I’d love to write a lengthy article about Waynestock, detailing set lists and performances, but for a couple of reasons, I can’t do that. First, I really wanted to enjoy the music and not focus as much on documenting it. I achieved mixed results on that front, but I didn’t take notes, so I can’t give you the detail I might otherwise give you. Second, and this shows my limited success with focusing on listening rather than documenting, I ended the three nights with about 650 photographs.
So, I spent about fourteen hours at the shows, I took 650 photographs and then I had to select the ones to keep. I reduced the number to just over 200 and processed the few that accompany that article. That took about four hours. Now I’m writing and I’ll insert the photographs. As you are reading this I’m probably working on the other 180 photographs or so. You’ll find my final cuts on the Inside of Knoxville Facebook page: Night One, Night Two and Night Three.
So, while I wish I’d pulled off a more detailed accounting of the shows, I’ll have spent about twenty hours on this once I finish the photographs today, so this is what I can do. The shows were great fun, the music was all good, the styles diverse and the vibe absolutely awesome. Attendance had to be the best it has been any of the five years, which means a large amount of money had to be generated for WUTK, which is a great thing.
The first night opened with Subtle Clutch, who I really enjoy, as readers of this blog know. They are old souls. Brandon Fulson and the Realbillys followed and lived up to the hype I’d heard. Matt Woods took the stage – and ended his set in the middle of the audience. As spectacular as I remember from the first time I saw him, he’s really someone to give a listen to. The night ended with the emotional highlight as Psychotic Behavior reunited for a powerful set.
The second night offered, perhaps the most eclectic sets. It started with Keith Brown’s jazz project Blueprint, who played a fine set, and moved from that to Plunderphonics laying down the hip hop. Madre played an excellent, rocking set and then the music shift dramatically to the indie sounds of Hudson K, who lived up to their normal excellent standards. Bobby Bare Jr. played a sound-challenged, enthusiastic set of their quirky music and I ended my night. Big Bad Oven played afterwards, but at midnight on the second night I had an empty tank and headed home.
Unfortunately, I missed back-to-back sets when I didn’t make it for Bark, Tim and Susan Lee’s latest project. The good news is I’d heard them before, the bad news is it’s such an interesting venture. The two of them are also a powerful good-will force behind the Knoxville music scene. I got there in time for Run, Jump and Throw Like a Girl’s politically incorrect set. Todd Steed and Scott Miller kept it profane and fun. It’s hard not to enjoy such fine material as “Thinking with Mr. Johnson.” You get the idea. Cutthroat Shamrock, who just gets better every time I hear them, followed with their rowdy set. Marina Orchestra capped the band sets with their usual fun sounds. The entire festival came to an end with an all-star tribute to Neil Young centered around organizers Sam Quinn and Tim Lee.
It’s such a great event. I already anticipate the performances for next year. My only suggestion to make it better would be to have more barbecue. I went Thursday night looking forward to some Sweet P’s and there was none. Saturday night they ran out pretty early, which was probably because of the massive size of the crowd. Small quibble for an incredible three nights of music. Thank you to everyone who made it possible and if you missed it, you really need to make plans for next year.