WTF Wayhome, Ouch Osheaga: Let’s Discuss Cultural Appropriation

I think it’s important for people to check themselves. Is your speech, behaviour, attire, or accessories offensive in some way? If you’re unsure, the answer is probably, Yes.

I was really fortunate this summer and I was able to experience two major music festivals, the Wayhome Music & Arts Festival in Ore Medonte, just outside Barrie, Ontario, and the Osheaga Festival of Music and Art in Montreal, Quebec. Attending these two festivals affirmed my love for my fellow Canadians and the ways in which music can be used as medium to bring people together. I met so many amazing people during my time at these festivals, like-minded individuals from all over Canada (and other parts of the world) who were looking to enjoy their favorite artists and have a good time.

On the other hand, there was one really big issue that I couldn’t get past. Keep in mind, this wasn’t a one time occurrence but several instances in which I was extremely uncomfortable, and unable to understand why those around me didn’t share the same sentiments.

What really irked me throughout the festivals was the abundance of non-POC individuals donning culturally significant items such as bindis, headdresses, cornrows, dreadlocks, dashikis, warpaint, etc. I could go on forever.

WHAT IS CULTURAL APPROPRIATION? 

The definition of cultural appropriation is pretty simple: cultural appropriation is the use of a certain culture by members of another culture wherein the meaning or significance of these cultural ties are lost, misappropriated, and is disrespectful to the culture that it is originally from. Considering this, it’s pretty simple to understand that non-POC individuals, aka white people, are taking advantage of a culture when using it as a part of their costume at a music event.

Cultural appropriation is by no means a new concept, and, this far into the year 2017, I hoped to see changes from past years in which music festivals almost seemed as though they were breeding grounds for white dudes in cornrows and white girls in bindis. It saddens me that this is still a thing.

WHY DOES CULTURAL APPROPRIATION STILL HAVE A PLACE IN OUR FESTIVAL VENUES? 

This question has plagued me for the past few years. How has there been no reform to what people are allowed to wear at these festivals? More over, who perpetuates this trend or gives a “thumbs up” to these perpetrators before heading out the door?

There is a lot to be planned before heading to a festival, and a big part of that preparation is putting together an outfit and making accessory, hair, and makeup choices. Each year, I go through my overflowing closet in hopes of pairing together some makeshift ensemble that is cute and eye-catching and, most important, hasn’t been done before. While it may be hard to find that extra detail that will help make your look standout, I can assure you, it will not be found through the use of someone else’s culture. Do better.

From Alessandra Ambrosio‘s Instagram account. The post reads, “Becoming more inspired for @coachella with this amazing Native American headpiece @jacquieaiche #feathers #festival #coachella #foreveronvacation #inspiration #cocar”
From Kylie Jenner’s Instagram account
From Vanessa Hudgens’s Instagram account. The post reads, “Coachella life. Day 2 =) xx”

Social media often becomes oversaturated with the misuse of culture by the wrong demographic of individuals around festival season, (as seen above) so if the affirmation of a celebrity wearing such items becomes a confirmation for you to do the same if you are a non-POC, that is where we run into some trouble. One may ask, “if I see Kylie Jenner wearing such things, and she looks great, why can’t I?”

There is a long weighted history and discourse behind the argument that I am posing with this article, not all in which I can include. Instead, I am hoping to instead bring light to this topic, in the hopes that it sparks a greater debate between friends.

This is one of the ways that we can make a change.

WHAT DO MUSIC FESTIVALS LIKE WAYHOME AND OSHEAGA HAVE TO SAY ABOUT CULTURAL APPROPRIATION?

I did some research to see what I could dig up about the stance that certain festivals take on the issues I mentioned earlier. There was not a whole lot of information I could find, but, rather, a lot of great articles on the subject. Like I said earlier, I am not the first person to talk about this.

In the case of Wayhome and Osheaga, specifically, here is what I found. After scrolling through an “overview of festival rules” for Wayhome,  the only mention of clothing and/or accessory was through the bullet point stating:

  • No gang clothing and/or gang support shirts.

This bullet point appeared on the list twice. I am unclear as to what this is referring to or in what context Wayhome would qualify a shirt as “gang supporting,” but, nevertheless, I didn’t find another mention of clothing, accessory, or hairstyle. After scrolling further, I did find one more interesting bullet point, under the topic of “additional rules/regs”:

  • No confederate flags.

