SUMMER MELTDOWN
Driving into northeastern Washington state feels like leaving your problems behind - in a concrete, topographical way.
Highway 530 slithers between verdant hills that would be sheer if they didn’t look so soft from afar. A river the color of sea glass cleaves a path through pastoral valleys, charting the winding way towards a snow-capped peak, visible in short intervals along your journey. Modest houses interrupt the dense green occasionally, sun-bleached reminders of a slower way of life. The Darrington Bluegrass Music Park is one of the more remote and beautiful locations for a music festival, but its rural splendor doesn’t bely the caliber of party that unfolds each August in the shadow of Whitehorse Mountain.
It’s August 1st, and I’m on my way to Summer Meltdown.
(You should really listen to this while you read)
Mesa camping overlooks the whole festival grounds with Whitehorse Mountain in the background.
In 2000, while Coachella was struggling to recover from the $84,000 debt its first incarnation had accrued, Josh Clauson and his band Flowmotion threw a party on San Juan Island to raise money for a tour. They called it Flowmotion’s Summer Meltdown, and it cost $10 once you stepped off the ferry - the band even provided you with a cup for use at the keg. It seems doubtful that anyone involved in the inception of Summer Meltdown nearly two decades ago could’ve foreseen how the festival would grow, but the grassroots party kept happening, moving locations thrice before settling into its current home.
And now, each year, five-thousand attendees shelter under the stars and trees surrounding a historical stone amphitheater, soaking alternately in the cold waters of Whitehorse river and the diverse musical talents of a star-studded international lineup. By cultivating a technicolor palette of music ranging from folk to funk to experimental bass, this small festival draws an eclectic audience that never fails to surprise in its diversity, creativity and compassion. They are enthusiastically welcomed home for the weekend by a staff of three-hundred and fifty employees and volunteers, each of them just as eager to experience all Meltdown has to offer.
Flowmotion still plays each year, and it’s not uncommon to spot core organizers and staff enjoying themselves in the front row or on the stone steps of the amphitheater. I get the feeling that this place is a labor of love, still more of a celebration than a business. Leave no trace is gently but firmly enforced - safe spaces and medical tents are easily accessible and well-staffed. Feedback is collected and actually acted upon - last year many Melters suggested a group camping option be implemented, and the festival listened, allowing friends to pay a small fee in order to guarantee a campsite large enough for the whole crew.
I managed to sign up 18 close friends, landing the second-largest group site at the festival and, through sheer luck, securing the only large campsite to have a full view of both the Main and Cabin stages from camp. I cannot stress enough the advantages of watching the show from the comfort of your inflatable L-shaped couch while someone cooks you dinner and refills your drink.
Over forty bands, DJs and solo artists grace the stage (or log cabin, or late night tent, or sylvan glade) over the four-day weekend. Up-and-coming talents from the Pacific Northwest perform alongside some of the most internationally acclaimed acts of the last decade. Past headliners have included Tycho, STS9, Bassnectar, STRFKR, Griz, Greensky Bluegrass and many more , but in my opinion, 2019’s lineup put them all to shame. I purchased the ticket to my second Meltdown the day they went on sale in January, long before any acts had been announced, but on the day the full lineup was released I could hardly believe my eyes.
While most if not all music festivals today are sure to include arts and activities, the real draw for most of the audience is the music. Summer Meltdown, as I’ll cover later in the review, is chock-full of experiences and escapes to refresh and revitalize you before each marathon-long-day and night of music. The primary reason for my trip to Darrington, however, was to cover the music, and I did my best to be up front and personal for as much as possible. I’m very proud of the photos I got, but trust me when I say they don’t do these performances justice.
Starting as early as 1pm, funk, folk, rock and hip-hop are abundantly audible throughout the festival grounds and into the camping areas. As the afternoon wears on, performances at the Forest Stage turn down the volume for intimate, ethereal and often downright goofy experiences amongst dappled light. As night falls, things get heavier.
![[SUS] Collective](https://images.squarespace-cdn.com/content/v1/5cbcc158f4e53135998a95b1/1566715257331-SXP4NCQYI19640I0V652/DSC06409.jpg)
Most years electronic acts make up the top of the bill, and 2019 was no exception. Internationally acclaimed producer, DJ and long-time music industry enigma Dave Tipper made a rare appearance on Sunday night, treating Melters to a nearly 2-hour “adventure set” that dynamically moved from psychedelic down-tempo to technically jaw-dropping kinetic bass and breakbeats. French star CloZee delivered one of the most diverse, danceable and surprising sets of the whole festival, shutting the main stage down on Friday after rocking the amphitheater and surrounding mountain ranges. G Jones played most of his new album The Ineffable Truth live, taking the audience on a breakneck cerebral expedition through unknowable doors and hallways into other dimensions. Gramatik, the king of electro-funk, incinerated the dancefloor with his signature fusion of heavy bass, live guitars and a nonstop medley of funk, blues and rock.
