Her vocals were so soft and buttery at moments, they seemed to saturate the airspace. Her haunting “Bring Her the Mirror” was a sensational performance. It’s not just about having the look with Shaw, though, her vocals are vibrating nostalgia. Stuck in an eternal state of teen heartbreak with the eyeliner to match, her kitch catches all the right details. Shaw’s performance persona seems to have hopped right out of one of festival emcee John Waters’ movies. “Congratulations on the hard pivot,” Shaw remarked, nodding to the lineup packed with feminist and queer artists. There well-honed cover of Tommy James and The Shondells’ “I Think We’re Alone Now” was the highlight of their set, filling the unusually chilly July air with a waft of warm, sweet romance.įestival favorite Shannon Shaw returned this year, giving a nod to the demise of Burger Records amid allegations of normalizing a culture of sexual assault and, subsequently, the festival’s change of name. Berkeley music scene veterans Rubinoos played a solid set of that brought some of the power-pop, elevated garage rock sound of festivals past back. There were certainly some old favorites and familiar faces during the festival. At this point, the crowd was sparse and the atmosphere felt more like a backyard show than the kickoff to a two-day event, but Snõõper poured a lot of energy into their set. Nashville band Snõõper kicked off the festival with their color-outside-the-lines sound that was slightly reminiscent of early Ween. Debuting the new name Mosswood Meltdown (formerly known as Burger Boogaloo), the festival’s return was a comforting bend towards normalcy for those living in the fringe. Total Trash Productions returned to Mosswood Park in Oakland, California this summer for their annual fest after a two-year hiatus.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |