Music Monday Archives - Wakarusa Music Festival

Music Monday Archives

    06 Apr 2015

    Music Monday with Stick Figure

    Author: Rebecca | Category: Music Monday | Tags:

    Original Article:

    The bond between man and dog goes back thousands of years to the first civilizations that domesticated wild dogs for use in hunting and companionship. The same went for Stick Figure’s (Guitarist/Vocalist) Scott Woodruff and his dog Holly; the two were inseparable. With no warning Holly was tragically killed by a vicious coyote, and a sizeable hole was left in Scott’s life that any dog owner knows is next to impossible to fill.

    Meanwhile, a 6-month-old Australian Shepherd was found wandering the streets of Central California’s Merced County. With little food, no warmth nor any comfortable place to sleep, and no one to love her, the puppy was taken to a shelter with little chance of survival.

    Woodruff knew he wanted that void filled, but did not want to rush into getting a dog. He spent the next few months scouring the Internet for a canine partner at local animal shelters.
    DavidNorrisCocoathetourdog3-8-15 (2)
    “I looked at hundreds of photos of dogs and read their bio. When I saw Cocoa’s photo, I knew she was the one.” He called the shelter that said she was available.

    A few days later, Scott called them again as he was ready to jump in his car and pick up his new companion, but the shelter said she had be transferred and would not release any more information.

    Mama Stick Figure convinced Scott to call them back and press for more information. With some hesitation, the shelter told Scott she had been transferred to the SPCA in San Francisco, who in turn told Scott she would not be available for at least a few weeks, and again, no other information.

    Calling the SPCA every three days became routine. Three weeks turned into a month and a half before she was finally available for adoption. The poor puppy spent six weeks quarantined with kennel cough and diarrhea. Scott’s persistence landed him atop the long list of possible forever homes and he made the four-hour journey to pick up his new pup.

    Everyone at the SPCA thought Scott was crazy but “4 hours to meet a dog I will get to spend the next 15 years with. Is it really that crazy?”

    The moment Scott met the dog, formerly known as Joan Leslie, was like a scene from a heart wrenching storybook Hollywood ending. She walked over to Scott and sat down. The two gazed into each-others eyes and realized they were meant for each other. After one look, Scott said she looked like a Cocoa.

    Approximately ten people were in line in case Scott decided not to take her. They awed at the happy couple and told Scott how lucky he was. And little did anyone know that Cocoa’s rock star life on the road was about to begin.

    Her first tour with Stick Figure happened while supporting Tribal Seeds in 2013. “She had a blast,” Woodruff says. “It was amazing to see how comfortable she was on stage and how she adapted to loud music. The guys in Tribal Seeds really loved her.” Being so well behaved and good mannered, the band decided she would be on every tour from that moment on.

    DavidNorrisCocoathetourdog3-8-15 (5)Since 2013, Cocoa has traveled across the continental United States including ten tours from the West Coast to Florida. She recently traveled as far away from home as Alaska. The only tour she has missed was a brief stint on the Hawaiian Islands with Collie Buddz since Hawai’i has very strict quarantine laws.

    Although she loves to tour, like any musician, she revels her time off at home so she can relax, get on a normal schedule, go on hikes, and play with her best friend, a Dalmatian named Patches. The two are extremely excited to see each other each time they are reunited.

    “Her personality transcends the music,” Scott explains, “Her laid back chill vibe is a perfect match for Stick Figure.”

    Her easygoing attitude came in handy while on tour through Idaho. The band makes frequent stops for gas and provisions and happened to realize Cocoa was nowhere to be found on the bus. Frantically thumbing through receipts and calling past stops, they reached a gas station attendant that simply said, “Yeah, she’s been sitting here all night.”

    After almost 24 hours alone, Cocoa didn’t even leave the last stop she saw her boys. She was not even mad at them when they returned. Scott says, “not much phases her.”

    They consider Cocoa the fifth member of the band and also recognize she is probably more popular than anyone who holds an instrument. Her sleeping quarters vary from night to night, but she seems to favor sharing a bed with bass player Tommy Suliman and frequently sleeps on her back, each night for hours on end “which is quite odd to wake up to.”

