“Negronis—if you have more than two you’re on the way down.”

Kevin Parker is speaking of his drink of choice. “That’s why I like them, though,” he says. “Toward the end of the night, when you’re with friends and you just want to seal the deal: ‘Negroni please.’” The frontman of Australian psych-rockers Tame Impala is sitting on a plush patio sofa backstage at Governors Ball on Randall’s Island, sipping a modified Moscow Mule—the bar backstage has no ginger beer. He has an indigo-dyed scarf slung around his neck and one of his deep blue flip-flops slipping off his foot. It’s not exactly the portrait of a no-fucks-given egomaniac. But Parker is nothing short of a rock star.

Thirty minutes prior, Parker, alongside bass player Cam Avery, guitarists Jay Watson and Dominic Simper, and drummer Julien Barbagallo, held close to 100,000 sweating New Yorkers captive on the main stage of one of the country’s youngest and most high-profile music festivals. “There arent a ton of young rock acts out there that you could say for certain will eventually graduate to bona fide headliner status,” says Jordan Wolowitz, one of Governors Ball’s founders. Tame Impala, he assures, are “more than ready to make the leap.” They took the stage ahead of Oasis leader Noel Gallagher’s High Flying Birds and later the Black Keys. Maybe next year they’ll be ready to play when the sun goes down.

Barefoot and bright-eyed, Parker parlays comfortably between two microphones, two guitars, an array of pedals, and a can of beer tucked safely behind his amp. Their set offered up diffuse, dreamlike cuts from their Modular Recordings-released debut full length, Innerspeaker, as well as those from their Modular Recordings-released sophomore effort, Lonerism, including their breakout single, “Elephant.” But it was the songs from Tame Impala’s forthcoming third album, Currents, that gave the show its mainstream pop appeal. Two of the highly anticipated album’s lead singles, “Eventually” and “Let It Happen,” reverberated through Randalls Island’s mud-soaked fields with heaps of smooth, psychedelic color. And the R&B-infused, tongue-in-cheek “’Cause I’m a Man” brought just enough sex appeal to mix with the crowd’s early-evening buzz and got people to dance.