DAY THREE

A rainy day could not stop the third day of Fuzzstival – Elk’s Lodge became the host for the day’s shenanigans. The dingy basement space wasn’t what was envisioned but it suited Boston well enough, a fitting host to bands that are very familiar with basement venues, although very few with more than one stage set up.

The day started with Boston Cream, a name far sweeter than the band. There was an angstiness to their set that none of the previous day’s bands had offered up. With added aggression, the band fired up the small but excitable crowd. Singer Melanie Bernier set the precedent for crowd interaction in a display that was part catharsis, part exorcism. She even had me on board with her whistle. The band’s keyboardist had some adorably choreographed, although not entirely well executed, moves with her.

Ari Ratner of Peach Ring’s performance had similar tones but kicked it up even more. Ratner’s anger was palpable through gritty vocal style, lyrics, and performance – if not slightly overstated and purposefully juvenile. I might be alone in the judgement of the latter as the crowd ate it up. There is no questioning this backing band’s engagement, their drummer did some really fun cymbal work while the guitarist laid out some solid rhythms that anchored the act. Oh, and then they switched instruments. Sick.

Nightime Sunshine was sandwiched between the two bands and provided a set that was hazy and mellow, a perfect complement to the rainy day but a strange break between the two acts. There were some questionable choices on vocal effects that made the act’s balancing act of the organic and electronic even more pronounced but the set felt so low-key that it was forgivable.

Sammus built up the energy in the room by providing a set that was equal parts emotional roller coaster and display of raw talent. The rapper performed over only a backing track, which she herself controlled. Even with some vocal stress she was able to give us a set that made us introspective, celebrative, and fully appreciative of the complexity of our humanity. Her music delves into subjects of sex expression, depression, and belonging in a manner that is both universal and highly personal. I found myself and others openly crying at several points during her set, especially during track “1080p.” Sammus’ sets feel emotionally provoking for both artist and audience alike. In the span of 30 minutes she is able to make you feel the full range of emotions – grief, ecstasy, anger, love. She allows you to feel these emotions without holding onto them. What is equally important is that she does not judge you; she is your confidante as much as you are hers. Sammus’ ability to recognize everyone’s humanity breathes new, much needed, air into the relationship between artist and fan; past, present, and future self; and individual and society.

Taking a break from my own poetic waxing, MV & EE were ready to bridge the transition back to the moment at hand. Equipped with a fog machine, the duo delivered the only well lit set of the night. The DJs had a mix of the live and prerecorded, delivering guitar and vocals in the moment which were well placed in the mix and often panned to a noticeable degree. The act that followed, Honduras, carried on the same technical precision with backing beats, trippy and cyclical vocals, and what can only be described as a frickton of pedals.

One of the biggest highlights of the day was Loone. Loone are more of a regional band, hailing from Turner Falls, Mass –  and it was more than a delight to have them grace us at the Boston festival. Loone played four songs, and at this point not many people were in the room. But everyone who went outside or had to leave missed one entrancing act. Time was running behind and the set was cut down, but their performance was emotionally charged and watching the band play was like being at a ballet. It is highly recommended that you check out the post-folk, queer rock band on bandcamp and in our recently released video of them performing at Studio 52. 

The Kominas finished out the night and unfortunately by the time they played, many people had left. A couple of the band members had traveled on greyhound buses to get there, and you could feel their disappointment. They have definitely played for bigger audiences and it seemed difficult to be fully energetic for them at that point. The drummer was silly and energetic still – dropping drumsticks and picking it back up again and playing in a relaxed disposition. 

All in all, Saturday had some high-highs and some low-lows. Despite the aforementioned setbacks and downfalls, Fuzzstival is one my favorite annual events in Boston and I can’t wait for another year of it! 

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