Shaky Knees Music Festival began as a modest two-day event at Atlanta’s Masquerade (an iconic venue now set for demolition) and has grown into a full-on festival drawing patrons and bands from all over the world. Descending upon Atlanta’s Centennial Olympic Park, this marks the festival’s fourth location in four years of operation, making it hard to get too bogged down with bummer logistical issues like stage distance and easier to remain hopeful that the bones of the festival —the attention to the lineup from top to bottom, the diverse age groups in attendance, the convenience of the fest to in-town Atlanta — are the aspects of the weekend that are here to stay.

As big corporations like Goldenvoice and Live Nation (or, in this case, Live Nation subsidiary C3) continue to gobble up independent festivals, it might be time to shake the doom-and-gloom stance on the acquisition of fests and look at the way an event can maintain its identity even with a big company behind the scenes.

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Photo by Carlo Cavaluzzi

In this increasingly corporatized festival landscape, Shaky Knees is a hopeful sign that a festival can still have a distinct hometown vibe, and music lovers would be wise to watch fests of this size and situation closely to see where the industry as a whole is headed. Shaky Knees’ distinct identity has a lot to do with founder and longtime Atlanta promoter Tim Sweetwood’s continued role at the helm: You could hear it in the personal thank-yous from artists on the stage, many of whom played this festival in one band or another over the last three years. You saw it in the festival stages themselves, which continued to be named after iconic Atlanta streets rather than big-name sponsors. Most of all, you felt it in the pride taken in the bottom of the bill, where the investment in young talent was made obvious by the fact that up-and-comers like Hop Along and Day Wave played the same stages as headline-rivals Walk the Moon and The 1975.

While we can’t help but hope that next year the fest returns to the shady, easy-to-navigate green goodness of last year’s location at Atlanta’s Central Park, Shaky Knees 2016 held plenty of memorable performances. Here are the 35 sets we made it to this weekend, from worst to best.

–Dacey Orr
Contributing Writer

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Crystal Fighters

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Photo by Philip Cosores

From their culturally confusing outfits to the parrots and vines that dominated their onstage imagery, it would be impossible for the uninitiated to discern not only where Crystal Fighters are from, but even what the hell they are going for with their act. The music doesn’t help, fusing African and Latin rhythms with ass-shaking EDM bass. Yes, the five-piece sells it. Their entire performance was built around selling it by any means possible. It’s music that’s designed for outdoor festivals (or dance collaborations, as their best-known song to date is a pairing with Feed Me), but it fails to hold up to any reasonable questioning about cultural appropriation or basic good taste. Plus, any band that makes a bigger deal about their spiritual home (Basque Country) than their actual home is a straight sell. –Philip Cosores

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Ghost

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Photo by Philip Cosores

The Eyes Wide Shut of metal offer little more than their costumes and the mystery that surrounds them. Musically, Ghost is a bit of a slog, with the five-piece too obscured by their masks to really connect with the audience. Even frontman Papa Emeritus III (don’t ask), the only specter to don a painted face rather than a full-blown demon head, plays his set stoically and cold, living the role he has created. Yes, this is all intentional, but on Friday evening, in front of a crowd of The 1975 fans that patiently awaited their headliner, it didn’t really work for an audience unaware of the band’s mythology. The doomy mid-tempo tunes failed to endear the band leaving little more than a gimmick and some played-out religious iconography. –Philip Cosores

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Jane’s Addiction

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Photo by Carlo Cavaluzzi

Jane’s Addiction will surely collect accolades after Friday’s Shaky Knees set for being so many decades in and still approaching their performances with vigor and excitement, and for good reason: a band that has accomplished so much in their career deserves a certain level of respect. That said, there were multiple puzzling aspects of the performance, not the least of which was Perry Farrell, who felt tired on the high notes and seemed heavily reliant on the shock factor of his backup dancers (which included his wife), who spent the set everywhere from grinding on the aging lead singer to, towards the end, swinging limply from cables.

