Saturday at 35 Denton: The rain couldn’t stop the funk

by Brenna Rushing

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All evening sets scheduled for the outdoor main stage were moved to the Hive, making for an all-nighter full of fresh beats and booty-shaking sets.

DENTON — For the second year in a row, rain took over the main stages of the main day at 35 Denton, causing a rescheduling frenzy for Saturday’s big acts such as Killer Mike, the Cannabiniods featuring Sarah Jaffe, and Solange. But the crew was prepared for disaster and moved all three sets to the newest venue, the Hive. This 12,000 foot pop-up venue was converted from a simple warehouse right before the four-day festival and is one of the largest at the event. At the rate 35 Denton is growing, and considering how many people were turned away at various venues last year, the Hive is an answered prayer for many. We stuck out the torrential thunderstorms under the tin roof for the entire night and enjoyed the one of the most eclectic showcases of the day.

The Cannabinoids featuring Sarah Jaffe at the Hive

Layered beats laced with sharp keys and a live drum kit make the Cannabinoids stand out in the current hip-hop game. Composed of Grammy-winning producers with some of the best ears in town, the group known as Erykah Badu’s crew can convert any crowd into funky hip-hop fans. Exclusively for 35 Denton, they added Sarah Jaffe to the bill, who stepped out for 15 minutes of their 45-minute set. With less focus on her fuzzed-out bass, the Cannabinoids added meat to the percussive flow, making her tracks sound like a remix you’d want to start the weekend with.

The pair’s collaboration started last fall with their decomposed, transient remix of Jaffe’s single, “Glorified High.” The stellar track closed out Jaffe’s time onstage — the slowed version showed off her own groove through chopped vocals that suited the indie rock queen. A.Dd+ jumped onstage after her exit, flipping the chill vibe into an all-out rap battle. Not only can the Cannabinoids successfully remix any track in the studio, they can also put on a fresh, off-the-cuff performance that feels like they’re just a circle of friends jamming at home.

Solange at the Hive

Yes Solange is Beyonce Knowles’ sister, but she’s also an eclectic indie artist in her own right. After almost an hour-long delay, the singer stepped onstage in layered polka dots, patterned shorts, and her signature afro. She apologized for the delay, saying that even though half their instruments were still not working, she didn’t want to make the at-capacity venue wait any longer. The lack of instruments made no difference to her sound or stage presence: Her silky vocals and adorable dance moves had us wrapped around her little finger from the first track.

Most of her music comes right out of the '80s dance era, relying heavily on electro keys and ethnic beats. After a surprising but unique cover of Selena’s “I Could Fall In Love,” she stepped into the crowd, demanding a dance party. “Losing You,” currently her biggest single off of True, converted the already-charged audience into a carefree riot. With arms in the air and antsy feet, the full warehouse seemingly forgot the terrible weather and danced the night away with a singer who didn't rely on her familial stardom for fans.

Com Truise at the Hive

After many set shifts and some rescheduling, Com Truise finally stepped up for the Hive’s closing set at 1 a.m. Not surprisingly, the art-director-turned-DJ stuck to his synth, making little conversation with minimal interaction. Alongside drummer Rory O’Connor, Com Truise (also known as Seth Haley) created mid-fi electronic tracks that felt appropriate for a modern-cool NYC art exhibit.

Although he was the Hive’s headliner, the crowds were diminished and more lackadaisical than expected. Maybe it was because the show lacked a trippy light show — most experimental, electro artists of today add depth to their stale stage presence with colorful lasers and lights. Aside from the lack of eye-catching lasers, Haley did seem to know when to hit the gas or the brakes.

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