Louisville fest makes strong first impression on opening day
By Bill Foster and Matt Rankin • All photos by Bill Foster
To be honest, the announcement of the lineup for the 2019 iteration of Forecastle didn’t excite in the same way as previous ones have. However, the first day ultimately proved to be one of the most explosive kickoffs in the event’s recent history, eliciting raised eyebrows and deserved praise afterwards from even the most discerning and seasoned of festivalgoers. From excellent sets orchestrated by headliners and even better, highly memorable showings by artists on the undercard, Friday’s action was top-notch in every conceivable manner.
Organizationally, Forecastle is unparalleled, with tweaks to the layout this year further bettering what already was a fun, welcoming environment. The heat was brutal and seemingly inescapable during the daytime hours, but readily available, free water (reminders of which were pushed constantly via the mobile app) kept attendees hydrated and lessened the burden. Skies remained crystalline and brilliantly blue throughout the day, leading to a gorgeous sunset and a thick slate of evening performances.
While our Saturday is shaping up to be somewhat of a relaxing one, the following blurbs go a long way in showing our appreciation for what turned out to be quite a lovely opening day of Forecastle. – Matt Rankin
The Artisinals
Johnny Delaware may be the nicest person in rock ‘n’ roll – or life for that matter. His infectious smile and sheer joy in playing elevates every moment of an Artisinals show, from mere heartland rock to the sublime. With a prime early afternoon slot on the Port Stage, the Atlanta/Charleston-based quintet entertained a large and enthusiastic crowd who sang and danced along to every note. Live, the band features strong harmonies and melodic solos, the latter of which are punctuated by high kicks, flying hair, knee drops and pose after striking pose. (Think John Cougar Mellencamp with Led Zeppelin’s stage presence.) By the conclusion, guitarist Clay Houle was in the crowd, shirtless and sweaty, and Johnny Delaware was hugging everyone in sight, as his 12-string guitar lay abandoned and forgotten in the grass. – Bill Foster
Hop Along
Ranging from grungy indie rock to more pop-forward material, this Philly band enthralled the sizable crowd gathered at the Mast Stage throughout its three quarters of an hour onstage. While the adept musicianship was a definite draw, the real star of the show was lead singer/guitarist Frances Quinlan, who bent her raspy vocals to emotive and resonant territory. It was a more-than-solid outing for a group whose confidence and swagger suggest big things ahead. – MR
GRLwood
Catching only a snippet of the duo’s hometown show on the Port Stage simply wasn’t enough; there was a dynamic energy the pair constructed onstage that was infectious, seemed natural and left me wishing I had been around for the entirety of their set. Reminiscent of some of the bands that frequent Knoxville’s Pilot Light, GRLwood brimmed with a manic fervor that lifted spirits in spite of the oppressive heat. – MR
Lucius
Not too many acts are accomplished and versatile enough to transition from a stately, carefully curated festival like Big Ears to one that is more catered to the masses, but Lucius fits the bill – both literally and figuratively. The band delivered in full on this particular occasion, Jess Wolfe and Holly Laessig harmonizing beautifully over engaging backing material. The clear highlight of the set was a rousing, slightly reworked cover of Prince’s “Purple Rain” that had me and everyone around me smiling and shaking our heads at just how proficiently and wonderfully it was rendered. – MR
Cold War Kids
Cold War Kids definitely have a sound. Sometimes it seems as if they only have one song. Fortunately, it’s a damn good one. With a late-afternoon slot on the main Mast Stage, the California band delivered a tight and energetic set that had the massive crowd singing along with hit after hit, highlighted by an opening punch of “All This Could Be Yours,” “Miracle Mile” and “So Tied Up,” a cover of Rihanna’s “Love on the Brain” and a closing “Something Is Not Right With Me.” – BF
Julia Jacklin
Combating some minor sound bleed from the Boom Stage with a fuller-than-on-record sound and powerful, husky vocals delivering sharp, incisive lyricism, the Australian singer-songwriter wowed just about everyone gathered around the Port Stage on Friday afternoon. Embracing a minimalist style that, with its patient guitar lines and plodding drumbeats, at times was reminiscent of The Velvet Underground. Jacklin conjured a similar trance-like magic. I recall having very much enjoyed the artist’s tracks that were included on the festival’s official Spotify playlist, but kudos to BLANK compatriot Sarrenna McNulty for advising the crew to catch this set. It was duly impressive, and it’s easy to envision Jacklin’s star rising whenever she releases her sophomore album. – MR
Portugal. The Man
A quirky band name isn’t the only distinctive weapon in this band’s arsenal, as it proved in its dominant main-stage appearance on Friday evening. Featuring material that was a tad bit harder than what I expected, the group delivered the hits, yes, but it also shredded in parts like legitimate metalheads during its hour-plus onstage. In turns psychedelic, jammy and experimental, the collective churned out some truly engaging material over the course of the show. – MR
Liz Cooper and the Stampede
The smaller Port Stage was the place to be on Thursday, providing the three best shows of the day (in my opinion), and Liz Cooper and the Stampede’s afternoon slot was a clear highlight. Cooper bills her music as psychedelic folk, but live they definitely tend more towards the first part of that description, as songs that veer towards dreampop on album become enraged and rocking. Cooper shook her hair, dropped to her knees and jumped all over the stage as the two members of her band provided an exciting, rock-solid foundation. The Nashville-based artist plays Knoxville frequently, and based on this performance, I will not be missing her next trip to town. – BF
Jungle
While the Ocean Stage seemed upon scheduling like too intimate and sound-distorting of a venue for the English group’s soulful electronic compositions, from our vantage point just in front of the soundboard, everything was just peachy. And for a stage that often is filled beyond capacity, the crowd remained manageable throughout. Obviously, though, the music was what attracted people to the spot, and the band didn’t disappoint – in fact, they exceeded expectations to a stunning degree. Producing jam after sexy jam, the players had nearly everyone in attendance dancing (or at least swaying) to the slinky, sultry rhythms. – MR