Farrell didn’t seem to be in touch with the crowd at all, playing tough-guy about the “hard curfew” before the set was even near ending and promising concertgoers he would help them find “a happy whore to take home to mama.” The lighting and instrumentals were on-point, but maybe 2016 is not the time to revolve your show around using women as props, and maybe 27 minutes before your set is over is not the time to act tough about running over curfew. The set ended early, presumably expecting an encore, but the crowd filed right out. –Dacey Orr

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Deftones

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Photo by Philip Cosores

Riding high with a return to form album, Gore, the scene was set on Sunday evening for Deftones to demonstrate why they have transcended the nu-metal white pony they rode in on in the ’90s. And if it were just based on energy, with frontman Chino Moreno and bassist Sergio Vega boisterously flinging themselves across a fog-drenched stage, the set might have proved successful. The problem was that the band just didn’t sound good. A rager like “My Own Summer (Shove It)” doesn’t need much finesse, but many of the group’s other tunes do, with “Be Quiet and Drive (Far Away)” getting lost in the muddy sound and “Knife Prty” barely recognizable outside of guitarist Stephen Carpenter’s unmistakable lead in. Deftones are still an endearing band even when not sounding their bestl Moreno’s stage presence and dopey grin sell the aggressive tunes, despite the occasional unfortunate “yeah bitch” or “get it, girl” exclamation. For the casual observer, though, it wasn’t a performance to be won over by. –Philip Cosores

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Bloc Party

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Photo by Carlo Cavaluzzi

Bloc Party has a spread-out but large and devoted fan base, and throngs of them showed up for the English indie rockers’ sunset performance on night one. The band’s latest record, Hymns, was widely regarded as a return to form after dabbling in a more electronic sound, and while surely longtime fans found something in their Shaky Knees performance, the band’s hour-long set on the festival’s main stage felt a bit like a band going through the motions. But as they drew from the new record on songs like “Virtue” and peppered the setlist with standard numbers like “Banquet”, frontman Kele Okereke’s vocals were unwaveringly on-point, and his eyes gleamed with an intensity that made a strong case as to why this band continues to land big gigs. –Dacey Orr

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The Front Bottoms

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Photo by Philip Cosores

“The good thing about playing early is you still have the rest of the day to get fucked up,” announced The Front Bottoms’ leader Brian Sella, and the early afternoon sun also proved kind to sing-along songs. “Au Revoir (Adios)” and “The Beers” found sizable, enthusiastic responses, the audience finishing Sella’s lyrics on cue. Up against other 2016 rock bands, The Front Bottoms are often out of place with their hyper-lyrical, earnest-as-fuck songwriting. And even if their emphasized wordplay doesn’t amount to a whole lot, being out of fashion suits the band. It’s a calling card when a decade ago, they would have blended right into the wallpaper. —Philip Cosores

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Houndmouth

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Photo by Philip Cosores

This was one of the first festival dates Houndmouth have played since losing founding member Katie Toupin, and longtime fans will certainly notice the absence of her voice as well as her role in the band’s playful onstage dynamic. That’s not to say Houndmouth’s set wasn’t a good one — Zak Appleby and Matt Myers have emerged as dual frontmen, and as they ran through tracks like “Black Gold” and “Honey Slider”, it was clear that their recent lineup change hasn’t particularly damaged them with the masses. Breakout single “Sedona” was a highlight, garnering many crazed screams and sing-alongs from the sizeable crowd, and the band closed out their set with humorous number “My Cousin Greg” — a song with as much personality as the wild suits they were wearing in the Georgia heat. –Dacey Orr

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Craig Finn

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Photo by Carlo Cavaluzzi

Delivering on the depth of songs like “No Future” and “Terrified Eyes” despite the contrastingly bright day, Craig Finn performed with a laid-back confidence befitting his veteran-indie-rocker status, letting the lyrics provide the intensity with scattered commentary in between. Fans of The Hold Steady should be prepared for something very different when taking in Finn solo, but not necessarily any less gripping: Finn’s wearied perspective and scaled-down tone and tempo make for an introspective listening experience that keeps you thinking throughout. Set closer “Trapper Avenue”, a number from Finn’s 2015 release, Faith in the Future, was a highlight, leaving listeners with what felt simultaneously like a warning, a blessing, and a goodbye bid. –Dacey Orr

