Snowball Music Festival 2012: Day Two
Day two felt like being on South Beach compared to Friday. The sun was shining down, melting the snow down like everyone’s stamina. But just when everyone thought they were all dead from the night before, we were recharged and all pumped for Saturday’s shenanigans.
All anyone could hear walking through the gates were the nasty drops, filthy womps and booty poppin’ beats pulsating through the air from the Groove Tent. I knew without even checking the schedule Figure was the culprit. That dude was killin’ it; pullin’ out oldies but goodies like “Cracks Begin to Show (Flux Pavilion Remix),” as well as some glass-shattering originals like “Michael Myers is Fucking Dead” and “BeetleJuice!” It’s safe to say the Groove Tent was about to burst.
“Holy shit there’s so much bass,” Figure shouted. “My needles are hopping off my records!”
After the stage was cleared of basshead brain splatter, the production team brought out a table crammed with MIDI synthesizers and a drumset. It was time for Break Science.
Since Big Freedia had a last minute cancellation, Break Science’s set was extended by 45 minutes, a gift from the Snowball heavens. Don’t get me wrong, I love Big Freedia’s New Orleans bounce, but Break Science takes precedence for me. Chali 2na of Jurassic 5 supported the set, MCing. Thanks to that trio, the Groove Tent finally got to live up to its name.
After jammin’ out to Break Science for a good minute, I made my way to the main stage to chill, smoke a cig and vibe to the folk melodies of The Head and the Heart. This indie folk-pop band from Seattle eased our heads and warmed our hearts. Just the break everyone needed before going back to the Groove Tent, ready to not give a fuck or shit.
“Yes … I’m wearing a cat shirt, I D G A F O S,” read the back of Dillon Francis’ signature party shirt. It was time to get weird in this bitch.
If you have never been to a Dillon Francis set, FOR SHAME. This moombah master on Mad Decent Records has never disappointed, but rather amazes time and time again. Francis played his signature “I.D.G.A.F.O.S.” and “Que Que.”
“Hope you guys like this one. It’s a brand new track with my man Doctor P,” he yelled over the mic. At first there was a sample that bashes new music as if it were meaningless, then all of a sudden you hear, “That is a lie, music is dead. That’s all I have to say, I’m going to bed!” And once the beat dropped, so did the minds of every one in the Groove tent.
He dropped new tracks like “Stars Come Out” and “Hulk,” and to top it all off, this mad man pulled the classic “Tequila” by The Champs up from the dead and sent it into a killer electro remix that had the whole room bouncin’ up and down.
It was pretty hot ‘n’ heavy in the Groove Tent, so it was time for indie chill-break number two: The Kooks.
I’d sworn to myself I wouldn’t miss them over at Main Stage. I caught one of my personal favorites, “Naïve,” but then realized it would be pretty naïve of myself to not make it back to the Groove Tent, for it was time to unleash the fucking bananas Dada.
This shit was indeed fucking bananas. Bald brothers Olle and Stefan of Dada Life were poppin’ champagne like it wudn’t no thang, droppin bombs over the crowd; including “white noise / red meat,” their infamous “Big Bad Wolf” remix, “Kick Out the Epic Motherfucker,” “Unleash the Fucking Dada,” “Who is Ready to Jump.”
But it was their highly anticipated remix of “Hollerback Girl” that sent dozens of bananas flying through the air.
Just when I thought it couldn’t get any better, a man in a giant Texan cape approached the synthesizers, followed by an energetic, eccentric-dancing man hopped on the microphone. Ghostland Observatory was taking over the stage. I didn’t recognize frontman Aaron Behrens until I heard his voice. His new haircut took me by surprise, no more pigtails for him. Instead, he’s sporting a buzzed head. Their performance was unbelievable.
Behrens used the stage to his advantage, seducing the crowd with his dance moves. No one could get enough of the pair. When they played “Sad Sad City,” the crowd burst into a frenzy; everyone jumping, dancing and singing to every word. It was one of the more captivating and memorable sets of the weekend.
It was 9 p.m., and that meant it was time to bust out the pre-rolled blunts, kick it with your festie family and enjoy the closing set by none other than Snoop D-oh-double-G, yah feel me? You could ask anyone who was there, Snoop’s still got it. His stage presence was amazing, holdin’ it down with his crew which featured a live band, a mascot, his uncle and booty dancers for everyone to enjoy.
Snoop played recent hits like “Sensual Seduction” and “Drop It Like It’s Hot,” but you know he pulled out classics such as “Gin and Juice” and “what’s My Name.” He threw down on Dre throwback “Still D.R.E.” and even pulled out “Jump Around” just to get the crowd rowdy. Even at 40, Snoop is still representin’ for the gangstas across the world and he won’t stop cause it was a one-eight-seven on Snowball Music Festival. He murdered it.
By 10 p.m., the show was coming to an end. It’s so weird to be finishing up so early, with everyone still wanting to go for more. Hopefully, next year SnowBall will find a venue which allows the fest to go later in the night.