It’s difficult to cover something like Shambhala and not get personal. Family is about as personal as it gets and, cheesy as it may sound, that is what this festival boils down to at its core. From the Bundschuh family, who owns the farm near Salmo, BC. where this gathering has called home since before it began in the late 1990s, to the assembled masses who make the trying but rewarding pilgrimage there each year, Shambhala is an annual “farmily” that comes together voluntarily in a myriad of creative and loving ways. I grew up alongside this festival, as have thousands like me who keep coming back, many who have transitioned from enthusiastic attendees to embedded contributors and volunteers with their own camp names, traditions, themes, and histories.
I have been to this festival six times over the past 10 years, and seemingly always at major intersections in my life. My first was back in 2004. It was a difficult year for me overall, capped off by my father passing away unexpectedly. Your life stops for a while after experiencing the death of a parent. But less than two weeks after my dad died, with my heart still in pieces, I practically forced myself to attend my first Shambhala Music Festival.
I’d heard about this mystical hippy gathering through my friends and a Kamloops-/Kelowna-centric web forum called Liquidbeat (now defunct), on which many future Shambhala regulars, such as Joseph Martin, JPOD, Longwalkshortdock, Excision, Stickybuds, Heidrogen, Briden, Lyssa, Manousos & J-Girl, Thistle, Toddy Rockwell, DJ Soulfire, Justin Hale, BreO, Amanda Rude, Refix (a.k.a. Trevor Mervyn of Texture & Light fame), and many other players kindled the lower mainland’s passion for electronic music culture so thoroughly it burns brighter than ever a decade after the fact. My buddy Brisko said it was great, and DJ Cassiel was willing to come with me, so off we went. It was one hell of an experience.
We camped directly outside the main stage (now ‘the Pagoda’), where Adam Freeland and Freq Nasty would headline. Drove my dad’s old truck right into the main camping area, a space that no longer allows car camping in favor of overflow vendors and banks of massive generators. I made new friends, plenty of mistakes, and walked away feeling like a new man. I felt a part of a surrogate family, supported without judgement. Having stalled out after my dad died, this was precisely what I needed to get my life moving again.
I went again the next year, and the next year, with more and more people. Then I took a few years off, tried other festivals, and came back to do three of the last four. Some years have been better than others, but it’s always an unforgettable, perception-altering time, a ray of hope in the otherwise cloudy reality of day-to-day life. It still has something I need, a decade after I first found it.
2014 or Bust
Shambhala always tests your resolve, coming and going. Some things are merely due to the universe keeping you humble, like how I was rudely awoken at 3:55AM on Thursday, five minutes before my alarm was to go off, by my cat clumsily walking across my face, or how I smashed a half-full bottle of Kahlua on the kitchen floor just after closing the cooler, which was the last thing I had to pack before my ride showed up. It wouldn’t be a road trip to Shambhala without a few stumbles along the way.
Others can be attributed to the limitations of the environment and/or infrastructure. This festival is run by extremely responsible ravers, but ravers nonetheless. Being mostly dependent on volunteer labor organized by ravers means there is always the odd snag in policy or failure in communication, but everyone tries and usually does their best. The lesson learned is to relax and go with it, not create family tension.
Photo credit: Leah Gair
Unfortunately, there is only one long, narrow, dusty road leading to the farm from the highway, which cannot be easily expanded. I have heard tales of unbelievable wait times on that road. Early arrivals Tuesday reportedly waited between 17-20 hours to get through the front gate and security, and paid handsomely for the privilege. Getting back out on Monday is almost as bad too, so many lines of cars vaguely pointed in the direction of that lonely road. Compounding matters, the dreaded “Shambhalung” follows many patrons and performers home. No matter who you are or how you do it, it takes a lot of stamina to do this thing right, but when the stars align, there is no comparable experience.
My friends and I hit the farm at 1:30PM Thursday, finally made it through security, hauled our gear from the parking lot, and settled in our camp at 9. The core of our camp were volunteers, so they arrived earlier in the week and landed a sweet space near the Grove stage (formerly the Portal, and then the Labyrinth). Unfortunately, I was so bagged by the time we set up that I passed out in my tent before midnight, and didn’t make it out to see Longwalkshortdock in the wee hours of the morning. I have seen him at least a half dozen times before, so I didn’t feel too bad, but the guy always does something different’, something more ambitious, and he’s such an enthusiastic personality. He’s one of the best live performers I know. Seeing him play at the now-dormant Soundwave in 2009 was one of that festival’s greatest moments, underlined when his spaceship metaphorically took off at the end. My musical journey at Shambhala 2014 wouldn’t begin until Friday.