    Cocoa enjoys most food, but specifically beef, Slim Jims, and fresh egg or fish oil mixed with her kibble – her favorite treats include cheese, salmon, and blueberries. Even though she appreciates a belly rub or scratch behind the ears, you’ll find a special place in her heart when you find the favorite spot under her neck.

    She can be consistently seen holding a stuffed animal, preferably a duck, in her mouth and never rips the animals up; instead her motherly instinct nurtures them and licks them as if they were her very own babies. Cocoa has been known to walk out of stores on a weekly basis without paying for them.
    DavidNorrisCocoathetourdog3-8-15 (1)
    “She seems to always find one! You’d be surprised how many stores carry stuffed animals.”

    In addition to stuffed animals, Cocoa says her favorite thing about tour life is constantly being with her rock star dad. She loves the fact that she never gets put on a leash and is able to travel the country multiple times a year. She also told us her good behavior allows her to ride on planes and hang out at gas stations and restaurants. Cocoa is profoundly proud of the fact that she has only peed on the stage once in her brief career.

    Obviously given more freedoms than most dogs her age enjoy, Cocoa does not take it for granted. She has not thought of a solo music career… because she has no thumbs, but wants to give back to the countless dogs that never get the second chance she did.

    “Currently, Cocoa and I are in the early stages of her own charity that helps support the rescue and care for other dogs in need,” hinted Scott.

    Stick Figure’s favorite thing about Cocoa is her mellow demeanor and the way her personality shines on stage. She seems to get really excited at the end of “Hawai’i Song” but her stage presence depends on the show, the crowd, and her environment.

    She looks forward to meeting all of you on the road and accepting your gifts of Slim Jims, blue berries, cheese, or duck stuffed animals. In her brief three-year life, Cocoa the Tour Dog continues to inspire thousands of people each day, garnering fans from each place she puts her paws.

    Article by: Blake Taylor  Photos by: David Norris


    30 Mar 2015

    Music Monday with Kawehi

    Author: Rebecca | Category: Music Monday | Tags:

    I had the pleasure in interviewing Wakarusa 2015 act, Kawehi.  Kawehi is a Hawaiian born singer-songwriter praised by Spin Mag for her “smooth voice and skills as a looping aficionado.”  I asked her questions about her new single “Battlefield,” Hawaiian influences, her upcoming EP, and Kickstarter.

    BMW: How would you describe your music for those who haven’t heard it?

    K:  It’s a little bit of everything.  My live-set is based on what I can loop live to create a whole band behind me – via beatboxing, synths, guitar and vocal effects.

    BMW: Would you place your music under any genre? If so, which one. If not, what is the closest one? 

    K:  Nope – I definitely have no clue what genre I’m under.  And I like it that way…I prefer people to hear it themselves in person or via my EPs/videos before they are told what kind of genre the music is.  I think genres are labels and specific boxes you’re putting yourself into – and I’m all about being outside of the box.  Keeps me on my toes and makes it fun yo!

    BMW: Did your upbringing in Hawai’i influence? If so, in what ways?

    K: I think it did.  Music was always happening around me – at family gatherings, in school – it’s definitely a huge part of Hawaiian culture.  I think it’s because Hawaiian language used to be entirely verbal – they told stories and history through music, chant and dance.  It made enjoying music natural for me.

    BMW:  You have funded your last few projects, including your upcoming EP “Evolution,” via Kickstarter.  What influenced that decision?

    K:  Paul and I wanted to make records on our own, without a label – and we were incredibly broke.  There was no other option for us – so when Kickstarter came around, it was a life changing thing.

    BMW:  Legendary group TLC started a Kickstarter campaign and received backlash because of it.  Do you face any challenges because of you’ve used and continue to use Kickstarter?

