as a cherry on top. 





Last Sunday, Mac DeMarco played his fifth consecutive year at the legendary FYF Fest on the Trees Stage.

As he put in a cigarette in his mouth, a fan yelled out, “I’ll give you $20.00 for that cigarette!”

Mac laughed, only to reply, “That’s a pretty good deal.”

Singing tunes off of his newest album, This Old Dog, he began his 11 song-setlist with “On A Level.” Different from his usual “Salad Days” start, fans were relaxed, swaying to Mac’s soothing voice. This chill vibe obviously didn’t stay for long, with fans quickly transitioning into a frenzy of crowd-surfing fun.

The simplicity that is Mac DeMarco truly shows in his performance and his character. Humbled by how he far he’s come, he showed reverence and esteem to the FYF Fest for keeping him on all these years.

Like last year, Mac attempted to get everyone in the crowd to get people on their shoulders during “Ode To Viceroy.” While it was a compelling and noble request to “break a world record,” it became hard to actually see the stage if you weren’t one of the lucky ones rested on a pal’s shoulders.

Mac played a variety of songs from his three albums, yet still manage to keep things fresh and exciting, changing up the mood with a cover of Vanessa Carlton’s “A Thousand Miles.” Mac and the rest of his band didn’t seem to take the cover too seriously, and neither did the crowd, laughing along to the irony.

Mac succeeds in setting a wild tone amongst his fans through his own involvement: at the end of his set, as the tradition goes, he himself began crowd surfing into an oblivion of fans, sporting a pink parasol and no shoes, a lit cigarette in hand.






I was truly amazed by Iggy Pop’s performance. Although he is 70 years old, he had so much energy, even more energy than me, a mere 19-year-old. He came onto stage, shirtless, confident, and ready to blow us away.

The crowd was, of course, full of older people: particularly dads. There was even a man wearing a shirt that said, “Dad jams,” which I thought was perfect for the occasion.

His set was a combination of songs from The Stooges and his solo career. He started his set with “I Wanna Be Your Dog” from The Stooges. I was just entering the audience when he was performing that song, and I couldn’t help but notice the eagerness of the people around me as they were watching him perform. The song that got the most cheers was “The Passenger.” The audience was singing along with him, particularly in the “lala” part. He would hold the microphone towards the audience and tell them to sing the part for him, and the entire audience would respond. It was really cool to see him watch as all of his fans were singing the song for him.

Although Iggy Pop is older now, he still acts like a rebellious teenager. It was inspiring to see someone who started their career in the 60’s to still be having such an amazing and lively set years later. Throughout the set, he was running, jumping, and dancing across the stage, non-stop. He even came down towards the barriers during part of his set and sang inches away from the audience, occasionally giving the microphone to a fan to sing into. He would stop every now and then and drink water, also pour it on himself, and then throw the bottle when finished. He didn’t stop there: he grabbed his mic stand during the set and banged it against the ground, and then threw it across the stage. Once the stand was gone, he grabbed a belt and started banging that on the ground.

The crowd returned the same energy that he was giving, which was also incredible to watch because many in the crowd were older. He repeatedly called out thanks to the audience and said how thankful he was that we all showed up. I’ve seen may old artists perform, but I have never seen anything quite like this. I rarely find older artists with such energy and vigor, so this performance was truly awe-inspiring. It was one of my favorite sets of the weekend. If you went to FYF this weekend and didn’t see Iggy Pop, you really missed out.





Seeing Mura Masa last weekend at FYF was something I had been waiting for for quite sometime. His live set was full of upbeat and groovy vibes and the crowd was all for it. If you enjoy listening to his music, then seeing it live will be quite a treat for you. 

The producer played his entire set live with drums, his own voice, and even surprise performers. Some of those performers included NAO, the popular r&b singer who is featured on many of his tracks, and one of the XL freshmen, Desiigner. Together Mura Masa and Desiigner performed their new track together, "All Around The World." They hyped up the crowd with their exciting energy and dope presence. I couldn't stop dancing throughout the entire set and haven't stopped replaying all of Mura Masa's tracks all week because of it. 





Since Solange’s May performance art piece at the Guggenheim, I’d been wondering what she could have done there. What divides performance art from performance? What had she done that elevated the concert into a new form of media? The show was highly secretive, no phones or cameras allowed. Vanity Fair said it was a presentation of her album A Seat at the Table as a part “of a larger tapestry—music that is meant to be seen as well as heard,” but that still felt frustratingly vague. Isn’t any concert a visual presentation of music? 

Seeing Solange perform Sunday, I understood. The dance and interpretive choreography in her performance wasn’t just a supporting element of a show focused on music, but its own art form entirely, one that could, if necessary, stand on its own. Every move of her performance was choreographed and orchestrated, but it never felt rigid or false; rather, every step she, her dancers, or the backing band took heightened the experience. The visual elements of the show referenced everything from ancient Egypt to twerking, and the brass section popping up from backstage felt like an ode to New Orleans, her hometown. Solange’s performance was a fully realized, deeply detailed love letter to black culture, black people, and especially black women. It was also, of course, one of the most fun and joyful shows I’ve ever been to — I’m not sure I’ve ever been in a crowd that was dancing more. I left knowing I had seen something special: an artist at the top of her game, pushing the bounds of the way we think about performance in a religious experience of a show.





Sweet. Sexy. Emphasis on sexy. Savage. Kehlani has had one hell of a year. She’s spent almost half of it on tour and made an appearance at this year’s FYF to close out the Trees stage. Despite some troubles with cyberbullying and mental health this year, Kehlani fought back even harder with a spectacular performance.

Where to start? At only 22, the Oakland native can not only sing but dance like a vision and control a crowd. Two backup dancers, a hype woman and highly skilled drummer supported the stage as the "You Should Be Here" singer went through her Billboard topping debut album. Soulful runs were heavily featured on notable songs like "Distraction" and "Gangsta.” Sensual movements reinforced her sexuality, femininity and more importantly, her confidence in herself, her voice and performance. For those that wanted a highly turned up ending to the weekend, Kehlani provided just that. Her set preached on self-love and LGBT relationships like the one featured in her song, “Undercover.” Finishing strong with “CRZY,” Kehlani packed the small square of land, drawing in a loyal and die-hard fan base, who were more than ready to party with a budding voice of R&B.



'); $(function(){ $(window).scroll(function(){ if (!isScrolledIntoView("#header")) { $("#header-placeholder").addClass("sticky"); $("#subHeader").addClass("sticky"); } else { $("#header-placeholder").removeClass("sticky"); $("#subHeader").removeClass("sticky"); } }); }); function isScrolledIntoView(elem) { var docViewTop = $(window).scrollTop(); var docViewBottom = docViewTop + $(window).height(); var elemTop = $(elem).offset().top; var elemBottom = elemTop + $(elem).height(); return ((( elemTop >= docViewTop) && (elemTop <= docViewBottom)) || ((elemBottom >= docViewTop) && (elemBottom <= docViewBottom))); }