Unveiling Hulaween’s “Secret” Stage: The Campground

Unveiling Hulaween’s “Secret” Stage: The Campground

There were 20,000 people who hula-ed with us at Suwannee Hulaween, but not so many of them made it to the Campground Stage. And that’s a shame, because the artwork on and around the stage this year was spectacular, the sound and lighting were brilliant, and there were 22 sets and hours and hours of music there, plus all of the Silent Disco action. Of important note, 13 of the 22 sets featured outstanding performances from Sunshine State musicians, of whom we are unabashedly proud.

Because I firmly believe it’s NOT plagiarism if you steal from yourself, here are my remarks about the Campground Stage with a bevy of photographs from Mandi Nulph, Bryan Edward, Arielle D’Ornellas, Joe Donnelly, and others. My thanks to each and every one of you for documenting this “Hula fifth wheel.” Thanks also to FunkCity.net, Chris Pinto, MyPOVFestival, Marty the Festival Bogwitch, TK Chasing Weird, and TAD Manic for the videos!

About the Campground Stage crew: they are second to none.

Dillon Reeder — FOH engineer
Joe Donnelly — Lighting Designer
Jody Poczik — Monitor engineer
Gwen McCaw — stage patch
Dave Swick — audiotech
Corey Hutchinson — lighting tech
Russ Bowers — owner/systems tech/LD
Philly Garcia —  silent disco lights
Pete Stitz — stage manager
Justin Hagerty — stagehand
Alexander (Skeeter) Young — stagehand

As you can tell from my chopped-up remarks, I was always in transit in the process of checking out 53 sets over the four-day festival.

THURSDAY

For the most part, the sound levels were good all weekend long. There were a few times it was too loud (on the Scott-o-meter), but generally it wasn’t ear-splitting, and the mixes were great. I confess I am prejudiced, because I know the individuals involved, and I am sure you might argue that running sound on a smaller stage is easier, but Russ Bowers‘ Receptor Sound and Lighting was again the paragon of Hulaween. Dillon Reeder in particular really stepped up into Andy Lytle’s shoes and killed it. Bravo/brava to all involved at every stage.

Side Hustle (Jacksonville) threw done a massive set of funk, fusion, and jam. They delighted the crowd at the end with a cover of “Foreplay/Long Time,” but their original compositions were the real core of this performance.

The Honey Hounds (Jacksonville Beach) also put on a fine set, including this “weirdness.”

Back at the Campground, Locochino (Gainesville) was raging a fabulous set of “progadelic funk” or something similar. They were really lit, and the crowd was loving it. Benny Cannon was a beast driving the train from his drum kit.

I had hoped to catch the dynamic Kaleigh Baker at the Campground but wimped out.

Next, I sprinted (well, sort of) back to the Campground to see Asheville’s The Broadcast. This was a next-level set for the quintet fronted by vocalist Caitlin Krisko. Every member of the band had great solo space during “Out of My Mind,” on new material (“Fightin’ the Feeling”), and their superb cover of “Funkier Than a Mosquito’s Tweeter” (Nina Simone). John Ginty’s synth was very mosquito-y. Krisko’s powerful voice blasted out a massive “A Little Help from My Friends” to close.

CBDB had the Campground set, and sound engineer Dillon Reeder told me, “It’s going to be a rager.” He was 100% accurate. Paul Oliver sat at his drum kit dressed as Santa, while Glenn Dillard (keyboards, alto sax) wore a reindeer suit. The other two wore antlers as they knocked out a tremendous set of Tuscaloosa ‘joyfunk,’ including a nice cover of “Black Market” (Weather Report). [This clip is so short, but you get the idea.]

I wandered back to the Campground, hoping to check out a bit of Silent Disco (especially Vlad the Inhaler). Unfortunately, this was the one night where a band played until 1:45. Setup for Silent Disco began quickly, but logistically there was no way it could begin before 2:30. Bedtime. Sort of.

FRIDAY

I zipped back to the Campground to see JUke, a great harmonica-centric blues band from Miami. “I Don’t Want You” was blistering, and then they really upped the ante, inviting Isaac Corbitt, another brilliant harp player, to join Eric Garcia and inviting string-bender Savi Fernandez to match up with Sonny East. The result was a monstrous  “Burn in Hell.”

Break Science Live Band and the Melody Trucks Band had the next slot. I was optimistic I would catch part of both. My luck was below average, however. Trying to locate a friend and get her situated took the entire hour. I was able to hear much of the excellent Break Science set with the Lettuce boys while moving around and while waiting, though.

The second half of the next time slot was spent checking out The Malah. They have been park regulars for a long time, and they were having a fine set of their more laid-back jamtronic music. When the trio invited Clark Smith and his tenor sax from DYNOHUNTER on stage, the set really skyrocketed.