    K:  Not really.  Everyone has been incredibly supportive.  I think it helps being independent and not being on a record label. Kickstarter is a great place for grassroots creators, in my opinion.  I feel like that’s the whole point about Kickstarter – it’s a way to ask for help.  And most people want to help out those who need it – not people who are already established, already have made their millions and have a whole team behind them, helping out in every way.  If I were signed to a record deal, I wouldn’t fund my projects via Kickstarter.

    BMW:  Did you start the production/writing process before or after the Kickstarter campaign?

    K:  I started my process after – I usually do.  I want people to really feel that they are getting in and being a part of something at it’s infancy – and that they helped make it grow.

    BMW:  Spin Mag says your latest single “Battlefield” shows off your “…smooth voice and skills as a looping aficionado.” What was your vision and goal for the track? What did you want it to sound like?

    K:  Looping aficionado.  Ha!  I’ve still got lots to learn:).  When I wrote Battlefield, I wrote it after hearing the track – Paul had come up with an idea and gave it to me to play around with.  It sounded suffocating and creepy and I’ve always wanted to write a song about women and our bodies and how we strive for what we think is “beauty,” and after hearing the skeletons of that song I thought it would be a perfect fit.

    BMW:  Who did you work with on the track?

    K:  My husband Paul works on all of my music with me.  It is an incredible collaboration and I truly feel that he and I share the same brain when it comes to music.

    BMW:  Should we expect a similar sound throughout your upcoming EP?

    K:  Probably not.  I like mixing things up:)

    BMW:  If people would like to check out your music or follow the progress of the EP, where can they find you?

    K: I’m pretty active on Facebook – I try to answer everyone’s messages and wall post and comments.  I also do these fun Q&A’s pretty frequently where you can ask me anything!  So come by and say hello –

    From my understanding, Kawehi wants to create an interactive experience, rather than an ordinary album.  Her collaborations with her husband Paul are well received by critics and music lovers.  Thus, this has allowed her to fund her projects via Kickstarter.  Wakarusa guests can expect wacky, electronically tinged tunes from Kawehi this year in Ozark, Arkansas.  In the meantime, music lovers can check out her jams on Spotify or Soundcloud to get ‘Rusa ready.

    Interview By Arkansas Traveler Contributor: Brittany Williams

    23 Mar 2015

    Music Monday with Nahko and Medicine for the People

    Author: Rebecca | Category: Music Monday | Tags:

    It was Friday afternoon, day two of Wakarusa and a dang-near capacity Revival tent. The place so packed in, lively festival free-for-aller’s were spilling out into the open, sweaty air with the hopes of catching a direct eye line. With the hope of catching whatever inferno was about to break out. I remember standing next to a couple of eager tweener lookin’ kids in the crowd. All bushy-tailed and shit. As the next band took the stage one of the young’ns turned to the other and asked, “Who are those guys?” Bewildered, they looked to me like I was some kind of scholarly sage asshole with all the answers in the freakin’ instruction manual. Perplexed, I shrugged. “Well…don’t look at me, ya big dummies.”

    Obviously, I had no clue who these shirtless banshees were either. But we would soon find out – this was not going to be one of those let’s-take-our-sweet-time and build-up to a high point somewhere on the happy-ass horizon kinda sets. Apparently there were no bearings to get familiar with. No petty rust to shake off. No taint tickling either. Eff that nonsense. These fellers were cutting right to the filthy chase. Because in the opening frames of that first song, those guys shot out with a big, raw head of steam – guns-a-blazin’. Cue the shameless sound effects: pew pew pew!

    Wait a dang minute, now ya’ll got me wonderin’…who are those guys?

