Saturday, May 23

Coming over the crest of The Gorge for the first time is a breathtaking experience, and when combined with the ever-expanding Sasquatch! Music Festival, there was no better place in the world for a music lover to be during Memorial Day weekend.

For many, Sasquatch! began with one of the best and most anticipated performances from electronic outfit Passion Pit. After an apologetic late start, the group quickly began what was only their fourth live show since the release of their debut album Manners.

Michael Angelakos’s tiny, high-pitched voice seemed funny at first coming from a large, furry man, but emotion and passion took over despite his seeming unfamiliarity with performing.

On the Yeti side stage, Mt. St. Helens Vietnam Band exhibited a passion and true love for their music complemented by matching floral-print, red-silk vests. There were several great moments, including when keyboardist Traci Eggleston held up a bass drum and bassist Jared Price threw tennis balls at the skin that ricocheted into the crowd. The only sad part was that the crowd was sparse; there was a lot of energy on the stage, but the crowd wasn’t as enthusiastic as the performers deserved.

Animal Collective made an unassuming presence on the main stage, but the waves of sound and intense psychedelic imagery broadcast on giant video screens on each side of the stage quickly took over. It was possibly the pinnacle event for anyone intending to take any kind of drug — including the performers — but even those who chose to remain sober couldn’t help but be carried on an airy journey with the electronic trio.

From my vantage point on the hill, I had no difficulty witnessing the insanity that the Yeah Yeah Yeahs brought to the pit. Karen O looked her indie-goddess part in a bright, multi-colored poncho coupled with lime-green leggings as the band played underneath a giant, inflatable eyeball. They played an emotional and energetic set that drew from various parts of their catalog, and the acoustic rendition of their breakout hit “Maps” was still a high point in the set despite the song’s intensity. The entire group played to its potential, and as a result, put on one of the best performances of the festival.

When the giant stage lights hit the swarming crowd, then quickly flipped to the stage for the first night’s headliner, there was an explosion of cheers. Kings of Leon, arguably the most deserving headlining act, stepped up to the occasion for their first appearance at The Gorge. It was an epic performance, the type that gets re-broadcast on TV or included in a DVD compilation; awash in lavender and bright white glow, the Kings went out in style for the last concert of their tour.

Sunday, May 24

Sunday started slow on music, but conversely began with a powerhouse lineup in the Comedy Tent. Because of Aziz Ansari’s hilarious performance — easily the best of the festival’s comedy lineup — I’ve pledged to become a fan of his new NBC sitcom Parks and Recreation. His sharp, inflected delivery offered situational anecdotes with a perfect comedian’s flair, and the crowd even got to see a few minutes of his character Randy from the upcoming comedy Funny People.

Of Montreal — joined onstage at various times by contingents of hooded and masked performers during the Wookie Stage performance — sounded vibrant and flowing, raw but with perfected pop-melodic energy. Their songs were performed flawlessly with an excited flair, and at one point, they even broke into Prince’s “Computer Blue.” Meanwhile, a psychedelic kaleidoscope of images played on the giant onstage screen that included multicolored flowers, mythical creatures and a crucified Jesus. The set, and day, ended with frontman Kevin Barnes tossing and smashing his guitar as smoke ebbed and the crowd roared.

Monday, May 25

Horse Feathers came out strong, after some technical difficulties with the lead microphone, to kick out the last day of the festival and the last stop on their tour. The Portland-based quartet was beautifully peaceful and melodic with a touch of banjo twang and were able to do amazing things rhythmically without even bothering with a drum. It might have been the heat stroke, but I’m almost positive I got goose bumps when they broke into their hit song “Curs in the Weeds.”

Girl Talk, a mashup artist who creates entire sets from behind his two laptops, wildly exceeded expectations as another of the highly anticipated festival performers. Armed with his laptops, a stage full of dancing fans, confetti guns and inflatable toys that included a 40-foot-long whale, Girl Talk led a frenzied dance party that utilized some of the best moments off his latest album Feed the Animals, but was full of enough new material to satisfy even the most die-hard of fans.

That night, the festival came to a close — or went out with a bang — with a DJ set from Chromeo in the newly-added Dance Tent. Mixing his own songs as well as hits like the Crookerz remix of KiD CuDi’s “Day ‘N’ Nite” over a driving bass line, he rewarded those brave enough to stick around late that night and miss school or work in the morning with a perfect end to another amazing year of Sasquatch.

Reach columnist Nick Feldman at arts@dailyuw.com.