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Silversun Pickups

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Photo by Carlo Cavaluzzi

Silversun Pickups preceded current tour opener Foals on Saturday’s lineup, and the band’s renewed sense of energy (not to mention a shout-out or two) would lead you to believe the two acts are getting along swimmingly. Nikki Monninger and Brian Aubert were more lively onstage than they’ve been in recent years, and the set was better for it, breathing new life into older songs while making the newer material sound all the more inviting. Of course, the set closed out with “Lazy Eye”, enticing even those at the back to stand up and get moving before the stage switched over to powerhouse Foals. –Dacey Orr

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The Head and the Heart

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Photo by Carlo Cavaluzzi

The Head and the Heart have their particular brand of harmony-driven indie folk down to a science, and seeing them execute is always a treat. You either enjoy that kind of accessible roots-pop sound or you don’t, but for a festival whose inaugural year featured The Lumineers as a headliner, this was an audience pegged to dig THatH from the start. The standout number was “Let’s Be Still”, the title track from their 2013 sophomore record, and the band’s chemistry with one another onstage made for a performance capable of not only delighting current fans, but winning new ones. –Dacey Orr

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Deer Tick

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Photo by Carlo Cavaluzzi

A Deer Tick set is always a safe bet, whether you’re catching them in a dirty dive bar singing cover songs or a sweltering festival stage running through originals. Saturday was no exception; rising through the ranks with non-stop touring in their early years has lent John McCauley and company an easygoing air and a confidence on stage that seeps into everything from the instrumentals to the grisly vocals and the laid-back audience. Clad in coveralls and rain boots despite sunny skies, McCauley led the audience in fan favorites like “Ashamed” alongside more widespread party anthems like “Let’s All Go to the Bar”, paving the way for the good times to continue into the evening. –Dacey Orr

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Frightened Rabbit

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Photo by Philip Cosores

For the boozy Scottish five-piece Frightened Rabbit, a 2:30 set time might not find the band in its peak shape, and frontman Scott Hutchison alluded to that early, noting that it was too early for a rock show. But the group was able to navigate the terrain, Hutchison realizing that he had to do his rocking out near the back of the stage in the shade. It was a lazy Sunday for the audience, too, with the masses content on their blankets, extending deep across the park. But that didn’t stop them from perking up for the first notes of “The Modern Leper”. “You make me feel like Eric Clapton,” Hutchison said, “like on the Unplugged album, cheering for the first notes of a version of ‘Layla’ that you’ve never heard.” It might have been a bit early to rock, but it wasn’t too early to be a rock star. –Philip Cosores

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Eagles of Death Metal

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Photo by Philip Cosores

“I appreciate the fact that you are standing in the sun ready to rock and roll,” shouted Eagles of Death Metal’s Jesse Hughes to his formidable audience before launching into a riff-heavy, high-speed set. And if anyone was ready to rock and roll, it was the California-based group, who delivered a noisy yet technically impressive set both instrumentally and vocally. Opener “I Only Want You” stood out in the set list, but it was hard to pick favorites as they railed through the hour and engaged with the crowd. If you want to thrash around and get down to some good rock music (and Atlanta surely did on Sunday), Eagles of Death Metal make it hard to go wrong. –Dacey Orr

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Brian Fallon

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Photo by Carlo Cavaluzzi

Brian Fallon’s kind of minimalist performances really hit you in the gut with the lyrics — you almost notice a particularly clever new turn of phrase every time you hear a song again. In the live setting, Fallon has a quality that makes the whole experience feel somewhere between an intimate moment with an old friend and a first-time meeting with a prolific stranger. He talked back, shutting down hecklers requesting old or full-band material in the wrong setting, but he also shared a little piece of himself between every song, joking about his onstage quirks and thrown-out song titles. –Dacey Orr

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Ought

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Photo by Carlo Cavaluzzi

Post-punk rockers Ought took over the mainstage on Sunday afternoon with an all-encompassing, almost robotic vibe and a no-frills stage setup that let the music speak for itself. “Beautiful Blue Sky”, one of last year’s best songs, struck a chord for its contradictions, citing industrial- and violence-tinged terms alongside lyrics about beautiful weather and blue skies (of which we had plenty). “I’m no longer afraid to dance tonight, because that’s all that I have left” was a beautiful sentiment paired with a thought-provoking lyrical undertone, and it was a refreshing discourse amid a day of more accessible pop bands. –Dacey Orr

