Photo by Tyler Lamb/MTSU Seigenthaler News Service

MANCHESTER, Tenn. — The eagerly anticipated, always entertaining annual Superjam concert proved a more-than-capable capper to Day Two at Bonnaroo early Saturday morning.

GRiZ’s Superjam brings back legendary sounds

The post-midnight show included performances by Deva Mahal, K.Flay, Nicholas Petricca (Walk the Moon), and many more. House band accompaniment included two additional saxophones, a trumpet, bass, drums, and background vocals provided by a host of other Superjam performers.

This year’s theme: covers of popular songs from the past from acts many might say are G.O.A.T. (Greatest Of All Time). These throwbacks included crowd favorites “Valerie” by Amy Winehouse, “1999″ by Prince, and “Respect,” made famous by Aretha Franklin.

As you would expect, the packed, colorfully lighted tent made for one big vibrant singalong.

Playing the part of a perfect host, GRiZ broke out his electric saxophone but only claimed the limelight a few times throughout the show. The 29-year-old from Michigan, who describes his sound as “future-funk” with a soulful touch, hugged each artist with open arms and a wide smile as they left the stage.

GRiZ wasn’t the only one that whipped out the sax for a solo during the show, as James Casey (Trey Anastasio Band) wowed the crowd with his vocal range smooth skills on the sax.

One of the more recent songs performed was a tribute to the late rapper Mac Miller, who died in 2018. To honor him at Bonnaroo, they performed “Dang!”, Miller’s 2016 hit with Anderson .Paak.

Punctuating another successful Superjam, fans were screaming out lyrics and jumping to the beat as the clock approached 3 a.m.

— Megan Cole, MTSU Seigenthaler News Service

Dreamy Beach House proves a most-pleasant visit

While the Bonnaroo stages have always been a place for bands to give off their most bombastic performances, Beach House was perfectly content with presenting their music Friday night with the same subdued serenity they’ve crafted across seven albums.

From opening their set with “Dark Spring,” the three-piece band seemed to be beckoning to all passersby, asking them through ethereal melodies to sit and stay awhile.

The invitation of Victoria Legrand’s hushed voice alongside bandmate Alex Scally’s sliding guitar notes induced the audience into a calm appreciation of the music, as the warm synths enveloped This Tent in shoegaze bliss.

Without lights shining on their faces, Beach House’s black silhouettes stood against their subtly colored backdrop as they let their music be their personality. Standing like quiet ghosts on stage, the artists felt as haunting as they did beautiful.

At the height of the performance, the band members launched into their hit “Space Song” — twinkling stars shining behind them as they waltzed through the weightless cosmos.

As they closed out their transcendent set with “Dive,” the song grew from a meditative lullaby into a crescendo of washed-out guitar and percussion. As the song reached its peak, Legrand sang the words “left all illusion,” as if the concert had been only a dream.

For the audience who got to watch them between the many large acts of the day, Beach House was a pleasant dream indeed.

— Hayden Goodridge, MTSU Seigenthaler News Service

Courtney Barnett shreds in the shed

Australian singer-songwriter Courtney Barnett wailed on her guitar Friday night, effectively taking over the packed That Tent during the hour-long set. .

Fans cheered as Barnett delivered her alternative-psychedelic rock songs intertwined with a ton of guitar solos and jams while still leaving the thread of her poetic lyrics.

The set included audience favorites such as “Need A Little Time,” “Nameless, Faceless,” “Small Poppies,” “Depreston” and “Elevator Operator.” As a bonus, Barnett also performed “Everybody Here Hates You” off her latest album, “Tell Me How You Really Feel.”

Throughout Barnett often matched the crowd’s energy, turning her once slower-paced songs into chaotic rockers worthy of her slamming her whammy bar.

And slam it she did, time and time again, as the crowd chanted her lyrics word for word.

— Tiffany Brady, MTSU Seigenthaler News Service

K.Flay makes triumphant return to festival

Bonnaroo apparently has missed K.Flay.

Lead singer Kristine Flaherty — aka K.Flay — entered the festival’s  This Stage Friday night to a crowd of jubilantly chanting fans. It marked the musician’s return to Bonnaroo after seven years.

As a trio, K.Flay delivers a mix of indie, alt-pop, and alternative hip-hop sounds. The group’s diverse mix of genres made for an energetic crowd, which clapped and belted out lyrics to each song.

Much like the band’s mixed bag of genre influences, Flaherty proves her versatility on stage as well. She went from guitar playing to pounding on drum machine pads, and rapped as well as sang.

During the set, Flaherty announced that her upcoming album “Bad Vibes,” will be released July 12. She previewed some of the unnamed songs to the Bonnaroo crowd and dipped into their previously released catalog for “It’s Strange,” “Sister,”and “High Enough.”

— Tiffany Brady, MTSU Seigenthaler News Service

NYC’s Parquet Courts channel ‘70s-era CBGB

New York City rockers Parquet Courts revved up their Friday afternoon crowd at This Tent with a set filled with garage grooves, aggression and classic punk energy.

The group’s sound derives directly from the 1970s New York punk rock scene, started by bands that include The Ramones, Talking Heads and Television, who rose out of the famed CBGB nightclub. But while Parquet Courts has clear roots in the past, the group blends this raw sound with progressive elements and dynamic songwriting.

The band’s aptly named lead singer, Andrew Savage, spent the Bonnaroo set sneering cunning lyrics over the guitar-driven music. His lines could have been straight out of a political manifesto, with phrases such as, “Only through those who stay awake can an institution be dismantled,” on the fiery “Total Football.”

But for all the rebellious attitude they dished out, Parquet Courts’ slower, atmospheric jams stole the show. The laid-back bass line from Sean Yeaton on “Before the Water Gets Too High” set the crowd dancing to the funky rhythm.

The group ended the set with an extended jam of “One Man No City”—a song paying clear homage to the art-rock quirkiness of Talking Heads. The shaggy, Johnny Ramone-haired guitarist Austin Brown took the reins on vocals for the song, with a David Byrne-esque presentation while the song slowly devolved into noisy experimentation.

Though Parquet Courts let their raucous music do the talking for them, they left the stage with a quick farewell from Andrew Savage:

“Be safe — we love you.”

— Hayden Goodridge, MTSU Seigenthaler News Service

Los Colognes makes most of first Bonnaroo visit

Nashville-based band Los Colognes made their Bonnaroo debut late Friday afternoon in a tuneful, guitar-laden set at the Who Stage, completing a journey that started years ago in Chicago.

The band formed after vocalist-lead guitarist Jay Rutherford and longtime friend and drummer Aaron “Mort” Mortenson relocated from their native Chicago and later convinced fellow Chicagoan and bassist Gordon Persha to join them.

What started as an afternoon chill on the grass in front of the small-by-Bonnaroo-standards stage soon became a packed crowd of longtime and newly converted Los Colognes fans in fine spirits, laughing and singing along to a mix of original songs and covers.

The title track of their 2014 album “Working Together” had onlookers dancing, some weaving their way through the crowd to the stage rail. Others remained content seated on the grass, listening to Rutherford’s country-influenced rock lyrics.

One man drummed his water bottle along to “Golden Dragon Hut” from the album “Dos.” Another group included a man, dressed as a wizard, danced in a circle to the side of the stage.

The set ended with a rousing cover of David Bowie’s classic “Rebel Rebel,” prompting some fans to chant: “That was … AWESOME.”

— Caryn Tramel, MTSU Seigenthaler News Service