The Weekend Has Landed
Wandering into Rich-e-Rich’s lauded Fractal Forest around 5:30PM Friday, I caught the majority of JGirl & Manousos’s deep-house set from backstage, standing next to Joseph Martin and Dan Solo. Their tag-team mixing was smooth and to the point, their selections laced with funky samples, upbeat vocals, and relentless 4/4 beats that command your butt to groove. It was hilarious to see partygoers jumping onto a ledge in front of the booth, built in the burnt-out stump of an old growth tree, their heads popping up enthusiastically in front of the decks to encourage or ask favors of their selectors. The set was a good waking-up point for the modestly assembled crowd, just getting their sea legs back for the first big night of the festival, when all six stages would finally be open: the Pagoda, Fractal Forest, the newly christened Grove (formerly the Labyrinth/the Portal/Inner Sanctum), Living Room, the Village, and the AMPhitheatre (formerly Rock/Jungle Pit).
Later, at the Pagoda, which always displays my favorite visuals by dint of its clever use of lighting, lasers, and projection mapping, J.Phlip dropped science with a mix of Chicago house and disco expressed through the woozy, emotional, minimal progressive sound heard on so many Border Community releases. Although she did seem to lose a little momentum in her transitions, her equally smart and fun sound left no wonder why she has become Dirtybird boss Claude VonStroke’s favorite touring companion as of late. She betrays complex influences.
Photo credit: Shawn Fillion
Celebrating his 10th time playing the festival, JPOD seemed to temper his typical, absurdly joytastic vibes in favor of edits of emotionally complex pop hits from the 1980s and 90s, like Annie Lennox, Michael Jackson, and Blondie. But, with a few added verses from Dash of the Root Sellers, he still tickled womp glands like nobody’s business. He’s a vibrant performer, so in and of the moment that it’s hard not to get swept up in whatever he’s doing, and he’s a genuinely nice guy to boot. I recall that, at one of Liquidbeat’s legendary Rusty Buckle parties back in the day, he sheepishly gave me an early album he made, a record he vowed never to sell because of the guilt he felt at having relied on pirated software to make it. That’s a wicked testament to the quality of his character. He’s on the level, and his spirit is generous and creative. Gotta love him.
For the day, I was the most stoked to see Benji Vaughan (a.k.a. Prometheus) at the Grove. It was to be the Simon Posford collaborator’s first time in Canada, touring on the back of his best solo album yet, Even Tundra, and it was even billed as a Younger Brother set, just to get my expectations higher. Instead, I was confused to hear someone spinning trap and other thuggish beats in his timeslot, rather than the intricately produced, progressive psytrance and genre-bending electronica with which Vaughan is associated. It turned out it wasn’t him spinning, and I haven’t been able to determine what happened to him.
Opiuo saved the day, though, following up the disappointment of missing Vaughan with a set of mind-melting, melodic glitch-hop. This Kiwi producer has always been great on record, having created his best work yet on his 2014 full-length Meraki, from which he drew heavily for this set. His flow was propulsive, and to hear his quirky psychedelic beats unfurl in stunning detail on that massive Funktion One system, a new acquisition for the recently rebranded stage, was a thing of beauty.
Oh My God, It’s Full of Stars
One of Shambhala’s many great traditions is to see East Van Digital boss Joseph Martin play the Fractal Forest on Saturday morning. He has played that stage at 8AM or so every year since 2004 (yup, I was there at the beginning), and he always delivers a consistent quality of disco house. However, in 2013, he took a cue from his feline-inclined fan base and morphed his set into Caturday Morning Disco, as if he needed to be any more endearing. Stage boss Rich-e-Rich liked it so much he insisted Martin do it again, and so, on this morning, the kitten crew was in full effect, his girlfriend handed out cat ears to anyone who didn’t have them already, and Mr. Disco did his usual thing, punctuated by the odd meow. It’s always a great way to either cap off the night or wake up and face the day, and now it’s that much more playful and creative.
Ninja Tune legend Mr. Scruff threw down a four-hour John Peel-esque vinyl set on the beach at the Living Room, coaxing the afternoon into twilight with his distinctive mix of funk, afrobeat, and all that trouser jazz. He gave a little history as he introduced certain tracks, like James Brown and Alice Russell, selectively toying with the sound. A well-spoken Englishman in his mid-40s, he seemed like the cool uncle you always wished you had. He expressed so much gratitude for the crowd making him feel welcome in his first time at Shambhala, and gave the crowd playful tasks they enthusiastically obliged, at one point making the whole dance floor hop on one leg while waving their elbows like flying birds.
Mat the Alien is practically an institution at BC electronic music festivals, so I made an obligatory visit to his 8PM set at the Pagoda, having missed his set at the Living Room the afternoon before. He’s an immensely talented turntablist, one of the biggest wheels from Whistler, who I have seen many times before. Usually, he’s my right up my alley, but, this time, his selection was a little aggressive for my mood. Gotta give the guy the benefit of the doubt, though. He’s unfuckwitable.
After dark, I attempted to see Ableton Live professor ill.Gates at the Village, but was pleasantly surprised by Jeremy Bridge (a.k.a. Subvert) instead. Granted, his tracks leaned a little heavily on the old build/drop formula, but the Calgary producer makes no apologies for his bass-worship. This is the guy who wrote the book on (or, at least, the track titled) “Speaker Humpin’”, after all. There’s always something primal about the Village, something that makes you want to get a little nastier, a feeling enhanced this year by its newly beefed-up PK Sound rig, and Subvert is the director of the stage and lead designer at PK, so if anyone should know how to tap into that, it’s him. During his set, people tossed around giant beach balls, one of which landed square on the decks, but Bridge playfully shoved it back into the crowd without incident.
