The times they are a changin’ for music festivals. Last month celebrated fest Gathering of the Vibes announced that after 20 years it would take a break in 2016, and the newest festival to join the group of events taking (at least) a year off is Wakarusa.
The festival’s organizers broke the news yesterday through a public social media post, noting that legal issues with disagreeable partners are to blame for the leave of absence. But according to the statement, Waka will return:
“Wakarusa was significantly damaged by partners claiming to share our vision. Sadly, they lied. They are being dealt with appropriately through the legal system. Further, we have found that the universe is often much more effective in dealing with these perpetrators than the legal system. Regardless, it is our sincere hope and anticipation that what we have built together, we will once again enjoy on our beloved and magical mountain.
For now, we shall dust ourselves off. We must take time to recharge our faith and our energy. Passionate people do not throw in the towel because of a bump in the road. We look brightly toward the future. We will bring more music and more art and many more wickedly unrivaled memories. We know the world is a better place when there is more music and more love…”
Founded in 2005, the five-day event held on Mulberry Mountain in Ozark, Arizona, Wakarusa Music Festival offered fans a consistent, heavy lineup of artists throughout the past 12 years, including the String Cheese Incident, Umphrey’s McGee, Dr. Dog, My Morning Jacket, Twiddle, Moon Taxi, and often introduced eventgoers to rising bands like the Magic Beans.
The band’s full force though came forth once Parks picked up his bass. His hair-raising blasts to open “The Death of Coyote Woman” powerfully proclaimed the band’s intention to beat the audience down to a pulp. Shirtless, dreadlocked, and bearded, drummer Robby Staebler pounded the music onward through its peaks and valleys. With Parks committed to the bass the rest of the set, Ben McLeod’s guitar stood stronger and Van Cleave’s work on the electric piano shone through more brightly. After a superb slide guitar solo and keys-led jam section, “Death of Coyote Woman” evcntually calmed to a standstill before rising again for a glorious finish. When the dust had settled, the song’s companion “The Marriage of Coyote Woman” rose from the ashes. Both songs appear on their 2014 release Lightning at the Door which they sampled from amply throughout the evening. “Marriage” showed off the bands blues leanings, and resulted in another quality improv session.
The heavy fuzzed-out “When God Comes Back” was a huge crowd pleaser, and played like the Devil’s rendition of “Young Man Blues.” Spoken word lyrics over a psychedelic guitar and keys accompaniment had the band channeling the Doors, but again, darker and eviler, on “Blood and Sand / Milk and Endless Waters.” The set came to a close with more bluesy rock and slide guitar on “Charles William.”
New Madrid, out of Athens, GA, played an opening set of diverse indie-rock songs. Led by vocalist/guitarist Phil McGill, the band made the best use of their time, leaving little dead air and taking almost no time to address the audience. The music spoke plenty though. A mellow laid back rocker hinted at Mac DeMarco, a beautiful down-tempo instrumental was reminiscent of Explosions in the Sky, while an 80s style pop-rock tune saw McGill engaging in a whammy bar solo and exhibiting some freak-out dance moves. The quartet finished with a pair of major key fist-pumpers, the first featuring some inventive vocal looping while the closer played bright and bouncy.
Nashville-based indie-pop trio 