The fact that this was added to this list sends a red flag to me and really makes me interested in what event must have happened for the organizers to feel they must mention this. In Canada. In 2017. Either I am living in a fantasy world or there are bigger issues about what individuals are bringing to music festivals than I have ever imagined.

Osheaga on the other hand, was a little bit better. In 2015, the festival put a ban on the admittance of:

  • First Nations headdress and other feather headdresses

On their website, they specify that, “The First Nations Headdresses have a spiritual and cultural meaning in the native communities and to respect and honour their people, Osheaga asks fans and artists attending the festivals to not use this symbol as a fashion accessory.” 

This was really important. Osheaga was one of the first major music festivals to take a stand on cultural appropriation and to lend support to the Indigenous community of Canada by creating this rule.

SO… WHAT NOW? 

Here, my friends, we come to our final question: “What exactly can be done?” How would a music festival enforce these rules in practice? The fact is, it is impossible to police. There is no system that will be put in place that will not admit a white person because of a hairstyle or because they chose to wear a bindi.

This brings me full circle back to my frustration, and my understanding that the policing needs to begin within. As I mentioned at the beginning of this article: everyone needs to check themselves, and better yet, check your friends.

There is just no room for excuses. We all play our part, and as tough as a the world is, it’s important that your role in all of this is one that is as unproblematic as possible. There’s too much shit going on.

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A Conversation with San Fermin at Wayhome 2017

There are certain artists that take many years to find a sure footing in the music industry and be recognized for their work. San Fermin is not one of them. A short while after getting out of university, Ellis Ludwig-Leone began composing music for his best friend, Allan. Soon after that, they gained a record deal and began writing for an entire band. Their numbers quickly grew and so did their success.

We sat down with San Fermin’s lead musician, Ellis Ludwig-Leone, who writes and composes all the music the band releases, to discuss their festival experience and San Fermin’s beginnings. 

Kimberley Drapack: How did you meet and form the band?

Ellis Ludwig Leone: Allan, one of our lead singers, and I had been close friends for a long time. We met when we were like 15, and I’d always had bands with him. I went and studied classical music in university and when I graduated I wrote this record for him to sing, and I didn’t really have any plans for it, I just thought it would be fun.

We recorded it and got a record deal and then suddenly, the record label was like, “you gotta go tour.” That changed everything, then we had to get together all the band members. It totally went in a way that I did not expect.

K: Fresh out of school you were ready for the next step, and then it found you. 

ELL: Yeah. I studied classical music and I was thinking about going that way and suddenly, we had this record that was getting attention from people who weren’t classical musicians at all and then I sort of just realized that it was a pop record. That led to touring a lot and, now, here we are.

K: Tell us about your early years. Was it easy to get your off the ground or were there other obstacles you had to overcome?

ELL: The cool thing was that we had a lot of press attention right away, which I am thankful for now because I probably didn’t realize at the time that that was fueling everything and bringing people to the shows.

That said, you can be on lists, but people still need to discover you. You still play these shows where you’re taking eight members of a band — it’s a big band — and you’re taking them to these expensive places, and the logistics are crazy.

So the big challenge for the first couple of years was making it work financially, which is kind of a boring problem, but real. Everyone kind of bought in and devoted their time to it and now we’re at a point where it feels like it’s a real, stable, good thing that everyone loves doing. We’re going on tour for half the year.

K: Touring is always fun?

ELL: Yeah, it’s great and it’s tough. I think a lot of people who don’t tour, when they hear, “oh, you’re going to Toronto this weekend, that’s great, I’d love to go there” but a lot of what we see is hotels and venues. Every now and then you have a day where you can explore a city but there isn’t a lot of downtime and travelling.

There are moments when your body hurts. You’ve gained weight because you’ve eaten like shit, and those are real sacrifices that I think people, when they talk to you, don’t really take seriously, but there are things that are downers. For the most part, I really like it.

K: What was your time like at Yale? Did you feel as though your formal education offered a guideline for your future music career?

ELL: I think so. When I was in school in classes I often felt like a little bit of an outsider. When I started an indie band, I still felt a little bit like an outsider but I think it’s sort of good to always feel outside of the paradigm. Then you are thinking about it, and you’re questioning what’s good, what draws you to it, and what doesn’t. I think that was a pretty big thing for me.