Photo credit: Jeff Cruz
To cap Subvert’s set off, ill.Gates came out and played a new tune he wrote with either A-Plus or Mr. Bill. He didn’t say which track won his impromptu audience poll, but, either way, it was up to his usual rib-rattling standards. Apparently, some shmuck had smashed Subvert’s laptop and poured liquid on it right before he was to perform at his original set time the night before, so ill.Gates graciously switched with him. These things do happen, and that switch demonstrates the kinship these guys feel for each other.
Dominating the AMPhitheatre at 11PM, DJ Dan bumped funky techno and chugging house dotted with old school hip-hop and disco samples. “Come on get up everybody,” one of his tracks repeatedly commanded, and there was little case for anyone to argue. The influential veteran’s upbeat pulse borrowed into your chest, and made you move or get out of the way.
I caught a bit of Jurassic 5 beatsmith DJ Nu-Mark at the Village later on. It wasn’t the most impressive of turntablist sets, considering the things I’d seen DMC champion DJ Dopey and VJ wizard Mike Relm do at this festival in previous years, but his track selection was excellent, throwing down good-time oldies and block-rocking beats in equal measure. Everyone sang along boisterously to classics from the likes of Michael Jackson, Journey, and The Beatles. Unfortunately, he went over his set time by a fair margin, and then said goodbye to the crowd by being kind of a dick about it, which rendered the mood momentarily awkward.
Smoothing things over, Kyrian Gineerian of Fungineers quickly emerged and dropped a taste of his distinctive womp beatboxing to ease the transition into one of the zaniest shows of the weekend. The zany antics of neon road warriors Bubble Gutter blew my shit up that night. They went hard for a half-hour of knee-slapping, high energy choreography and puppetry set to the wonkiest of beats, set to womp-tastic remixes of Ween and the Muppet Show theme by the beat chef himself, JPOD. It was possible to imagine that even the most sober Shambhala patron might have had to stop by the Sanctuary to decompress after seeing that.
Although no longer counting two-time Canadian DMC champion DJ Shub among their numbers, A Tribe Called Red tore it up proper in the Fractal Forrest at 2:30AM, their first of two sets this weekend. It doesn’t matter your color or creed, for when you hear their Polaris Prize-approved brand of pow wow-step on such a precise, explosive soundsystem, it speaks to the beating hearts of all our tribal grandfathers, something ancient and primal that struggles to find expression in our technologically advanced yet spiritually stifled modern age. Their politics may get as many headlines as their music these days, but the latter is their sharpest weapon.
Sunday Was a Bright Day Yesterday
Billed as an “extended mushroom jazz set,” legendary DJ Mark Farina dropped relentless funk for three hours at the Living Room on Sunday afternoon, after crushing a headlining set at the AMPhitheatre at 2AM the night before, earning full marks for stamina. He was smooth throughout, yet ever challenging the boundaries of taste for house music aficionados as per his well-developed aesthetic.
One of Portland’s finest, Lynx, stood out at the Grove with her electric guitar and beautiful, versatile voice. She said this was her fifth time at Shambhala, but her first solo set, singing and playing a kind of R&B/folk laced electronica accompanied by programmed beats. Drawing heavily from her 2013 album Light Up Your Lantern, her music dripped with intense emotion, but she brought levity with a stripped-down medley of Blackstreet’s “No Diggity” capped off with a little bit of Genuwine’s “Pony” at the end, and she comically broke down into a bad Australian accent during a bit of crowd banter. Considering how dusty it was on the farm, she displayed impressive vocal control, holding powerful high notes and drawing all the emotional nuance she could from every word. She ended her set in spectacular fashion by beatbox battling with Fungineers’ main man Kyrian, and held her own, which is no small feat in the most ideal of circumstances.
Photo credit: Leah Gair
Seattle duo Harrison Mills (a.k.a. Catacombkid) and Clayton Knight (a.k.a. BeachesBeaches), together known as ODESZA, packed the Grove with their maximal poptronica. Their set felt like a brighter version of Purity Ring, pushing the beats into a more psychedelic and summery realm, while their processed vocal treatments maintained a sense of nostalgic optimism and deep joy. Considering this set, as well as their recent buzz gigs at Osheaga, Northern Lights, Coachella, Stilldream, Decibel, and Lightning in a Bottle, one gets the feeling that their upcoming album for Counter Records, In Return, is going to do big things for them.
That was the end of my night, so I didn’t end up seeing a lot of music Sunday. Realistically, though, there is no way to see everything at Shambhala. If you watched every video taken and photo uploaded to the internet, you would only scratch the surface of what it’s like to actually be there, the limitless possibilities and uncontainable infinities that all seem to happen at once. Two people can go to this festival the same year and have completely different experiences, never seeing any of the same acts or people, yet the design of the grounds is ever welcoming and inclusive, myriad places to sit or stand so you’re out of the way but still part of the action. There’s always so much happening everywhere, stimulation for all sensory faculties: sights, sounds, feels, tastes, and, of course, the physical, synthetic, and natural methods for internal exploration and expansion. Given the first Shambhala back in 1998 only had 500 guests, the fact that the same grounds can now host 11,000 paying customers is a feat of design and planning.
