The sun shone bright Saturday at this year's Virgin FreeFest at Merriweather Post Pavilion, and while the grounds were a bit muddier than last year, at least the Dance Forest wasn't as dusty. It was the first nice afternoon in weeks—as well as the day before the 10th anniversary of 9/11, and the start of Ethiopian New Year, as we learned from Patti Smith—so this year's lineup, heavier on the synth and electronica acts than years past, provided an upbeat soundtrack to a beautiful day.

Grace Potter & the Nocturnals

Cut Copy

!!!

Patti Smith

Cee Lo

TV on the Radio

The Black Keys

Deadmau5

Additional photos from Virgin FreeFest sets and people can be found here.

Not everyone, however, had so much trouble:

Audrey Schaefer, a spokesperson for I.M.P., the festival's promoter, insists that no technical problems unfairly prevented anyone from getting tickets today. After all, this was a giveaway for a huge number of select insiders, who not shockingly jumped at the chance to attend a high-profile music festival as fast as possible.

"It went without a glitch," says Schaefer, who mentioned that she reserved tickets herself this morning without any issues.

Not all hope is lost: Tickets will become available to the general public tomorrow at 10 a.m. Don't think it'll be a walk in the park to secure one, though: Thousands of people still crave these tickets, which will probably disappear quickly. Look at the 141,000 people who have liked Virgin Mobile Live on Facebook—about 50,000 more than three days ago, according to Schaefer.

Unlike traditional music festivals, at the Sweetlife Festival fans will also have the opportunity to purchase not only traditional concessions and sweetgreen product, but they will also be able to visit an on-site farmers market, featuring produce and snacks from the region’s local growers.

Because there's nothing like chowin' down on some chard or radishes at a rock show. That stuff grows around here in April, right?

And oh yeah, the Strokes have a new album coming out. THEY WILL GET HUGE BONUS POINTS IF THEY COVER "SWEET LEAF" AT THE SWEETLIFE FESTIVAL, EVEN THOUGH "SWEET LEAF" IS A METAL SONG, AND METAL IS GENERALLY NOT BIODEGRADABLE:

* And stones are a totally renewable resource.

That B.O.B. guy, jumping around:

Chuck Brown talking about Lil' Benny:

A famous rapper saying some nice things:

Janelle Monae and Her Hair:

The Roots playing their own music:

In the mid-2000s, mainstream music got injected with an unexpected shot of indie rock, and Arcade Fire was one of the lucky bands to bask in that exposure. While the band hasn't ruled the airwaves with quite the same ubiquity that so-called grunge bands achieved in the early '90s, Arcade Fire has topped the billboard charts, sold hundreds of thousands of records, and gained a deeply devoted fanbase. The band played Merriweather Post Pavilion with Spoon last Friday, and freelance photographer Stephanie Breijo and I headed out to Columbia, Md., to catch the show and discuss Arcade Fire's cultural import.

Preshow Banter

Ryan: So, when did you first hear Arcade Fire? I had a friend excitedly burn me a copy of their first EP after seeing them open for someone (Unicorns, perhaps? I can't really recall). He was (rightly) convinced that the band would get huge. I remember liking "No Cars Go," but I wasn't sure why he thought they would get huge. I think I later spoke with Eric Axelson—who is now a recurring character in these recaps, apparently—who had played with Arcade Fire while he was in Maritime and said they put on a really impressive live show. All this to say: It seems like they were hitting on something powerful even before the Pitchfork review.

Stephanie: I actually didn't actually hear their EP until well after I fell in love with Funeral. I remember driving around San Diego right around my first year of college, being glued to this fantastic alt-rock radio station that, fortuitously, played "Rebellion (Lies)," and that was it. I had no idea what it was or where it came from, just that I had to hear more. Immediately. Of course as soon as I heard it, they were everywhere; Pitchfork, Coachella, even my favorite show Six Feet Under. Everywhere. And I didn't mind.

