Hit me with the Loop
A Camp Barefoot Experience
by Becca ‘Boo’ Cranwell
Winding down a back country road, heading to Camp Barefoot 6 in Bartow, West Virginia; dark clouds leak over the mountain tops like spilled milk. The large man at the front gate taking tickets has potential to be intimidating if it weren’t for his Cheshire cat style grin. A slow drizzle picks up as thunder echoes off the mountains. Despite the impending storm, festival-goers have already kicked off their shoes and are exploring the beautiful camp grounds. Muddy toed children are crowded around a pig pen giggling at Charlotte—one of Camp Barefoot’s many farm animal friends.
At the top of the hill music has stopped for a moment due to lightening, but the festival thrives on. More and more people emerge from the rainy parking area—completely soaked—yet there isn’t a frown in the lot. Fellow campers jump up to help total strangers set up tents and push cars out of the mud holes. Everyone agrees: a little rain may dampen our clothes, but it certainly won’t put a damper on our weekend. The rain lets up, the Mantras begin and their sweet futuristic tones beckon campers to begin slipping their way toward the stage to dance themselves warm.
Not nearly soon enough, we were all hit hard with a brand of funk that can only originate in New Orleans. Ivan Neville’s Dumpstaphunk set the tone for the entire weekend early Thursday night. The message this southern funk-tribe preaches is simple, but powerful: “we’re gonna take all that unneeded bullsh*t, tonight, and put that sh*t in the dumpster.” A fitting mantra for the weekend.
Following Dumpstaphunk’s in-your-face instruction for reduction, the crowd lets go: physically and mentally; everyone at Camp Barefoot is ready to allow the weekend to unfold. With hearts still pounding from the previous show, the Kyle Hollingsworth Band with the Motet Horn Ensemble and Joey Porter, from Juno What?! on the keys overtakes the stage. The crowd is fascinated by the interaction between Porter and the brass players as they’re constantly exchanging glances and smirks at each other wondering where the other will go next.
Future Rock erupts rhythmic electronica into eager eardrums. The futuristic funk flings fans into instantaneous meditative dancing; eyes are closed, but feet are moving. Next, Zoogma elaborates on the electronic-vibe with both smooth and upbeat future sounds spread over contagious bass lines. Juno What?! pumps out what they, appropriately, call “electro-disco” breaking out the talk-box that drives the ladies wild. The crowd simultaneously begins hopping and jumping: creating a human wave; with each rise, the wave brings funk-a-licious energy to the front of the stage. The wave doesn’t break until the music does.
Segway keeps heads bobbing throughout the rain-soaked morning. Energetic beats and smooth keyboard riffs only leave dancers wanting more, which is okay, because as Segway finishes up the main stage area, Former Champions are just getting started up the hill. If you didn’t get enough electro-rock at the main stage, here is your final chance to get down into the wee hours of the morning.
Peoples Blues of Richmond are up with the sun Friday morning to entertain the early risers. One of the first groups to play, PBR treats the audience to rock ‘n roll blues—a fitting starter to a very long day of music. Mid-morning, the Baltimore band, Pigeons Playing Ping Pong brings a torrent of positive vibes to their devoted fans.
Standing amongst “the flock” (Pigeons’ fans) you might find yourself getting funky beside a fragrant, flailing hippie dancing his sock-less feet off, gazing at a breathtaking hula-hoop fairy or grooving with a large, pink, fuzzy hippopotamus—you never know with this bunch. However, one thing is for sure: you will always feel better leaving a Pigeons show than you felt entering. One reason is because the Pigeons always fly with a fun, devoted and phenomenally genuine flock.
Sauntering down the hill after the Pigeons show, The Mantras hypnotic ribbons of sitar-like sound beckon you towards the main stage. It’s hard to determine whether you should dance or assume lotus position when listening to this North Carolina group—then again—that’s probably the point.
