PHOTOS: Photographic Review of Governors Ball 2014

By Christian Sarkis Graham· 6/9/2014, 1:50 p.m.

We sent writers/photographers/brothers Christopher Sarkis Graham and Bryan Armen Graham to Randall’s Island in New York to check out this weekend’s three-day Governors Ball 2014. Here’s their photographic recap of the day, which kicked off with Philly’s own Kurt Vile:

Who better to help kick off a weekend of world class, genre-spanning pop music than Philly’s own Kurt Vile?

Early on Friday, Vile and his Violators helped usher in this year’s Governors Ball, a music festival that's settled into a three-day format since launching as a one-day event with an emphasis on dance acts in 2011.

Vile's vinyl psychedelia-flavored lo-fi was the perfect volley to Janelle Monáe’s cosmic funk that would soon follow.

OutKast might have had a bumpy start to their festival comeback run after a (in)famously lackluster Coachella reception, but Friday night's confident set — backed by a live band — showed they've worked out the kinks.

Breaking out with a blistering rendition of "B.O.B.," the ATLiens launched into a fierce collection of multi-platinum favorites (“Ms. Jackson,” “Hey Ya!,” “The Way You Move”) along side some (remarkably) 20-year-old gems in “Hootie Hoo” and “Player’s Anthem."

Guest stars kept the energy level cranked to 11, with Sleepy Brown weaving in and out of songs through the night, and Killer Mike emerging just in time for his verse in the finale, “The Whole World.”

Day 2 brought more pristine weather and hometown talent in West Philly expat RJD2.

The collage artist’s celebrated electro-analogue style laid just the tone for the day, leaving the crowd in a sea of fist-pumps with the “Ghostwriter” set closer.

Later, The Strokes took the main stage for their first festival appearance since 2011 — but if there was any dust to shake off, no one could spot it settle.

Opening with Is This It’s “Barely Legal,” followed by a host of other long-time favorites (“Hard to Explain,” “12:51” et al) the NYC Revival poster children balanced their stage time with tracks from 2013’s Comedown Machine, for good measure.

Soon after came a far-and-away fest highlight in Jack White, who may have swapped his trichromatic theme from a red to blue base, emerging on Saturday night’s cerulean-drenched stage — but White was sure to remind us he’s not turned on the work that’s secured him as rock’s saving grace for near 15 years.

The set certainly highlighted his solo tracks, both from 2012’s Blunderbuss (“Love Interruption,” “Sixteen Saltines”) and the upcoming Lazaretto.

But he didn’t skimp on the nostalgia either, opening with a roaring “Dead Leaves and the Dirty Ground,” caroling with the crowd on “Hotel Yorba,” closing with a much awaited “Seven Nation Army” and hell, even throwing in the Raconteurs’ “Steady As She Goes” for kicks.

Seems the only Jack project left untapped was the Dead Weather (something of a missed opportunity, considering the super-group cofounder Alison Mosshart was on deck for a Kills set on Sunday.)

Tyler, The Creator joined Earl Sweatshirt, Jasper Dolphin and Taco for a raucous, profanity-laden afternoon set that drew a massive crowd on Day 3, demonstrating why Odd Future is the biggest punk attraction in the business. Seattle folk-rockers The Head and The Heart alleviated the adrenaline rush with a set drawn heavily from Let's Be Still, their sophomore effort for Sub Pop Records. British singer and electronic producer James Blake reached into his back catalog with a sexy set drawing on his inimitable blend of R&B, soul and electronic influences. Homestanding veterans Interpol delivered a tight, focused set before a massive crowd that conflicted with eccentric Australian electro-pop duo Empire of the Sun, whose "Walking On a Dream" set an overflow tent crowd into hysterics.

Vampire Weekend drew the bigger crowd of Sunday night's two headliners, but Axwell & Ingrosso — veterans of EDM kings Swedish House Mafia — closed the festival with a bang (literally) with a fist-pumping set punctuated by fireworks above the stage.

The trail of defunct, failed New York City music festivals is long (remember All Points West, Vineland, Field Day, Across the Narrows or Bonnaroo N.E.?) but another successful weekend on Randall’s Island proves that Governors Ball just may have cracked the code. Keep scrolling for more photos from the three-day festival.