I went through a phase where I'd put a song from that album on almost every mix I'd make for a friend. You know, come to think of it, I put a song off Funeral on a mix for a boyfriend about a year ago. His response was something along the lines of, "Yeah, Arcade Fire's okay but they sounds just like all those other indie dance bands." We are no longer together.

Ryan: I can't say I share your deep-felt passion exactly, but I am pretty stoked to hear "Rebellion (Lies)" in person. There are actually more Spoon songs that I'm stoked to hear than there are AF songs. Britt Daniel can write a single like nobody's business. Of course, they might not be quite as epic in-person as Arcade Fire; they certainly don't play as many instruments. Have you heard the newest Spoon album?

Stephanie: Why indeed I have, Ryan. While it's a far cry from Ga Ga Ga Ga Ga, it's a logical progression and I love their differences; I find new reasons to love Transference with each listen. And while I've never seen Spoon live, I hear they put on a great show. I'm seeing a lot of dancing in our not-too-distant future.

Post-show Recap

Ryan: Spoon certainly played well, but I wish we had caught more from their new album. Damn that traffic. Britt Daniel looked fancy enough in his all-white getup. Their minimalist grooves don't exactly lend themselves to large outdoor gatherings, but at least the weird noisy bits were awesomely loud. "The Ghost of You Lingers" was an unexpected highlight for me, especially with the addition of some odd drum fills at the end.

Stephanie: While I fear we missed an unfortunately large chunk of their set, I was glad we caught any of it because it really was fun. I am sad that we missed the first-three-songs-in-the-set photography window, so closeups of the snazzy suit were not possible. But what we did hear was exactly what I expected–energetic and heartfelt with a lot of love from an adoring audience. The show was intimate, maybe too intimate for the lawn-seated crowd–but they certainly kicked it up a notch with that horn section at the end. Speaking of audience adoration, how about that Arcade Fire set? Lots of dancing, lots of hands-in-the-air clapping; I'd venture to say lots if voices lost this morning.

Ryan: Adulation certainly peaked during Arcade Fire. That band's music means a lot to people, apparently. Which, during the high points, I could totally understand. I found their performance of "Haiti" to be really moving, what with Régine Chassagne thrusting a Haitian flag toward her heart over and over. Certain recent events obviously make the song more powerful in context, but they really stepped up their own passion and exuberance as well.It's a shame about the mix, though. The sound was all bass-heavy, and it was often hard to discern what the strings and accordions and such were playing. Still, their visual theatrics were impressive even when the sonic issues were disappointing. What did you think—did they live up to their acclaim?

Stephanie: I've always heard Arcade Fire knows how to put on a good show, though I was never told exactly why. And while I'm not sure I was as consistently enraptured as most of the crowd seemed to be, I do believe the performance lived up to the hype. Their energy was high and they all seemed to be at the top of their game; the light show was well executed, and the footage of band members layered over shots of the crowd really made for a more intimate performer-fan experience.

When they closed their encore with "Wake Up," everyone was practically screaming those "aaahhhhh-ahhhhhhs!!!" Hands in the air, heads tilted back–everyone seemed to respond to the audience interaction, the crowd surfing, etc. despite the terrible mix. All in all, it was a great bill, and while nothing blew me away, it was a great experience with some strong performances. Was there anything you wished you could have seen? Any song left unheard?

Ryan: The encore was basically a wild and passionate big tent revival for a lot of folks, which is also how I imagine a Bruce Springsteen show would be (one day I'll see the Boss in person... one day). I was a little surprised they didn't play "Black Mirror," and I'd be curious to see a live take on the haunting, "My Body Is A Cage." Maybe they only play that one when they have a pipe organ handy? In any case, they tackled all the big ones. I'd imagine they plan on closing every set for the rest of their career with "Wake Up," for better or worse—the blessing and curse of having a hit.I was struck by how many middle-aged couples were hanging out around where we were. They were really losing themselves in the show, too. The band has certainly expanded far beyond the scope of Pitchfork's regulars. I wonder what it is about Arcade Fire's music that has such a broad appeal—the always-pulsing kick drum driving the grandiose sound? The lyrical exploration of suburban youth? The unlikely spectacle of eight different Canadians all swapping instruments and vocal duties? Or maybe people just really love accordions?

