2016 High Sierra Music Festival In Words & Photos (FESTIVAL REVIEW)

On Thursday June, 30th at 8am in Quincy, Ca. the gates of The High Sierra Music Festival (HSMF) opened to the general public. There was a mad dash of thousands that is reminiscent of the “Hunger Games,” as festival goers search out the ideal place to transform their piece of grass or dirt into their home away from home for the next four days. It is the only time during the entire festival where focus, careful calculation and competition is key. One minute too late can mean the difference between waking up casually late-morning under a canopy shade trees or being beat down by the Sun’s fiery power at the crack of dawn. Once the rush and adrenaline of setting up camp communities has been complete the music begins as does the slide from conquistador to laid-back peace loving, hug-giving music connoisseur.

Thursday was no exception and by the time Sessions Americana hit the Vaudeville Tent Stage at 11:30am, a crowd had been slowly finding respite under the tent, with smiles on their faces and a mellow anticipation for the official start of music.

Thursday Highlights:

Sessions Americana, officially began the music at HSMF. They are a roots folk music sextet from Somerville, Ma., their stage set-up is reminiscent of a pub jam. There was a small table with a single mic and group of six making a half moon circle around the table. They started sweet and soft with songs you forgot you ever knew by heart. From there they worked themselves into an ebb and flow of lullaby to lament to downright rowdy. Their craftsmanship, talent, vocal, instrument mastery and music sensibility make them a must see for anyone who loves great musicians’ doing their thing in a seemingly casual setting.

The Accidentals opened the Big Meadow Stage on Thursday. No one was ready for these girls (and guy). The High Sierra festival guide (everyone’s festival Bible) said that these kids had played 700+ live shows BEFORE they graduated high school. This band raged through their opening set and while far, FAR from a cover band drew early Thursday music fans out of the woodwork with their 1, 2 punch cover of The Beatles “Taxman” paired with . . . wait for it . . . Rush’s “Tom Sawyer” played perfectly in their own take. An unreal start to the Big Meadow stage that caused a rush out of the shade and into the sun! Why not, right?

By early Thursday afternoon word had spread that Gene Evaro Jr. was someone to check out and since it was also the heat of the day the Vaudeville Tent Stage, where he was performing, was the place to be. Gene and his band made good on their Joshua Tree roots and brought a greasy Southern California soul to the stage marked by a bewitching bass line and slinky harmonies.

Xavier Rudd’s set on the mainstage brought the first real international sounds to the festival. Rudd, an Australian, was decried by some for his “white boy reggae” set openers but if those folks had stayed for a little longer they would have seen the man dip deeper into his roots and bring the native Aboriginal sounds of his didgeridoo to an almost (but not near distracting) trance state.Rudd has incredibly deep respect for his home and it’s native people. He cares deeply for his greater home, the earth, and his message of conservation and care is one we could all stand to hear of a little more. At one point he pulled up a wide-eyed young boy onto the stage and ran the length up and back with the kid, gave him a feather and lowered him back to his dad. Xavier Rudd has a kind of soul that you figure just has to be cool whether you dig his music or not. Regardless, the guy played from his heart and those in attendance ate it up.

For the last three years there is a secret show of sorts every afternoon at the Sierra Nevada Beer Tents located in the Grandstand Meadow. The Sierra Nevada Brewery presents bands in a stripped down acoustic manner. Only a small chalkboard sign lets one know the time and who’s playing. This year Leftover Salmon opened the series. Casual folks passing by were pleasantly shocked to see a festival headliner up close and personal. Within minutes the band had the tent and surrounding area packed by excited and dancing fans. The band, upon first appearance looks like a bluegrass band, they play acoustic instruments, they are well versed in said instruments, they sing in harmony and with structurally sound roots. Yet, when they play it is an amalgamation of blues, rock, country, folk and bluegrass and is a joy from start to finish.