Later in the evening Zach Deputy warms up the crowd with buoyant beats. He easily gets feet shuffling and heads bopping. His lyrics have a habit of giving audience members spirit bumps: the goose bumps you get when something speaks directly to you soul. However, a number of audience members note that he seems a little off tonight; is he holding back for tomorrow night? Next, Kalmia Traver, of Rubblebucket, induces some serious swaying with her hypnotically melodic voice. Ghostland Observatory takes the stage after Rubblebucket and the super rage begins. If raging is your thing: this show is the reason you came to Camp Barefoot.
Smoke rolls across the audience like a great, weightless wave. Lasers. Lasers. Lasers, green, purple, blue and red. There are hardly words to describe the celestial, swirling orgy of colors Ghostland’s light show engineer creates. Every 3rd person outside of the dance pit is standing frozen, stopped dead in their tracks, eyes glued to the sky. The smoke and laser effects make you feel almost shamanistic—staring as if hypnotized by the trance-like music. Concentrating on the smoke with all your might; anticipating a vision from a great spirit to appear.
Following Ghostland Observatory, the Motet cools everyone down with smooth jazz, slick funk and angelic horns. Joined by guest vocalist Ras Puma, of Thievery Corporation, The Motet keeps the energy up for the next show:Arhnemesis. Archnemesis brings an air of electronic tranquility and an awe-inspiring laser show to the wee hours of Saturday morning.
After a few hours sleep, Camp Barefoot awakens mid-noon Saturday to begin the whole experience all over again. In front of the main stage, people are strewn out on blankets, cuddled up in Eno hammocks and a few are passed out right in the grass. Not many are willing to miss music—not even for much needed sleep.
That afternoon Zach Deputy joins Tiny Boxes on the smaller Cary St. Café stage up the hill for a rendition of “Georgia on my Mind.” In the meantime, Big Daddy Love prepares festival-goers for another night of mind-blowing music. Big Daddy Love calls their brand of music “Appalachian rock”—it’s a healthy mix of bluegrassy-rock-country featuring smoking originals as well as cover songs everyone knows and loves. BDL nailed “Sweet Child O’ Mine” with precision.
Behind the stage, Zach Deputy is jovially chatting around a picnic table with his crew. A Frisbee golf basket is set up back stage, as the pastime is a serious passion of his. After the longest and quite possibly the most healing hug I’ve ever received, the artist attempts to explain Frisbee-golf to me. He shows me the correct form for flinging a Frisbee and shares why Frisbee-golf accoutrements are a staple at his shows:
“I feel like a hamster in a cage being in the van all the time. Frisbee-golf is liberating to me, it definitely helps me relax before a show. But, we left our good golf set at our last show, so we have to make our own targets. Oops.”
Deputy tosses a Frisbee about a foot away from the target. I throw my disc close to 40 feet away from the pole, but Deputy genuinely encourages me. He smiles politely and tells me I’m “doing a great job for a beginner.” Then his gaze turns towards my feet and his smile turns into a befuddled pucker.
“Um, have you walked on the ground here? Like with bare feet?” Deputy asks me.
“Yes. All day yesterday, but I cut my foot last night—so I’m shoes-ing today.” I respond absentmindedly.
“Yeah…but have you felt this ground?” he asks gently, but insistent.
It’s clear the interview won’t go much further with my shoes on. The shoes come off, the Frisbee-golf-interview continues, and he was right—I instantly felt much more at home, because ‘home is a state of mind.’
Q: When did you discover your love and talent for music and what influenced you?
A: Always. I have always loved music. And every type of music has influenced me: I started off with Harry Belafonte, Calypso, and Motown. Then moved to Nirvana, Hip-Hop, Jazz, Soul, and then I went back to the old stuff; like Ray Charles.
Q: How do you create your loops? Is it a trial and error process or are you looking for a specific sound?
A: There is an element of improvisation in practically every song. I try something new every time—sometimes it works and sometimes it doesn’t. Artist Integrity is to refuse to be bored with your music. Every song is constantly changing. Like the “Shark fin” song I sang last night; it started as a joke, but now every time I play it I just keep adding on. It’s like…I don’t want to eat the same meal every day… why would I want to play the same song every show?
Q: What has been your favorite show at Barefoot so far, or is there a show you’re particularly looking forward to?
