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True Music Festival

Has A ‘Truly’ Fine Debut

Image by Jeff Moses. Next Slide Show —>

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Arizona’s First Large-Scale, Multi-Genre Music Festival Thrills The Several Thousand Attendees At Salt River Fields And All Signs Point To Even Better Events In Future Years

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By Jeff Moses
Modern Times Magazine

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Local music was not the only bit of Phoenix culture represented at TMF however local live painters were brought in including Tempe based festival veteran Matt Brown, as well as local art installations brought in by The Walter Project which were an oversized light up Vulch Wagon Bug, VW Bus, and a light up fire truck outfitted with ten foot high horns. All of which were playa proven, if you catch my drift.

Also in line with the artistic vehicles a local fire spinning and performance troupe traversed the crowd on bicycles outfitted with christmas light canopies performing dance routine, fire spinning and other performance art all day.

TMF also went out of their way to bring in local food vendors including Mesa based Toms Barbeque who brought in their catering van “The pig rig,” which is a step van decked out in pink paint complete with a coil for  tail and snout up front, and downtown Phoenix’s bar and grill Copper Blue among many other local food options.

The Fest also tapped into some local non profit organizations such as planned parenthood, and Phoenix Pride, who among other non profit groups had booth’s set up with information and giveaways.

Another aspect of the local culture that True Music Festival brought in was a bit of Old Town Bougieness. In certain aspects the VIP section resembled a Scottsdale nightclub more than a music festival,such as the security guards in black suits with red ties, as well as the “True Vip” area which was essentially  two story riser full of private tables for those who purchased the $1,500 True VIP experience.

The music bounced back to the mainstage after Black Carl, for saxaphone toting Detroit based dubstepper Griz. The festival really started filling in for Griz’s thumping set during which the first set of special V.I.P.’s who paid to skydive in landed in the Salt River baseball field.

The V.I.P’s were escorted in and Griz finished off his set which included “Shout,” “Play that funky music,” and of course his own mix of EDM originals with a sax part built in. It was also during Griz that a group of three twenty somethings had their weed confiscated by security in a move orchestrated by an uniformed member of security.

Though I recognize marijuana is illegal, having plain clothed security agents in the festival busting people for weed when Wiz Khalifa is your headliner is just a little bit hypocritical. I mean the guy exclaimed “I’m high!” at the end of his set.

But at least the weed was only confiscated and no charges were brought. After Griz it was Kopecky family band for something a little bit more easy listening, before Capital Cities who waited until the very end of their set to really blow the audiences mind.

He’s My Brother She’s My Sister got on the solar stage next, and the former Tour De Fat headliners brought some of the best festival moments of the day. The group already had an interesting look to them with  drummer who plays her kick drum by standing on it, and their custom standup bass. But the sharp dressed group, Except Ryan in his red and black flannel, also brought the unannounced collaborations of the day by inviting Kelsey Kopecky of the Kopecky Family band up to do two songs mid set, as well as Garnett and Fred Reyes of Dry River Yacht Club for the final two.

The Sun was fully down by the end of He’s My Brother She’s My Sister and the amount of flashing and multi colored lights around the venue multiplied exponentially as Wiz Khalifa took the stage, followed by HelloGoodbye on The Solar Stage, before The Flaming Lips’ face melting main stage performance.

Following Coyne and company, DJ Killparis closed out the Solar Stage, before Bassnectar closed out the festival. Though even Bassnectar’s crowd took a hit following the mass exodus of Khalifa, that did not stop the festival veteran from turning the bass all the way up and letting his fans ride the beat.

Regardless of how many fans there were, Bassnectar’s defending set was equivalent to several space shuttles blasting off — in a good way. The bass god kept the crowd moving and shouting throughout his entire set. Aided by the giant LCD screens in front of and behind him and the tremendous amount of stage lights. Though Bassnectar’s crowd was by no means the biggest, it may have been the most raucous.

Also in attendance for Bassnectar’s set was Coyne, who emerged from backstage still in his stage costume and mingled with the audience to stage right while taking photos with them on his cracked cell phone.

Jeff Moses a senior contributor at Modern Times Magazine. He can be reached at jmoses@moderntimesmagazine.com.
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