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Day Wave

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Photo by Carlo Cavaluzzi

One of the cool things about the way Shaky Knees is presented is that four of the five total stages are pretty huge. Being set up in pairs, smaller up-and-coming bands are getting a bigger platform than they’re likely to see anywhere else — it almost seems like the promoter is using that power to throw his weight behind the bands you just need to see now. Day Wave is exactly the kind of band to take that opportunity and run with it, serving up a dose of Drums-esque buoyant indie pop from the Boulevard stage and effectively winning over the large crowd before dropping the revelation — a shocking one, by then — that this was their first festival ever. To play a stage that large on your first festival appearance may be a feat in and of itself, but their sunny set leads me to believe the stages will only be getting bigger. –Dacey Orr

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The 1975

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Photo by Philip Cosores

One of the storylines for music in 2016 will be the emergence of The 1975 from their role as critically dismissed teen fodder to legit festival headliner. For the largely young and female faithful that camped out throughout motherfucking Ghost to be front row for their favorite band, the British four-piece had nothing to prove. But sporting their own light show and a 90-minute slot, opener “Love Me” was less a request than a foregone conclusion. How can you not fall for the ’80s-infused fun or the cigarette-in-hand ballad “Change of Heart”? When frontman Matthew Healy gyrates his body like a motorboat or whips his curly locks, it’s without pretension. And The 1975’s lack of pretension is resonating in a time where pop is taken more seriously than ever. What might have been a bold and brave booking on paper made total sense by the end of Friday night. –Philip Cosores

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Parquet Courts

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Photo by Carlo Cavaluzzi

Parquet Courts strikes that perfect midday festival balance, laid-back listening that somehow simultaneously sounds like the kind of music you’d want to soundtrack a sports commercial. The band, whose third full-length, Human Performance, was released last month on Rough Trade, is what a lot of bands strive for: thought-provoking and sharp, but enjoyable even in the moments when you’re not looking to dig into meaning. To see Parquet Courts on the stage right now is to watch a rising band really hit its stride, and it’s a damn enjoyable task. –Dacey Orr

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Huey Lewis and the News

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Photo by Philip Cosores

Much has been said about the homogenization of music festivals, and in general, it is pretty fair criticism. But occasionally a festival lands a creative booking, and with Shaky Knees, nothing stood out on the lineup like Huey Lewis and the News performing Sports. And, it’s one thing to think outside the box. The fear is that you’ll book Huey, and the kids won’t give a shit. Fortunately, that wasn’t the case on Saturday evening. Playing the main Peachtree stage and hamming it up like an uncle, Sports worked like a greatest hits collection, with “I Want a New Drug and “If This Is It” finding the audience roaring with approval.

The News were given their individual chances to shine, a saxophone solo here and a guitar solo there, but really it was Huey’s show. He reminded the audience that the songs came from a bygone era before cell phones and the internet, unintentionally drawing a distinction in just how music is currently shared and disseminated. Enough good grace was earned that Lewis could play a new song and not see the crowd bail on him. Thirty-three years hasn’t seen Huey Lewis become cool, but fit right in with an omnivorous festival community caring less about cultural currency and more about familiarity and good vibes. –Philip Cosores

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Foals

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Photo by Carlo Cavaluzzi

Foals’ set drifted between loud-as-hell rock show and catchy dance-pop showcase, hitting songs like “Mountain on My Gates” with a good nature and a groove that apparently left the sizeable audience relatively speechless. “I like your reverent silence,” joked frontman Yannis Philippakis. “That’s Southern hospitality, right?” On top of being a damn-good dance party, Foals’ banter was a reminder of the community building in this quick-growing Atlanta fest as they recalled their set at the 2014 Shaky Knees, when it poured down rain and the music went on anyway. The crowd that greeted them this weekend was much bigger and certainly much dryer, but the abandon with which both parties approached the performance was memorable all the same. –Dacey Orr

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Phosphorescent

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Photo by Philip Cosores

It’s hard to say whether it was the region of Georgia or just the type of of fans that Shaky Knees draws, but music that let southern rock and country creep in around the edges not only drew strong crowds on Saturday afternoon, but engaged ones. Following brothers in arms Shakey Graves and Deer Tick, Phosphorescent finished a well-curated run with a technically sharp set that placed Matthew Houck’s songwriting at the forefront.

