"Hard to compete with Metallica," said Jonsí from the Twin Peaks Stage Saturday night in Golden Gate Park as his band, Sigur Rós, played its ambient post-rock on a stage opposite the Bay Area metal legends during the second night of the three-day Outside Lands Music Festival.
It was in the middle of "Varúð," a quiet, piano-driven number, when Metallica — likely for the song "One" — unleashed a series of fireworks and pyrotechnics that drew fans attention away from the Icelandic group's performance.
Jonsí and company, which included an eight-piece set of horn and string players, held their own, however, running through a short set of some of Sigur Rós most popular material, including "Svefn-g-englar," "Sæglópur" and "Hoppípolla."
Though Mother Nature also assisted Sigur Rós' last Bay Area-stop during an unforgettable rendition of "Popplagið," the final track from ( ), Saturday's performance had its own magic as thick gusts of fog rolled across the sky and Orri's snare hits propelled the song to a maddening eruption to end the day. Illuminated by their own stage lights — which included, fittingly, images of smoke against colored backgrounds — as well as the fog-stalled glow from San Francisco's nighttime lights, Sigur Rós lacked the literal explosiveness of Metallica, but still wowed all the same.
Metallica blasted through a set which leaned heavily on its first five albums as the main stage headliner, starting with a roaring "Hit the Lights," the opening track from their debut album, Kill 'Em All.
Coming off a recent stint in Europe in which Metallica played 1991's self-titled "black album" in its entirety, the band revived the "snake pit" stage setup from that era and used it Saturday, too. Branches off the stage allow the band to effectively walk into the crowd, encircling a pack of fans inside so they can be surrounded by the band as it moves around, singing and playing.
Jets of flame erupted from the stage as Metallica burned through "Fuel," one of only three songs issued after 1991 the group included in Saturday's set.
Just before Metallica on the nearby Sutro Stage was Norah Jones, who played a number of songs from her Danger Mouse-produced LP, Little Broken Hearts. The material landed well live, but her rich, sunny voice might be able to elevate just about any material. When she broke into her 2004 hit, "Sunrise," she brought a tired crowd to its feet, which she greatly appreciated.
"I love you," she said. "You guys are officially the best audience."
At the same time as Jones, the main stage hosted The Kills. Alison Mosshart set the tune immediately, strutting across the stage to gain the attention of those in the audience who stood further from the stage due to the snake pit setup. During "Heart is a Beating Drum," she strapped on a guitar and joined Jamie Hince in rocking the Polo Field. "Future Starts Slow" was a highlight, with the song's big drum thuds leading the way as Hince and Mosshart twinned their vocal duties.
Texas' instrumental post-rockers Explosions in the Sky preceded The Kills on the main platform in a captivating performance. In the opening song, "First Breath After Coma," Michael James rocked to his knees, his head bobbing all the while. Thanks to the foggy, overcast San Francisco day, it gave a darker mood and texture to the band's songs.
Alabama Shakes drew one of the largest crowds in the history of the Sutro Stage, forcing it to standing-room-only capacity all the way back to large tree at midfield in the Lindley Meadow. As the group worked through cuts from this year's Boys and Girls, the packed field sang along to the group's Southern R&B rock.
It was one of two scheduling decisions Saturday which may have been a misfire. While Alabama Shakes may have been better suited for the main stage, Father John Misty drew a large throng to the Panhandle Solar Stage, the festival's smallest platform. J. Tillman, who left Fleet Foxes earlier this year to pursue the Misty project, took center stage with a white T-shirt that read "Freedom now! Legalize LSD." He was magnetizing, swiveling his hips as he grooved to his own songs and firing off quips between songs.
"This is the only city where older white men with beards come up to me and tell me that they love my shirt," Tillman said. "The only one."
Australians Tame Impala uncorked a set of dramatic, psychedelic folk from the main stage early in the day, opening with "Solitude is Bliss" and sinking its hooks in. The band proved louder and groovier than they appear on record.
Phoenix-born synthpop singer Zola Jesus opened the day on the main stage, running along the snake pit ramps to connect with fans as a backing band provided her synth and drum sounds.
Opening the day on the Panhandle Stage was the Honey Island Swamp Band, a collection of Hurricane Katrina refugees who met in San Francisco and formed a band that started headlining at the Boom Boom Room. The band jammed extensively, playing just four songs in 40 minutes, including "300 Pounds."
Check back tomorrow for a recap of the festival's final day, including notes on City and Colour, Jack White and Stevie Wonder.
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