As the frigid campgrounds of Echo Project thawed under the hot Atlanta sun on Friday (Oct. 12), eager music fans at the 350-acre Bouckaert Farm filed into the stage compound, unsure what to expect from the first-year festival. Those lucky enough to arrive before noon were treated to an early start, as the Flaming Lips rolled through a sound check that included "Free Radicals" and a word from the always-inspiring Wayne Coyne. "This is the first year this has ever been put on, so if this thing goes on to become one of those great festivals that we're all coming to in twenty years, the Flaming Lips will be the first band that ever played here." Let's hope that's the case.

Lyrics Born / Photo by Julia Norman

By mid afternoon, the masses had come to life, and a modest crowd gathered at the Solar Stage for the funk driven styles of California MC Lyrics Born. Energetic and uplifting, the six-piece brought the draggy crowd -- still nursing hangovers -- to their feet for an all out dance party that would go unrivaled till nightfall. "We've gotta set the tone for the rest of the evening," Lyrics Born prompted the crowd. "I need ya'll to make more noise than you've ever made in your whole life!"

Fueled by pounding bass and jazzy keys, the ever-growing crowd continued to rave on, and as Lyrics Born worked the stage, hoola hoopers appeared near the sound booth, seemingly oblivious to the world. Clearly feeling a sense of responsibility as one of the first acts to perform at the Echo festival, Lyrics Born repeatedly addressed the crowd, inciting roaring applause and a series of call and response "Heeeey's." With some choreographed dancing and a handful of crowd shout-outs -- Lyrics Born owned the crowd, setting the tone for the night to come. All and all, an encouraging start to a rookie festival already coming into its own.

Gza / Photo by Colin Smith

Friday also found free spirits floating stage to stage along Atlanta's Chattahoochee River, but Wu Tang Clan's GZA (the Genius), Slick Rick, and up-and-coming collective the Fyre Department as backing band, supplying the spirit, soul, and gold standard at the Echo Stage. Whether fans were throwing hands up in "W" formation or throwing it down onthe grassy dance floor below, the message was clear: GZA's still got it. Continuing to evolve creatively, the message man's summoning of Slick Rick and the Fyre Department set his tracks ablaze and energy was emergent everywhere. Somehow GZA's street-smart sayings meshed with the often salacious songs of Slick Rick and overall, the set was a success and standout. This was clearly as close to a Wu-Tang performance as many would get, thanks to the Genius spitting classic tracks of his game-changing collective like "Bring the Ruckus" and " C.R.E.A.M."

Live from Bouckaert Farm / Photo by Colin Smith

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Day two (Oct. 13) staggered to a slow start, the crowd weary from a gluttonous night of booze and music that saw sets from Cypress Hill, Les Claypool, and Secret Machines. But music prevailed and early crowds gathered throughout the grounds, most notably at the Solar Stage where local psychedelic rockers Dead Confederate revived the spirit of rock'n'roll with a hazy set of guitar-driven stoner rock.

Son Volt / Photo by Colin Smith

Across the grounds, Son Volt silently appeared on the main stage to a surprisingly sparse afternoon collective. Casual and seemingly apathetic, the band opened with a toned down version of "Satellite," from this year's The Search, and continued to give the crowd -- which had already doubled -- the silent treatment as they eased into "Who."

Scattered about the dusty field -- still littered with yellow confetti, courtesy of the Flaming Lips -- drowsy fans nursed cold beers and squeezed into the few shady spots to be found on the grounds. Though an uneventful performance, Son Volt's laid-back, country-tinged roots rock was a relaxing break from the often hectic pace of the weekend music festival, and the scene could not have been more appropriate against a backdrop of blue southern skies and autumn-colored trees. Finally addressing the crowd, though briefly, Farrar thanked the fans and played on, delving into heavier material including "Jet Pilot" and "Medication" during the latter half of the set. A steady flow of fans filed in and out while slide guitar and harmonica filled the cool autumn air, and it was time to get a move on.

Cruising through the spacious field that flanked the stages, fans carefully dodged Frisbees and soccer balls without missing a step, working their way between sets for a packed afternoon that hosted the Avett Brothers, Clap Your Hands Say Yeah, Brazilian Girls, and Thievery Corporation. By nightfall, Cat Power was poised to take the Lunar Stage, and again, a surprisingly light crowd appeared early, eager for a glimpse of the notoriously shy songstress.

Cat Power songstress Chan Marshall / Photo by Julia Norman

Opening with a cover of Frank Sinatra's "New York, New York," Marshall appeared comfortable in the spotlight, backed by members of the Dirty Three, the Jon Spencer Blues Explosion, the Delta 72's and Lizard Music, all assembled as the Dirty Delta Blues Band. Throughout the performance, Marshall gracefully shimmied beneath the cool blue lighting, treating the attentive crowd to reworked versions of originals like "Could We," "Metal Heart," "Lived In Bars" and "The Greatest" -- many almost unrecognizable to the casual listener -- while mixing things up with an eclectic mix of covers that included the Rolling Stone's "Satisfaction," Smokey Robinson's "Tracks of My Tears," The Highwaymen's "Silver Stallion" and "Dark End of the Street," popularized by Aretha Franklin. Throughout the remainder of their downbeat, mellow set, Cat Power and the Dirty Delta Blues Band continued to offer one of the most interesting performances of the weekend, transforming Marshall's songs and keeping the fans -- many who had seen the same songs performed at last year's Bonnaroo or Austin City Limits -- guessing what might come next.

Scissors for Lefty vocalist Bryan Garza / Photo by Julia Norman

Thanks to the unusually cold nights, many Echo rockers got a late start on Saturday morning, but come high noon, San Francisco's Scissors for Lefty was already chopping through the clutter on the sun-soaked Solar Stage. This particular setting might have been solely powered by the sunshine, but the dapper quartet's sizzling synth and neo-disco-doused choruses added another alternative source to amplify their aptitude for indie innovation. As the band is set to start another tour, the show felt like an intimate invitation to a rehearsal for their forthcoming foray. Scissors for Lefty's set may have been small, poppy, and powerful, but from this perspective, it was funny and also fulfilling for festivalgoers to see how the Bay Area home of hippie chic has evolved into a haven for Brit-inspired retro-rock with a forward flare.

MSTRKRFT / Photo by Colin Smith

Twelve hours from the day's debut and a ton of decadent discoveries later, MSTRKRFT kept the people moving with an entourage in tow. Toronto DJ Al-P and Death From Above 1979's Jesse F. Keeler lit up the night from the confines of the Eclipse Tent and hundreds of haggard hippies found a home elsewhere across the festival grounds. With a set was book-ended by Justice's " D.A.N.C.E." then filled with the likes of Daft Punk and original electro-opuses in between, the duo's remixes were regal and the crowd was out of control. Dancers dabbled onstage to the fringes of the tent, likening the environment to a European dance club among many foreign to the hype of house music. Halloween came early with many carousing in costumes, dancing carelessly to keep away the cold. For two and a half hours, MSTRKRFT turned it out, until someone literally pulled the plug mid-finale. Clearly, it was time for everyone to return to their tents, but little could mess with the magic staged under the stars Saturday night as MSTRKRFT made it their own.

Echo campers / Photo by Colin Smith