    These guys, whoever the hell they were, must’ve already been fortified in some ball of celestial heat. And it had absolutely nothin’ to do with the 90-somethin’ degree Ozark rays rustling everyone’s precious little sensibilities. Besides, their jimmies were about to get plenty more rustled. Whatever version of reality they’d dragged in with ‘em might just get violated, alright. Turning around to gauge the atmosphere, the tent was a rag-tag scattershot kind of shit-show and rightfully so. However, I reckon these festival peoples, whether they signed up for it or not, were primed for a shot in the collective arm. A real jolt to the senses, if you will. Ask and you shall receive. Because at that moment, by golly…out of the corner of my eye…I caught a glimpse of something…that I will never forget. Never, ever, ever…ever. The image might just still be burning itself into my psyche to this day. That’s right – a real slow kinda burn…

    He had to have been the head honcho of the operation. Boy, did he sure have a look about him: funny haircut, earrings, scalp ink. You know, the whole weird enchilada. And before I could even blink, this wiley duder done gone scaled a music speaker in the rear corner of the stage like a gawl dang bear – the super fuzzy kind. Wait, what? Where’d he go? Shit, he’s right there. You can’t miss him. That crazy mofo! Just what the hell is he doin’ up there? C’mon now, git down off that thing before somebody gets hurt!

    As if he was one of those “pro-fessional” wrestler types about to body slam some helpless bastard, he commandeered that audio tower like a boss man. Except this wasn’t some overly theatrical neon spandex send-off. Heck no. After teetering for what might’ve been one of the longest split seconds you’ll ever take a gander at, he just went for it. Well shit, this was really happening! You better fuckin’ believe it.

    Ole boy launched himself off the top of that monolith with guitar flung wayyyyy above his head, legs curled up super tight underneath his sprawling torso. Right then, it felt like the air had been sucked right out of that god-forsaken tent into whatever jet stream was thrusting his flight. Watching in wonder, dang near everyone gulped any gasp of air they could get a hold of before the deliverance. With an extended hang time trajectory nothing short of absurd, that man must’ve exploded out into a trillion particles of searing light before he even hit the damn floor. And then – BAM! He touched down on the stage with a full tilt force that could surely put them Van Halen and Townshend boys to fruity shame. Because those pansies had nothin’ on whatever spirit animal had been summoned in real time before us.

    It didn’t make a difference whether I looked around or had eyes in the back of my silly head. I already knew what had gone down. Everyone in that space had just completely lost their shit. Practically bouncin’ off the canvas ceiling, the kids were all cuckoo for Cocoa Puffs. In one fell swoop landing, the sudden impact of this weird enchilada man had awoken everyone from their mid-afternoon stupor. Its reverberations grounded us all down to the core and to whatever palpable measure – into each other. Who feels it, knows it. And anyone with a pulse inside, outside or wherever the hell side of that tent knew it. Indeed, the shit-show had formed a coalition of sorts. You bet your sweet ass it had. If I were to somehow, some way sum up the entire potent display, it would be this: call me crazy, but at that crystalline moment we all could’ve busted through a brick wall together. By golly, if ever there was a fitting time to deem the tent a “Revival” – THAT WAS IT.

    But, wait just a darn minute now – who are those guys? What is this, Butch effing Cassidy and the Sundance Kid?

    Heck no. Nahko and Medicine for the motherfuckin’ Peoplethat’s who.

    Well, I’m glad we got that all straightened out. So yeah…as part of “The (ever shortening) Road to Wakarusa,” I recently spoke with the weird enchilada man himself, also known as Nahko Bear. While personally driving the band’s tour vessel somewhere in the nether regions of Western Colorado, our conversation managed to veer in and out of cell phone reception. First world problems of the highest order. Nevertheless, just like the piercing messages in his lyrics, the candor and willingness to share came through loud and clear. Indeed, it was about dang time. Ever since that sweltering Mulberry day back in early June of last summer, I’d been wanting to know what makes this guy tick. This half man, half bear, half instigator, half healer, half jokester, half poet warrior.

    Shit, that’s alotta halves. Come to think of it, the math doesn’t add up whatsoever. Alright, you know what? Fuck it. Let’s do a little stretchin’ out here. I feel like things might’ve got a tad hot and heavy right out of the filthy gate anyways.

    MC: You ready?

    Nahko: I’m ready captain.

    Ok, here’s some rapid fire little bastards to grease the wheels. Or what I also like to call – the Lightning Round. Sponsored by none other than electricity, of course. Does it ever get old singing about the joys of materialism?

