When I hear 'festival,' I picture something on the order of Glastonbury, SxSW or Lollapalooza. I wasn't expecting the Synonym Toast festival to be quite of that size and caliber, but assumed it would be at least similar to the Hennepin Avenue Block Party. A winding drive down Wisconsin's desolate and difficult-to-locate County Road F should have tipped me off to the reality of the situation, but it wasn't until we arrived at the destination that I realised my expectations had been extremely lofty.
"Yay, New Auburn!" Andy exclaimed as a campground sign came into view. We'd repeatedly lost and found the route and Nick Williams with the aid of Google maps, Mapquest and frequent mobile conferences. We pulled into the parking lot of a bar to regroup before going to the actual site of the festival--or so we thought.
"This can't be it," I said.
"What's the address?" Andy asked. The address on the Google map matched that of the street sign right in front of us.
"This is it," Andy said, laughing incredulously.
"Where's Williams, then?" I protested. As if on cue, Nick's Chevy Impala appeared from behind the bar and pulled past us. I could see the expression of disbelief on Wingate's face as Paul's Dodge followed the Chevy. I began laughing hysterically. The Synonym Toast Festival was a dive bar in Middle-of-Nowhere Wisconsin.
The group of us walked in to find an open, high-ceilinged room with long tables arranged in a cafeteria design. A small group of people crowded around the bar, which occupied one end of the hall. They seemed to be locals who convened at this spot nightly. The conversation indicated that everyone felt very comfortable around each other. Just after walking in, I heard one of the younger men crow, "I've got one on my penis!" I've still no idea what he had on his penis, which is a shame. A row of mounted deer heads stared glassily at the stage from the wall behind the bar, guaranteeing at least some form of attentive audience for the band.
After the lads and I had hauled the equipment in from the various vehicles, Andy and I struck up a conversation with one of the locals smoking at the bar. He was a younger man dressed in shorts, a Boston Red Sox baseball cap and a button-down short-sleeved shirt over a wife beater. He spoke passionately about how well a sit-down restaurant would do in the area. The town was overrun with bars and bar food, he explained, and a place offering good, fresh food was sorely wanting. His talk of the Southern-style Waffle House, along with the slight Southern drawl that carried through his passionate discourse, prompted me to doubtfully ask if he was from the area. He answered that he had grown up there but had worked at various restaurants in the South for several years.
"You have a little bit of a drawl," I pointed out.
"Y'know, everyone here thinks I sound like I'm from the South," he said. "When I'm in the South everyone thinks I sound like I'm from the North. I remember when I went down there, the first thing someone said to me was, 'Hey, d'yeeew know y'ave an ac-cehhhnt?' I was like, 'Excuse me?'" he laughed. "No matter where I go, I sound like I'm from somewhere else."
I could identify with that completely. In Ireland, everyone thought I sounded American. But when I came back to America, everyone thought I sounded Irish.
It was now growing late, and the audience was tiring of watching the first band set up. One particularly sodden person slipped behind the bar and activated the tornado siren that outfitted the rafters above. He then set about furiously clanging a massive bell, creating optimum noise conditions. Andy and I went to join the rest of the band at one of the long tables in the middle of the room. After waiting a while longer, the underaged, long-haired group burst into what seemed to be an emo version of Pink Floyd's "Time." From there, they continued on with a string of various covers. Perhaps the ear-bleeding volume of the music drew my attention to the sound guy. I nudged Andy and nodded over to where he was reassuringly using his cell phone to light the various controls on the soundboard.
Finally Guerrilla Blue was up. I talked to Paul while the rest of the band hauled their equipment onto the stage. He summed up the feeling of the bar pretty well when he said, "I feel like I'm in a bar in Tennessee decorated like a cabin in Wisconsin." One glance at the skates, skis and hornet nests decorating the rafters confirmed this description. Such surroundings created great potential for disorientation. But Guerrilla Blue still played an incredible set. All the members of the group delivered a high-energy performance from the first notes of "Fluorescent Fuzz." In fact, the strange setting seemed to be a spawning ground for innovation. Nick Williams felt inspired early on to accentuate the dueling mandolin and guitar solos on "Sometime After Midnight" by shuffling back and forth between Andy and Wingate while playing a driving bass riff.
Aside from a few occasional dancers, the audience largely stayed clumped at the opposite end of the room from the band. That's where the bar was. But they reacted well to the music, yelling, clapping and setting off the tornado siren. A few women in leis came up to dance and called up to Andy between songs.
"I like your guitar!" one of them cried.
"It's a mini guitar," Paul informed her.
"Like a ukulele!" she exclaimed.
Andy smiled and explained, "It's a mandolin."
"Oooh, a mandolin," she repeated.
"A ukulele," her friend scoffed, mocking the woman's instrument confusion.
The energy continued to build throughout the night, becoming particularly palpable on "Kobe." I'd appointed myself band photographer for the evening, and I desperately wished my point-and-shoot were more adequate in low-light situations. I wanted to capture the intensity with which everyone was playing, but I largely captured blurs. I gave up before the band launched into "Taken." It was the last song on the set list, despite my hopeful penning of "DNC" beneath it on a few of the copies. Paul and Andy left the stage for a bit in order to leave more of the spotlight to Wingate, Williams and Wiersma. They headed towards the back of the room and had a few words with Chris, the organiser of the festival. He asked, "You're doing one more song, right?" That left them no other choice but to play "DNC." The change from trippy maudlin' to 60s beach beats and back went without a hitch. After the last verse, Paul again abandoned the stage to the instrumentalists. But this time Todd stepped out from behind the drums and followed. Williams then played one last riff and unplugged, leaving the song to finish with just violin and guitar.
While Synonym Toast was no Bonnaroo, the gentlemen of Guerrilla Blue treated it as though it was. The band's cohesive performance definitely set a precedent for the festival to become more well-known in the future. The excitement of the show kept Andy and me alert all the way back down County Road F and WI-29, but couldn't compensate for the lack of sleep and the increasingly wee hours of the morning. I'm happy to say I fulfilled my assigned duty of keeping Andy awake, and passably driving his manual Subaru Forester when he stubbornly started nodding off and swerving. And though the venue was not a milestone in itself, I had a great time watching what I think was a milestone performance.
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