A: Dopapod and the Motet were some of my favorites so far. I cant’ wait to see Karl Denson; he’s one of my buddies. I love going places like this to hear music that speaks to my soul. I meet the people behind the music and they’re always really good people. Music has to have soul, and soul manifests in so many ways—it has so many flavors. Music is meant to reach people in a way deeper than English could ever explain.
Q: There have been rumors you might collaborate with Keller tonight, can you give me a hint:
A: It’s definitely possible. We’re buddies.
Q: What do you look for from your audience?
A: I don’t look for my audience. I feel my audience. I live and observe and react. I’m happy no matter what atmosphere. You have to make yourself happy and be comfortable in your own skin.
Q: What do you want to do next?
A: I want to make music; then disappear from the music world forever.
Q: And do what?
A: Just be.
In conversation—no matter the topic—Deputy responds with statements that are moving and eerily prophetic.
Backstage, Deputy is constantly approached by friends, fans and total strangers who have no idea they are talking to Zach Deputy. People naturally gravitate towards his incredible energy. Yes, his vibration is that strong; it’s like force field of warm, fuzzy optimism that sucks you in. You just want to be part of it for as long as you can.
Later that evening, people up the hill at the Cary St. Café stage can either feel the vibes rising or hear the music floating up through the campground, because a massive crowd suddenly boogies their way down to the main stage to see Deputy. Warm, funky tones drift through the air, painting a grin on every face.
Deputy sits behind a smorgasbord of electronic equipment wearing a neon mohawk beanie and—as usual—he’s bouncing like a spring. The crowd collectively smiles, sways and sings along to Deputy’s upbeat, beach-inspired tunes. The energy is palpable in the crowd. Deputy is pouring out good vibes to his audience and they are sending it right back—just like he said would happen.
Deputy starts off with his slower melodic songs, while an elegant hoop-fairy, Jeanne Sgroi, swirls gracefully beside him on stage. After a few slow, romantic and reggae-esque songs, he transitions to fast funk. The crowd erupts as a pair of ravishing and unabashed beauties—wearing nothing but panties and body paint—dance their way onto the stage. Like a perfect gentleman, Deputy keeps his eyes on his equipment, but he is clearly enjoying the reaction. Deputy finishes his set, leaves the stage and the crowd erupts as Keller Williams—another loop aficionado—steps under the bright orange lights.
To the audience’s pleasure, Deputy steps right back out on stage and joins Keller for their version of Harry Belafonte’s “Man Smart, Woman Smarter.” Despite the predominantly male audience, the crowd eats every bit of it up; particularly when Keller reprimands Deputy for stepping on his rug with his shoes on. After Deputy retires, Keller keeps his audience completely tuned-in with Keller classics and a few favorite covers like “Naïve Melody (This Must be the Place)” by the Talking Heads.
Following Keller Williams is Karl Denson Tiny Universe, featuring DJ Williams, a Richmond native who always promises precise finger-play on guitar. Denson is joined by Zach Deputy for an incredible jam session that drives the audience into a freak-dance-frenzy. With these three powerhouse artists in a row, the atmosphere was intense. Not make you go cross-eyed intense, but at the right moment—during the right song—a quarter of the audience is swaying in-place with hands on their hearts intense.
If Camp Barefoot 6 had to be summed up in three mental images it would be: 1. Strangers helping strangers’ push cars out of the mud. 2. People feeling music, swaying in-place, eyes closed, hands pressed to their hearts. 3. A pair of dirty bare feet spilling over the side of a hammock. Bliss.
Sunday it’s clear that Camp Barefoot 6 is one of those festivals people don’t ever want to leave. Everyone is exhausted, but a good sized crowd still manages to make their way to the stage and flat-foot to authentic bluegrass. Not only is everyone still excited to listen to live music, everyone still has the energy to be helpful toward one another.
A young man helps carry an older lady’s bag down the hill to her car. And to reverse the roll an even older lady helps a hoop-fairy carry her armload of hula hoops down the wooded trail to the parking lot. With a huge grin still etched on every face you see, it’s difficult to pack the car up and leave this slice of Eden. Beautiful mountains, beautiful people, beautiful music. It simply seems unnatural to leave.