    Nahko: The joys of materialism??? (laughs)

    MC: That is correct.

    Nahko: Uhhhhh…no. I get a kick out of it every time (laughs).

    MC: When you’re coming in hot – are you comin’ in sideways, regular ways or exotic ways altogether?

    Nahko: I would say totally straight on.

    MC: Is there ever such a thing as too many scoops of ice cream?

    Nahko: Absolutely not…welllllllll, unless you have to take a big shit afterwards. Then you probably don’t want to eat too much. And if you’re on a cruise ship, don’t eat too much ice cream either because you might get seasick and throw up.

    MC: Yes…cruise ships…hadn’t thought of that one. Are you from outer space?

    Nahko: Definitely. There’s no question for me on that one.

    MC: Ok, enough of the softballs already. I’m bringing in the juicy heat!

    Nahko: I like your style, man.

    MC: You are of Native American, Filipino, Puerto Rican and Chamorro descent. You were also adopted at a very young age. What about your upbringing can you share when it comes to how it made you the individual you are today?

    Nahko: It wasn’t like I had an alcoholic dad or a neglecting mom or anything like that. I actually had some really awesome parents that took care of me. Nine months old to 17.

    And their patience and their outstanding care for me is where I feel like the empathy I have for people comes from. Even though there was a good 10 to 12 years of resistance post leaving my home of me lashing out and trying to figure out what it meant for me to be raised that way. And then finding my birth family was a huge change. That’s where so much of everything comes from. The process of the unfolding of that story was a huge piece for me. But yeah, it was so confusing at one point. Just the identity of “Ok wow, this is all I knew for so long.” The way they religiously brought me up really helped me to come back to a sense of spirituality and a sense of connectivity to the godhead. Because it was so strict and so indoctrinated. Going to church four times a week was just intense. I hated it. But when I finally came back around to wanting to connect and wanting to have that deeper meaning, I was available for it because I’d been there before. I just learned to worship a different way. And learned to find a connection in a more suitable format for myself.

    MC: When did you wake up and what was the kick in the ass that put you on the path to your calling?

    Nahko: I would say the wake up was a slow process. A lot of stuff had to happen over a long period of time for me to really come around to acknowledging my gift. So it was a slow calling. And I personally feel like I’m still evolving and still waking up and still trying to really understand what I’m here for. I know a lot of parts to the puzzle at this point though. It wasn’t until maybe 3 or 4 years ago that I really started to take myself seriously. I had to work through my own ego of thinking that I didn’t want people to relate to the songs. It was this weird phase I went through. It was just when I was getting started where people were beginning to recognize me and the songs and they were really connected to them. I had to get through this ownership feeling of, “Oh, well I didn’t write them for you. I wrote ’em for me.” And then, realizing what good they were doing for people, I got over myself. It was like, “Ok fine, this is what I’m here for. Obviously my process is something that’s helping other people heal from their own stuff.” Then it just kind of clicked. I was like, “Oh duh. Well, let’s just go for it.” And just around the same time I was realizing everything else in my life was changing. The relationship with my land I have in Hawaii. All signs were pointing at “drop it all.” Drop everything else and just focus on the music. When that happened and I finally surrendered to it, a million different doors started blasting open.


    MC: For an artist like yourself, one who has very intentional messages in your music, I think it’s pretty safe to say you have to walk a tight rope between maintaining the integrity of your music and working within the system of the music industry. How do you go about navigating the business terrain side of things without compromising everything you’ve built up through your voice as a musician?

    Nahko: I’ve got a lot of good people around me that keep me straight. It’s a trick that I’m still learning, but I’m learning the game. Learning how to set my offerings of solutions through the music on a playing field that is “dog eat dog.” So it’s a fuckin’ game out there. Everyone has their decision on how they want to do it. I’ve got very good friends who are in the hip-hop world that are doing it one way. I got homies that are doing solo projects that are doing it another way…But, you know, I think I have a great team around me. I’ve got great people who are always available to offer me great advice and how they’ve done it. My peers essentially. People that have done this before. With Michael Franti I’ve learned so much from his story. Ways it works for him and ways it hasn’t. And other people that I’ve toured with who I’ve learned so much from. Ways that I would do it and ways I wouldn’t do it. It just takes a good head on your shoulders. So I just keep rolling with the train level, man.

