[REVIEW + PHOTOS] Bonnaroo 2024 | June 13-16

Review by Philip Obenschain. Photos by Elizabeth Marsh.

Three summers out from an unprecedented two-year break- one due to the pandemic and another due to weather- it feels safe to say that Bonnaroo is really, truly back in full-from, with this year’s fest boasting all of the excitement, fantastic performances, and positivity we’ve come to expect from the now 20+ year-old event. Attendance was solid if not quite sold out (despite earlier rumors suggesting a down year), and, despite a few particularly hot days, we had the most fun on the farm we’ve had in several years, thanks in no small part to a few standout performances and the most balanced lineup ‘Roo has hosted post-pandemic. Like all festivals, Bonnaroo has changed over the years (we’ve been covering it for so long that we’ve seen it go from a scrappy, more hippie jam band spirited affair to something more varied and modern and more akin to the other gargantuan American summer fests), mostly for the better and for necessity, but there’s just something about it (and not just the fact that we’re local), some special ethos and positive spirit, that no other festival can compete with. Every year, we look forward to our time at ‘Roo more than any other fest, and every year we’re left with more wonderful memories and some fantastic, captivating, and often surprising new musical experiences. This time was no exception, and, if you’ve been following along on our socials, you likely already got a glimpse of the dozens of amazing sets we caught this year. Read on for our full Bonnaroo 2024 review from editor Philip Obenschain, with photos from Elizabeth Marsh!

THURSDAY

We are creeping up on the 20th anniversary of my first Bonnaroo (2006) which is a fact I don’t like to dwell on too much when I realize some of our other No Country contributors and even some of the current crop of ‘Roo artists were literal children then. Still, it’s something I think about every year when reflecting on Bonnaroo’s past and present, and something even more top of mind as I realized this is my tenth time covering for the site (I joined back in 2013, and haven’t missed a Bonnaroo since). One thing about being in your mid-30s is realizing that festivals aren’t entirely for you anymore (though, as my music journalist, my taste is certainly more contemporary than many of my peers), but one thing I’ve always loved about Bonnaroo is that that, more than most, they really cast a wide net in the variety of artists they book, and have always continued to bake in a healthy bit of nostalgia alongside the up and coming and current. I always pore over every single artist on the bill (and if you follow our Artist Spotlight series and lineup guides, you’ll see many of my favorites highlighted), and though there’s plenty to love every single time, I actually think this was my favorite lineup for my personal taste in at least five years. That’s always a great positive note to head into the weekend on, and, as I arrived, met with a pretty favorable, if a hot, four-day weather forecast, and set up camp, I couldn’t wait to dive in.

Michigander. Photo by Elizabeth Marsh.

Michigander

I always love with everything goes right getting into Bonnaroo, and I’m set up and ready to go early, because Thursday always seems to kick off with some really great afternoon sets. Nashville transplant Michigander was slotted for a 2:30 in That Tent, which, in my experience, can be hit or miss crowd-wise on the first day and people are still getting settled into their campsites. So I was pleasantly surprised when I walked up (catching just a song or two on the way from Matt Maltese) to discover an absolutely gigantic early audience, thanks, I’m sure, to the viral attention for singles from last year’s It Will Never Be the Same EP like “Superglue” and “Cannonball.” The indie rocker- born Jason Singer- seemed genuinely blown away and palpably appreciative of such a sizable and enthusiastic audience, who sang along and danced to every tune, and he and his band really kicked off the weekend with a perfect mix of energy, emotional vulnerability, and humility. Jason’s been a Music City resident for a bit now, and it’s been an exciting journey watching his career take off. It took Bonnaroo for me to release just how popular Michigander has become though, and I’m sure whatever’s in store next- I believe a debut full-length- will help propel him to the household name he deserves to be.

Hans Williams. Photo by Elizabeth Marsh.

Hans Williams

If I had one primary gripe about Bonnaroo’s changes in recent years, it would be the lack of smaller stages in Centeroo (I understand why much of it was moved to the campgrounds, which is also a cool idea, but it makes it harder to bounce between sets), with only the Who Stage left for smaller artists (and even the Who Stage itself is not so small anymore, after getting a facelift with better lights and production a couple years ago). I’ve seen some amazing performers pass through these stages over the years, some who’ve even gone on to headline arenas, and I always make a point to catch a few smaller sets wherever I can. One such artist was singer-songwriter Hans Williams, who I wasn’t familiar with until researching the lineup, and who caught my ear for his raw, rootsy, Noah Kahan-esque folk rock. New Orleans based by way of New England, Williams was even more soulful than I expected from his recordings, and performed with a pretty low-key and paired down backing band, adding harmonies and keyboards and bass, but letting his guitar and vocals do the heavy lifting. I didn’t know all of the songs, but he sounded great, and will definitely be on my playlist to spend more time with later.

Medium Build. Photo by Elizabeth Marsh.

