Landing during a stretch of hot, sunny weather in Seattle after two weeks of atypical summer thunderstorms, Bumbershoot 2024 was overrun with a mix of ravenous live music fans—dancing toddlers in sunhats, old Seattle hippies, and everything in between. Bumbershoot’s music lineup was as diverse and unique as the crowds, offering a sublime balance between old favorites and fresh faces.

On both days, the early afternoon slots highlighted the talent and variety within Seattle’s music scene. On Saturday, Seattle-bred singer Parisalexa delivered a soulful set in a leopard leotard, and jazz-hop magician, Kassa Overall, whose unique blend of groove, improvisation, and spoken word drew a large, curious crowd to the Fountain Stage. On Sunday, local singer-songwriter Stephanie Anne Johnson showed off her powerful vocals and tight band, and troubadour Dean Johnson shared his poignant original songs.

As each festival day crept toward evening, more widely-known acts—including names as big as Kim Gordon and Cypress Hill—were tossed into the mix. Each day went off without a hitch, and each act was supported by crisp sound engineering and interesting, band-specific visuals and lights, which made for a notably high-quality festival listening experience.

Here are some musical moments that stood out during the 2-day festival weekend.

George Clanton (Saturday)

From the second chillwave maestro George Clanton took the stage on Saturday, he had the crowd in the palm of his hand. Emerging from backstage to the Creed song “Higher,” Clanton laid bare his sense of humor and take-no-prisoners attitude, a persona that helps draw over a million monthly Spotify listeners to his DIY electronic music. Somehow, while jumping into the crowd, holding the mic stand like an AK47, and eventually, smashing his headless traveler guitar against the stage, he still performed fluid and creative versions of his popular tracks like the explosive “Everything I Want,” from the 2023 record Ooh I Rap Ya, and “Warmpop,” which he mashed up with “Tom’s Diner” by Suzanne Vega.

Cypress Hill (Saturday)

On Saturday evening, this old school hip hop cohort smoked the audience (pun intended), showing they’re still every bit the hitmakers they were when they first debuted in 1988. Though all four original members are nearing their sixties, they displayed seemingly boundless energy and impeccable rap chops as they performed hits like “Tequila Sunrise,” “I Wanna Get High,” “Hits From the Bong,” for a totally enrapt audience. The nostalgia was as thick as the cloud of smoke above the crowd as DJ Muggs scratched the turntables and B-Real spat quick, rhythmic bars.

Pavement (Saturday)

With their quintessential slacker appearance and heavy, blunt-edged garage rock, Pavement satisfied the droves of fans who’d come to Day 1 to see them specifically. Having formed in 1989, many of the listeners at the show were Gen-Xers who sang along to every lyric of “Harness your Hopes,” from the band’s fourth studio record Brighten the Corners, “Grounded,” driven by a high quarter-note guitar drone, and even swaying to the twisted, twangy tune, “The Hexx.” There were young converts to the band present, too, watching in awe and laughing along as Stephen Malkmus cracked jokes and, in good fun, bickered with his fellow band members before launching into another classic from their seminal discography.

Courtney Barnett and Kurt Vile at Bumbershoot 2024 photo by Michael Jacobson

All Them Witches (Sunday)

Drawing on grunge, blues, country and even elements of math rock, Nashville-based threesome All Them Witches delivered a blistering performance on the Fisher Stage Sunday. Drummer Christian Powers wore a Soundgarden shirt on-stage, paying obvious homage to the Seattle musical export and a major influence of ATW, which you could hear in the seismic performance of their 2016 song, “When God Comes Back.” Then came the highly technical and metal-inspired tracks like “1×1” and “Enemy of My Enemy,” which showcased the ferocious guitar stylings of Ben McLeod and Charles Michael Parks Jr.’s dark, soulful vocals. The band’s electric set drew a sizable crowd, inspiring headbanging and the flashing of hand-horns.

Kurt Vile (Sunday)

On Sunday afternoon, Kurt Vile, donning a flannel shirt and his quintessential long locks, drew the audience in with his songs—a dash of lo-fi, folk, and psychedelic slacker rock— and his warm and unassuming stage presence. At one point in the silence of a song changeover, one audience member even yelled “I love you, Kurt.” Kurt answered, “I love you, too.” Just like that, his rough-around-the-edges appearance gives way to a natural warmth and authenticity, which is an undeniable throughline in many of his songs, though some often call his music dark. Darkly funny, more like. Fisher Green was packed as Vile performed favorites including “Like Exploding Stones,” a sweet and easy indie rock tune punctuated by a floating keys line, and the upbeat single off 2015’s b’lieve i’m goin down, “Pretty Pimpin.”

Courtney Barnett (Sunday)

Following Vile, Australian indie rocker Courtney Barnett took the Fountain Stage. She’s a good friend and collaborator of Vile’s and, in terms of musical sensibilities, another side of the same coin. Known for her deadpan vocals and low-key, easygoing aesthetic, Barnett began her late night Bumbershoot with a variety of her originals from many different eras and moods, including the rootsy, steady 2013 song “Avant Gardener,” 2015’s distorted, intense track “Pedestrian at Best,” and “Depreston,” a wistful, pared down track about making plans. Barnett’s set culminated in a duet with Vile, who came out to sing “Over Everything” from the pair’s genius 2017 duo record Lotta Sea Lice.

James Blake (Sunday)

Somehow, despite luring an audience of hundreds to the Fisher Stage, English singer, songwriter and record producer James Blake made a late-night Bumbershoot set feel as intimate as a steamy European club. The singer’s achingly tender voice was on full display during both the upbeat, groovy tracks, like his first independently released track, “Thrown Around,” and the slow, tender serenades, like his gorgeous mash-up of Bill Withers’ “Hope She’ll be Happier,” with Radiohead’s quintessential “No Surprises.” Supported by a live drummer and guitarist who also dabbled in electronics, Blake’s set stood out as one of the most powerful and anthemic sets of the festival — a triumphant closing festival act in every sense.

Words by Alexa Peters

Lauren Mayberry at Bumbershoot 2024 photo by Jim Bennett