The leader admitted that the band hadn’t played together in a long time before the previous night, sticking to tunes from the project’s previous couple of albums, including “A Charm / A Blade”, which they’d never played before Friday’s warm-up show. Fans were particularly fond of the group’s lone female member on keys, causing the band to oblige keyboard solos on “Nothing Was Stolen (Love Me Foolishly)”. A new Phosphorescent album is expected in the fall, but this show was more about reacquainting the public with the past, a task that works when the material from recent years is so strong.

Of course, “Song for Zula” shined brightest, the track that enamored masses in 2013 and still rings as poignant a few years later. –Philip Cosores

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Shakey Graves

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Photo by Carlo Cavaluzzi

Shakey Graves at Shaky Knees had a shaky start. After 10 minutes of silence after his set was supposed to begin, the star of the hour came out to a holy-shit-huge audience and, though he was impossible to hear from the back of the crowd, made it apparent that the power on the Ponce de Leon stage was completely down. Making the most of it, he led the crowd in an impromptu acoustic sing-along of big single “Dearly Departed” before scooting backstage again until they fixed the problem. The show did go on, albeit almost 45 minutes late, but the festival allowed him to play an almost full set anyway, including rocking number “The Perfect Parts” and older favorite “Roll the Bones”. The fans who stuck around were elated, and the ones who left drifted back over for a feel-good set that more than made up for the delay. –Dacey Orr

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Baroness

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Photo by Philip Cosores

Following the brutal bus accident in 2012 that nearly cost the world Baroness, there is a sense in watching the band of how fortunate they, and we, are to experience their set at all. The band smiles more than your average metal band, displaying a certain joy on stage that must come from a near-death experience. It also makes the band a lot more palatable for the casual observer than a lot of heavy music, their new tunes (from last year’s Purple, from which they drew heavily) both melodically dedicated and groove heavy. There’s a reason why the Georgia-based group are festival favorites, and playing in their current home state found them eager to prove themselves. It was a task they were more than ready for. –Philip Cosores

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The Kills

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Photo by Carlo Cavaluzzi

Alison Mosshart and Jamie Hince are gearing up for the June release of The Kills’ fifth studio album, Ash & Ice, and it’s hard to think of a better way to heighten anticipation than the high-powered set they put on at Shaky Knees on Friday. The band seems to be at its best when Mosshart takes the lead, hissing and howling and bounding around while somehow still emitting technically sound instrumentals. But The Kills remain a balanced duo and a thrill to watch no matter who takes the lead. New track “Hard Habit to Break” was a key moment in the live show — a promising sign for the release and for the band itself. –Dacey Orr

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Explosions in the Sky

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Photo by Philip Cosores

Playing square after a swampy-sounding Deftones set, Explosions in the Sky’s pristine sonics were magnified by comparison. Incorporating more keys and drum pad usage than in previous albums, the selections from a quite good new effort, The Wilderness, didn’t rely on the post-rock tropes that the group is known for. As it turns out, Explosions is just as beautiful using steady acceleration as they are at their most dramatic.

At the set’s heaviest moment, “Greet Death”, bassist Michael James lost his strap completely and played on, flinging his instrument around until he song found a natural pause. As if the music needed more tension, we now had to factor in whether or not the song could be played without a guitar strap. It was 75 minutes of hypnotic, emotionally charged elegance, capped off by the closest thing the band has to a hit, “The Only Moment We Were Alone”. –Philip Cosores

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Against Me!

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Photo by Philip Cosores

“No consequences, no hangovers, just an endless party,” said Against Me!’s Laura Jane Grace as she introduced the anthemic “Thrash Unreal” to an audience of awestruck fans. A challenge of sorts, the set that followed was a flailing, screaming hour of empowering punk. As the band railed emphatically through back-to-back anthems, Against Me! classics like “True Trans Soul Rebel” devolved into visceral sing-alongs, and the several new songs (Grace announced that they had just finished the new album) that punctuated the set left the crowd just as riled up. If Friday’s set list was any indicator of what’s next from Against Me!, we have a lot to look forward to from Laura Jane Grace and the band. –Dacey Orr

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The Decemberists

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Photo by Philip Cosores

Last year, The Decemberists played Pemberton Music Festival in British Columbia, drawing a tiny, disinterested crowd that raised the question as to whether the band had outgrown the festival circuit. Or, more accurately, that music festival crowds had veered too young for the band. But maybe the band was just playing the wrong festival. At Shaky Knees, The Decemberists can open with the first several songs from their divisive rock opera The Hazards of Love long enough for audience members to question whether they were going to play the whole damn thing from front to back (this is immediately following Huey Lewis’ complete presentation of Sports, mind you) to delight rather than terror.