The Thing of It All
If you’re a fan of people-watching, nothing compares to Shambhala. So many hugs and high-fives with strangers, so many beautiful people of all stripes and colors playing, sharing, and caring. I saw a gaggle of disco hippies dancing on stilts during Subvert, dominating their corner of the floor. Halfway through J. Phlip’s set, a gang of people with medieval air vortex cannons blasted the crowd with gusts of air. Others went raver fishing, tying candy or glow sticks to fishing lines and dangling them out in front of people. There was one guy who had a rubber snake dragging behind him everywhere he walked, which wiggled realistically enough to fool. And there’s nothing quite like being in the middle of a spontaneous chain reaction of woos that cascade across the entire festival campground and back.
During the day, most people hang out in the river or in the shade somewhere, trying to keep cool, but they invent new colors every night. These people put such incredible amounts of energy into their costumes and signs it can be difficult to focus on the music. Some of my favorite signs included a lit-up sign that said “womp” with the spiral “o” triggered every time the bass kicked, and another with “sooo wet” on one side and a raincloud blinking on the other. Always fun to see are the photobombing blown-up heads with intense stares of celebrities like Nicolas Cage, Ben Stiller, and Rob Ford (the latter of which was grabbed from the crowd and danced with by My Nu Leng during his set at the Pagoda on Friday).
Photo credit: Michael Benz
My camp used this year to explore a wizard-costume theme. Some of them were Comicon-worthy; mine was not. Planning last minute and lacking funds, I hastily grabbed by hooded TARDIS housecoat and a weird hand-like stick my girlfriend found on the beach in Penticton. The stick would become my wand, as I spent the weekend decorating it with random moop (matter out of place) I found while exploring the grounds. The more I found, the more magical it became. Yet, no matter how weird you try to get and think you’re being, there is always someone being weirder right around the corner.
You can sense it as soon as you’re through the gates. There’s an oddly calm feeling of being judged for the right reasons (like, “Are you OK?” or, “How can I help you have more fun”), rather than for the superficial, self-serving reasons we are usually judged in the day-to-day capitalist grind. It feels so good to have someone you recently met or don’t even know walk up and say how beautiful you look, without wanting anything more from you than a smile. Your exchange of pleasantries are marked with the nondenominational, “Happy Shambs,” as if it was a combination of Halloween and Christmas, and the mood is quite similar, only more open-minded and devoid of stifling corporate sponsorship.
Then there are all the little things. I saw Super Mario Bros. being played on a big screen by the Forest, within ear shot of a gong circle. One of the maintenance trucks had a moo siren, while a staff member on an ATV used a rubber ducky for a horn. There were many trading posts and tickle trunks littered across the camping area, functioning well with a take-something/leave-something honor system. The evolving graffiti in the portopotties, taken a step further by a camper van near one of the main roads that had a bunch of paint and brushes next to it, with a sign asking for all of our delicious creativity to be plastered all over it, and so it was. Great selection of food, from tacos and burgers to poutine and frozen yogurt. Wicked shopping in the Artisan Market, which included glow fur, steam punk jewelry, Bollis, graffiti hats, utility belts, warm stuff, footwear, sundries, and services like haircuts and face painting. The stages also had their own merch booths with dedicated swag, art galleries, and beverages dispensaries, and the Grove’s woodland dome saw workshops on yoga, meditation, nutrition, politics, and more (Moby himself hosted a talk on the subject of music as therapy). And there are long-standing traditions like the opening ceremony at the Grove, Rich-E-Rich closing down the Forest with hours of classic rock, funk, and R&B singles, or paying your respects to long-time resident Chewbacca. Anywhere, anytime could be the best thing ever.
How It’s Done
People are going to have sex and get wasted on whatever at music festivals. It’s a basic truth, but how festivals reacts to that truth has a dramatic effect on the mood and results. Reportedly, in July of 2014, a staggering 80 out of 8000 people (or 1 in 100) who attended Boonstock in Penticton, BC were hospitalized, and one died after their liquor license was denied, and patrons sought stimulation anywhere else they could find it, with little, if any, proactive harm reduction services in places. Squamish Valley Music Festival’s reaction to that shitshow was to add more beefcake security and undercover narcs, the kind of aggressive, judgmental surveillance that makes people shutdown and turn on each other, but Shambhala has always supported a sense of community and taking care of each other, a feeling that stems from the Bundschuh family, which owns the Salmo River Ranch and heads up the festival, down through all the layers of assembled family. Their communal obligation includes things like a sanctuary for people having bad trips, a sober camp and AA style meetings for those with substance abuse problems, and a women’s safe space. There were signs everywhere directing people to the ANKORS booth, which tested pills for quality and handed out free condoms, earplugs, and pamphlets packed with useful info on STDs, drugs, and so much more.
