Jason Speakman for The Village Voice

Kiesza achieves serious air at Governors Ball 2015

Now that the last ferry has long since departed from Randall's Island, the balloon arches have been popped and the crushed-to-blithereens Miller Lite cans have been swept up along with the rest of the festival's evidence, it's time to look back on the best music moments at Governors Ball 2015. From the return of DIIV to St. Vincent's face-melting prowess to Kiesza's house domination, here are the Gov Ball sets that'll tide us over until the next music marathon shebang.

Jason Speakman for The Village Voice

Kevin Parker of Tame Impala at Governors Ball, 6/7/15

For a band that's often recognized for their amazing sound quality during live performances, it was a pleasant surprise to see Tame Impala's stage set-up was simple and unassuming. There weren't many indications that one of contemporary rock and roll's more defining acts is set to appear any minute, besides the obvious roster of instruments that adorned the stage's center. Zero towering Marshall Amplifiers were stacked about in this stage design. Instead, a couple of modest Vox amps rested on the ground, and they appeared to be meticulous and expertly mic'd up. The sole stage décor was hung in the back in the form of an inactive rectangular screen. This minimalism was welcome given the sensory overload Governors Ball unleashed all weekend, but eventually the five members of Tame Impala stepped onto the main stage and embraced the uproar of applause during their late afternoon Sunday set.

Bandleader Kevin Parker was without shoes. Barefoot and amused, he grabbed a hold of his Rickenbacker, gave a quick greeting to the masses, and then cut straight to the chase. A minute-short jam developed, allowing the band to work out any kinks in their audio display. But as soon as it sounded right — which it most certainly did — Tame Impala spared no hesitation by ripping into "Let It Happen," the eight-minute space jam that serves as one of the four appetizers leading up to their impending third album Currents. Once the music began the backing screen flashed awake and supplied captivating graphics full of colorful vortexes complementing the music throughout the show.

Jason Speakman for The Village Voice

Florence Welch of Florence + The Machine could totally hear you at Governors Ball, you guys

There were times when the distortion/bass/jangling riffs achieved deafening strength at Randall's Island over the course of Governors Ball, and then there were some quiet, intimate or otherwise turned-down moments in between songs and in the space between stages where festival fiends said some of the goofiest, dumbest and weirdest stuff we've heard in a public setting.

STDs! How to say "yogurt" with an Icelandic accent! Kiss! No topic was left unbroached, so when we were giving our ears a breather, we compiled a list of the most absurd things overheard at Governors Ball 2015.

Jason Speakman for The Village Voice

J. Roddy Walston & the Business at Governors Ball 2015

Sometimes, a band elicits such a strong emotional response following their performance at a music festival that it's difficult to put into words. We totally get it: After your brain's been massaged until it's a radioactive pile of goo thanks to Deadmau5's thunder-bass or your heart breaks from listening to Sharon Van Etten's brutally honest balladry or your body can't take it anymore because you stupidly tried to out-dance Sam from Future Islands, it can be difficult to form a sentence beyond "GOOD" or "BAD" or "NO" when the artists walk offstage and the house music comes on over the speakers.

That's why we opted to try something different this year. After a number of Governors Ball sets, we approached people who looked like they were having a great time at the festival to get their thoughts on these bands in action at Randall's Island Park. We asked them if they could sum up what they just saw and listened to in three words or less. This is what the people of Gov Ball had to say about how its 2015 lineup.

Timothy Norris for LA Weekly

Bad Religion at the Fonda in Los Angeles, April 2015

For more shows throughout the weekend, check out our New York Concert Calendar, which we update daily.

Photo by Mario Dane

Andrew W.K.

[Editor's note: Every week, New York City's own Andrew W.K. takes your life questions and sets you safely down the right path to a solution, a purpose, or -- no surprise here -- a party. Need his help? Just ask: AskAWK@villagevoice.com]

Dear Andrew W.K.,

To put it simply, I've lost my confidence. I used to be able to wake up in the morning knowing who I was, feeling sure of myself and ready to take on the world. But over the past few years, I've felt myself slipping away and it's come to the point where I no longer recognize myself.

Before this, I had accomplished a lot in life. I bought my own home at age 23, I'm well-educated, I love my career, and I have an amazing support group of friends and family. Yet when I look at my life, I feel boring — like there's nothing outwardly special or impressive about me these days.

I know I should be able to be proud of what I've done in the past — and I am — but that drive to do more just isn't there anymore. I just want to be confident again and know who I am. I've lost my way and don't know how to get back my old self.

