Review: AVLFest — 20/20 Hindsight

A couple of days prior to the inaugural AVLFest, I was asked which artists I was excited to see — and I immediately tensed up. My brain frantically browsed through the long list of names that would be performing, ultimately leading to a non-response that I was looking forward to being surprised by an artist I was unfamiliar with. 

Due to the ceaseless barrage of quality music hitting the city in the months prior, I was feeling rather burnt out by the time AVLFest kicked off August 3 And, to be honest, festivals just aren’t my thing. It’s difficult to not get lost in the excitement provided by a large list of artists and the FOMO of it all, but there’s something about seeing so many performers in a short span that ultimately diminishes those experiences. But I’m also a jaded curmudgeon who was fortunate enough to attend several CMJ Music Marathons, and enjoyed them at the time, regardless of the resulting exhaustion. 

Although lacking the enthusiasm of other attendees, I approached night one with an open mind, choosing to catch a trio of relatively-unknown garage rock bands at the West Asheville dive, Fleetwood’s. The intimate venue has proven to be one of the most dependable spots to catch young, up-and-coming rockers in the area, and so I decided to spend the bulk of my AVLFest stationed there, hoping to catch the next Wednesday or Secret Shame. 

Taking the stage first, local quartet Impending Joy instantly made an impression with its heavy distorted guitars. Playing a loud set of heavy-psychedelia, the band recalled early Black Angels, and the accompanying liquid light show projected over the musicians provided a welcome visual element. 

Rod Hamdallah

Successive sets by Atlanta trio Rod Hamdallah and Asheville duo Safety Coffin kept the energy level up. Both acts offered up their own takes on the kind of blues-injected garage rock that’s always had a strong presence in the region. Hints of Flat Duo Jets and the Black Keys could be heard throughout both sets. 

Safety Coffin

Even though the first night of AVLFest was enjoyable, it failed to light the spark of excitement necessary to drive me to spend the next night catching new bands. And so after a long work week, I crashed at home on Friday night, expecting to make up for it by enduring a long, hot Saturday, jam-packed with music. 

If any AVLFest lineup presented the most enticing roster of performers, it was the loaded Day 3 bill at The Outpost, a large outdoor space in West Asheville alongside the French Broad River. With Tall Tall Trees, Tyler Ramsey, Floating Action, River Whyless, and Scott McMicken all performing on the main stage, the lineup was the perfect representation of the festival organizers’ vision to showcase Asheville’s depth of musical talent. 

Tall Tall Trees

Upon arriving, I was met by a scorching sun that relentlessly beat down on the stage and area immediately in front of the musicians. I arrived in time to catch the early afternoon solo set by Tall Tall Trees’ Mike Savino, and the local bearded banjo wizard was well worth the early arrival. Utilizing loops to build up his sound into a colorful layered spectrum, Savino leaned into his proggy sensibilities to deliver a mesmerizing set composed of tunes from his upcoming release, Stick to the Mystical I, and 2020 album A Wave of Golden Things. And when he found himself with a little extra time, he capped off the set with a cover of Stevie Wonder’s “Superstition.”

Elora Dash

As more and more attendees arrived at The Outpost, one thing became clear: the refuge of shade was a scarce resource. Fortunately, some friends had staked claim to a tree-covered area behind the side stage as the young Chapel Hill trio Elora Dash filled the gap between sets on the main stage. Breaking away from the day’s general theme of folk rock, the ensemble’s jazzy neo soul sound was an unexpected treat. 

Tyler Ramsey

The sunburnt areas directly in front of the main stage remained relatively wide open as Tyler Ramsey soundchecked. Most fans opted for enjoying the tunes at a distance, in whatever bit of shade they could locate. The relaxed Americana conjured by the former Band of Horses lead guitarist and his bandmates nicely complemented the riverside setting’s casual sunny afternoon vibe. 

As we continued to melt, the delightful mix of slightly warped ’60s pop, folk, and dub by longtime Black Mountain mainstay Floating Action made it worth enduring the sun for a bit longer. When frontman Seth Kaufman and his all-star backing band neared the conclusion of their set, I finally opted to escape the heat, jumping onto the next bus back to Fleetwood’s.

Floating Action

The venue hop resulted in trading in the laid back but blazing Outpost for a sweaty, raucous space. Arriving just in time for an exhilarating performance by Watches, I was instantly satisfied with my decision. Though River Whyless and Scott McMicken were sure to deliver solid sets, the frantic punk by the Asheville duo was a welcome shot of adrenaline. I came to be rocked, and they did just that. And then Powder Horns did the same.