    MC: I recently had a conversation with Android Jones at Envision Festival. He shared with me his experience of coming into his own as an artist. How there were those times he had to challenge himself to push up against the edges of transformation and break through. How it could be exhausting at times just to reach those edges, but he developed the awareness, courage and perseverance necessary to achieve the metamorphosis each time. Please share with me how you’ve been able to not only move out to your edges as an artist, but what it has taken for you to pass through.

    Nahko: Yeah, I mean, that’s a big one. I couldn’t just give you an overall because that could take a day and a half to really tell you all of the stories (laughs). Not only does it comes down to experience, but it is also about having those experiences too. Some people don’t get to have those experiences. You know, those ones that really crack you open. And I’m just so grateful to not only have had these experiences in my life, but that I’ve had time and time and time again to re-learn those lessons. It’s a tough one, man. Each experience is so different. Learning the attitudes of grace and compassion and empathy and really knowing that opening your heart takes practice. So I’ve definitely worked through a lot of different, big changes in my life. And I’ve had to give them lots of time. To forgive them and accept my own shortcomings of my ego in it all.

    MC: I attended the press conference you guys sat in on last year at Wakarusa. Dustin Thomas, your bass player at the time, said something that resonated with me quite a bit. “If you can identify with music and in an instant feel empowered or in an instant feel healing or inclusion, then that goes beyond escapism. Because escapism implies that you are returning to a place of suffering. That is out of the playbook. That is over. What we all need to return to is that instantaneous gratification of love, of embodiment, of power, of feeling in it, of feeling healed, of feeling educated, aware and joyful. And bringing those into the center. And I really believe that’s how music helps us move forward.” What about the messages in your songs are a catalyst for healing instead of just being a temporary escape vehicle?

    Nahko: I think it has a long lasting effect. I feel a lot of the sort of mainstream music is more along the lines of dumbing it down. But we’re not about escaping. It’s this thing where we just hook onto it. I think with everything there is a balance. There’s got to be two worlds, in which case you have one world of music that has the intent to it, but to distract you. On the other hand you have music that has content and balances you and helps you become a better person and discover what your role is on the planet. I think there’s always been both of those things. Even with the old religious tunes or the old prayer songs of indigenous people, those things were all created with an intention to pray and praise. I think there are really beautiful long-term effects of lives being turned around and people empowering themselves through the mantras. But you don’t really get those kind of effects from music of the mainstream.

    MC: There is a song titled “My Country” on your Dark As Night album. The lyrics of this song do not beat around the bush whatsoever. They are brutally honest, raw, damning, humbling and challenging all at the same time. The average American might say, “Well, hold on just a damn minute now. You can’t sing that way about this country! That song is a national treasure. You are desecrating it. How dare you!” What is your response to that kind of reaction? How do you diffuse with love and not come from a place of separation?

    Nahko: That’s kind of my whole totem. I’ve learned that over time people just hate being challenged about their ideals, patriotism and about America and where we come from. People just don’t like being challenged. It’s so important to be able to speak to middle America and a generation right now that’s so hungry. Especially when you go out to Wakarusa, those kids are so hungry for real…content. Yeah, they want to party. They save all their money to come see their favorite band for the weekend…But I’m just so glad I’m able to offer something which is like a real history lesson…Not just like a history lesson, but also possible solutions. Possible affirmations. Possible little pieces of, “I rounded up a song. Hey, all you warriors – let’s represent.” Because it’s easy to forget that we can get distracted by materialistic stuff. And we need to remember where the real food is at is spirit. And it doesn’t matter if you are black, yellow, white or red. We all come from a place in our ancestry that we care about our planet. And we care about who is standing next to us. In which case, the tribe is an ever-growing alliance of like-minded people who want to take care of the planet and each other. Being able to turn the patriotic song of “My Country, ‘Tis of Thee” and give it a real truth behind it…yeah, most average middle Americans who hear that song are pissed by it, but that’s because they’re conditioned into the system so strongly that they forgot what really happened. Or they just refuse to believe the truth. But you know, I’m not here to change everybody’s mind. I’m just here to sing my songs and tell a story and the rest is up to you.