I was just writing music in a way that made sense to me and happened to make sense to other people. It helped me think about how to write for all those instruments.

K: So you write every piece for each section? 

ELL: Right. I write a score.

K: So it’s within your classical training?

ELL: You saw the show, so it’s gone away from that a little bit. Which is what happens when you’re playing festivals or rock. You’re playing these venues that are made for rock bands so you sort to push towards that. I happily did that. But there is still a lot of that classical stuff in there where parts are notated, I think about the arrangements a lot, and I’m very careful with how I divvy up the notes.

K: Was that something you kept in mind when you were writing your newest album?

ELL: The new record was kind of interesting because as I was writing it, I really knew who I was writing it for, because I’ve played a hundred shows with these guys. When I write a sax line, I really tailor it to Stephen, when I write a trumpet line, I tailor it to John. I think that’s led the live show to be more of a coherent, explosive thing.

K: So, it’s come a long way from knowing your bandmates for years now?

ELL: For the first record, I just wrote it. Whoever I could get to play it, it was great, but it was a different relationship.

K: You released your self titled album in September of 2013. Can you explain some of the emotions and backstory behind the records on this album?

ELL: That was a very exciting and weird time. A lot of stuff went really quickly — it went from a sort of bedroom project to where the third of fourth show we ever played was a Tiny Desk concert. The fifth or six show we ever played was Bowery ballroom, and suddenly we were doing this thing.

I didn’t know what keyboard to play, I was still making all these decisions. It was a really intense time because there was all this stuff coming down the pipe that I was figuring out how to respond to as it happened.

“Oh we have to make a music video?” Well, fuck… I don’t know. But that was really exciting and cool. I remember hearing Sonsick, which was our single on that record, on the radio for the first time.

K: What was that feeling like?

ELL: It was crazy! I was just driving with my girlfriend or something, and I thought, “wow… people know this song.”

K: Are there ever times where you felt like there are other songs you would rather play instead?

ELL: Yeah… let’s leave it at that. There’s a few singles that we play because the fans expect them, but we’re kind of over it.

K: Your third album, Belong, released in April of this year and your single was released through TIME magazine. What can this album teach the listener about you, or just in general?

ELL: The thing that I wanted to do with this record is that I wanted to write a record that felt both more accessible to people — just from the type of sounds, there are no interludes, it’s more direct songwriting -—but also make the lyrics more personal. In the past, I’ve hidden behind the lyrics a little bit. I think it was accomplished. I think the songs have a bit more of a glossy sheen to them. If you spend time with it, it’s stuff that comes from deep and somewhat tumultuous place in my life. Pulling off that trick, making something seem sleek but also have depth, is somewhat difficult.

San Fermin

K: Are there certain songs that you listen to in this album or earlier albums that you don’t listen to all the time, but you hear them and it brings you back to a certain moment in your life?

ELL: For earlier albums that definitely happens. There is a song on the first record called Daedalus. I was in Banff while writing it and I was thinking that the record needed a closer, something special. We were writing it and leaving the studio and thinking that I made a really good song there. Then I didn’t play it for years, and we played it the other day for the first time.

K: What is it like making a setlist for a big music festival like Wayhome?

ELL: For a festival like this you have a stripped down set, where I wouldn’t say it’s necessarily all of our best songs but in a way it’s all the songs that work the best in this setting. Some songs I really like that you just can’t play here. You can’t really play the acoustic ballads. You need an audience who is all there for you, but here you have people that are here for you and people who are walking by, and you want to be able to catch them with a festival jam.

K: In making that setlist, are you driving for that?

ELL: You think about that and you think about songs that are immediately graspable and that hit hard, and you think about the image that you want to project at that festival. Are you trying to reach new fans or are you trying to play the funnest, most party song? Or are you trying to curate this sort of thoughtful experience? When you have forty-five minutes on the main stage, you think, let’s hit them with our best. Sometimes it changes. Today I made the call to play Methuselah, which is an acoustic-chiller song from the first record, instead of No Devil, which is a big anthem, just because I wanted to do it.

K: Is that the most fun part of running a band?

ELL: The most fun part is after the shows when you get to meet people who the songs resonate with. It still feels unreal to me. If I haven’t played a show for a couple of weeks, I’ll forget that there are all these people out there who care about what I do and it makes me feel really good when I get to meet them. It hasn’t worn off yet.