As the shadows grew long on opening day of the HSMF The Jamestown Revival performed in the Vaudeville Tent Stage. Long time friends, band mates and co-front men Jonathan Clay and Zach Chance along with bassist Nick Bearden and drummer Ed Benrock delivered a robust sound that it is both rich in what some folks call the “Americana,” with a slight lean towards old fashion southern stadium rock. Their live execution of the song “California (Cast Iron Soul),” was a prime example of this. With their songwriting, harmony and executional style, these boys and their fans have a lot to look forward to.

Thursday’s headliner was a 2 set Grateful Dead barnburner created by Joe Russo’s latest project, Joe Russo’s Almost Dead. The band is composed of east coast luminary level players like Marco Benevento, Scott Metzger, Ween’s bassist, Dave Driewitz, and Tom Hamilton. The show, in Dead fashion, weaved and bent genres from rock to folk to disco to bluegrass as they worked through Grateful Dead standards and covers in their own way. It was all that was anticipated as old song were given new wings that soared over the darkening Cedar tree tops and echoed across the mountain ridges. Probably the only criticism of this entire piece would only be that “Dancing In The Streets” should be kept to eight minutes instead of twenty-eight and this could have been said for Jerry and the boys as well right? “They Love Each Other” more than made up for that, Joe, so don’t sweat it.

JJ Grey and Mofro’s late night Vaudeville set did anything but get people ready for bed. Damn but that boy can play. Soul does not even begin to describe that with which the man performs. He ran through a set that spanned nearly his entire catalogue of music. Most notably, “Brighter Days” was able to get the entire tent into a revival-esque sing along that shook the ground beneath feet. Dust flew and hands reached as high into the air as they could. This was JJ’s only set for the weekend and he did right by leaving everything he had on that stage. The man smiled as big as anyone in the crowd and it was clear that he was glad to be back at High Sierra.

Friday Highlights:

Friday morning under the Vaudeville Tent, Samantha Fish immediately got the lounging crowd to their feet and as she and her band took off on a rock, blues and soul journey. The guitar sounds that screamed out of the early-packed tent reminisced of Hendrix and the vocals whiskey tinged. Samantha and her band pounded and pierced their way to an earth shattering cheer as the last note of their set drifted into the now sweltering heat of the day.

Two weeks ago while on tour The Elephant Revival’s bus caught fire and everyone escaped unharmed. Unfortunately, their hand made instruments and most of their belongings did not. Despite the obvious setbacks, their tour did not miss a beat. With their own unique blend of American folk, Celtic, Americana, and tinge of bluegrass the band’s sound is distinctive and original. Armed with their years of playing as a band, touring, loving and losing and loving again, Friday’s performance was peppered with quiet remorse, sweet longing and satisfying smiles.

The Chris Robinson Brotherhood brings the heady vibe. They could be rightfully called the true torchbearers of the old Grateful Dead vibe and that description be righteous. From rock to blues to country to boogie-wookie and all points in between, this sunset set on the main stage had musicians and fans dancing, cheering, smiling and staring off wistfully into the multi-colored abyss. Chris’s signature vocal work warped around Neal Casal’s masterful acid fluid guitar while Adam MacDougall played like a crazed alchemist as the brew was brought to boil.

As the night sky slowly revealed the stars Thievery Corporation took the Grandstand Stage with a rhythmic swirl of lights, Brazilian influenced beats and a space jam tilt. Although led by founding duo of friends and collaborators Eric Hilton and Rob Garza the band had at least twelve members on stage at any given moment. Even after two decades of making music and touring the world they still approach the stage as if this was their first house show, with smiles, enthusiasm and energy that built upon every song that they delivered.

Saturday Highlights:

Steve Poltz hit The Big Meadow Stage at high noon on Saturday. With a large crowd sitting under the shade canopy and he took them all on a journey filled with laughter, introspective reflection, curiosity and satisfaction. He opened by saying that he was going to close his set by crowd surfing while holding a video camera, the reclining crowd gave a collective non believing giggle, and from there with just his guitar and wandering mind he spent the next hour and fifteen minutes slowly building momentum as his interaction became more intricate and excited. By the time he came to the close of his set with “I want all my friends to be happy,” he had a slice of watermelon in one hand, a GoPro in the other as the crowd surged his lean frame in a wave of human hands as he surfed the now laughing, cheering and literally supportive crowd.

