I’m still in awe that festivals exist. Such a break from reality, a place of raw energy and expression only seems to exist in film, the depths of pages or a bright imagination. At festivals we dance. Allowing music to envelope us and control our every fiber is part of our core human make-up. We need dance, we feed on it, a deep part of our soul thrives on it, far beyond what can be expressed by words.
Festivals are the most powerful catalyst to explore oneself and for years Camp Bisco has provided just that. Through Mariaville, Hudson Project and the new home at Montage Mountain, the end result has been the same: a ton of music packed into one weekend. By booking such an incredible lineup, the ingredients are laid for large caravans of moved-away friends and one after another of formative sets with them.
EPROM, Space Jesus B2B Digital Ethos, Melvv, octbr., Jaenga, Esseks, Ganja White Night, and Pretty Lights each brought the experimental bass I have been craving for years. The way my brain responds to electronic music still fascinates me so much and these producers conduct a hell of a ride. So many amazing sets in one weekend keeps Bisco relevant in the world of stacked line-ups.
For festivals to keep this energy, this growth unhindered, the rift between fan bases must stop. We must hold these places sacred and respect the fact that all fan bases show up to party hard and learn something about themselves in the process. We need surprise sets to lose comfort. The very diversity of festivals like Camp Bisco is what keeps them unique and ever-evolving. The dynamic nature of Camp Bisco allows all of our friends to be entertained, not the select few of a genre-specific lineup. The very problems we notice in other fans are reflected by our friends and come neatly mounted above porcelain. We all just came to dance!