They didn’t, instead diving into a well-rounded presentation of their rich back catalog (“The Sporting Life”, “Calamity Song”, “The Crane Wife 1-3”) and a selection of newer tunes that sat comfortably among them. In fact, the best received number was “A Beginning Song”, the cut that closes last year’s What a Terrible World, What a Beautiful World, frontman Colin Meloy offering up the track with particular urgency. The set proved a reminder of the band’s greatness, at a moment when that gesture was salient. –Philip Cosores

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Diet Cig

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Photo by Philip Cosores

It would take a lot more than illness to stop Diet Cig. Even though vocalist Alex Luciano admitted to being sick through a hoarse voice, asking to be crowd surfed to the hospital if she died on stage, the band didn’t hold back whatsoever. She still leapt from the bass drum, punctuated every song with high kicks, and exuded the infectious attitude of having the absolute time of her life. “I texted my mom today that I’ve never felt more punk rock,” she noted, referring more to her voice than the gutsiness of pushing yourself when your body tries to hold you back. And to be honest, a little more gravel in her usually sweet delivery only added to the show. But above all, for 28 minutes, Diet Cig were the band that wanted it more than any other artist to play over the weekend. –Philip Cosores

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Savages

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Photo by Philip Cosores

Savages’ performances are always some combination of chilling spoken-word, energy-revving noise and non-stop motion, and their performance on Friday at Shaky Knees was no exception. It wasn’t long before frontwoman Jehnny Beth dove out into the audience, mic in hand, bounding through fans without missing a beat — if you hadn’t been looking at the stage, you’d never have known by listening that Beth was engaging in such crowd-pleasing acrobatics.

Songs like “City’s Full” and “Evil” were high points, but the moment that left the biggest impression was the poetic lyrical recitation on the latter end of the set, culminating in thundering yet even-keeled line, “You asked the world and the world said no.” From there, the tempered poetry exploded into more big noise, and it was hard to tell if you were reeling from buzzing eardrums or a buzzing psyche attempting to digest the weight of the words you’d just been hit with. –Dacey Orr

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Hop Along

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Photo by Carlo Cavaluzzi

Hop Along’s anthemic instrumentals make you wonder if this band is bound for much bigger stages, and frontwoman Frances Quinlan shows an impressive range with guttural climaxes, growling lows, and softer interludes. The glittering guitar intro to “Tibetan Pop Stars” fit the sunny scene, but they weren’t beholden to their environment and railed through harder-rocking moments with skill that would befit a much more developed band — and felt like a huge win for a barely-after-noon festival slot. Despite the band’s clear aptitude for rowdy shows in dirty dive bars, the big festival stage seemed like a perfect fit. –Dacey Orr

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Florence + the Machine

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Photo by Carlo Cavaluzzi

Florence Welch has achieved an impressive feat in her performances: she’s interactive and accessible enough to engage the casual music fan, but holds a vocal talent and lyrical depth that maintains appeal with even obsessive and hard-to-please audiences. She played the hits, of course, opening with “What the Water Gave Me” and making a memorable impression on “Ship to Wreck” and “Shake It Out” (a song “written about a terrible hangover”). The thrilling thing about watching Florence + the Machine in the live setting is the otherworldly way she moves about the stage — and beyond it — to bring her music to life.