As the Sun began to set Saturday evening over the Grandstand Stage, Dr. Dog walked up on stage and jumped right in. Although they are considered by many as “label-defying,” the band at it’s core is an excellent rock band with all of the standard traits, strong vocalists, distorted guitars, a solid rhythm section and huge sound. The sun-soaked crowd ate up every beat, lick and solo.

The Rhythm Council led by Malcolm “Papa Mali” Welbourne and Kirk Joseph opened their 3:30 set at the Vaudeville Tent with maybe the filthiest, grimiest, darkest song intro of the fest. These guys, Mississippians and Louisianians, know how to get the voodoo going and with Mali’s leads and Joseph’s Tuba laying down the low end, it got butts shaking all over the place. The notes were like a magnet drawing in percolating heads as they moved by but were suddenly,  inadvertently drawn in.

The Anders Osborne Band played their Saturday set with s reckless abandon that opened with a heart wrenching invocation. Osborne, a recovering addict, in those opening notes, called for strength of faith and support and when this “hymn” was done everything changed. Supported by a band of truly heavy hitters that included Eric McFadden on guitar, Carl Dufrene on bass, Danny Eisenberg on keys and Brady Blade on drums, they destroyed the Big Meadow Stage in mid-seventies era Crazy Horse style. By rights, there should have been smoke on those instruments. In the crowd, fist pumps went up, bruises were probably gained, voices went hoarse and this was only by song two. Add a sit in by Luther Dickinson of The North Mississippi Allstars stellar backing vocalist Margie Perez and the set came to an explosive finale. This was, probably, the heaviest, loudest set of the fest,

Saturday night in The Grandstand Meadow the crowd slowly began to build into a mass of thousands, as the unrelenting heat of the day was gently surrendering to cool mountain air. The clear night sky began to reveal stars to the eager crowd as all anticipated Ben Harper and The Innocent Criminals arrival. A surge of cheers erupted as the band took the stage and went directly into their twenty-year deep catalogue of both new and old. If anyone wondered how Ben Harper would be received at HSMF, all was forgotten as thousands began to sing along “Burn To Shine.” From there they jumped right into “Steal My Kisses,” as several moms and dads stared into each other’s eyes and kissed as if they were hearing the song for the very first time. After playing a few new songs the band pulled out of their back pocket “Burn One Down,” as many forty-year old bro’s high fived their dorm living, music cranking, girl chasing, ganga smoking twenty-year old selves. Ben Harper and The Innocent Criminals delivered their exactly what a fan would want, a pristine sound and representation of classic material, a sprinkling of new tunes, the humble and funny interactions between Ben and his audience, Juan shredding bass and a solid band that still enjoys performing on large stages to eager folks.

Sunday Highlights:

Sunday’s schedule revealed the Bluegrass sets. Billy Strings played the second set of The Vaudeville Stage. It was high octane picking with the strictest and richest of bluegrass harmonies with this punk attitude that could potentially turn the genre on its ear. The tunes were fast and precise but instead of the typical stationary playing positions that mark so many bluegrass bands, hair flew, the musicians were even occasionally brought to their knees on stage but the crowd, that Sunday, “Day 4, holy shit this has been a long festival” crowd, was on its feet.

The Record Company a hard rocking, hard grooving unit from Southern California played their last set of the weekend on the Big Meadow stage. Lead singer Chris Vos, said that when the band was formed in 2011, bass player Alex Stiff had but one goal and that was to play High Sierra. So this was it for them, the true materialization of a dream and they did not disappoint the crowd or themselves. With their next show half way across the country later that night, they left everything they had in a swirl of lap steel, harmonica, the sickest slide bass riff (yes, I said slide bass) maybe ever played and enough sweat to fill a five gallon Home Depot bucket. These guys are not to be missed.

While The Record Company was doing their thing, The Del McCoury Band was up on the mainstage and up to their usual, wonderful show. Del called to the crowd for requests and cackled as harangues were sent back to the stage. Whether Del heard the request or not was irrelevant, each song was a testament to a polished family tradition that has kept this respected Bluegrass band on the road for decades. Somehow, no matter where you are, if you run into Del and his boys, and they crank out those opening licks to “Vincent Black Lightning,” you’re home.

In marked contrast to Del’s set, Femi Kuti and The Positive Force, took the stage next. An hour and a half of non-stop music calling out political lies, decrying the hatred of racism, rejoicing in the love of people and the hope of music ensued. The man never stopped. He moved around his band (more like an orchestra) and in and out of back up singer/dancers while he stopped momentarily to drop in some keyboards. Femi is no stranger to prodding the political forefront as he learned from the best, his father Fela. Nonetheless, he found a receptive crowd as cheers rose and fists were raised in solidarity. In light of the recent events witnessed these past few days, it seems trite to simply say that more people should be listening to Femi and his message.

Scott Law and Ross James’ Cosmic Twang began to rev the engine over on the Big Meadow Stage as Femi and his band wound down. Scott (who was also an artist-at-large this year) and Ross have a project that incorporates everything that was really great about early Seventies Grateful Dead. Those spacey build ups that lead into some absolutely kick ass country standards and outlaw songs a la The Flying Burrito Brothers and New Riders of The Purple Sage not to mention their own outstanding originals. It was a true gift to have this band around for all four days of the festival as band members made themselves available for sit ins throughout the weekend. It’s probably a good idea to find out when these guys are playing the bar at Terrapin Crossroads next so that you can go and have your mind blown.

Greensky Bluegrass played a nice sunset set over on the mainstage to a more than appreciative crowd as they doled out their own brand of progressive Bluegrass spiced with just the right cover here and there. Not a bad set by any stretch, this hour and a half of music found the band a little more reserved and on point.

And then it was time for Tedeschi Trucks Band. The Sunday night headliner at High Sierra is always a big deal and this was a huge deal. This band is, what? 13? 18 pieces? They ARE an orchestra but they play with the mindfulness of a quartet! From note one the set was victory, it was full and proud and bluesy and wild. Susan Tedeschi’s vocals mixed with Derek Truck’s slide to invoke the thoughts of central Mississippi Juke joints full of cigarette smoke and stale beer, not heady microbrews and high end herb varietals. The backup singers were like a chorus that augmented a fully styled brass section. Susan punched and pulled the listener as we watched those final moments of the High Sierra Mainstage slip away. And in two hours, just like that, it was done. The lights came on, the crowd dispersed amidst hugs and high fives and made its way to other stages for the “final finals” of the night.

And one of those “Final Finals” was ALO. You know, kudos to High Sierra for closing out The Vaudeville Tent with ALO. The festival and that band have a storied history together and it was fitting to hear that tent shake with the sounds of Zach Gill, Dave Brogan, Dan Lebowitz and Steve Adams. These guys, their enduring friendship that shines through their harmonies, their stellar vibe as individuals and musicians and the feeling they engender throughout their stay at a festival deserves a special kind of recognition. Lebo, for one, another of this year’s artists-at-large, was simply everywhere throughout the four days. How does the guy do it? How does he not collapse mid-run? No matter how he does it, he’s there – still with a smile on his face – just like the rest of those guys. And as they ended their set with “Barbeque” urging the crowd to leave their year’s worth of crap in that tent to be burned off to face the day anew.

And so that was it. High Sierra, 2016. Yes, it was full of left turns and it was the new bands that revealed outstanding new surprises and sounds. They sent us home with albums bought or albums to buy. The faces, the smiles, the perfection of what it is to be alive and to be loved. It may sound lofty and maybe even sanctimonious if that is the word to be used? But it’s not. At High Sierra it happens. You arrive depleted, beat down by election cycles, hard days at work, family issues and just everyday bullshit. But you get there, you join in the “land rush” and you get settled and then you drink from a deep deep well of just whatever it is you need. THAT is necessary. High Sierra gives us a chance to be free for four days and those four days can get us through the rest of the year. Thanks for that High Sierra.