Photo credit: Shawn Fillion
Impressively, their notion of community doesn’t stop at the gates. Shambhala has donated hundreds of thousands of dollars to various causes in the area, ranging from education to healthcare, while its attendees dump millions of tourist dollars into the surrounding cities. This is why, even with its reputation and thousands more attendees than Boonstock, only seven people were transferred to the hospital this year. Sure, there are a lot of substances at Shambhala, and some people go over the edge, but in the six years I’ve attended this spectacle, it has rarely felt unsafe. They have enacted a ton of proactive measures over their 17 years to ensure that feeling of safety among the madness, and they have gone above and beyond in their quest to be sustainable and productive members of their community.
As I said at the beginning, it’s hard to not get personal about Shambhala. It’s a place where you have a good chance of meeting your new best friend, if you are open to it. The consistency of the lineup each year is one of its greatest strengths, a testament to the inclusive nature for everyone involved, from the ravers and Shambhassadors to the volunteers and artists. At least one couple got engaged at Shambhala 2014, and I camped with a couple who swear they conceived their first child there. It sounds cliché to call it a family, but it is a community in the deepest sense, something to build on, where so many have gone before, and new contributions are always welcome. There really is nothing else quite like it, no other space so conducive to this kind of spectacle, no other chosen family so inviting.
Testimonials
When was your first Shambhala, and how many have you been to?
Our first Shambhala was in 2006. We were invited to DJ at the Rock Pit during an eccentric fashion show organized by the Wearable Art Gala crew from Kelowna, which was a project we were involved in at the time. We arrived on the Saturday at the crack of dawn equipped with camping gear, good footwear, and many stories of what to do, where to go, and how to survive our first Shambhala. We had attended many large-scale outdoor festivals in Canada, Australia, and the U.S. over the years but still, everyone in our circle of friends had info to give us. Everyone was very passionate about “their Shambhala.” We stayed until Monday morning, minds blown of course. [This] is year seven for us attending Shambhala. This was our fifth year working with Fractal Forest, looking after the merchandise and concession retail booths with 30 excitable happy volunteers.
What was your most memorable moment, and why?
Many DJs would immediately say their DJ set! We are grateful we get to DJ at one of the world’s most unique places surrounded by friends, cats, signs, folks in onesies or nearly nothing all with the biggest grins on their faces. Fractal Forest really is home for many people. It’s an annual pilgrimage of funk.
I would say the most memorable moment at Shambhala was when we were able to achieve an ideal work/play balance at the festival. We are really keen to give back to the festival and happy to have volunteer roles available for our Footwerk crew members and friends. Neither of us are into the marathon party ways or heavy inebriates, so keeping busy is important. Being able to enjoy all the shenanigans, themed stages, art, and the landscape is a blessing.
How was Shambhala 2014 for you?
It was absolutely amazing. A lot work and play. The diversity of the music, the interactive art, the max-boosted lineup of international guests, and a great camp crew and work team made for our best Shambhala experience to date.
What does Shambhala mean to you?
As cheesy as it sounds, we countdown to Shambhala every year with the excitement of a child who still believes in Santa. It’s become a staple annual experience in our lives. It means spending a few days in the woods with friends new and old from all over the world in a way that is fun and free spirited. So many hugs!
When was your first Shambhala, and how many have you been to?
My first Shambhala was in 1999, and this most recent year was my ninth.
What was your most memorable moment, and why?
It’s really tough to pick just one, there were so many great times and hilarious moments. I would have to say though that the highlight was getting the opportunity to perform again and play the sunrise set at the AMPhitheatre stage, and vibe out with my friends. I know it sounds a bit cliché, but it is always an honor to play at Shambhala.
How was Shambhala 2014 for you?
I can honestly state that is was the best party I’ve ever been to. The level of production, the environments, the sound, the people, [being] surrounded by so many of my close friends and collaborators. The opportunities to connect with new friends and network with people and forge new creative pathways. I had so much fun, and really got to take things at my own pace and truly explore the festival grounds before the madness started. I’m still basking in the glory as I write this.
What does Shambhala mean to you?
It means so much it’s hard to describe just how important of an event it is for BC’s electronic music community. It truly places our local talent on the same pedestal as huge international acts, and proves that the calibre of talent here is world class. It’s where we get a chance to relax, cut loose, rub shoulders, make new friends, get silly, immerse ourselves in music, laugh, cry, and above everything else, participate in something much larger than our individual pursuits and truly be a member of this crazy, fucked-up, amazing community.
Robbie Campbell (The Pagoda Stage Director)
When was your first Shambhala, and how many have you been to?
I was involved with throwing the first party on the farm before Shambhala in 1998, and have been to every single Shambhala.
What was your most memorable moment, and why?
There are too many to pick just one, but my favorite times are usually leading up to the festival because working with the crew is always so much fun.
How was Shambhala 2014 for you?
Insane, possibly the best Shambhala yet. Great weather, great crowd, great times.
What does Shambhala mean to you?
It has become a large part of my life’s work and I feel like it is a true expression of every facet of art and music for me.