So back to the Campground for Come Back Alice, the St. Petersburg sextet who meld Southern rock and gypsy voodoo into a great stew. Tony Tyler and Dani Jaye front the band, both triple threats, he on guitar, keyboards, and vocals and she on violin, guitar, and vocals. CBA offered up a fabulous set of originals, and all members of the band had opportunities to shine.

SATURDAY

Guavatron (West Palm Beach) had the early start with an 11:30 AM kick-off but still gathered a sizable crowd at the Campground for their twisting, turning jamtronica magic. Conor Crookham had a beastly set on bass. They launched with a 20-minute version of “Awake” and then dedicated the remainder of the hour to this incredible sequence: “Here To Stay > Spring Roll > Day Man > Spring Roll.”

I hustled back to catch Leisure Chief (Orlando), who were having a great set full of jams, a rapper, a dynamite new tune (“All Time Champion”), smooth vocals from drummer Derek Engstrom, and the band’s magnum opus, “MasterBlaster.”

The Groove Orient’s rockin’ set featured some of their familiar tunes and some from their upcoming release, including “Sewer Rat” and “Bugs.” They invited Kaleigh Baker, with whom they have often performed, to join them on “Downtown Virgin.” Bassist Harry Ong was in fine vocal form, and Tommy Shugart killed on Hammond B3 and on guitar.

Asheville funkmeisters The Fritz were primed and ready to tear the roof off the Campground Stage. The quintet are celebrating the release of their new EP The Echo, and they had a massive set, drawing a great crowd. “Oppenheim” gave keyboard wizard Jamar Woods plenty of opp-ortunity to work out on his bank of equipment, and Jamie Hendrickson shredded with abandon after some Star Wars quotes.

Highlighting their recent shows in tribute to Michael Jackson and Prince, they offered a great medley of “Black or White > Don’t Stop ’Til You Get Enough” and encored with “1999.” “Stuck in Between” was, as always, stellar, and there was a monster new tune, “Nothing to Find,” with Jake O’Connor’s best bass work of the show.

Roosevelt Collier and his bandmates from excellent fusion band Electric Kif kept the Campground rockin’ as people got to see Collier’s new lap steel that is actually a guitar!

Truly sorry to have missed Jon Stickley Trio, who put on a magical performance at Campground.

SUNDAY

There were options Sunday morning (well, noon), of course. I went to get my head kicked in by Trial by Stone, the Tallahassee quintet who smashed and mashes together punk, reggae, metal, and ska. And this show was bittersweet, the last time with the band for longtime bassist John.

I swear I had the setlist, but it really doesn’t matter. This group’s joyous if raucous presentation is always over-the-top magnificent, and this one was every bit of that. Buck Lemons’ manic guitar and vocals flanked by twin trombone towers Roth and Zac were the perfect Sunday pick-me-up. Never miss a Sunday show, and never miss Trial by Stone. Well, that’s my mantra, and I’m stuck with it!

The TBS set was only 45 minutes, scheduled that way because, immediately after they were done, a horde of costumed folks were prepared to march with Rebirth Brass Band from the Campground to Spirit Lake Stage for their NOLA-centric performance. It was a beautiful thing to see, as was their set.

I sprinted (well, you know) to the Campground to see The Applebutter Express spreading their love and wonderful double-entendre songs over the adoring fans. In that brief burst, they played “My Poor Heart,” “Hot Pussy” and “Smile.” And baby Biss was in grandma’s arms in front of the stage the whole time!

While The Revivalists were ripping it up at the Amp, one last time I made it to the Campground for one of my favorites, DYNOHUNTER. Let me be clear: my favorite set of the weekend (along with Jamiroquai). It also allowed to examine a conundrum that’s been swirling around in my brain for some time: when bands play in conjunction with recorded material — either their own or someone else’s. The guys were all dressed as Fred Flintstone. Pretty sure Wilma took this video:

I have often scoffed at such efforts, wishing bands I love such as The Malah and Zoogma wouldn’t incorporate that so much, except that those songs were great. DYNOHUNTER blasted the most jaw-dropping non-stop dance party and stretched their hour set out by another 20 minutes. I happened to be by Vlad the Inhaler (the curator of the Silent Disco experience), who was there not as a park ambassador but as a fan. Every time they dropped the beat he and I just looked at each other in amazement. Clark Smith is the most exciting tenor saxophone player I’ve seen in ages. He and his mates were perpetual motion machines!

Chances are you never made it to the Campground Stage — or only for a few minutes if you did. Put it on your agenda for 2019. You will be richly rewarded!

Comments are closed.