Stephanie: Who doesn't love some good ol' accordion? (Communists.) Yeah, I noticed the outliers in what I had previously thought of as Arcade Fire's fanbase. They were both around where we were and even down in the trenches when I was taking pictures. I can't place what it is about Arcade Fire that draws such a spectrum of concertgoers–and maybe it is that steady pulsing of the kick drum—but I know that when I listen to them, I'm reminded that I'm young and alive.

Photos by Stephanie Breijo

A Bronx cheer right back at you, Wale.

Arnold Schwarzenegger, watch out: There's a new entertainer with political aspirations. Wyclef Jean is running for president of Haiti. Despite having recently claimed to have no political intentions, the recording artist–who first found fame with the Fugees–is planning to parlay his recent earthquake-relief charity work into a presidential run in his native country. Hmm, wonder if voters will turn a blind eye to the misappropriation of funds to Jean's mistress.

Wale, you're giving WaPo a shout-out but not us? In a new song called "The Soup," the rapper has a line that goes like this: "I am not no homophobe/ good thing I don't read the Post." C'mon, dude, at least give credit where credit is due. I guess "City Paper" doesn't quite make for the near-rhyme with "homophobe" that "Post" does.

Friday can never come soon enough–especially when you've got tickets to tomorrow's Arcade Fire show at Merriweather Post Pavilion. Good thing you can see their concert tonight, too. Terry Gilliam, director of 12 Monkeys, will be directing the live webcast of tonight's concert at Madison Square Garden. The show starts at 10 p.m., with a pre-show at 9:30.

Cat fight at that cattiest of shows, The View! Michaele Salahi, Real Housewife and White House gate crasher, is accusing Whoopi Goldberg of hitting her following her appearance yesterday on the show. Something tells me that this accusation–abutting tonight's premiere of "Real Housewives of D.C."–is yet another publicity stunt. Nevertheless, I think I'm going to have to tune in–the opportunity to mock a group of vapid women who "live" in city that bears no resemblance to my own reality is just too delicious.

If you've ever wished the beer lines at Merriweather were shorter, just go during Warped Tour or the Bamboozle Roadshow, when the only people old enough to buy alcohol in the whole amphitheater are parents, staff, and some of the musicians. While you're at it, you might learn a little something about pop-punk, power-pop, the fact that Hanson still exists, and other things you've been dying to know more about.

Lots of photos from last Friday's festival after the jump and at the full gallery.

Cady Groves:

Cartel:

The Downtown Fiction:

Forever the Sickest Kids:

Hanson:

Boys Like Girls:

Good Charlotte:

All Time Low:

Full gallery (90 photos) here.

Read the full City Lights pick here; deets below the jump:

Widespread Panic performs with the Allman Brothers Band
Tuesday, Oct. 6 (today!) at 4:30 p.m. at Merriweather Post Pavilion
10475 Little Patuxent Parkway, Columbia, MD
(410) 715-5550
$40-$75

“I’m having a lot more fun than I thought I would,” said Kings of Leon frontman Caleb Followhill, sweat dripping down his newly trim hair into his stern blue eyes. “I thought you like, wouldn’t be here, or, wouldn’t know who were were, or...”

He said this to a crowd of at least 7,000 bellowing fans Tuesday at the Merriweather Post Pavilion, where the Kings played a two hours of pulsing pop rock, roughly half of which were off their most recent album, Only By the Night. Caleb and his band of tightly jeansed kinfolk might have acted surprised by the high squeal factor of the boiling sea of an audience—which appeared equal parts sleeveless dudes and doe-eyed girls (the one in front of me was wearing a shirt reading “It’s my baby!” and nearly had a conniption fit when the guys played “Knocked Up” during their encore set)—but given the band’s arena-rock turn on its latest record, this is the sort of crowd they should learn to expect.

