Castlepalooza day three reviews: Villagers shine while Son Lux also rises

I Have a Tribe

I Have a Tribe are the perfect tonic for weary heads so on Sunday afternoon, when the sun shows up just as Patrick O’Laoghaire and his band start to play, the dampness and debauchery of the weekend becomes a distant dream. O’Laoghaire’s warmth as a performer means that the set feels like a private show for his nearest and dearest. Accompanied by MayKay on vocals, whose voice takes a silkier tone here than with her band Fight Like Apes, songs like After We Meet develop a richer narrative. I Have a Tribe are one of Dublin’s most exceptional bands and it’s a pleasure to witness their music. Louise Bruton

Baio

In a glimmering gold suit, and swaggering like Elvis in the Vegas years, Baio's bravado takes most by surprise on Sunday afternoon. Vampire Weekend's bassist Chris Baio released The Names, his debut album, last year and today he celebrated his 61st gig as Baio. Belting out pop-indie hits with all the fever of a club dancer from the 70s, Baio oozes charisma and the music matches. While there is a smattering of Vampire Weekend's quirk in Baio's solo work, he specialises in sweet melancholy through the power of disco. LB

Cat Power

The golden tint on the trees and parapets surrounding the main stage just before sunset on Sunday does something special for Cat Power. She gives an awful lot more to the audience than most artists, specifically acknowledging the ones who vie to let her see their tears and appreciation. In addition, the clear and still sky allows the acoustics to drift crisply through the space. The revised main stage set up has created a much improved soundscape for the audience, as the sound isn’t bouncing of the castle’s walls. This suits her professional band and delivers a moving set. Emily Longworth

Son Lux

Playing Castlepalooza’s Centre Stage at the same time as Villagers headline the Castle Stage, Ryan Lott’s Son Lux is never going to draw a big crowd. It’s unfortunate as it’s one of the more provocative sets of the weekend. With drums and synths that trip over themselves, and Lott’s pained vocals, their set builds on suspense and unease until they hammer down with industrial levels of noise. Son Lux’s music twists and contorts and as the night fog creeps in, and a light glow highlights the Brooklyn trio, all clad in black, it feels like we’ve happened upon a dark arts circle, with a crowd completely under their spell. LB

Villagers

Conor O’Brien’s Villagers start with choral and ephemeral tones but drift into a well-crafted racket, with a band using harp, double bass, electric piano, synths and his own acoustic guitar. It can seem like most of the crowd are there for the three to four Villagers tracks with the most radio play, but they ocassionally look like they are surprised to be wholly transfixed by the artistry in front of them. O’Brien briefly returns for a closing set and both Waves and Becoming a Jackel deliver a thumping ruckus with sound that feels amplified in better quality than some recordings. It is a definitive Sunday headliner, with a little more bewitchery than many thought possible. EL

New Jackson

In the centre stage tent, New Jackson starts the rave-up wind-down with a tech heavy set. He is a little more savvy than last year’s festival season, and comfortable dealing deftly with the rake of synthesizers in front of him. Having a Coke with You is dropped early, a fabulously ambient 2014 track that incorporates a vocal recording from the Frank O’Hara poem. When things gradually get harder he snakes off to the side stage to spark a cigarette and without breaking his stride, meanders right back on in precise time with a savage kick drum drop. The rusty and unapologetic delivery is a nice treat for people who want to see something more interesting being spun. New Jackson delivers something hearty and special, sending them home for the night with nil regrets. EL