Day Two
Amidst talk of schedule changes due to severe weather, we walked into day two determined to stay dry, watch some incredible sets, and finally eat some cheese curds from local vendor “Curd Girl” (funny, turns out this was also my nickname in college). One of the performances that I was most looking forward to on Saturday was Perfume Genius. I admit that I just recently hopped on this bandwagon after streaming their new album No Shape for about the past month since its release, despite having somehow missed the boat on their past three albums. Yikes! When frontman Mike Hadreas walked out onto the main stage in a flowing long-sleeved white blouse and strapless frilled jumpsuit, I was ready. Hadreas had a loose, yet strong energy that carried his body across the stage as he bounced up and down from mic to piano. Fan favorite “Slip Away” from No Shape got everyone up and dancing, wanting more by the end of it. Although ultimately I wish I could have seen Hadreas do his thing in a smaller setting surrounded by less tie-dyed jump-ropers, I was still stoked on it, nonetheless.
At this point in the day, Eaux Claires alerted us that many performances had to be cancelled, as well as other schedule changes for lead acts, due to an incoming storm. Everyone immediately started taking out their leftover ponchos from the day before and buckled down for whatever the rains would throw at them. Feist was able to play her new album Pleasure in full and surprise guests Jenny Lewis and The Staves snuck in their sets on two of the smaller wooden stages near the forest earlier in the day.
Luckily Becky and I were able to sneak in under a tent during the heavy rains, even though we did come prepared with bright blue ponchos, which turned out to be our outfits for pretty much the entire weekend. As the rains subsided, we got right back out there to check on our dude Paul Simon. He was set to play with New York chamber ensemble yMusic before Wilco could close out the festival. With the schedule being pushed forward earlier to accommodate for the weather, Simon and yMusic were able to play after some quick work of pushing all the rainwater off the stage. As yMusic began playing an instrumental version of “America” and Paul Simon walked out on the stage, Becky and I shared a moment of, “I’m not crying, you’re crying.” With Simon’s distinct voice bringing back moments of nostalgia mixed with the gentle instrumentation of yMusic, the sound was absolute magic. Simon played both new arrangements and old Simon & Garfunkel tunes, all of which were composed by different big names in contemporary classical music.
Unlike other big festivals that I’ve attended, Eaux Claires really kept things low-key, yet still exciting and leaving us wanting more. It didn’t deliver cliché or over-the-top side activities, such as ferris wheels or BYO flower crown stations. We were really impressed with the organization of the festival and all the communication surrounding the rough weather, keeping festivalgoers’ safety at the forefront. Despite the multiple set cancellations, some artists were still able to play at a nearby hotel later Saturday night that they announced via twitter.
After all, Eaux Claires is produced by Crash Line Productions, which is a Boston-based company that also owns and produces Boston Calling Music Festival – no wonder we felt so at home! I’m excited to see where Eaux Claires curators Vernon and Dessner take the festival next year, hoping to see some returning acts, as well as some new mind-bending art installations.
Stay cool, Eaux Claires.