Patrick Cure (owner of Aufect Recordings)
When was your first Shambhala, and how many have you been to?
2013 was the first year I was ever booked to play, as well as the first year I attended. I have been to two now.
What was your most memorable moment, and why?
For the most part the excitement and craziness of Shambhala results in a blur as far as memories go. Having said that, my most memorable moment would have to be the first time I played at the beach stage, Saturday night in 2013. The stage was loaded with crew, new/old friends giving crazy support, while I had a packed dance floor.
How was Shambhala 2014 for you?
2014 was even better than 2013, and I didn’t think that would be possible. I had a great sight, ate great food, and had so many chill-out sessions in the river.
What does Shambhala mean to you?
For me, aside from being a place to get shamelessly weird, it is basically a yearly pilgrimage to network, showcase all the music I’ve been working on and playing out throughout the year and blow some steam.
Brianne O’Connor (a.k.a. BreO)
When was your first Shambhala, and how many have you been to?
My first was in 2004, and I swore I would always go back. This year was my 11th consecutive year, and it was beyond amazing.
What was your most memorable moment, and why?
My most memorable moment would have to be when I played the Village stage in 2011. It was everything I had hoped for and more… Something I had dreamed of… A dream come true.
How was Shambhala 2014 for you?
Shambhala 2014 was especially memorable because I attended for just one night (Sunday) with my best friends… And even if just for one night, I felt my life change for the better.
What does Shambhala mean to you?
Shambhala is truly special to me and it is something I hold very close to my heart. It has changed my perspective on life. It has made me a better person. And I am so thankful that I experienced it in the early years and watched it grow into the most beautiful festival on earth. Here’s to Shambhala!
When was your first Shambhala, and how many have you been to?
I think my first one was in 2000. I missed a few since then and can’t remember the exact number, but I’ve been to quite a few.
What was your most memorable moment, and why?
That’s a tough question, as every Shambhala has a few jaw-dropping moments. I remember seeing Vinyl Ritchie play heavy metal in the Village and being caught in a mosh pit — that was quite unexpected. And I remember DJ Czech playing amazing vinyl and then “frisbee-ing” each record into the audience. And I’ll never forget the set Dash and I did at the new AMP stage in 2013 — that was one of the most surreal moments as a performer.
How was Shambhala 2014 for you?
This year had lots of highlights — the addition of the Grove, an impromptu four-hour freestyle session at the wishing tree, and MCing for some of my DJ heroes.
What does Shambhala mean to you?
Shambhala is like a New Year’s Eve party and a high-school year book: I get to catch up with loads of DJ friends from around the world, reconnect with their musical vibes, and get inspired to create more music and magic for the next season.
Hoola Hoop (one of The Living Room’s Stage Directors)
When was your first Shambhala, and how many have you been to?
I always count the year before the first Sham as the first one. It was called “Uplift” and it was held down the road near the mill. That was 18 years ago. I am pretty sure I am the only DJ to play at every Shambhala since before the beginning.
How was Shambhala 2014 for you?
Sham 2014 was the best one yet, until next year, as always. Give us a year to raise the bar 10 times more.
What does Shambhala mean to you?
Shams, to me, means ultimate freedom of expression and to be able to do whatever you want for five days (as long as it’s all good).
When was your first Shambhala, and how many have you been to?
2001, 13 total.
What was your most memorable moment, and why?
Last year’s live set on the beach. I had Mal Webb, Jamie Janover, Drumspyder, Michael Fraser, and Gemma Luna all for a spontaneous live set that just blew me away.
How was Shambhala 2014 for you?
Amazing. So many good vibes, so much good music. Got to hang out with friends, reconnect with old artist-friends, and made some new musical discoveries. My wife was there, and we had a blast!! Awesome!!!
What does Shambhala mean to you?
Family, artistic inspiration, a chance to see the best in the game from around the world and to see them get blown away by our vibe and love in this community.
When was your first Shambhala, and how many have you been to?
I think it was 2001 or 2002, the first time I attended Shambhala, and I’ve kept coming back every year since!
What was your most memorable moment, and why?
The most memorable moment the first year I went would probably be that first walk through the festival and seeing all the stages for the first time. It was pretty amazing. Since then, every set I’ve gotten to play there over the years has been pretty memorable for me.
How was Shambhala 2014 for you?
Shambhala 2014 was great. As usual, I spent a lot of time at the Living Room stage, and saw a bunch of my friends play amazing sets there (Daega Sound, Self Evident, Max Ulis, etc..). I really enjoyed Truth’s set as well. The new stage, the Grove, was a great addition, and a much welcomed change. The Funktion One rig in there sounded amazing. I caught some really great sets there as well as at the Amphitheatre. Unfortunately I didn’t get to spend much time at the other stages but during the few minutes that I made it into the Village that new PK rig sounded absolutely crazy.
What does Shambhala mean to you?
It’s hard to really even describe in words what it means to me. I’ve been going for so long now that I don’t even know what a summer would be like without it. The Living Room stage feels like a second home to me; I love it there.