K: Have you ever met a fan where you’ve had that genuine experience, where they tell you about a tough time in their life that your music has helped them through?

ELL: Totally. Our fans are really loyal and intense about that. When we go on headline tours, we’ll have a bunch of people in the front of the crowd who know the lyrics to all the songs, and that’s really cool. You’re here for a deeper experience that you had with this stuff.

I feel like I’m someone who has trouble talking to strangers a lot. I have trouble connecting, and to suddenly be like… that you can connect to someone is a special thing.

K: Was there ever any stage fright?

ELL: Weirdly, even though I write all the music, I’m probably not someone who people are watching as much on stage because I’m in front of the keyboard.

There was a little bit of stage fright at the very beginning but after that it was pretty clear that A) nobody was counting on me to do anything too much and B) shows are fun. I have a lot of great musicians with me. Even if I totally stopped playing, we’d still be a great group of people.

K: Is that the best part, being around people you have great relationships with for eight months or so at a time?

ELL: It’s a strange relationship, because in a way, it’s almost like a sibling, but then weirdly, you’ll get home and maybe you won’t see them for a couple of months. You won’t call them or anything, and then you’ll get back together and you’re closer than close, because you’re literally spending all your time together.

K: Do you feel as though your band is tailored to a festival setting, or a sort of more intimate setting?

ELL: That’s changed. At the beginning of the band, I was all about intimate spaces. We then started to have some success at festivals and I thought that was really fun. My ideal shows are at a thousand cap room but they’re all there for you. That’s the best, you get a little bit of the size. I just like playing for a receptive audience. That is what I care about the most.

K: What was it like in the first show you had where you saw an audience member singing back your lyrics?

ELL: It happened pretty early on, but the first time I really remember it was at a Lollapalooza after show in 2014 where I realized that everyone in the crowd was singing along. That was awesome. I remember getting in the van after and saying, “Guys, we’re onto something.”

K: Did this reaffirm that you needed to keep going?

ELL: Yeah. Since it’s become more routine, I take it for granted sometimes. But when we perform Sonsick and everyone sings that one part, the fact that they even took five minutes out of their life to memorize it, is more than I’ve done for them, so it makes me feel special.

K: That must be a great connection you create with people, in that, you may not know them on a personal level, but you do in a way that you didn’t know about.

ELL: They’re at least familiar with some part of me and when I talk to fans, I appreciate that we can start on some common ground.

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Sets You Don’t Want to Miss at Osheaga 2017

Osheaga never fails to impress. Once again its lineup has every other music fest in Canada quivering in its boots. How can they even compare to the likes of Lorde, Muse, and the Weeknd? Your fav could never. Not only does Osheaga have a legendary three-day lineup, it takes place in a city that is very close to my heart, Montréal.

The most difficult part of attending a music festival, besides the fear of a dying cell phone, losing your friends, or running into your ex-boyfriend and his new boo is choosing what artist you are going to see on a given day. Let’s face it, it’s impossible to do it all, but that won’t stop us from trying. We often get too lit, or too lost (most likely a combination of the two), and run the risk of missing our favourite artists.

Not to worry, we have you covered. Claire and I have made a list of our top artists you must see on each day of Osheaga to help cement your decision or simply point your internal compass in the right direction after one too many Molson Canadiens with your best friend, Ben.

FRIDAY AUGUST 4TH 

Photo: Matt Seger

SAMPHA [SCÈNE DE LA VALLÉE VANS @ 4:55-5:40 PM]

Not only do I love slow, melodic soul music, but I also have a soft spot for British accents. Considering this, Sampha sings and speaks directly to my soul. He has quickly become a muse for some of the biggest names in music (Drake and Kanye for example), and built a reputable discography for himself. His debut album, Process (2017) came out after many years of waiting and long time fans like myself devoured it.

Photo: Marie Claire

TOVE LO [SCÈNE DE LA RIVIÈRE VIRGIN MOBILE @ 5:40-6:30 PM]

If Tove Lo’s music is anything, it’s honest. Her mix of cool synth pop and frank lyrics are the reason why I like her so much. Her music is raw, brutally honest, and empowering. Her unique vocals have also lent themselves to tracks with Coldplay, Nick Jonas, Broods, and Flume. Who doesn’t love to sing along to the dark breakup anthem Habits (Stay High) or the raw confessional love song Talking Body?

