20 gorgeous GIFs from Rock the Garden 2013
Photo by Anna Gulbrandsen
Just like we did last year, here are a selection of GIFs highlighting the many unforgettable sights of Rock the Garden 2013. As it turned out, the Walker Art Center's lawn and parking garage, thanks to Dan Deacon, proved crucial to this year's event.
Photographer Anna Gulbrandsen braved the puddles, the crowds, and drones to get a variety of awesome moments featuring Metric, Silversun Pickups, Bob Mould, Low, and Deacon that will repeat eternally here on Gimme Noise.
3:45 p.m. Just as Dan Deacon was about to start his set, a downpour erupted. Fortunately, his gear was portable enough that he could shift into the Walker's underground parking facility. "This is gonna be a little crazy," the stocky, bearded Baltimore avant-electronic artist said once he had the mic. "I'm sure you all realize that."
But the crowd was game not to get soaked -- by rain anyhow -- and started sweating to Deacon's glitchy beats.
For the most part, Deacon distinguished himself most by providing wisecracks while directing the crowd ("Form a large circle in the center all the way back to the Acuras") and the security ("Don't worry, these guys are my bandmates"). He facilitated a number of dance competitions with an audience that was game for just about anything.
"If the person in the leadership position sucks, then replace them with yourself," he said, semi-anarchically.
As it came time to send people back into the outside world, even Deacon was admitting that this was a weird show by his standards. He then instructed everyone to form a never-ending London Bridge to exit the performance.
4:40 p.m. The now-infamous "Drone, not drones" set began back outside. Low's intro to the song "Do You Know How to Waltz?" lasted a good five minutes, and the sun came out after about another five minutes.
If there any question remained about the amount of movement by guitarist Alan Sparhawk, drummer Mimi Parker, and bassist Steve Garrington associated with the set, these minimalist GIFs get the point across.
5:45 p.m. Bob Mould and his two bandmates quickly recharged the crowd with a set of material from his solo career, Sugar, and some Husker Du. Powerful drummer John Wurster, who has played with Superchunk and a million other bands, has totally mastered the art of rhythmic facial expressions.
When he wasn't launching into high kicks, bassist Jason Narducy laid down able backing vocals for Mould. His contributions were key on Copper Blue classic "Helpless."
And, of course, there was the lumbering Bob Mould himself. He occasionally smiled, but mostly the Twin Cities scene vet laid down the three-chord glory emphatically. "Anybody getting gay married this weekend?" he asked at one point. "It's good for the economy. The Du classic "Celebrated Summer" was apt for the now sunny and warm conditions embracing the crowd, but "If I Can't Change Your Mind" was an even catchier way to wrap up.
7:15 p.m. Los Angeles alt-rockers Silversun Pickups jacked up the feedback and the hair-tossing for their fuzz-filled set.
Drummer Christopher Guanlao's influences seem to go back past the Smashing Pumpkins and into hair-metal territory.
And from a slightly different perspective:
SSPU frontman Brian Aubert has some tricks up his sleeve as the group spanned their career, before landing with their sweet-and-sour hit "Lazy Eye."
Bassist Sarah Negahdari, filling in for Nikki Monninger on maternity leave, had a giddy time on her side of the stage all evening long.
8:50 p.m. Canadian indie rock superstars Metric left nothing to chance during their headlining set. Read more about it here. frontwoman Emily Haines created artful sculptures with her hair from the very beginning.
The set intensified without a ton of gimmicks. Aside from some tambourine flourishes and feverish bouncing around by Haines, the rest of Metric just played tight and loud.
The stage lights eventually began to take over as the sky darkened, and Metric proved themselves to be a stadium-sized act. Both the songs and their performance chops were big enough to be absorbing all the way at the top of the hill. If this is what "Breathing Underwater" forever is like, we'll take it.
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