Joseph Martin (East Van Digital)
When was your first Shambhala, and how many have you been to?
I made my first trip the farm in 1999. It was a last-minute decision to hop in a car with a group of friends. I went terribly unprepared and had an amazing time. 2014 marks my 12th Shambhala.
What was your most memorable moment, and why?
I couldn’t narrow it down to one specific moment, but instead, a feeling I return to every time I step into the DJ booth at the Fractal Forest. It’s a calm that washes over me where I’m completely both perfectly relaxed and energized simultaneously. I know that whenever I get on the decks in there everything will go just perfectly and a large part of that is the vibe that place holds and the warmth of the crowd.
How was Shambhala 2014 for you?
Fantastic. JFB, Mark Farina, My Nu Leng, JGirl & Manousos, Hannah Wants, Chris Lorenzo, and Rich-E-Rich’s closing set in the Fractal Forest were my musical highlights for the weekend. My own “Caturday Morning Disco” set went off splendidly, with plenty of happy cats enjoying the early morning sunshine and disco house. The food is always excellent, with the Poutine Truck and the Blaze Burger Barn (one mile diet!) being my regular favorites.
What does Shambhala mean to you?
Every year it means something different to me. In the early years when it was all new to me, it was about having a blast with my friends, taking in as much of the festival as possible in the time we had. In the last few years, with the advent of East Van Digital, I’ve been more business-social, spending more time back stage and in the artist lounge connecting with other artists and label owners outside of the internet. This year I was quite content to take a step back, and enjoy a relaxing time with my partner, who attended for her second time. It’s always exciting introducing someone new to the festival and sharing the magic. There truly is nothing else like it.
When was your first Shambhala, and how many have you been to?
My first was in 1999, and I have been to 15.
What was your most memorable moment, and why?
My most memorable moment was playing the Living Room stage on a Thursday night in 2010. The crowd was all the way down to the far gate from the beach stage.
How was Shambhala 2014 for you?
This year was great. I fell asleep at midnight on Saturday night and missed some stuff, but, otherwise, smooth sailing.
What does Shambhala mean to you?
Best party on earth, family reunion, some of the best jokes and people watching as well.
Patrick Holland (formerly 8prn, now Project Pablo)
When was your first Shambhala, and how many have you been to?
2014 was my first time at the festival, was great playing a set on my first visit.
What was your most memorable moment, and why?
Max Ulis’s set at the Living Room. After experiencing so much heavy, over-compressed, maximalist music over the course of Friday night, it was great to be at the beach dancing to a highly dynamic, two-hour set till 5am. The positive fam vibe on the stage was also a nice touch.
How was Shambhala 2014 for you?
It was a little fatiguing in terms of the energy level every night on the big stages. Coming upon the smaller diverse acts, like 123mrk, was definitely my saving grace.
What does Shambhala mean to you?
A big place, filled with different people, down for whatever.
Britz Robins (Shambhala’s Social Media Director & Press Liaison)
When was your first Shambhala, and how many have you been to?
I went to my first Shambhala in 2003. I was 17, it was in the days before age restrictions, and it was my graduation present to myself. The festival was much smaller then… maybe about 3000 people. It was the first festival I ever went to, and it absolutely changed my life. 2014 was my 12th consecutive Shambhala, my eighth working for the festival.
What was your most memorable moment, and why?
My first year or out of all the years? That’s a tough question. My first, it would probably be that my ride drove in with my purse & ticket while I was helping a girl who’d locked her keys in her trunk, leaving me stranded outside the gates for about 6 hours. I made lots of new friends with the crew working the gate in those 6 hours, haha. I even met Sue Bundschuh, the owner of the farm, though I didn’t know it at the time. Eventually, a crew member got permission from his supervisor to leave his post for a bit and walk me in to find my ride. We found him within five minutes and all was well. Second most memorable that year would probably be walking into the Fractal Forest for the first time… wow! And then I think one of my favourite Shambhala memories ever was this year when I teamed up with Betty & Kora and Nick from the Funk Hunters to carry the giant FUNK sign through the Fractal Forest during the Funk Jam.
How was Shambhala 2014 for you?
It was absolutely my best Shambhala out of 12. I was actually a bit nervous going into this Shambhala, because we’d brought in so many more press than we ever had before — 90 vs 40 or so in previous years. We also had our incredible L.A.-based PR company, the Confluence, visiting the farm for the first time. So I hosted the Confluence and the press this year. So many of the press crew were new to Shambhala, and many who’d come up from the states had never even been to Canada before. It was like having my own personal crew of wide-eyed Shambhala virgins. Nothing short of incredible. I mean, it’s fun enough when you have one Shambhala virgin to show around. Now imagine 50! And I even managed to balance in some time for play this year.
What does Shambhala mean to you?
Shambhala, for me, has always been about the people. From the moment I set foot on the Salmo River Ranch when I was 17, I knew I’d found my tribe. I love the music, the art, the food, all of it… But when it comes down to it, Shambhala is a big family reunion to me. It’s the culmination of so many of the beautiful souls I’ve connected with over the past 12 years. There are people I see only at Shambhala, or maybe a few other festivals, and when we connect out there, it’s like we haven’t skipped a beat. It’s the most incredible thing. It refuels my faith in the goodness of people. It inspires me. Shambhala is almost… pure, energetic love. It’s pretty cool to have been involved for so long and still feel that way. It finds a new way to open my heart more every year.
