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Day two of Mosswood Meltdown a high-energy affair.
The first band of the day, The Vaxxines brought their bratty, defiant sound to the tree-lined amphitheatre for some mid-day sneering and rocking out. “Free Radicals” and “Drink Beer and Destroy” were the highlights of their set, really channeling the sound of punk forefathers like The Angelic Upstarts and The Business. Their cover of “Oh Bondage! Up Yours!” by X-Ray Spex was one of the few times I’ve seen the song covered well. Whereas most bands make it into a joke because they can’t hope to capture Poly Styrene’s casual panic, The Vaxxines really went for it. It was a strong start to another fantastic day of anti-establishment rock n’ roll.
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Patric Carver
Photo by Patric Carver
Photo by Patric Carver
Sinking even further into the subversive, Fatty Cakes and the Puff Pastries is probably the coolest thing to ever come out of Fresno. With a sound like a slightly more mature and dynamic Bratmobile, Fatty Cakes seemed to be the cheerleaders for every underdog.
Photo by Patric Carver
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Patric Carver
Photo by Patric Carver
Photo by Patric Carver
The underdog theme was clear at all points of the day. The entire lineup was a delightful motley crew of all the former school kids who were probably beat up, bullied, or ignored. In other words, all the kids that I would have probably been friends with.
Brontez Purnell’s sweetly personal set in which he was as much storyteller as musician. Hunx and his Punx delivered their brand of charming mix of doowop meets stick-n-poke. Fevers brought their now well-rehearsed indoor kid sound into the mix.
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Of course, no one champions the underdog better than long-time punk heroes Pansy Division. There entire set was like a love letter to every queer kid who was oppressed and a hearty fuck you to all of the oppressors. “Some of My Best Friends” has always been one of my favorite songs of theirs because it challenges homophobia through a first-person perspective. Instead of sweeping generalizations about what “they” are doing, “Best Friends” makes it about interactions between individuals. On the surface, it sounds so sweet, but it’s actually one of their most aggressive songs. Their delivery of the song at Mosswood was as good as I’ve ever heard it, wooing the crowd.
Photo by Patric Carver
Photo by Patric Carver
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Podium had more of a take-no-prisoners approach. Their set was a passionate fever dream in which vocalist África Mansaray played pied piper to all of the young punks in the crowd. Spinning, drilling guitars flanked Mansaray’s vocals, and each song was was an absolute fury.
Photo by Patric Carver
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Patric Carver
Speaking of young punks, The Linda Lindas provided a solid set that included a very fitting cover of “Tonite” by The Go-Go’s. The Lindas have all the same energy and bravado as The Go-Go’s, and they really captured the joyful harmony and solidarity that’s been the bedrock of their sound. That same sound was captured on songs like “Talking to Myself” and “Monica.”
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Sammy Braxton-Haney
Photo by Patric Carver
Photo by Patric Carver
Photo by Patric Carver
Headliner Bikini Kill was the perfect cap to this festival of misfits. Kill committed to the festival more than two years ago, and stuck with that commitment all through the pandemic. Kathleen Hanna’s trademark screech seemed to grab the sun down from the sky, as night descended on the festival grounds. Opening with “New Radio,” Kill didn’t seem to have a pause in energy at any point of their set. Showing their playful, soft underbelly, the set included covers of new wave hit “Walking on Sunshine” by Katrina and the Waves and the combination Synth Pop and Reggae nightmare that is “Break My Stride” by Matthew Wilder. “Rebel Girl” was a literal show stopped, Hanna pouring all of her frustration, rage, and disappointment into this climactic performance that would usher in the end of the festival.
Photo by Patric Carver
Photo by Sammy Braxton-Haney
Photo by Patric Carver
Photo by Sammy Braxton-Haney
Photo by Patric Carver
Most festivals try to have something for everyone. Mosswood Meltdown had everything for the nobodies. It was a safe place for those who don’t belong to belong.
Photo by Patric Carver
