KAABOO, Del Mar

September 17-20, 2015

With summer and festival season coming to a close, in steps KAABOO, a 3-day inaugural event held a sea breeze away from the Pacific at the Del Mar Fairgrounds. The brain child of Denver based Bryan Gordon and a huge supporting cast, the fest offered a broad spectrum musical experience mixed with comedy, artists of many media and a late night party with an emphasis on the creature comforts for the masses that many festivals lack (real toilets for all!), and top flight culinary options in one of the best craft beer counties in the U.S. The challenge for any first timer with big ambitions is to establish not just an identity, but to create a distinctive experience that separates itself from the pack of an ever more crowded festival field. It is not enough to draw a weekend’s worth of headliners to a town near you with an eye chart worthy promo poster in tow. There is a lot on the line for KAABOO. Until now, there has not been a Southern California event with the musical diversity to befit the region that isn’t branded Coachella, and there has been a vacuum in San Diego since the beloved Street Scene was no more. Sure, there is Hard Summer and FYF (and the aborted Made in America), but these cater to narrower musical visions. KAABOO has no competition (as of yet, stay tuned for AEG’s Rose Bowl Music and Arts Festival debuting next move next June – the reason Pasadena punted on the NFL’s short term residency) and will fly or fall under its own power. While the business as usual headliners didn’t draw me, dig down a bit, and there was a nice splash of New Orleans (Trombone Shorty, Dirty Dozen Brass Band, The Revivalists), a heavy does of roots and alt-country (Old 97s, Delta Rae, Justin Townes Earle, Brandi Carlile, Nicki Bluhm & the Gramblers, Dawes), tried and trues (Bonnie Raitt, Counting Crows, Los Lobos, Sheryl Crow), funk and jammers (Ben Harper & the Innocent Criminals, Lettuce, Grace Potter, Orgone, O.A.R., The Roots), worldly influenced (Rodrigo y Gabriela), indie heroes (Spoon), local heroes (Slightly Stoopid, Switchfoot, Dirty Heads), and a dish of late night EDM acts. Not to mention some really funny people (including Lewis Black, Jeff Garlin, Tig Notaro) and it all had the makings of a pretty decent weekend, at worst. But KAABOO is aiming way higher. That was my measure going in.

The event was 18 months in the making and a quick tour around the grounds on KAABOO eve was crazy impressive. It’s pretty clear that KAABOO caters to a more upscale (and hassle-free) festival experience. Upon entering the Thursday night VIP event (a nice media perk), I was greeted with artisanal tequila dispensed by Roger Clyne, who happened to be kicking off the Grand View stage on Friday with his Peacemakers band (just a hint of the culinary-musical crossover to come that included a chefs battle of the bands). Sheryl Crow played a healthy set filled with one familiar tune after another, barely touching her recent Nashville foray. The intimate setting of the Trestles Stage prompted Crow to tease they were playing in somebody’s backyard. Indeed, it felt like a first class garden party.

The Fairgrounds on KAABOO eve

Sheryl Crow went to a garden party

Inaugural Friday was at hand. Sure, it was hard to miss the volleyball court, the pool and the “beach” by the Sunset Cliffs Stage; let alone the abundance ofspecialty alcohol and a Palate experience full of local noshes and wine tastings. Room for everyone, easy to navigate, staff courteous and helpful. Minimal first day kinks, though there was some inherent getting the lay of the land. While the work day crowd would grow as the day went on, none of the stages were anywhere near crowded, getting close was easy and the vibe was pleasantly chill til the night was done. Del Mar Fairgrounds is simply a classy place and the KAABOO folks knew how to run with it. Green spaces, play spaces, hang places. It was impossible not to fall into a good mood. Lines, what lines? Drunk dude and obnoxious girlfriend were noticeably absent and not especially missed. There was as much not to do at KAABOO, and that’s a good thing. Oh yeah, back to the music.

Jamestown Revival and Nicki Bluhm & the Gramblers got my day started. Texas borne and road worn, the Revival’s songs are rootsy and enthusiastically delivered. Nicki Bluhm and her Gramblers were smokin’ and terrific. New Orleans’ The Revivalists won over a new batch of fans at the main Sunset Cliffs Stage (most in the crowd were hearing these guys for the first time) and David Shaw took all of three minutes before mixing with the crowd. Oh, and a curious note about that big stage. Apparently, Bryan Gordan was so enamored of the stage used to host the Santa Clara Fare Thee Well shows, he wrangled it to Del Mar to serve as KAABOO’s main stage. That’s a big and telling detail about Gordon’s commitment to making KAABOO something special.

Zach Chance and Jonathan Clay led Jamestown Revival at KAABOO

Nikki Bluhm grambles on

David Shaw of The Revivalists gets up close and personal

L.A.’s Ozomatli, were perfectly energetic and crazy. Dropped in for a little of Bonnie Raitt’s set (not approved to shoot it) and she has been so good for so long, it is easy to take her for granted. Delta Rae has blossomed big time since I last saw them at Voodoo 2012. The Hölljes sibs were urgent and passionate, though that may have been lost on those taking it in by hammock. Then some KAABOO kismet. A stop in Palate found tequila baron Clyde performing to a very devoted fan base that knew every word to robust material I rather enjoyed. Foster the People’s hooky indie sound filled the Sunset Cliffs stage. That band from East L.A., Los Lobos, are still kickin’ it (fresh on the heels of their new “Gates of Gold” release), covering a rumbling “Shakin’ Shakin’ Shakes” early all the way to closing with a scorching cover of “One Way Out”. While I’m not a huge No Doubt fan, no one can argue their energy is not infectious, the crowd was on a happy pill and, yes, that Gwen Stefani knows how to command a stage. Ended day 1 in Humor Me, decked out with chandeliers and the rants of Lewis Black, who was pretty damn funny, going off on everything from quinoa, Danish breasts (and why he’d like to have his own), makeup madness and, of course, Donald Trump, all the while flying his socialist flag proudly.

Ozomatli’s Raul Pacheco front and center

Brittany Hölljes and Elizabeth Hopkins of Delta Rae

Tequila baron and Peacemaker Roger Clyde

Dressed for the occasion

Foster the People, not just Pumped Up Kicks

David Hildago and Steve Berlin of Los Lobos

Gwen Stefani and Tony Kanal hold the stage pretty good…

…and Tom Dumont wickets for drummer Adrian Young

My Day 2 began with Rodrigo y Gabriela. Fest circuit vets who never cease to amaze how 12 nylon strings bent on metal can captivate big stages. Checked out Tyler Glen and Neon Trees bandmates on the Zuma Stage (the only stage to face the Del Mar racing track infield, grandstands and all), then opted for the rambunctious roadhouse of the Old 97s over The Roots. Took a Palate break to sample some Japanese whiskey and excellent sushi hand rolls and then on to Adam Duritz and Counting Crows, who still bring an abundance of earnestness to their nuggets, and for which I sheepishly have a soft spot. Slightly Stoopid played to the hometown crowd at the Grand View Stage (more of a medium size stage), like a Jimmy Buffet for millennials, it was all about the party, with thicker smoke and less booze. The Trestles Stage provided an up close and personal with Los Angeles punk legends X (sans an ailing Billy Zoom, but Jesse Dayton stepping up), while the Zuma Stage was held down by a very well received Young the Giant. Sunset Cliffs Stage headliner the Zac Brown Band had everyone singing when they weren’t throwing curveball covers like “Enter Sandman” and “Bohemian Rhapsody” into the mix. Totally enjoyed Spoon with their feedback drenched opening and angular melodies that followed. All in all, another mellow day with manageable crowds, perfect weather and lots of flavor, musical and otherwise.

Gabriela Quintero switched her metal for nylon and it suits her

Legions of fans grow on Neon Trees

Rhett Miller and Murry Hammond of the Old 97s don’t hold back

Counting Crows, still earnest after all these years

Kyle McDonald of Slightly Stoopid and his upright bass

Los Angeles goes south with Exene and John Doe

Young the Giant captivated

Zac Brown mixed it up

Let’s Spoon

Art abounds at KAABOO, from the hangar size Art Work space featuring 80+ gallery quality painters, sculptors and mixed media creators to the four-story canvas installations sprouting throughout the weekend. The constant presence of art in progress is another KAABOO signature and was a vibrant compliment to the soundtrack of the festival.