Medium Build

The heat had me needing to hydrate and space out the sets a bit (gone are the ‘Roos where I would try to cram in 20 partial performances a day, I think), but by Nashville’s Medium Build, the temp was dropping and crowd really filling out. Medium Build, a.k.a. Nick Carpenter, has been having quite an impressive couple of years, and his latest record, Country, is one of the best things to come out so far in 2024, local release or otherwise. I’ve seen him play a couple times before, but never on a stage this big and never for such a sizable group. Nick’s style is really eclectic, and often veers into the folk or softer pop territory, befitting of his deeply personal and confessional lyricism. He has a definite indie rock and emo spirit though, and that really comes out strong his live show, which boasts more of an intense and passionate punk spirit not always present in his recordings. Rocking a bucket hat and sunglasses and backed by a tight and adept band, Medium Build’s set was initially plagued with some technical difficulties, but once it all got sorted, he and the band sounded stellar. Earnest as always, he expressed deep appreciation for everyone spending their time at his set, while also cracking jokes, and telling stories about attending Bonnaroo as a fan. Nick would pop up again in another weekend-highlight performance (more on that later) but his Thursday set was always one of the best things I saw at Bonnaroo this year, from an artist who I think is destined for (and certainly deserving of) massive success in the near future.

Nation of Language. Photo by Elizabeth Marsh.

Nation of Language

I’m a sucker for ’80s post-punk and synthpop (if pressed, I’d probably say that it’s neck and neck with punk as my favorite genre and scene) so a band like Nation of Language was always going to be like catnip for me. I’d heard the Brooklyn trio’s music before, but this was my first time seeing them live, and, even going on with a bias of already loving the type of music they make almost unconditionally, I think they objectively had one of the best, and certainly one of the coolest, sets of the day. Awash with stylish, single color lightning from overhead, and standing behind synth arrays and in front of neon lights, the band’s aesthetic couldn’t have been more perfectly matched to their music, and singer and guitarist Ian Richard Devaney crooned and commanded the stage with his best Morrissey or Bernard Sumner swagger. Rounded out my the lush and moody synths of Aidan Noell and the propulsive baselines of Alex MacKay, the trio were absolutely captivating, and while I mainly knew the popular tracks like “Weak in Your Light” and “Sole Obsession,” I was enamored with every single song I heard, and have probably been listening to this band more than any other from the lineup since I got home from the Farm. I’m dying to see them in a small space like The Blue Room sometime soon.

Pretty Lights. Photo by Elizabeth Marsh.

Pretty Lights

If you’ve followed our Bonnaroo coverage in prior years, you may already know that we tend to have one big genre blindspot, and that’s electronic music. In some years past, when we’ve covered the fest with a bigger team, we’ve managed to bring along a more knowledge EDM contributor, but most of our crew gravitates to rock, pop, hip hop, indie, punk, alt, metal, folk, and just about everything else besides mainstream country. So, between a lack of electronic knowledge, and also because the logistics of the stages where that portion of the ‘Roo lineup typically takes places, like The Other or Where in the Woods, makes taking photos more challenging, that side of the bill tends to be the biggest omission in our review. With that caveat, I did still make an effort to check out some of Pretty Lights, not just because his style blends genres in a way I can connect with more than your typical DJ, but also, and more intriguingly, he’s the first artist to ever play the festival’s biggest What Stage on Thursday night, an area which was previously only utilized Friday-Sunday. I actually think this was an awesome idea, as Thursday has morphed from a more low-key “arrival day” to a first day of a four-day fest over the years, and had begun to feel crammed with its biggest performers slotted on mid-sized stages. Given how many people turned out, I’d say this experiment was a success, and I hope it becomes the new norm going forward. Pretty Lights was everything I expected- cool lights and production- hip hop and dance vibes which got the crowd grooving- but I’m not the best person to delve into the nuance of his sets (of which there were two- another impressive way to kick things off). I only watched a bit at the start and a bit at the end, as the FOMO of schedule conflicts had me doing the late night rounds, but it was enough to sell me on the fact that a proper Thursday headliner is the probably best change of 2024.

The Foxies. Photo by Elizabeth Marsh.

The Foxies

Hurrying back to the Who Stage, I had to catch Nashville natives The Foxies, who are always a delight live, and who I first saw on the Farm back in 2018, after they won the Road to Bonnaroo competition (a Battle of the Bands style completion which sadly no longer exists, nor does the small stage it led to, the New Music On Tap Lounge- RIP). The band have experienced a new wave of buzz thanks to some viral TikTok songs and the evolution of their energetic, punk-adjacent pop rock sound, and, anchored by powerhouse vocalist and charismatic frontwoman Julia Lauren Bullock, they’ve long been one of the most fun live bands in town. Unfortunately, the group were having some sound issues at the start, delaying things a bit and taking a minute to get the vocals into the mix, but once it kicked in (I believe during the anthemic and Bonnaroo perfect “Summer Never Dies”) they sounded as tight and great as always, eliciting singalongs, and providing a much-needed evening adrenaline boost. I wish they’d had an even bigger crowd, but being slotted agains the headliner as a smaller band is always tough, and everyone who turned out- still a decent crowd- made up for it in enthusiasm. Long one of my favorite Nashville bands, The Foxies always warm my pop punk loving millennial heart, and their return to ‘Roo was even more epic than the first time.

After a fairly busy first day at the fest, I thought I’d be more tired, but as I finally made my way back to camp, I was feeling surprisingly good (hydration and taking breaks does wonders, y’all). Still, by the time I hit the sleeping bag I was down for the count, ready to get those few important hours of sleep before inevitably being boiled awake by the morning sun. It sounds like I’m complaining, but I actually love the immersive nature of literally living at the festival all weekend (if I didn’t, I have the luxury of living close enough to drive home each day), and I wouldn’t trade the experience of ‘Roo for any other fest. Thursday was just the tip of the excellent weekend ahead though, and you can read on for my coverage of the rest of the fest!

THURSDAY | FRIDAY | SATURDAY | SUNDAY