Watches

If there was a single band playing AVLFest that I’d promised myself to catch, it was Powder Horns. Although the group’s new album Dissolution caught my attention months ago, I’d missed every opportunity to see them live. Taking the stage after Watches’ rousing set, the quartet held nothing back. The band’s impassioned brand of garage punk hit with an additional urgency in the live setting, especially Dissolution highlight “The G.O.M.s,” during which frontman Brett J. Kent pushed his voice to its limits as he emphatically shouted “you parasite.” Feeling both fulfilled and exhausted, I called it a night. 

Powder Horns

I’d intended to close out AVLFest on Day 4 with personal favorites Indigo De Souza and Secret Shame, but when the time came, rest and relaxation won out. It’s taken many years to overcome the combination of guilt and FOMO that comes with skipping concerts, but I’ve learned that I enjoy the ones I attend more when not feeling stretched thin. Plus, Powder Horns’ lively Saturday night set felt like a fitting conclusion.  

Post-festival requiem

In the weeks that have passed since the inaugural event, I’ve had time to reflect on the festival as a whole. I think it’s safe to say that I approached it as a mild skeptic. Lacking the kind of big-name draws that top most big festival lineups, a lot would depend on the willingness of attendees to adventurously endure set after set by lesser known acts, which appeared to be a gamble. 

Plus, festivals are notoriously challenging to pull off. For every Coachella or Hopscotch, there’s a Fyre or Altamont. But the organizers somehow nailed it. Every aspect of AVLFest appeared to be well-executed and handled with care. Badge pickup was a breeze, venues managed to run on time, and the free buses were a thoughtful consideration, all contributing to the kind of experience that will keep people coming back in future years. 

Floating Action

For the inaugural iteration, festival organizers sought to highlight the wealth of talent within the local music scene. It was a decision that looked like it could backfire, since people generally don’t get as excited about artists that they can frequently see perform. What I didn’t foresee at the time was that not only would it celebrate the scene, but it would also provide a sense of camaraderie among local artists that’s been largely lacking since COVID-19 came and shut down the city. 

A lot changed in 2020. Several local acts (Indigo De Souza, Wednesday, Secret Shame)  graduated from playing area dives to headlining national tours, while other popular groups called it quits. The radical shift left the scene more disconnected than ever, but AVLFest created an opportunity for artists to connect with like-minded acts, and to be reminded of the deep well of talent within this community — and, judging by the number of artists in attendance for each others’ sets, it worked.

From a more critical perspective, although the lineup was loaded with local bands, I couldn’t help but feel that an abundance of the area’s more adventurous acts and former residents were absent. It’s hard to imagine a celebration of Asheville’s music scene without Avey Tare, Moses Sumney, Angel Olsen, Helado Negro, Wednesday, MJ Lenderman, Sarah Louise, Ahleuchatistas, MANAS, Cold Choir, Linqua Franqa, Musashi Xero, Brett Naucke, JD Pinkus, and Bask. Even the inclusion of Secret Shame seemed more like an afterthought despite the post-punk quartet’s reputation as one of the area’s best and hardest-working young live bands. But my Monday morning quarterbacking comes from a place ignorant of organizers’ curatorial decisions and budgetary restrictions.

Watches

As ambitious and well-executed as AVLFest was, there are still ways that it can improve going forward. While the decision to present shows all over Asheville was an admirable move to include a lot of different venues, it may have spread crowds a little thin. And even with the well-organized bus routes, it’s a lot to expect attendees to travel all around the city all day. A more centralized location may be more ideal. Or, better yet, maybe each day of AVLFest could occur in a different region — there could even be a different theme connecting the music each day. There are enough venues here to make it work, some of which didn’t participate this year.

For instance, Day 1 could take place downtown (The Orange Peel, Wortham Center for the Performing Arts, Asheville Music Hall, Static Age Loft); Day 2 in West Asheville (The Outpost, Fleetwood’s, One World West, Alley Cat Social Club, The Odd, Different Wrld); Day 3 in the River Arts District (The Grey Eagle, New Belgium Brewing Co., Salvage Station); and Day 4 in South Slope (Burial Beer Co., Eulogy, Funkatorium, Rabbit Rabbit, Sovereign Kava). Structuring the festival this way may better highlight the various venues in each neighborhood, while also luring attendees out of their comfort zones. Plus, there wouldn’t be a need to run so many buses continually.

But regardless of my general distaste for festivals and any criticisms I’ve had, I genuinely look forward to seeing how AVLFest evolves in the coming years. 

(Lead photo of Impending Joy — and all other photos — by Jonny Leather)