Rising early for day three (Oct. 14), an impressive mass of curious fans worked their way through the Echo's information tent, which offered up a host of literature and face to face education from regional environmental protection groups. Forestry protection, river clean-up, sustainable energy and locally grown organic foods were all represented, and somewhat surprisingly, each table was cluttered with lines of enthusiastic potential volunteers. Next door, the true spirit of the Echo Project continued in the Echo Experience Tent, where, throughout the weekend, a variety of social and environmental seminars drew packed crowds for entertaining and informative presentations on everything from "Biodiesel Basics" to "Social Change Through Music." Clearly, the message of this festival had not been lost, and it was here that the lasting potential of the Echo Project was most clearly realized.

Collective Efforts / Photo by Julia Norman

Emerging into the dustbowl that had become the stage compound, it was time to trek across the grounds for more music. Under the soothing shade of the Pontiac Tent, local hip-hop/soul revivalists Collective Efforts were greeted by a lively crowd, already grooving to the house music playing softly overhead. Delving into the set, the band, fronted by three MC's and backed by a solid cast of musicians, immediately drew a wave of curious bystanders from the Spoon show in progress at the adjoining Lunar Stage. Feeding off the crowd, Collective Efforts bounced around the stage, spewing a positive message of self-awareness and sharing that only heightened the already brewing sense of camaraderie and togetherness that had become the hallmark of the Echo Project.

Dreamy synth riffs emanated from the stage while Ben Hameen, J-Mil and Bambu continued to inspire the crowd with rhymes like "So much in the world's gone wrong, but everything else is right." Meanwhile, a few dozen die hard dancers kicked up an almost impenetrable dust cloud as the rest of the audience looked on in comfort from the back. With the set drawing to a close, the band took a moment to address the festival's larger social message. "Any of ya'll from somewhere other than Atlanta," Hammen queried to a roar of applause. "That's what it's all about. Getting people together through music for a good cause." We couldn't have put it better ourselves.

The Bravery's Sam Endicott / Photo by Colin Smith

With the festival drawing to a close, it was one final trek across the spacious grassy knoll to catch New York indie dance rockers the Bravery at the Eclipse Stage. Unfortunately the Bravery performed against festival favorites Umphrey's McGee and the Roots, but the band took it with a stride, amping up their stage antics despite the unfortunate scheduling. Though a little contrived, it was refreshing to see the whirling microphones and band members stumbling to and fro for a crowd that was barely pushing thirty deep. "Any requests?" frontman Sam Endicott invited. "This is a very intimate show. Whatever you guys want, you got it." From there, the set became a veritable storytellers session as Endicott paused to take requests after each song and provided lengthy explanations as to what each was about. "This is a song about growing up and having to be responsible for shit and how much that sucks," he so eloquently expressed before "No Brakes." However, as the band prepared to undertake a poppy new track -- which found lead guitarist Michael Zakarin on vocal duties -- Endicott was at a loss for words. "I have no idea what this one is about." And as the set wrapped up with a tribute to the Outsiders and a "good ole fashioned fuck the government punk rock song," it was apparent that while not the most enlightening performance of the weekend, this would be a set to remember. DANE SMITH

Man Man / Photo by Julia Norman

As temps soared into the mid-80s, Sunday's lineup was just as scorching hot. 2:00 P.M. was a split decision for many but indie mavens Man Man was basically buzzing amidst audiences all morning. The Philly fivesome found themselves as a festival fave, garnering an unlikely large new legion of listeners who were surprised and enlightened by their jangly Vaudevillian va-va-voom. It was the kind of quirky bombast that recalls today's trendy taste for Balkan beats, alongside the free spirit of flower children and the persistence of punk. From the flightiness of "Feathers" to clickety clacks of "Van Helsing Boom Box," many could concur Man Man was, in a word from fans around the fest, "awesome."

RJD2 / Photo by Colin Smith

At the very same time, RJD2 rocked the Lunar Stage for a one-off outing with a trip-hop prestige all his own. The moody, sepia-toned soul of the DJ's latest album The Third Hand added an unexpected edge to the festival's free spirited energy flow. The early moments of the set presented unorchestrated scratches through the speakers, evolving into a more erratic showing than expected. By the time the tiny technical difficulties subsided, RJD2 presented an embodiment of electronic hip-hop to be envious over. Providing the power to move, the DJ's integration of soul spin and bouncing beats enraptured the audience. It was understated but intense, as RJD2 always tends to represent -- but his showing in such a kind setting made the hour blossom as a welcome break from the closing day's chaotic lineup.