Your friend,
Lost Along the Way

Nicole Fara Silver for The Village Voice

Ryan Adams closes out his U.S. tour at Governors Ball, 6/6/15

Sound bleed is a bitch, and Ryan Adams hates it along with the rest of us. Adams played through his collection of guitars during his performance at Governors Ball last night, but the first time he picked up the acoustic — for "Oh My Sweet Carolina," typically the most intimate, stripped-down moment in his set — the wubs and unzt-es and wobbles wafting over from Deadmau5's main stage thunder dome debut were assaulting the hush as the guitar strap found its way over his shoulder.

"This song — it's not gonna match the robot music you hear coming from over there!" he exclaimed by way of an introduction. "It's like we're living in a fucking Terminator nightmare! Although the next song goes out to the Terminator." Adams specified that "Oh My Sweet Carolina" was intended for the Terminator T-800, not the T-1000, 'cause c'mon now, and then he eased into the lullaby that serves a flawless, soothing foil to the raucous rock 'n' roll and mirthful banter that had come before it.

Jason Speakman for The Village Voice

Deadmau5 at Governors Ball, 6/6/15

Deadmau5's Saturday night headlining set at Governors Ball was almost over before it even started — or at least ten minutes after it started, which would have been an even greater tragedy. The EDM giant used the festival to unveil his highly anticipated new thunder dome stage setup, but just as it was beginning to show off its full, seizure-inducing capabilities, technical problems caused the audio, a key element to any electronic music show, to cut out. Teenagers groaned and shrieked into the night as Deadmau5 and tech hands scrambled to remedy the issue. After a few false starts and one extended break, the rig was up and running again, and the DJ/producer was able to win the crowd back and finish a spectacular set. Thank God, because otherwise trippers might still be wandering up and down the East River searching for answers.

Since becoming popular enough to be able to consider such things, Deadmau5 has been known for his elaborate stage productions and lighting displays. He was one of the first EDM artists to focus on making his live sets as trip-friendly and visually spectacular as possible, typically operating behind a platform designed to resemble a V-shaped arrangement of blocks that also doubled as a visualizer. The focal point of his new setup, which he co-designed with legendary lighting designer LeRoy Bennett, was to be some sort of geodesic dome. Other than that we didn't know much outside of how it was going to blow everyone's mind. Nary a tank top-wearing bro could wait to see what Deadmau5 and Bennett had come up with.

Jason Speakman for The Village Voice

Florence Welch of Florence + The Machine at Governors Ball, 6/5/15

"I KEEP FORGETTING I BROKE MY FOOT!"

Based on how she was sprinting, twirling, leaping and diving yesterday onstage at Governors Ball, it's easy to see how Florence Welch had broken her foot in the first place — and also why she'd get so caught up in the performance that she'd then forget about the healing injury entirely.

Welch jumped offstage and broke her foot at Coachella earlier this festival season, and as a result, she had to re-work her show in order to sit down for the performances following her Indio accident. Her Saturday Night Live performance — which served as the mainstream debut of "Ship to Wreck" and "What Kind of Man" off her latest album, How Big, How Blue How Beautiful — was a seated one, and though Welch sounded just as ascendant and strong as ever, she was visibly restrained and, well, anchored. This is a woman who's voice hits the kind of heights those who built cathedrals used to dream about, a force to be reckoned with who can level a field with one belt should she choose to do so. At Governors Ball, Welch, on the mend, was finally able to ditch the stool and get back on her feet, and she really got back on her feet, kicking off shoes, lapping the stage barefoot and nailing a few moves that an Olympic figure skater would raise an approving eyebrow at. CLEARLY she kept forgetting she broke her damn foot. She was simply too thrilled to be back in her element on her own terms for the first time since touring behind How Big, How Blue, How Beautiful got underway, and her fans present were just as beside themselves.

Jason Speakman for The Village Voice

Drake performs during his headlining slot at Governors Ball 2015, 6/5/15

"I'm using tonight as like a case study," Drake said a few songs into his Friday night headlining set at Governors Ball. "I got a game going on tonight. You want to play?"

New York wanted to play.

Drake wasn't experimenting with any technical aspects of his Jungle Tour during its stop at Randall's Island Park. The pyrotechnics (hell yes), the three-dimensional jungle backdrop (a la Max Fisher's Vietnam play in Rushmore), the video of a snowy landscape playing behind him during "Headlines" (including a few delightfully ridiculous seconds of Drizzy rapping in front an insanely large owl's face) — it had all been seen before, note-for-note, in the cities that preceded New York on this tour. Judging by reviews of previous stops, his setlist, featuring over 25 songs, was practically identical to that of prior dates, as were the lyrics to a "freestyle" he blended into a medley of songs to close the night. The case study, what Drake was testing, was if the crowd would be able to match his energy, because he was going to bring it.