Harvest Of Hope Festival Day 3/Wrap-Up

Tokyo Police Club

Day three started just like day two, early and very hot. By this time I was already very sunburnt, perpetually hungover for days, and tired, but it was time to march on. Summerbirds In The Cellar kicked off the day with a set that started before noon. Hardly 15 people were there at the beginning, but by the time they left the stage the field was packed. It was great to finally hear this band on a good quality sound system. I have been hyping this Floridian band since I discovered them at Corndogorama last year, and I will continue to do so because they one of the best bands in the southeast US right now. They just floor me every time I hear them:

I tried to duck out from the sun for a little while, and then went to see Tokyo Police Club‘s show. They were good, but they didn’t blow me away or anything. They did lay down a solid performance playing plenty of songs I could sing along.

I’m not sure whether it was because Tokyo Police Club messed up the Sunday set times, or just because they are badasses, but Monotonix decided to set up in the middle of the crowd and perform. I caught only the last part of this set, but this was clearly one of the most memorable of the weekend. This band is from Isreal and totally sound like they are from a different world:

Holy Fuck performed next, and they played a typically amazing show. I really can’t think of too many bands that make me want to dance more than Holy Fuck. You just can’t help but to get into the groove as all of them are intensely bobbing their heads along with the beat.

So, to back up the story a little bit, someone had the brilliant idea to make the press have to go get new credentials each day. The people giving out the credentials on Sunday had no idea what they were doing, and at first wrote the wrong things on the pass they gave me. I had to go back and get a second one, but this time they gave me an “all access” pass. Not only did this second credential not grant me access to anywhere, while I was waiting for Inspectah Deck eventually skip his own set, I got physically removed from the photo pit because my pass said “all access” instead” of “photo”. I then had to go get my third pass of the day and hope they gave me the right one. I’m tempted to rant on and on about the logistics failures of this fest, but I’ll just say this, it sucks to be working your ass off to cover a fest and be treated like you are constantly doing something wrong.

Anyways, facing exhaustion and a dauntingly long drive back to Atlanta, I decided to not risk getting yelled at by yet another security guard and cut my losses with seeing Holy Fuck own to finish off my Harvest of Hope Festival. I headed to St. Augustine Beach for a couple of hours to chill out, and then headed back to the city.

Regardless of my access issues, the fest overall was extremely fun, and I think the average attendee had a blast. This was the first time I have ever gone to a festival completely by myself, but the experiment went better than I could have imagined as I met a ton of really cool people. I have to shout out to the Wham Tits camp crew, because all of my neighbors were extremely nice and I might have had a better time getting silly at the campsite then out at the shows. That’s not to say the music wasn’t excellent, because it was as well.

I sometimes wonder after going to so many fests when the magic is going to fade away. How many music festivals can I attend before they just start to feel too normal? Luckily, Harvest of Hope was about as far away from that moment as possible. It was surprisingly one of the most unique fest experiences I have ever had.

HOH Fest Day 1
HOH Fest Day 2

A couple of last audio/visuals:

Mountain Goats (Day 2):


The Bonfire:

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One Response to “Harvest Of Hope Festival Day 3/Wrap-Up”
  1. Anonymous Says: March 12th, 2009 at 11:37 am

    Davy, you are all about some super reverb saturated, 2nd generation shoegaze era bullshit. All these bands you post on here have fifty gallons of reverb stacked onto another twenty gallons and half of it is to fake some kind of authentic melodicism that their music inherently lacks.

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