For “Rabbit Heart”, she ran through the photo pit and up to the sound board, scaling front-of-house and performing perched amid the crowd before sprinting back to to the stage and hopping back up there, and her barefoot bounds around the stage leading the audience in chorus have become a recognizable part of her onstage charm. Welch has a jaw-dropping voice and the songs to flaunt it, and the theatrics only make the performance all the more worth seeking out. –Dacey Orr

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Slowdive

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Photo by Philip Cosores

Joy and sorrow are inextricably connected. Slowdive’s reunion run is in its third year and still going strong thanks to the band playing select dates, not oversaturating the festival marketplace with their presence. That’s why the band’s sunset performance on Friday evening was just as fresh as seeing the band early in their reunion run, the joy that the five-piece has for sharing the same stage still present. But after one song, vocalist Rachel Goswell dedicated the band’s set to a friend, recently deceased photographer Matt Irwin, getting visibly choked up at the mention of his name.

As she performed, visibly emotional, the band’s foggy shoegaze glistened with catharsis, with the weight of what the moment meant to the band being imparted on the audience. It’s not surprising that Slowdive’s set covered a broad emotional spectrum, even with a modest-sized audience. What was surprising was how easily it comes to the band, with “Souvlaki Space Station” appropriately lifting the set into the stratosphere. –Philip Cosores

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Julien Baker

Julien Baker // Photo by Carlo Cavaluzzi

Photo by Carlo Cavaluzzi

You can find Julien Baker practically everywhere lately, from the pages of the New York Times to the soundtrack at your neighborhood Starbucks. The one place you’re not likely to find her for much longer, though, is the noon slot at a festival. Taking the stage in a too-perfect T-shirt reading “Sad Songs Make Me Feel Better”, Baker’s cool run-through of self-described “bummer jams” was hugely powerful with just her voice and the electric guitar, and the formidable crowd — most of whom had clearly come out early for this set — met the opening notes of almost every number with eagerness and familiarity. Handling sound issues during “Sprained Ankle” with grace and hitting on album highlights “Everybody Does” and Something”, Julien Baker will finish this festival season as a new favorite for many. –Dacey Orr

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My Morning Jacket

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Photo by Philip Cosores

“Your skin looks good in moonlight, and goddamn those shaky knees,” sang My Morning Jacket’s Jim James in the confetti-filled fun of “Steam Engine”. The lyric is indeed where Shaky Knees found its name, and My Morning Jacket’s Saturday night headlining set was one of Shaky Knees’ big moments this year. It wasn’t a particular song that stole the show, but it easily could have been the memorable “Purple Rain” cover (complete with mind-bending lights and a disco ball) or explosive closer “One Big Holiday”. Even James’ one song from his solo record, “State of the Art (A.E.I.O.U.)”, felt like a specific homage to Shaky Knees — after all, the big-haired frontman played a rain-clearing, life-affirming set at the inaugural festival in 2013. My Morning Jacket clearly had a huge influence in inspiring this big event from the beginning, and to see them play the fest in their full-band glory was in itself inspiring to a whole new group of music lovers. –Dacey Orr

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At the Drive-In

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Photo by Philip Cosores

Yeah, we had our fun when At the Drive-In announced their reunion for 2016 would be without Jim Ward. But given the (excusably) limp version of the band that returned in 2012, there was more than just Ward’s absence to raise red flags about this new run. Of course, we also saw Antemasque perform at Fun Fun Fun Fest last year, with core AtDI members Cedric Bixler-Zavala and Omar Rodriguez-Lopez having more fun than they’d had together in a decade. Closing out Shaky Knees, that energy carried over, with an At the Drive-In show worthy of the band’s legacy.

Part of it was showmanship, Bixler-Zavala climbing every onstage perch he could find, swinging his microphone with abandon, and leaping with little regard for his body. Part of it was how great it sounded, with the band tight, the vocals sharp, and the backing harmonies adding to the force in which the lyrics landed. And a big part of it was how the nostalgia of playing together again seemed to affect the band.

Bixler-Zavala went on several nostalgia trips, recalling venues and bands from Atlanta in the ’90s. A few minutes after festival highlight “Napoleon Solo”, he addressed the audience, saying “It’s a pretty surreal moment that you can get on a plane, get on a bus, and play these old songs, with people still giving a fuck.” It’s rare that a reunion can live up the esteem that past music is held in, but on Sunday night, At the Drive-In presented a reason to give a fuck. –Philip Cosores

Click ahead for an exclusive photo gallery from Shaky Knees 2016.

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Gallery

Photographers: Philip Cosores, Carlo Cavaluzzi