I recapped the entire event in my glowing Unplugged column last week in Do in the Savannah Morning News, so here I’m just going to make some random observations and attach an album of the photos that I’d say are my favorites from the weekend.

But first, a taste of Paste’s writeup:

Canadian Mac DeMarco was one of [the highlights], posturing like a crazed frontman and mixing 80s metal covers into his original material, inciting moshing, screaming and stagediving from a packed crowd at The Jinx. Brooklynâ€s Christopher Paul Stelling had a more intimate show, arriving just seconds before his set but still managing to beguile those in attendance. His awe-inspiring guitar fingering and arresting voice, which was simultaneously smooth and guttural, was worth the trip alone. But the crown jewel of the festival for me, and likely for most, was seeing of Montreal play beneath a makeshift band shell in Forsyth Park on a warm, star-filled spring night.

Of Montreal is from Athens, Ga. just a few hours away, but this was their first time playing a set in Savannah. Based on the enthusiastic—borderline chaotic—response from the crowd, I think theyâ€ll be back. A heavily danceable set had everyone, from diehard fans and local families to curious passersby, moving with the music.

For the record, here are the acts that I saw — anywhere from a single song to the entire set:

Thursday:
The Last Bison, Ben Sollee, William Tyler, Lee Bains III & The Glory Fires, Chelsea Light Moving featuring Thurston Moore, Delicate Steve, Naomi Punk, Mac DeMarco

Friday:
Sam Sniper, Filligar, Heyrocco, this mountain, PUJOL, of Montreal, Alex Bleeker & The Freaks, The Suzan, Country Mice, BRAIDS

Saturday: this mountain, Field Report, Blessed Feathers, The Wild Feathers, Autumn Owls, Little Tybee, Bear Fight!, Royal Canoe, Fine Peduncle, Filligar, Dent May, Roadkill Ghost Choir, Jonathan Toubin’s Soul Clap & Dance Off

Sunday at the VIP and band brunch: Jamison Murphy, Lovely Locks

And there are so many more I wish I had seen.The venues this year were well chosen for their proximity, but I still couldn’t be as many places at once as I would have liked.

I took pictures — at least one or two — of each of the bands I saw, but a few of the venues were really not suitable for quality photography unless you’re sporting some super pricy equipment (and maybe not even then). I’m in love with the fact that Hang Fire has music again, but there no lights on the band. None. B&D Burgers’ stages — both inside and out — are poorly lit, and the stages at Congress Street Social Club are only a little better. Taco Abajo has enough light, but the cartoonish backdrop and structural pillars are problematic. I hope the lighting is something the venues themselves might address sooner rather than later — they certainly won’t see many appealing shots of bands at their venues if they don’t address the lighting problems. More importantly, I think the average music lover prefers venues that have more light on the band than on the audience . . .

Of course, the Savannah Stopover is all about the music, not the lighting, and one of my few complaints would be that we need even more music. Few folks turned out for early Saturday afternoon shows a year ago, so it made sense to wait and start the music this year at 4 p.m.. But I think crowds will eventually support sets from noon or 1 p.m. onward. And I hope that next year we’ll see Friday and Saturday night sets that run right up till last call. With all the venues seeming to run more or less on schedule — a rare feat in Savannah — I sort of ran out of music before I ran out of energy on the last two nights.

I also haven’t quite wrapped my head around the fact that so many young Savannahians in the Stopover’s target demographic don’t seem to quite know what the festival is yet. The Savannah Music Festival has had some similar issues. But it’s hard to blame the festivals. Both the Savannah Morning News and Connect Savannah had extensive coverage in advance of the Stopover; the Stopover has a robust social media game; people like me with literally thousands of social media contacts were routinely posting about it. But on the Friday afternoon that of Montreal was scheduled to play in Forsyth, a Facebook friend of mine — a young, intelligent, gay college student who would obviously be interested in that performance — updated his status with shock and surprise about the show. How did he miss that crucial news for so many weeks? How can people like him be reached? Will it just take a few more years to get the festival ingrained in the local culture?

By the way, rather than rely on my press connection, I bought a VIP pass for the event — just $120 — which included a significant number of free drinks, plus access to the Stopover recording sessions at Dollhouse Productions, to the artists’ lounge above The Sparetime, and to the final brunch on Sunday afternoon at one of the best party houses in town.