    MC: When you’re sitting down to write a new song or your recording in the studio or about to play a live gig, what kind of intentions, if any, do you consciously set before you move forward? 

    Nahko: Before a show, we try to focus on creating an experience that’s exchanged, hoping and knowing that what we want to do is disarm the idea that there is separation between us and the audience…Hey, I’m about to drive through a tunnel, so hang on. HANG ON!

    MC: Hangin’ on dude!

    Nahko: Hold your breath, here we go…(holds breath)

    MC: (holds breath)

    Nahko: Woooooooooooo (exhales)

    MC: Ahhhhhhhhhhhh (exhales)

    Nahko: Alright man….and so we want to be inclusive. We want to bring people into our story and feel like we are one big family because many of us are missing that.


    MC: You know, I like to ask this question quite a bit whenever I talk to a musician. I guess you could say it intrigues the golly heck out of me. When it comes to playing up there onstage, I’d imagine each performance can have its own unique rush. If there’s a way to somehow put it into words, what is that “it” feeling like? What is perhaps that transcendent feeling you are essentially chasing after in a way each show?

    Nahko: It’s when I can look at my team onstage and I can look at the audience in one full swoop and we can all know where we’re at. It’s that connectivity, you know. It doesn’t happen every show. It will happen in moments. I always say I blink at people in the crowd that I know are with me. They’re walking right next to me. Even though we’re separated by a stage and other people, there’s this feeling you can get when you know that everyone is on the same page in that moment. And we’re all sharing that moment of praise or we’re sharing that moment of reflection of truth. We’re all in it together. And there’s nothing like that. Because that’s when you’re connected not to just each other, but to the spirit. You’re all in the net. There’s an old Bible verse that talks about the fishermen and the casting out of the net. About going out to gather your sustenance and your abundance and you have a team to do it. But also in Maori culture there’s this symbol of the net that you cast out to pull up the wisdom of the ancients. The ones who pull the knowledge out for the rest of us to see. It’s a symbol that I have tattooed a couple of places on my body. And I’ve always recognized that as a symbol of the messenger. That’s why I’m here. That’s why I said I’m from space, bro (laughs).

    MC: Nor will I ever question that (laughs). So you feel empowered being that messenger though?

    Nahko: Oh yeah, totally. I don’t know where these songs come from sometimes (laughs).

    MC: I would imagine you guys are playing more than one set this year at Wakarusa – as you darn well better be. This is your chance to voice your rally call to your fans and prospective fans coming out to see you. What kind of intention would you like for them to bring? What kind of energy do you wish to see them summon when they share the space with Nahko and Medicine for the People?

    Nahko: I think what we bring is a roller coaster. There’s space for reverence and there’s space for praise and there’s space for personal reflection. If you’re new to Wakarusa or you’re new to a festival scene or whatever, there are so many different kinds of people that come. And obviously every person has their own reason for coming. So with having the opportunity to speak to them this way, I would ideally hope that people would come with an open mind. To be challenged perhaps. Ecstatic praise is a natural piece to where it just comes from the exchange of energy we have. It comes with the willingness to raise hell with us and to rock out and praise creation and recognize the merging of cultures in that way. Because that’s really what’s happening. I guess it’s just this bridge. So let’s walk across it together.

