photo credit: weworemasks (Die Antwoord)

With the rain and its muddy remnants behind us, day two of Free Press Summer Fest swung at full homerun force, boasting its most eclectic lineup and it’s biggest headliner to date.

Hit the jump for the full recap. Click here for Day 1.

-Sunbear and Grizzly

photo credit: weworemasks (tunE-yArDs)

As is classic Free Press custom, the day was kicked off in a ferocious fashion with Houston’s own Venomous Maximus, who sparked a mosh pit with their grizzly 80’s-style metal riffs. For those who would rather a mellow entry into the festival, folk-meets-electro pop duo Sylvan Esso brought the quirk and white-girl pop and lock moves to the early risers. Frontwoman Amelia Meath marveled at the genuine politeness of Texans as well as flashed the cutaways in the armpits of her outfit, proper ventilation being of the upmost importance.

tUnE-yArDs could have crumpled under the blistering mid-day sun as it pummeled Merrill Garbus and band during their set, but the quirky troupe quickly overcame the buckets of sweat and kept things cheerful with the freewheeling tunes from their highly complex LP Nikki Nack. Drive-By Truckers were a firestorm of rollicking southern riffs across the way, having just flown in from Spain the night before.

photo credit: weworemasks (The Naked and Famous)

DMX was a huge draw, especially considering the nostalgia-ridden rapper was billed at the peak of the afternoon sun. As expected, his set didn’t come without complications. And by complications, I mean that he was sitting in his trailer almost 25 minutes into his set. He came out, slurred speech, henny in hand and slugged through a set. It wasn’t all bad, however, as “Ruff Ryders Anthem” and “Party Up” got plenty of verticality amongst the sun-soaked crowd.

Auckland, New Zealand’s The Naked and Famous were up next at the Mars Stage, and it was as graceful and fluid as the ankle-length dress of Alisa Xayalith. After having just played a sold out show at Fitzgerald’s back in February, they played to about 5,000 more folks this past Sunday, most of whom frolicked and sang parts of “Hearts Like Ours” and “Young Blood” right back at them.

photo credit: weworemasks (Lauryn Hill)

The weed smoke billowed at the underpass where Flatbush Zombies were performing their aggro-rap. After having won us over at Austin’s Fun Fun Fun Fest, catching a part of their set was a must. Not enough time spent there, due to the fact that a one Ms. Lauryn Hill was about to get things shakin’ across the way. Going into her Free Press set, expectations were convoluted. Will we get a manic Ms. Hill who shows up way too late and sleepwalks? No, because Lauryn completely delivered in her hour-long set. L-Boogie was dressed head to toe in floral print, ready to bring that summery reggae vibe to the main stage. She did a pristine job throwing things back to the days of Miseducation and even some Fugees to boot, complete with a hearty backing band.

photo credit: weworemasks (The Kills)

Two entirely disparate acts performed back to back on one of Free Press’ main stages. Whereas The Kills brought forth a volatile mix of sexy rock and roll moves and gritty, trashy guitars, Die Antwoord, one of the most puzzling musical acts of recent memory brought their druggy, rap-rave act to the squealing masses of youngsters looking on in shock and awe. Ninja is one scary looking motherfucker, the kind of scrappy bogeyman that would be the king of prison yard if ever he were incarcerated. And Yo-Landi doesn’t even look like she’s from this planet. My friend next to me leaned in and mentioned about her unsettling appearance “I’d like to wear her face around the house, just scaring myself whenever I look into the mirror.” Somehow, I believe she’d like the same thing.

photo credit: weworemasks (Wu-Tang Clan)

Edward Sharpe and The Magnetic Zeroes’ brand of revivalist folk commanded the mainstage for the hour leading up to one of the festival’s biggest draws. And it was later reported that rather than watching from the high rises, the members of Die Antwoord preferred to watch The Wu-Tang Clan from the crowd, bouncing along to all the Wu classics like “Shame On A Nigga” and “Triumph.” The band, minus Method Man, were as brash as ever, reaching back into their 20 year catalogue of songs and even bringing out The Geto Boys for a few bars. Ghostface in the flesh? Check and Check.

Doused in a cool blue light, the polar opposite of the red and white regalia he bore for over a decade in the White Stripes, Jack White and his complex army of a band, were a fiery display of bombastic blues-rock, at eardrum-shattering volumes. Every instrument, every member of the band was turned up to 11, both in volume and passion as they ripped through a smorgasbord prospectus of White’s many musical accomplishments. From the latest “Lazaretto,” to the sweetly nostalgic “ We’re Going To Be Friends” to the in-between “Steady, As She Goes,” White put his raucous thumbprint on every song, transforming them into smoky blues ballad or cocky wailer. It was the triumphant “Seven Nation Army” that would close out the Festival, complete with the fireworks that each year, signal “mission accomplished” for the grandest music festival Houston has to offer.

[Thanks again to FPSF and all of their staff for sending us to the fest again this year! Till FPSF 7!]

Check out our Day 1 Recap.