What. A. Bargain.

If the Stopover is ever forced to restrict photography as some festivals have been, I might need to go for the press credentials, but I’m happy to support such an amazing event and I prefer the freedom that comes with paying my own way.

I’ve already done separate posts about some of the acts that I caught: Mac DeMarco, The Suzan, Chelsea Light Moving, Filligar, Little Tybee, and The Last Bison. But there were plenty of others that excited me.

Among the standouts that I was seeing for the first time were Lee Bains III & The Glory Fires, Field Report, William Tyler, Filligar, and The Suzan.

I’ve seen both this mountain and Heyrocco multiple times, but they never cease to impress.

I’m going to post a much larger collection of photos to the Savannah Unplugged Facebook page in a day or two, so please like that page if you want to see that update and others.

So here are some of my favorite shots from the 2013 Savannah Stopover. Click for larger versions or open using Cooliris. If you hover over a pic, you can see the act and the location.

For these and more pics — many of dubious quality — click here for a Facebook album.

The primary sponsors were Savannahnow.com, Savannah Magazine and Visit Savannah. Stand Out Youth was the nonprofit beneficiary.

Congrats to all involved in the theatrical, beautifully and crazily staged show. Some of the audience farther back from the stage probably had no idea about some of this stage business. No worries: I was right up front and have no idea about some of this stage business.

Some photos (click for larger versions or try viewing with CoolIris):

I pretty much want to see every single act that’s playing in the time slots from 9 p.m. on tonight. So much talent.

Of course, there’s no reason to wait that long for great music. Christopher Paul Stelling, Pree, and a number of local acts kick things off at 4 p.m. at various downtown venues.

And it sure looks like a gorgeous day.

Yesterday was as tremendous as I hoped it would be. It’s very difficult to estimate crowds in Forsyth Park, but I’d say there were at least three thousand — that’s really conservative — for the free all ages show with headliner of Montreal and opening act Royal Canoe. In between those sets, Pujol played a few typically tight tunes in the parking lot next to the Third Man Records truck.

So here are a few pics from yesterday. These are unedited. I will be posting more pics and maybe even a couple of videos once I have time really to sit down and go through the shots I’ve taken, and then maybe clean a few of them up a little.

So here are some shots that include Filligar at B&D Burgers, Heyrocco at Taco Abajo, Pujol and of Montreal in Forsyth Park, Alex Bleeker & the Freaks at The Jinx, The Suzan at Club One, and Country Mice at The Jinx.

I won’t be previewing all the acts — not even close — and in many of these posts I might not even have a lot to say. Just some clips or videos or photos or links — enough to give readers and listeners a chance to sample the musician or band.

Once the Stopover folks launch their full website with exact times and band profiles, I’ll link to those here.

It seems especially pointless for me to try to write some sort of huge piece giving background on a known quantity like of Montreal, the Athens-based band that’s booked for what promises to be an extraordinary, free, all-ages show in Forsyth Park on the evening of Friday, March 8th.

of Montreal has over 220,000 fans on Facebook. The band recently raised almost $95,000 via Kickstarter for the provocative “Song Dynasties” feature length documentary.

There’s obviously tons more information on the band’s website.

Visit Savannah is one of the presenting sponsors for of Montreal’s appearance in Forsyth; the Savannah Morning News, Savannah Magazine, and savannahnow.com also recently announced their role as a presenting sponsor for the show.

A few tunes and videos:

And from the Kickstarter campaign:

CEO Kayne Lanahan and her team announced the first 40 bands and a few other details for March 7-9, including of Montreal performing a free show in Forsyth Park on Friday, March 8. What a coup.

For lots more details, check out Savannah Stopover returns with free concert in Forsyth Park; In its third year, festival will feature more than 70 bands by Jason Kendall in Tuesday’s Savannah Morning News.

Savannah Stopover also got a huge PR boost on Monday from Paste, which featured the lineup on its homepage. That’s tremendous national — even international — exposure.

I’ll have more to say about the announced bands in my Man About Town column in Do in the SMN on Thursday, so I’ll only add here a few clips and other embeds of of Montreal:

Btw, of Montreal is currently raising money on Kickstarter for Song Dynasties, a feature length documentary: