A music festival is an organism, a child prodigy, a light at the end of the tunnel. It is the projection of year round efforts to plan, coordinate, orchestrate and construct an all-inclusive ecosystem for four days. Now just imagine those efforts being the culmination of 10 years of trial and error, tinkering, adjusting, finessing and fine-tuning. What you get is Wakarusa. A well-cultured specimen that has reached the nice age of maturity: with the wisdom to know what works, yet still possessing an endless reserve of possibility. Brett Mosiman has been the mentor carefully monitoring the pulse of this brainchild since its birth in 2004. Bringing it along at just the right pace as not to stunt its growth, but also allowing for a cultivation of its identity. Its spirit coming to fruition due to a renaissance of its own, the result of a move 5 years ago to Mulberry Mountain, located in the middle of the pristine Ozark National Forest. It has taken Mosiman’s unwavering vision for the festival to even reach this second generation of growth. While the original setting of Clinton State Park in Lawrence, Kansas had its benefits; there were shortcomings that seriously threatened the existence of Wakarusa. Most notably a drastic decline in attendance in its last few years there. Not only has the act of re-locating been hugely instrumental to its longevity, but also the placement amongst the beauty of the Mulberry backdrop has been a coup in itself. The ideally centralized lay-out is surrounded by natural amenities like waterfalls, hiking trails and the Mulberry River that set the tone for a festival that has just as much the feel of a re-acquaintance with nature as it does a showcase of stellar music. Mosiman and his staff have been able to translate this ambience by symbiotically tailoring the feel of the Mountain to that of the festival. Although plenty of people are going just as big as the scope of their natural surroundings, and maybe even grander, it emanates beyond any feeling of being too big a festival. It takes a certain kind of passion to smoothly facilitate what appears on the surface as a huge party, yet radiates what is deeper within: a highly energetic celebration of music and life. Mosiman is at the forefront of the efforts, placing himself through the eyes of a festival-goer when it comes to creating an experience with minimum distraction and maximum satisfaction. I spoke with him recently about the festival’s challenges, depth of musical talent, communal aspects and what makes Wakarusa one of the most unique gatherings around.
MC: How exactly did Wakarusa first come into place? How did you get involved with it?
Brett Mosiman: It was actually when I was having a beer with three other guys on someone’s porch. They had caught wind of Bonnaroo and thought it was a pretty cool idea. I was the one who had the most experience as far as with promoting. So they came to me and signed me up to be part of the inaugural event.
MC: Would you say with the first event, and early on in general, that it was your vision which had the most say in things?
Brett Mosiman: I don’t know if I would say that. I’d say that the event in the first year, that first day – really captured me. I was smitten with the whole community, the whole vibe of Wakarusa from the first minute it was born. And so it really did become a labor of love for me for sure.
MC: As far as with the communal vibe, what were you guys envisioning when it came to what the festival would be like?
Brett Mosiman: It was very different in that this was our first camping event. And so it had a different vibe and a different feel than the one-day rock events I had promoted before. It just had this free spirit to it. Where everybody was one and looking out for each other. And more or less courteous you know. You’d get at a 4 way stop and everybody would be like, “No you go, no you go.” It struck me that back in town 5 miles away; everybody is honking, flipping each other off, uptight and overwrapped. Out there it was just relaxed and happy and non-commercial. It was really a special 4 days. That’s kind of the feel, the seedling if you will, that Wakarusa grew from.
MC: From the onset, were you guys trying to create a top-notch festival that was more grassroots and not so much in the hands of corporate sponsors?
Brett Mosiman: Well absolutely. We’re very independent and non-big corporation. I would say that we’re a festival for music lovers, by music lovers. And we don’t want the festival to have a commercial feel or feel like a hockey rink either. Both of our venues, Clinton State Park and Mulberry Mountain, really capture our tagline of, “Where Music Meets Mother Nature.” It’s doing all of this magic: music and fans coming together and special sit-ins and once in a lifetime shows. And then being in Mother Nature is what really makes it.
MC: Would you say that is your mission statement in a way when it comes to Wakarusa?
Brett Mosiman: Yeah, I mean we want to throw a kick-ass festival. And we think we do. We don’t want to be the biggest; we want to be the best. And Wakarusa is that great size where it’s big enough to feel like you’re at Mardi Gras, and yet it’s small enough that it’s completely manageable. Most people can walk to their campsite from any stage in 5 or 6 minutes. So we think of our brand as something like a boutique hotel – a W Hotel or something. You’re going to get better service and it’s going to be a better experience than some of the ones where you’re sharing space with 100,000 people or the little 1,500 seat pop-up festivals.
MC: Regarding the first few years of the festival, what were some of the most important lessons that they taught you?
Brett Mosiman: You’re always at the disposal of Mother Nature. So you have to be a good boy scout and be prepared for everything. Over the last 10 years we’ve been through a lot of storms and challenges. And I feel like our staff and crew is as good as any in the country at getting through it and keeping people safe. So that’s one thing that I’m really proud of. As it has grown, we have been able to build out the amenities. The Ferris wheel popped up and then the water slide popped up. We’ll add things every festival like a disc golf tournament this year. And then there are favorites that come back every year like the costume contest and the parade and processional. Or even the drum circle on Sunday morning. So there are these things that have become iconic to the festival and yet every year we’re trying to add new activities and amenities. Again, the move to Mulberry Mountain allowed us the float days down on the Mulberry River or the hikes to the waterfalls. That’s just something you can’t buy because it is such a spectacular setting. I think we are really lucky to have landed there.
MC: I know the first year you had some problems with counterfeiting. Were there any other serious issues you had to deal with at the very beginning?
Brett Mosiman: You know, there’s probably hundreds. Again, the learning curve is very steep when you’re trying to build a small city for 20,000 people in 3 or 4 days. The challenges are really immense. It’s hard to even think about it, you know (laughs). You just got to keep your head down and try and dot all your i’s and cross all your t’s. There are electrical challenges, water distribution challenges, plumbing challenges. You know, trash pick-up is critical and the recycling effort is massive. It makes a difference to us that we recycle tons and tons of trash and divert it from the landfill. And getting the site laid out so that it flows right for the fans and the artists is quite a challenge. Last year we added about a $50,000 pathway for the fans to walk on so they didn’t have to zig-zag through the campground. It doesn’t sound like a big deal, but if you are some of the fans that had to take the bus, it made life a lot easier. We had this kind of pedestrian thoroughfare that was safely lit direct from the bus stop to the bottle check. And hopefully this year we’re going to add some trams to get to the west camping spots so people don’t have to climb the hill as much. We pride ourselves on some of the cleaner port-a-potties in the industry. We clean our port-a-potties 3 times a day and not many festivals do that. We’re constantly trying to make the experience better. We try to put ourselves in that tent down at the river or at West woods or even in VIP. We try and say, “What’s the #1 thing we could do for that VIP patron or West woods patron?” And we try to make those things a reality each year so that it’s a constantly improving experience. I like to say that we will never run a perfect one but we try every year to get a little more perfect. By Wednesday or Thursday of the event, the managers get together and start taking their daily notes of what they want to fix for next year. The unique part about festival life is that you can’t fix it or make it better for a year in most cases. But every year we try to make it better. Hopefully we do a good job of that and the fans can recognize it.
MC: And I can definitely see the reflection in your efforts. What about the Mulberry location makes it an ideal one?
Brett Mosiman: Just it’s natural setting. You start getting goose bumps when turn onto Highway 23, which they call the “Pig Trail.” And you’re just in this snaking, winding cavern of trees and mountains and your pulse just increases. You can tell that, “Wow, this is gettin’ good!” And the closer you get, your excitement grows and then you turn onto the property and you’re like, “WOW.” Again, if you take time to tour the property, it really is a mountaintop. You can hike down a vertical cliff of about 900 feet down to 3 or 4 waterfalls on the trail to the north side of the property. And 3 miles to the south is this world-class float stream called the Mulberry River. There are lots of outfitters on it that provide kayaks, canoes and even inner tubes. You know, wow, that makes it a vacation now! There really are bears and deer and coyotes – it’s nature. When you look at the aerial pictures on our website, it’s like some bizarre Aztec clearing. That’s because we’re in the middle of hundreds of square miles of National Forest. So there are no neighbors, which is really wonderful. You know, if it’s not your “cup of tea,” we’re not interrupting anybody else’s world either (laughs). What makes it great is also what makes it challenging for us. The nearest hose or duct tape or hammer is about a 3 hour round trip. And so we as operators really had to increase our preparedness by going to this very, very remote site. It makes catering harder and it makes staffing harder. So that part of it was considerably more challenging versus something that is in a city like an ACL or Bumbershoot or Lollapalooza. I would say that overall, it made our staff and crew better once we overcame that learning curve of the remoteness of the site. Again, I wouldn’t trade sites for anywhere in the country. I think it’s possibly the very best festival site there is in America.
MC: In addition to all of the strong music you have each year, are you really trying to create that great, all-around experience for people when it comes to the natural setting?
Brett Mosiman: I do think it’s a destination/vacation for anybody and we just happened to have 180 sets of kick-ass live music. I think that we have 5 or 6 ponds on-site that you can fish at. We’re looking at making one of them into a swimming pond with a beach hopefully this year or next. You’ve got all the hiking and biking trails you could ever want. The morning sunrise yoga just seems to double in size every year. With the yoga, it has become almost spiritual down in the setting that we’ve created at the Satellite Stage. Not to sound too corny, but again, “Where Music Meets Mother Nature” is the perfect tag for it. We are in the middle of a National Forest on top of a mountain surrounded by float streams and waterfalls, and it just doesn’t get much better.
MC: When you compare the first few years to the present day, how do you feel like the festival has evolved?
Brett Mosiman: I think now that we’ve had 5 years in each place, it’s pretty similar. The first year, in both Lawrence and Arkansas, you could tell that the magic was there. And in both cases we grew from that. In Arkansas, we grew in size our second year. So we got really big really quick in a brand new region of the country. And we’ve kind of maintained that. However, there are limitations with Mulberry Mountain and the roads. We have a commitment to try and keep those open. So it’s kind of a, “Get your tickets early because it’s likely to sell out because we can’t let anymore people in.” And that’s fine with us. We don’t need 50 or 60,000 people to feel like we’ve accomplished something really special.
MC: And shifting to the music aspect of it. I know it can be quite a challenge to find a nice balance of high profile bands you want to play, ones that are actually available, ones that can fit the budget and fit the bill. Can you describe what you’re looking for each year when it comes to booking that line-up? Are you trying to keep a certain theme or model that’s consistent every year?
Brett Mosiman: In short, the one thing I’m looking for is just totally kick-ass live bands. I’m less concerned about genre. We usually have 6 stages and it doesn’t make sense to have jam music on 4 or 5 of them. So we do a lot of reggae and we now do a lot of electronica – live and DJ. We also do some alt/country and jam-tronica as well. So I think it’s a pretty diverse line-up. But at the end of the day, it leans more towards the party. We’ll do a lot of New Orleans music or funk music. We want you to get up and dance. And so some of the indie-rock “shoe gazer” stuff, you know, I just don’t think it’s very fun. It might be good music, but it’s not a party situation. We tend to go towards the more fun, danceable music in every genre, whether it’s funk, soul or country music. Waka has built its reputation on having a great year. The line-up, while you might not see the Chili Peppers or Foo Fighters at the top of it, is always incredibly deep. Every year there are 5 or 6 artists that will find their way into the middle of the line-up and within a year they’re one of the better touring acts in the country. This year I could point to Delta Rae, ZZ Ward and Baauer – they are all blowing up. When I booked them 8 or 9 months ago, they were just percolating. But we work year round to find the artists that we think are tomorrow’s superstars. And we have a pretty good track record. Over the last 4 or 5 years, you’ve seen The Black Keys, Mumford & Sons, Skrillex, Bassnectar, Pretty Lights and The Lumineers. So it’s really fun to say, “Wow, I saw The Black Keys and Mumford & Sons at Wakarusa and now they’re some of the biggest touring acts on the planet selling out arenas!” We’re year round promoters. So we might see somebody open up for a Wilco or a Ween or a Black Crowes that make us say, “Wow, they were really good.” And we’ll make a note and put them on the list. And so we just watch tons and tons of YouTube videos. Again, once you get a reputation and the agents know that you have a reputation for being really strong with young, up-and-coming special talent – they’ll call you. You know, I had never heard of Gary Clark, Jr. And over a year and a half ago an agent sent me some videos. And I’m like, “Done, I’m sold. I love him.” So a lot of it happens that way. They get or I get a special sneak preview of an artist and we share it with each other.
MC: So you would say that you really have to rely on your own instincts when it comes to your tastes in music?
Brett Mosiman: Yes. Those instincts are based on me being in the crowd. I’m watching people’s reaction – whether it’s to Ben Harper or Edward Sharpe or Girl Talk. There are very few shows at Wakarusa where I’m not in the crowd. And I’m seeing what they dig. I’m watching the crowd’s reaction to the music as much as the music too. So I feel like I’m just a conduit for the Wakarusa fan. Again, not everybody has to like every act. There’s plenty for everybody. The reason we have 5 or 6 stages is to give it that festival smorgasbord atmosphere. I grew up thinking that South by Southwest was Christmas (laughs). You know, there are 20 or 30 venues with 1,500 bands! For a music lover it doesn’t get much better than that. So a little bit of Wakarusa takes from that. We want to have close to 200 sets of music within a 4-day smorgasbord where a music lover can just go and be in heaven.
MC: It sounds like you have a very hands-on approach to things. And with that in mind, what kind of musical experience are you looking to bring to a festival-goer?
Brett Mosiman: Again, we just want them to have fun. I really, truly hope that everybody can say, “Hey, I went to Wakarusa and found my new favorite band that I’d never heard of.” And I think that most people come away from the experience of, “I might have gone for Yonder Mountain and Sound Tribe or Widespread and Skrillex or whatever. But what really blew me away was Gary Clark Jr. or ZZ Ward or Edward Sharpe!” That’s really, really satisfying when you can expose fans to music they hadn’t heard of before, but love. And even more so, to expose those young artists to future fans for life. I think that festivals in general have become probably the most important paradigm of career development. I think it has eclipsed radio and pretty much anything as far as really making your mark in music. More and more artists and managers are realizing that the festival is the best route.
MC: I want to shift gears a little bit now. When it comes to the identity – the look and the feel of the festival – how is that best conveyed to you? Do you think the art installations and their interactive-ness play a large role in that? Or do you see it in other ways as well?
Brett Mosiman: As we’ve grown, we’ve been able to put more energy and budget into the artistic installations, hire artistic directors and bring more artists to the table. It’s something we always wanted to do, but early on we just didn’t have the budget. So I do think Wakarusa is becoming a beacon for creativity and expression a la “Burning Man style” and that is really special. We do things like the graffiti walls. Some of it is interactive and some of it is pure art. It’s really fun to see the site evolve every year with all these new installations and art. Again, it’s something that sets it apart from a concert. It has that energy and that intensity of all these elements coming together at once.
MC: When it comes to the installations, I want to actually read a quote from the festival website describing what you look for. “Artists who are interested in creating an atmosphere where Festival goers may engage in deep connections with each other, the land, and all forms of interactive art.” Art installations at any festival are significant on many levels. Especially since they are both an extension of the festival and a visual ambassador, if you will, of the festival. Is it real meaningful to you to have art pieces that are going to not only unify the aesthetic of the festival, but also promote deeper connections between festival-goers and their surroundings? What are the basic criteria you have?
Brett Mosiman: I think that it starts with the stage. All of the entertainers are artists in our opinion. It projects onto the campgrounds, the midway and even to the beer booths. We encourage all of the beverage vendors to “vibe” their beer stations out to whatever they feel fit. One might have a Caribbean feel and one might have a biker feel or whatever. I do think that expression and that creativity draws people in and captures them. Hopefully it emits from the stage and gets others excited to participate themselves. We do poster contests where hundreds of artists submit ideas. We take more and more submissions every year. And so that artistic community is growing now. We feel like we have a chance to be that incubator where we can bring visions and ideas to life for 3 or 4 days. Hopefully some of them are year round on Mulberry Mountain. And hopefully some of them become iconic. Everybody takes a picture by the “Welcome to Wakarusa” sign when you come in. You know, it’s a bunch of letters that an artist made and they’ve been there for 8 years. With a lot of the art we like to have some sort of function to it. About 3 or 4 years ago an artist donated a piano and painted it. And it’s a meeting point where “Meet Me at the Piano” has become, “Hey, after Sound Tribe let’s meet at the piano and then we’ll all hook up and go to the waterfall.” Or whatever. So it’s art that also has function. Last year we lit the pedestrian boulevard pathway with these giant towers of LED lights. It was a beacon that provided a way back to the bus stop. When it’s late at night and dark, it’s like your lighthouse. So all of it has form and function. It’s exciting to be that incubator and see what creative minds come up with year to year.
MC: And I loved the towers that you are speaking of. Especially with the weather we had last year at times when it was rainy and foggy. From a visual perspective it was awesome because it looked like they were floating in the mist. I remember running through the rain as fast as I could to my campsite after Big Gigantic and actually be taken aback at how captivating those looked. In terms of your criteria with installations, which is more important in your mind? A form meets function standard or creating iconic, re-usable pieces?
Brett Mosiman: Well, both. Sometimes we just have a particular need. For instance, a threshold to a stage. Sometimes we do look for things that are iconic that we can use year after year. The idea of the one-time pieces is less interesting to us. We might move them around, but we like to use stuff over and over so that they become iconic. It might be a photo op thing. We are building some things this year that I think you will see for the next 10 years at the mountain. And they will be great things to take your picture on or by. So a little of both. There’s no right or wrong. If somebody “Wows” us with a one-time thing, you know, that’s fine too.
MC: It definitely goes without saying that Wakarusa is part of this festival renaissance that came about in the early to mid-2000’s. Going back to what you were saying, you guys were originally inspired by Bonnaroo. And the festival scene just keeps growing and expanding every year. Whether it’s the much smaller festivals or what have you – it’s just really blown up. And there’s this whole kind of undercurrent and subculture with it. It has a life force that promotes values of peace, community, spirituality in nature, free expression and the human spirit. And going back to what you said before, one of the cornerstones of it is that people are looking out for each other and taking care of one another. Would you say that these values are the essence of Wakarusa? What kind of vibes do you want to be flowing on Mulberry Mountain for those 4 days?
Brett Mosiman: I think it’s love of life. Living life to the fullest. You know, one of the things that I think is a little different and special about Wakarusa is its remoteness. People may or may not think it’s corny. But there’s some mystic magic up on Mulberry Mountain. I see how kids are today. And I’ve got teenagers and college kids. You know, they live on their technology. Whether it’s constantly texting or emailing or living on YouTube on the computer. And I think that it’s a potential danger to social interaction and inter-personal relationships. I always say that the magic about Wakarusa is that you should leave the technology behind for 4 days. People should just re-connect to each other and experience Mother Nature. You’ll come out feeling a whole lot better. I think that we all need to unplug occasionally and it’s harder and harder in this society to do that. Wakarusa gives you the perfect chance to just unplug, be with your friends, experience life to the fullest and let it transform you. It really, really does. It becomes that annual sojourn for so many people of, “I can’t wait to get back to the Mountain! I just feel better there!” And a big part of that is that you’re unplugging from technology and plugging into the human side of our thing called life.
MC: What makes the Wakarusa experience truly unique like no other festival?
Brett Mosiman: Well I think one of the main things is that Mulberry Mountain is second to none as far as the facility. You know, simple things like black top roads. In case it rains, we can still get to the port-a-potties or deliver product and stuff like that. A lot of “corn field” festivals don’t have a lot of the amenities that we have there. We have the water and the power and such. I really do give our staff and crew so much credit. We have this “can do” attitude where we really, really want everybody there to have the time of their lives. We don’t want there to be long lines for port-a-potties or beer. And I think through the years, if you’ve been to a lot of other events, those are the kinds of things that stand out. You hear about being in line for 6 hours to get processed at Bonnaroo or waiting for 30 minutes to get a beer or having people 50 deep at the port-a-potties. You just don’t see any of that at Wakarusa because we just try harder and we care more. And it just wouldn’t be acceptable. Another strong suit is that our musical line-up is second to none. You’ll see people that might be playing places like Cain’s, the Bottleneck or George’s that are the most kick-ass bands in the world. The Luceros and the Split Lip Rayfields and the ZZ Wards. A lot of festivals will toss out a few headliners and then the line-up dwindles off very, very quickly. I think the depth and the breadth of the Wakarusa line-up has always been one of its very strongest appeals.
MC: If you were to use what you’ve been able to accomplish with Wakarusa as a model for a new festival, what would be the virtues of that model? What would it embody?
Brett Mosiman: Well again, the backbone of any event is your people. And so you’ve got to have a kick-ass crew that’s totally dedicated. I mean, festival life is a meat grinder. You are dealing with crazy elements and crazy hours and crazy expectations. I think our staff and crew has a passion to be able to overcome all those challenges. They’re willing to forgo sleep and comfort to make sure that they’re part of something as special as Wakarusa. I think that is a rare thing – to have that commitment and passion. They’re the backbone. They’re the infrastructure. They make it all happen. Whether it’s setting up the fence or the power or the stages or bringing the artists their meals. All of those things happen 24/7 at Mulberry Mountain. Getting everything ready for all the vendors so the pizza is good and hot or the egg rolls are great. One of the things that I’m always amazed at is how incredible the food and vending are at Wakarusa. We’ve done a great job of attracting some of the premier vendors in the country. Both on the art side and on the food side. It really starts with your staff, your crew, your people and you build from that.
MC: Compared to when you first started, what would you say is the thing that you’re most proud of?
Brett Mosiman: I think probably our longevity. We’ve been through tough times and rough years. You know, 10 years is an incredible milestone. Again, there’s a giant renaissance of festivals now to where there are not many that are over 10 years old. You know, I think Bonnaroo might be having their 12th year and they are kind of the beacon of this American festival renaissance, if you will. And we were just a couple years behind them. So we’re really proud of our longevity. I don’t know if we thought that this would be a 10 or 20 year run when we first leapt into it. But I’m tickled that it has been.
MC: What are you going to do to keep things thriving? What’s your ultimate vision for Wakarusa going into the future?
Brett Mosiman: I think it’s just that we are always trying to improve. I think we’re really, really committed to constantly making it better. I suppose if there gets to be a day where we say, “What do we do now?” – then it’s probably time to hang it up. Right now, we’re so excited every year to produce the new one because we think we can make it better. Our goal is to continue to have that passion to where we can up the “Wow” factor a little bit more here and here and here. Right now we have no problem thinking of things to make it better. And that makes it exciting. We hope to always exceed the expectations of our fans and we hope they want to come back every year.
MC: With that in mind, would you say that one of your ultimate goals is to make Wakarusa an institution or tradition for people? Something that is a significant thing in their lives that they keep coming back to?
Brett Mosiman: I get kind of sappy talking about nature and the waterfalls and the crystal-ness of it. But more and more I believe that Wakarusa and/or Harvest or Thunder on the Mountain should be on everyone’s bucket list. Again, I think it will change your life for the better. Part of that is the music and the beer and the camaraderie. But part of it is beyond that. And you just have to experience that to understand it. In America, especially, we have gotten too far into the commercial-ism and the technology. And maybe as a society we should take a step back and embrace each other some more and our experiences some more. And Wakarusa is a perfect conduit for that mentality.
We are most definitely in the midst of an unprecedented surge in music festivals of all shapes and sizes in this great land. A new age. They exist on a spectrum ranging from the mega-party to the transformative to somewhere encapsulating it all in between. One can draw an array of conjectures on how this need, possibly even necessity, for these mass convergences of human beings from various walks of life has come to the center. Perhaps it is a primal yearning to leave the residue of everyday life behind and tap into something more innate – a brightness. Maybe we do need to let go of the trappings of society, those leashes that tether us to walls and perpetuate our separation. No need to worry though, for there are sacred places that know nothing of this. Ones that allow us to congregate freely. Ones that give us a place to share. Ones that are a beacon of art. Ones that allow us to find ourselves within others. Ones that reveal the togetherness of the universe. Ones that are transcendent.
Wakarusa is that extraordinary place which has been a flagship during this era of rejuvenation. It resonates in a way to where you do not feel like a guest on someone else’s land. When you are there, it is your festival. You are an integral part of everything. Each time you are up on the Mountain, it becomes a bigger part of you. It somehow merges with your DNA, your spirit, in a way to where you long for it after a time.
But you return. You arrive…
For it is not just a glorified setting, but a realized experience waiting to be stepped into…
Brett Mosiman and his crew have led us to this point, this overlook. They have held up their end of the bargain. Now it is up to us, the dreamers of dreams, to show up and let that space runneth over with all the joy, creativity and positive vibrations within our collective being. It is time to bring our “A” game. That could stand for Awesome. It could stand for Authentic. Or maybe even Absurd. Ultimately, your soul will light the way.
Because at Wakarusa, the festival is your intergalactic oyster:
Go fall in love with a new band. Fall in love. Go see some space funk. Play some funk at your campsite. Give to your neighbor. Party with your neighbor. Pabst Blue Ribbon. Hans Yolo. Merry Pranksters. Be merry. Smile. High-five somebody. Give a stranger a hug. Sponsor a group hug. Unified Field Theory. If you see someone needing water, give them some of your own water. Drink plenty of water! Go to the waterfall. Go with the flow. Go to Chompdown! Donate some food. Feed your soul. Paint your face. Admire a live painter. Take…some…time…to gaze at the stars. Dress like a star. Express yourself. Wear a costume – I know I will. Exceed your weird quota. Dance like an idiot. Laugh like an idiot! Team RAD. Rock out a sweet landmark. If you see Kevin Durant, it’s ok, he knows how to rage. Lasers. Watch the sunset from the roof of your car. Watch the sunrise from the roof of your car. Caarrrrl! Throw a freakin’ party on the roof of your car! Try to get some sleep…Take care of your body…Take care of Mulberry…Take care of one another…
Remember, these are not rules…just a few guidelines.
All that we ask for is your presence.
All General Admission passes for Wakarusa are still available for purchase on the official website. The full music line-up and stage schedule are also listed. All other information regarding the festival, including maps and directions are included on the site as well.
To read more stories about music festivals, live music, the Tulsa music scene and the surrounding area, please subscribe to my work on this site. Your support is greatly appreciated.
– Matthew Cremer