Art writ large at KAABOO

The last day won me over with lots to choose from. By this point, I knew my way around and how best to navigate the music/food/drink trifecta. My stage of choice over the three days had to be the Trestles Stage. A paddock during racing season, and an intimate grassy oval with plenty of viewing areas, whether 10 feet from the stage or nursing a cold one from the 17 Hands bar for KAABOO. The stage was also loaded with great talent all weekend long and the Dirty Dozen Brass Band was well into their set there by the time I arrived. Along the way, I enjoyed what I heard of Donovan Frankenreiter passing by the Sunset Cliffs Stage. Was able to check out some of O.A.R. before Trombone Shorty & Orleans Avenue. Troy “Trombone Shorty” Andrews and band play their asses off and hit the road hard year after year. He hung around after the set, chatting with anyone who wanted a word, posing for pictures and being completely gracious, and I am pretty sure this happens just about all the time. One very special dude. Taylor Goldsmith and Dawes were over at the Zuma Stage and we’re followed later on by Brandi Carlile, a nice pairing of alt-country, roots and excellent songwriting. Switchfoot, another San Diego based band, had me good vibing at the Grandview Stage, the brothers Forman even bringing up SD super-surfer Rob Machado for a few tunes. Day or night, Grace Potter’s stage energy remains incendiary and the Flying V axe she favors is a KAABOO icon that splits the waves and the sun on the official fest poster. Over at the Grandview Stage, Michael Franti & Spearhead could make a rock smile, spending way more time with da people than the stage. At Trestles, Lettuce was stunningly tight, finding their deep horn washed grooves with serious intention. Ben Harper & the Innocent Criminals were a natural big namer for the Sunset Cliffs stage, playing a career spanning set. As night fell, JJ Grey & Mofro closed the Trestles Stage with characteristic soul and grace. By then, the swell of KAABOO flowed west for the closing set by The Killers at the Sunset Cliffs Stage. No photographers for this one and after 3 full days and a few songs (including a “Bad Moon Rising” cover?), it was time to head back up the 5 and return to the responsibilities, traffic and stress I had so successfully escaped for three days.

Hands up from O.A.R’s Mikel Paris for this Jerry DePizzo solo

Troy “Trombone Shorty” Andrews and Orleans Avenue’s Pete Murano

Dawes’ Taylor Goldsmith

Jon Foreman catches some big air, Chad Butler flashes respect

And then there’s this guy…

Grace Potter and Benny Yurco going back-to-back

Brandi Carlile showcased her great songwriting

Michael Franti and guest in a happy off

Lettuce was stunningly tight

Ben Harper and KAABOO were meant for each other

JJ Grey closed Trestles with soul and grace

KAABOO has a definite San Diego personality. The chill surfer sensibility, the dial-in sunshine, the reggae riddims, the sun dipped frocks, the abundance of beautiful bods. And, I have not been to a more relaxed and comfortable festival, ever. This is not a pop up event on raw dirt. The Fairgrounds are as nice as they come and KAABOO integrates the facilities to be enjoyed by all beautifully. Will it emerge as San Diego-centric mainly drawing from the region, a premier destination event, or both? They have made an extended commitment to Del Mar and have the resources to see it through, so this is anything but a one-off. Sure, there are growing pains, but they are minor (more unique headliners, better signage, real air movement in the Palate areas). And for an event in one of the best craft beer counties in the country, local breweries were noticeably lacking (how about showing off the area’s finest brews with a locally crafted beer tent?). But these are barely nits. That said, KAABOO has forged an identity and created a great experience in short order and I, for one, am cheering them on and ready for KAABOO 2016.

A special shout to the folks at Mitch Schneider Organization and all the KAABOO organizers and production crew. Their vision and hard work over the past 18 months culminated in a top tier and exceptionally organized experience for those of us covering the event (and for the fan in me).

For a deeper gallery of KAABOO 2015, check out LiveMusicBlog.com.

Until KAABOO 2016