Further excitement kicked in as we explored the bottom of the lineup and it became clear that there was much more to look forward to than we initially thought. While unfamiliar, these names in small print are not to be overlooked.
A few of our new favorites include soulful fusion rockers Dirty Revival, folk quartet Polecat, SoDown and his saxophonic bass set, and Moontricks - a duo melding smooth electronic production and smoldering guitar.
With most music festivals, this manic lineup-day excitement is usually tempered by the release of the daily schedule, the list that tells you where and when your favorite artists will be going on. I remember hearing the phrase “Conflictchella” shortly after arriving at the southern California polo fields in 2012 and realizing that The Black Keys, M83 and Explosions in the Sky all played at the same time, and I now had a terrible choice to make. I ended up splitting the hour-and-fifteen headlining Coachella set between the two main stages, tearing myself away from an incendiary Dan Auerbach guitar solo to fight through 10,000 people on my way to see Explosions finish their last handful of songs - and then wonder what I had missed at M83 on the walk back to camp.
This problem is nonexistent at Summer Meltdown.
Set times are staggered, and the main and secondary stages sit next to each other at a 45-degree angle, meaning onlookers need only turn to the left or right after each last song. Meltdown crew performs set changes during music at the other stage, meaning you never wait more than 10 minutes and don’t need to move at all between acts. Standing between two stages, thinking of the odyssey I made between The Black Keys and Explosions in the Sky 9 years ago, I couldn’t contain my grin.
Once these two stages shut down for the evening, the party moves to a Late Night Tent just outside the festival entrance. Our favorite set of the whole weekend went down here, as CharlesTheFirst toured us through wormholes and alien abductions over the course of an extremely gritty and experimental hour.
I have to give a huge shout-out to the sound crews of Meltdown for a truly impressive technical display - the music was satisfyingly loud without being penetrating, and somehow, magically, I could hold a comfortable conversation with the person next to me, no shouting.
After a long night of dancing and hedonism, it feels incredible to start the day with positivity, an open mind, and copious stretching. Workshops held in the tranquility of the Forest Stage each morning ranged from meditation, breathwork and acroyoga to discussions on border Imperialism or indiginous wisdom passed down from members of the Saanich First Nation, the original inhabitants of Washington.
Cacao ceremonies give attendees the space to set intentions for the weekend, while talks on environmentalism encourage everyone involved to interact more consciously with our world. Additions like these are becoming more common at music festivals, but I was particularly impressed by the diversity and authenticity of Meltdown’s offerings, as well as their commitment to and respect for the native people of the area.
And then there’s the river. Meltdown offers rafting tours for a fee, but most attendees are content to bring a floaty of choice and invest a few hours of daytime heat to enjoy DJ sets from the water. Splashing, swinging, rock-stacking and shenanigans of all kinds are encouraged, and self-organized morning cookouts have sprung up more than once, winning this particular elbow of the river the moniker Bacon Point. Whether you’re fully rested and freshly acroyoga’d or paying for the sins of the previous evening, attendance at this most spectacular of river parties is strongly encouraged for all. The river is one of the first selling points Bump will list when ranting and raving about Summer Meltdown.
If you’re a real thrill seeker, you can drive 20 minutes to go rock climbing or charter a helicopter tour of the area through the festival.
Yup.
As the sun creeps towards the treeline and the last resolute floaters retreat from Bacon Point, the Sensatorium comes alive.
A large translucent dome, lit from within in an ever-changing rainbow, this self-contained bubble of creation overflows with music, laughter and gasps of awe. An interactive activity space just outside the festival entrance, the Sensatorium is a must-see for anyone with a few minutes to spare between music and camp. Build a tiny civilization with a stranger using an antiquated PC; paint in a sandbox and watch projection mapping technology fill your designs with “pools” of light; examine a specimen of festival flora or fauna under a powerful microscope; or simply jam out on the LED-equipped upright piano and attract your own singalong following. Once you’ve sated your curiosity within, the Late Night Tent is a stone’s throw from the front entrance, as are a series of public paintings, art installations and meditation tents.
In a time when anyone with $400 and a long weekend off work can take their pick from dozens of festival experiences, this small operation shines brightly from amongst the firs and pines.
By removing massive crowds, militant security and expensive food, drink and merchandise, Meltdown has managed to create a uniquely relaxing and heartfelt atmosphere. I felt encouraged to engage, to participate rather than merely consume the experience and post it to Instagram. The same artists that rock EDC, Coachella, Lollapalooza and other massive festivals make the trip to Meltdown’s humble stages, regularly taking time out of their sets to remark on how special this woodland gathering feels.
I agree wholeheartedly.
If you enjoyed this review and are looking for a music festival for 2020, consider Summer Meltdown. Bump fully endorses the heart and hard work that a small group has put into this gathering for nearly 20 years, and we’re happy to say we’ve found home. You can check out our full photo gallery here, and please, follow the festival on Twitter, Instagram, Facebook, whatever - just don’t forget to check their website for more photos and details on 2020.
Thanks for reading, and I hope to see you amongst the trees next summer!
♥ Zach