    Okay, so interview’s over, right? Not quite. In the spirit of good ole fashioned spontaneity, as we were about to get off the phone our conversation caught me off guard just a tad. Or maybe a lot – gawl dang it. This is ain’t the greatest feeling to have considering I try to be as dialed in as I can during any interview. But thinking we were done done, I’d already turned off my fancypants digital audio recorder and walked into another room to get a glass of water. And sure enough, right as we were about to hang up – Nahko wasn’t finished. I guess he needed to get something off his chest at that very moment. Well shit, this obviously was not good timing. Don’t get me wrong. I was definitely humbled and grateful he was willing to express this. After informing him I’d stopped recording and asked for permission to get it on the record, he replied: “You can remember all of this, right?” “Oh yeah, sure. I think so, yeah,” was all I could come up with as I quickly attempted to scribble down anything he was laying on me. Well, here’s goes nothin’.

    Nahko spoke of a time recently when he was back home in Hawaii. About being in a vulnerable place where he was in the process of cracking open. Something I reckon we all go through at points in our existence. Before a show one night, he told the rest of the guys in the band what he was dealing with and needed to lean on them for support. Of course, they heartily agreed. So that night they went and played the gig. Letting everything out that had been holding him back, it was a powerful release of an experience for not only him, but all of them. There were definitely tears shed afterwards among the band. He talked about how being in that place in his life and having the opportunity to be so vulnerable with an audience meant the world to him. It was exactly what he needed. It was cleansing. “We were having a completely spiritual experience being guided by spirit.”


    Although much of his story was obviously recited from memory, I still felt compelled to pass it along. First and foremost because this is a testament to the raw surrender of energy Nahko and his Medicine hombres bring to the table whenever they step on the floor. It spoke volumes about how even the messenger sometimes needs his tribe to pull him up by the cosmic bootstraps. Because Lord knows the one they call “Little Bear” has shared his abundance of love to those in need of cleansing and then some. Who knows it, feels it.

    Heck, come to think of it, maybe this is what I had been “chasing after” all along while we were talking on the phone. Getting disconnected five times, going through a tunnel, poor cell reception and even my dumbass turning off the fancypants recorder couldn’t get in the way. None of that distortion could block out the very nugget of insight which illuminated what I felt to my core on that Friday afternoon in the Revival tent. Because, I tell you what, there was a purity and an intensity within it still resonating in some way, shape or form to this day. When you absorb moments like those, get that taste of what it feels like to be alive – there’s no turning back. Those kind of sparks are why we push on through the distractions and the bullshit. Why we push on through the darkness into light. Why we crack open with a vision to keep on pushing even further. And call me crazy, but that might darn well just be why we keep coming back to Mulberry Mountain.

    Interview By: Matthew Cremer

    Original Article:

    Photo Credit: Josue RivasCremerica, Inc. Photography

    16 Feb 2015

    Music Monday with The White Panda

    Author: Rebecca | Category: Music Monday | Tags:

    This week’s Music Monday we are featuring mash-up/remix duo, The White Panda!

    The White Panda formed when two boyhood friends discovered they had independently embarked on mashup careers in college. Chicago-based Procrast (Tom Evans) first blended Rick Astley snippets with 2 Live Crew grooves as a way to avoid productive activity in 2008, while DJ Griffi (Dan Griffith) embarked on the same mission, for a similar purpose, in Los Angeles. Their combined effort, the White Panda, launched in 2009 with a single that topped internet radio charts days later. They’ve since had 27 singles reach #1 on Hype Machine.

    Buzz from the duo’s first three albums, “Versus”, “Rematch” and “Pandamonium” saw The White Panda soar into Soundcloud’s top five most-played artists in 2011. They’ve toured alongside Mac Miller, Mike Posner, Wale and Ghostland Observatory—and shared the stage with Tiësto, Benny Benassi, Steve Aoki, MGMT, Gym Class Heroes, Dispatch, and many more.

    “Bambooyah!”, their fourth full-length release, debuted in March ahead of a spring 2012 tour. That summer, the White Panda performed at Lollapalooza in front of a crowd of 15,000; as well as Bamboozle and Electric Zoo before headlining a fall tour across the U.S. and Canada.

    The groups widely acclaimed fifth full-length album entitled “Bearly Legal” hit the net on June 10, 2013. All of Panda’s music, from their first track to their most recent, is available for free download via their website,

Mulberry Mountain :: Ozark, Arkansas
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