Max Ulis (also of Sabota with Robbie Slade)
When was your first Shambhala, and how many have you been to?
I am not sure, but it’s the last year they had a skate ramp… 2004 maybe? Approximately nine.
What was your most memorable moment, and why?
Tag-teaming a set with Skream on the beach, tied with a reggae morning set by Michael Red on the beach, when I danced my butt off and drank five smoothies. Also tied with a time I took LSD and shape-shifted into a snake, but that is another story.
What does Shambhala mean to you?
Shambhala time means I get to hang out with a lot of friends and family that I barely get to see during the rest of the year. And I get to watch close friends get the props they deserve on Shambhala’s amazing stages.
When was your first Shambhala, and how many have you been to?
My first Shambhala was 2004. I knew about it before that, but didn’t think it was something I would fully appreciate. That year was a “fuck it” year for me, and I decided I needed to just go. I started DJing in 2005 and have played every year since. This year was my 10th in a row playing in Fractal Forest.
What was your most memorable moment, and why?
Shambhala is full of memorable moments, many of which run together in a jumble of years. However I would have to say that one of the most memorable moments was the first time I went to Richie’s closing set on Monday morning. I danced around the whole Fractal all morning laughing and crying and loving everyone the whole time. That was about six or seven years ago and since then I never miss the closing at Fractal on Monday morning.
How was Shambhala 2014 for you?
Shambhala 2014 was another excellent year. I always go into it with an attitude of having a great time no matter what and I don’t think anything could phase me. Over the years I have had enough hurdles to overcome that I know I will always make sure I have a great time and this year was no exception. We chose to arrive on Thursday instead of Tuesday and that made our entry process flawless and fast. It was a pleasure to avoid the rush and breeze through the gate. All the staff and security were excellent and treated us with the same respect that we always offer to them. This was so much smoother than our entry had been over the previous five years.
What does Shambhala mean to you?
I am always grateful that I have been given a residency at the Fractal Forest. It is an absolute honor to get the opportunity to play Shambhala 10 years in a row, and I don’t take it lightly. This year I got a prestigious time slot of 10pm on Friday evening, and I wrote a brand new set of music just for it. The meaning of Shambhala for me is most simply the privilege of sharing my music and positivity with so many people and this continues to grow. Playing in the Fractal has been instrumental in helping me spread the good vibes to people all over the world.
Andrea Graham (Bass Coast co-founder, a.k.a. the Librarian)
When was your first Shambhala, and how many have you been to?
I first discovered Shambhala back in 2000, when I was living in Nelson. I just happened to go up for one night with some friends… little did I know that would be a life-changing event. I’ve actually lost count of how many I’ve been to. I’m pretty sure I attended 7 years of Shambhala before I started getting involved. Then in 2009-10 I started helping in my friends vending booth, which was hard work but a welcome change. Over the last four years I’ve been fortunate to play a number of stages and it’s a dream come true. The Living Room, Rock Pit, Pagoda, and the Amphitheatre have all been incredible and always become the highlight of my year. It means a lot to have the opportunity to play at the same festival that motivated me to move from live music into electronic music.
What was your most memorable moment, and why?
This year I was fortunate to play on Thursday night at the Amphitheatre, and five minutes into my set I looked up and realized about 60 of my friends had made their way onto stage to dance with me. The crowd was spilling out of the amphitheatre and the energy was electric. It felt amazing to be surrounded by my peers and to have such a connection with the crowd. Being the first night of the festival, everyone was full of excitement and ready to dance. Blondtron was doing headstands on the DJ table and the party was wild. That set is etched into my memory and I will hold onto it forever.
How was Shambhala 2014 for you?
This year was one of my favorites. It was a life highlight to play Thursday night to such an incredible crowd. Then I relaxed and took in a lot of great music over the rest of the weekend. As usual, my friends played my favorite sets: Mat The Alien, Self Evident, J.Phlip, Max Ulis, Daega, Westerley, Lorne B, Sergio Levels, Dan Solo, Michael Red, and so many more. The energy in the Pagoda during Bassnectar’s set was really wild and amazing to witness. I also love the new layout with The Grove. My days were spent lounging in the river and there were many, many laughs. It was an incredible weekend and I’m already looking forward to next year.
What does Shambhala mean to you?
Shambhala has a special place in my heart because it was my first introduction to electronic music festival culture. The nature, creativity, community, and freedom that came along with the music was and is inspiring. Shambhala was the first time I’d experienced sound system culture and it motivated me to change my direction in music, which has had a huge impact on my life. It’s also been incredible to watch the festival grow and change over the last 14 years. It has become a world-class festival that is unlike anything else, and each year it gets better and better. I feel very lucky to have experienced the festival as an attendee, and then now as an artist. It’s a dream come true.