We missed the first few songs due to car trouble and an overcrowded lot that forced us and the other latecomers into an office park about a quarter mile away, but the song that played our arrival—“Fans”—seemed apropos as we politely elbowed our way into the pavilion. “Fans,” from the third album, Because of the Times, is a model of form following function—a bouyant pop paean that instructs its muses to “rock to the rhythm and bop to the beat of the radio.” Votaries from the band's earlier, indier years years might have preferred the Kings not embrace the idea of radio pop so openly, but the adoring masses at Merriweather cheered wildly at this and other new-fan favorites such as “Sex on Fire” and “Use Somebody,” the display screens on their digital cameras glowing like moon jellies.

Their stoic stage presence notwithstanding, the Kings went big and they went loud, Caleb hitting the rockstar notes with his simultaneously torn-up and pitch-perfect voice. “This is the most fun I’ve had at a show in a long time,” Caleb said as the set drew toward the end. “That means we’re going to come back real soon.” I swear I felt the cheers resonate in my kidneys. Native sons of the American South and pop idols in the U.K., it appeared by night’s end as though the Kings of Leon had successfully made a fiefdom of Maryland.

Footage from those moon-jelly digicams is all over YouTube, but the ear-caving volume of the show made for a lot of clipping. The below video was taken from far enough away to capture the audio pretty well, if you don't mind getting seasick. For the full effect, plug your computer into a speaker stack and swallow it.

By now, this might be ancient history in Internet time; but after the jump, check out a quick preview of the 200+ photos in the full gallery. Plus, I've penned my thoughts on each of the festival acts in two sentences or less. Keep in mind that in my effort to cover every band, I didn't see a single full set. And there are just some bands about which I have absolutely nothing to say.

The Birthday Massacre: Wait, did I accidentally show up for the Warped Tour instead of Virgin Fest?

St. Vincent: Just as I was surprised that Explosions in the Sky were successful at an outdoor pavilion, I was surprised that Annie Clark and co. were equally successful in a festival setting.

Mates of State: Good set, probably would have been better-served on the more indie-rock West Stage.

Wale: He's got the stage presence and the charisma, hopefully he'll have the music to match soon enough.

Taking Back Sunday: Yeah, OK. Nice HRC sticker on the guitar there.

The Hold Steady: Band seemed much more enthusiastic than the crowd. Maybe everyone who wanted to see them already did the night before at the 9:30 Club.

Jet: Does anyone care?

Public Enemy: Yeeeeeeaaaaahhhhh boyyyyyeeeeee. Chuck D holds it down and Flavor Flav still does his thing even at age 50 (!).

The Bravery: People were into it. Tons of crowdsurfers.

The National: Following Public Enemy wasn't ideal, but playing their relaxed indie-rock as the afternoon light faded into evening was, very much so.

Weezer: OK, I admit it: they put on a good show. But I still have trouble getting behind songs that are intentionally this dumb.

Girl Talk: You know exactly what to expect with him, and it's still pretty fun. Especially for the folks onstage.

Blink-182: These guys just aren't very good. But why do I know so many of their songs?

Franz Ferdinand: What strikes me as cheesy on record comes off intense and fun live. Great closing set for the West Stage.

The dance stage: Pretty relaxed vibe. Lots of people there to be seen and really psyched about having their picture taken.

The fans: Generally well-behaved, despite the fact that the venue was selling pitchers of beer (see immediately above). Enthusiastic except during the lengthy soundchecks.

Publicity stunts: None more absurd than two dudes jumping out of a helicopter, landing on the pavilion roof, and being greeted by Richard Branson with a bottle of champagne. What?

Free stuff: People go crazy for it. No matter what it is.

Full gallery here.