Bumbershoot Day 2: Israel Nash, Chimurenga Renaissance, The Melvins, Lee Scratch Perry, Punch Brothers

The weather was still shades of gray on Sunday, but overall promised to cooperate a bit more than the deluge of Saturday. The second day of Bumbershoot kicked off with the big, warm country rock sounds of Israel Nash. Nash plays very much in the tradition of Neil Young, and marries swelling rock with pedal steel twang. Pop country in 2015 has largely abandoned its roots, leaving a void for alt country acts like Nash (plus the likes of Sturgill Simpson and Jason Isbell) to pick up the slack. And Nash does it in style, swaggering in snake skin boots and fancily decorated denim shirt, long hair flowing around aviator sunglasses.

The music was often more sorrowful than celebratory. Yet it was somehow simultaneously sad but feel good as Nash sang, "pour me out just like sour wine." The band was tight, and built towering rock solos and breakdowns. Nash introduced the group, saying they've been playing together for a number of years; it certainly shows. Tunes from a new album due out in October tended towards more subdued ballads, and highlighted Nash's strong lyrics and the groups pretty harmonies. The crowd was sparse at first, as it often is for the first shows of the day at this fest, but it grew steadily. Nash was short on stage banter, saying they only had a short time on stage, "and we like to play long songs." Rain started sprinkling lightly during the set, which closed, appropriately, with the perfectly titled "Rain Plans". This was an excellent show, and the harbinger of a great day to come. Israel Nash plays the Crocodile December 12th.

Memorial Stadium played host to a choice lineup of classic punk, rock, and metal bands thought the day. Unfortunately, Portland post punk band Dead Moon ended up cutting their main stage-opening set short just about twenty minutes or so in, after guitarist Fred Cole doubled over on stage. He apparently is suffering from a heart condition. Best wishes for his recovery. With the set ending early, it was time to head to the Mural Stage for Chimurenga Renaissance. This Seattle hip hop project is helmed by Zimbabwean Tendai Maraire, who is also one half of Shabazz Palaces. Beats were largely being played live on a drum pad, which was bolstered by a percussionist and a guitar player. Maraire joined in on congas at times, as the music shifted into African-inspired rhythmic breakdowns. "We just wanna show you where all these beats come from," he said. Chimurenga Renaissance brought spaced out, bass heavy, socially conscious hip hop tinged with African sounds. Maraire rapped about such topics as anti-consumerism, "sick politicians and their ponzi schemes", and his Zimbabwean roots. The group debuted new tracks from the soon to be released album Girlz With Gunz, due out soon, which showed a lot of promise.

Mikal Cronin, a sometimes member of the Ty Segall Band, built psychedelic rock and pop garage anthems atop a foundation of keys and buzzing guitars. The crowd at the Fisher Green stage was bigger now, with more people filling the festival as the day went on. Still, this day overall felt less crowded overall than the day before. Cronin introduced a newer song, "Say", off his 2015 album MCIII. This one tended more towards modern indie rock, as opposed to the retro tinged garage rock of other numbers. By the way, the video for this single is a pitch perfect parody of Paul Simon and Chevy Chase's video for "Call Me Al". Despite sometimes morose lyrics, Cronin clearly has a sense of humor. He pulled an ever bigger psych rock sound from his 12 sting electric, with the song "See it My Way" off 2013's MCII building to some big, full on rock solos. This solid, layered set played with the duality of wistful melancholy and raucous release.

For those who haven't seen them live for some time, Montesano, Washington band The Melvins may have been a bit of a surprise. It would appear that if you put hardcore punk on a massive stage, it begins to sound a bit more like stadium rock, complete with two drummers and many a drum solo. Buzz Osborne, aka King Buzzo, was dressed in a delightfully bizarre black robe adorned with giant golden eyes. His mirror finish guitar glinted in the stage lights, and his wildly kinked silver hair shivered with each fevered convulsion. He and the rest of the band brought a lot of fire to this main stage set. Memorial Stadium was nowhere near as full as it had been the night before for The Weekend, but there was a sizable crowd nonetheless, clad mostly in black. The song "The Water Glass" off 2010's The Bride Screamed Murder made full use of the extra percussion section with its rapid military marching style call and response. Then the set veered off into sludgier metal moments. Buzz strode around the large stage, tearing into his guitar. It was loud, wild, and a lot of fun.

If there were justice in the (Jamiacan) music industry, Lee Scratch Perry would be long retired on a huge pile of money, not dragging his aging 79-year-old body out on tour. This is not meant with disrespect, but on the Mural Stage Perry surfed the line between venerable musical genius and frail, ranting madman. Perry is nothing if not a colorful character. He was adorned in a magenta velour track jacket, his beard and hair dyed a similar bright shade of red, and dripping with necklaces and rings. Waving a candle, and later a torch of incense, he exhorted the almighty to bring down fire and lightening, or toasted about magic, as his croaking patois growl echoed out over the stony crowd. Perry has courted an image of madness ever since the 70s, when he burned down his own Black Ark Studios in a fit of rage. But the man also worked with many of the Jamaican greats, including Bob Marley and The Wailers, and employed unique and innovative studio techniques.

As he chatted over dub tracks of roots classic he'd produced in reggae's 70s heyday, like Max Romeo's "War Ina Babylon" and "Chase The Devil", it was unclear what was rehearsed and what was a sort of freestyle. Perry's production is unassailable, and he had a hand in countless revolutionary sounds. Unfortunately, as a performer, he brought little to the stage. His chants on the microphone were largely unintelligible, a bit quiet, and filled in a sort of "generic rasta guy" role in the tracks (to be fair, Perry professed as much love for Jesus as he did for Jah). Of course, the shuddering bass heavy dub sounds were excellent, but they were played by a DJ, not a live band. A saxophone, percussionist, and two backing singers did add to the live experience. But overall it was a strange show, not quite satisfying as a concert experience. Perry has cemented his status as a master of his craft, an innovator. But he should perhaps leave the stage behind.

Punch Brothers would probably show up in the bluegrass section of your local record store, but they bring some sweet pop sensibility and an almost classical chamber orchestra level of technical virtuosity. Led by Chris Thile, of Nickel Creek fame, the band was dapperly dressed, their harmonies as on point as their fashion. Songs were fun, sweet, and pretty, veering almost towards the precious at times. But love or hate Thile's singing, there is no denying how tight and talented this band is. Thile is set to take over as host of A Prairie Home Companion when beloved public radio host Garrison Keillor steps down next year. Thile may not be able to hill Guy Noir's shoes, but his stage banter at Bumbershoot showed he's got his on stage charm down pat. When he spoke to the crowd, he sounded like a host, and while playing he did a bit of showboating, cajoling the crowd to sing along. Highlights included the tongue in cheek prayer for love "This Girl", and the closing song "Magnet" off their latest album The Phosphorescent Blues. Punch brothers injected a dose of carefully crafted pop Americana and acoustic instrumentation into a day pounded by harder rock and  electronic beats. Along with Lee Scratch Perry's earlier dose of dub, it was nice to have some of the musical variety on which Bumbershoot has built its reputation.