SATURDAY AUGUST 5TH

Courtesy of Capitol Records

JON BELLION [SCÈNE DE LA VALLÉE VANS @ 6:30-7:20 PM]

There is a lot of work that goes into creating music. Often, artists have a huge team backing them to help produce, create beats, and to put finishing touches on their work. Jon Bellion creates and produces all his own music. Anyone accustomed to his music will know the great amount of fine detail that goes into each track he creates, which registers as a sure sign of an absolute creative genius.

Photo: arkellsmusic.com

ARKELLS [SCÈNE VERTE SONNET @ 7:20-8:20 PM]

If you haven’t seen them yet, it’s an absolute must. These Ontario natives rep their hometown of Hamilton, HARD. They are known for their passionate and honest rock and energetic live shows. Their latest album, Morning Report (2016) was described by the band’s singer/guitarist Max Kerman as their “most honest” work yet. The album’s first single, ‘Private School,’ peaked at number one on Canadian Alternative radio. A festival is a perfect venue for them to show off what they’ve got.

SUNDAY AUGUST 6TH

Courtesy of Vevo

ZARA LARSSON [SCÉNE DE LA MONTAGNE COORS LIGHT @ 2:05-2:45 PM]

I haven’t been in love most of my life. That is, until I stumbled upon Zara Larsson. This singer-songwriter is a Swedish bombshell whose debut international album, So Good, was released in March 2017. She produced six singles, including ‘Lush Life’, ‘Never Forget You’, ‘Ain’t My Fault’, ‘I Would Like’ and ‘Symphony’. One can’t help but dance along to her infectious music, and I guarantee that you don’t want to miss her set as a closer for your last day at Osheaga.

Photo: The Fader

LOCAL NATIVES [SCÈNE DE LA RIVIÈRE VIRGIN MOBILE @ 4:10-4:55 PM]

I was recently introduced to this band by a friend of mine, and I have been obsessed with them ever since. Their dramatic brand of indie rock gives off some serious California vibes, which makes sense since their home base is Los Angeles, California. Their music is a combination of various harmonies and intricate sounds that somehow come together to form a collaborative, dreamy sound. Formed in 2008, the band has come a long way. Their sophomore release reached number 12 on the Billboard 200, and their highly anticipated third album, Sunlit Youth, was released in summer 2016.

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Sets You Don’t Want to Miss at WayHome 2017

With WayHome Music Festival right around the corner, we have all been prepping our bodies, minds, and bank accounts for the big weekend ahead. If you’re anything like me, you’re not excited to be camping for three days, but there is nothing like the motivation one gets from seeing their favourite artist’s name printed on a lineup. I will run the risk of not having a hot shower (or a shower at all for the matter) for three days, just for the opportunity to be 10 feet away from Frank Ocean’s feet.

Now, don’t get me wrong, it will be a long 72 hours, but together, we can make things work. Below I have compiled a list of must-see sets at this year’s WayHome, along with the details of where each artist will be playing. You can thank me now, or later, but don’t forget to see these talented individuals in all their glory under the beaming sun.

FRIDAY, JULY 28th 2017

Photo by Bryan Allen Lamb

NONAME [WayHome Stage @ 3:45-4:15 PM]

Noname, otherwise known to her parents and childhood friends as Fatima Warner, is a Chicago MC first known for her cameos on Chance the Rapper’s “Acid Rap”, as well as Mick Jenkin’s mixtape, “The Waters”. Following this debut, Noname took her time and carefully detailed and executed her breakout project, Telefone, which provided hungry fans with a body of work. Noname is an up-and-comer with melodic soundscapes and lyrics that weave into poetry.

Photo by Zack Vitiello

ALLAN RAYMAN [WayBright Stage @ 4:30-5:00 PM]

Toronto native, Allan Rayman is an enigma. Fairly new to the scene, Rayman has managed to steer clear of the spotlight and keep his identity something of a mystery. His first ever interview was released in February of 2017 with Billboard. He is currently signed to Communion Records and has released two albums, Hotel Allen” and “Roadhouse 01” as well as two singles, “Much Too Much” and “All at Once“. Rayman’s vocal style is gritty and soulful, and his music crosses boundaries between genres.

Photo by Erika Goldring/Getty Images

DANNY BROWN [WayAway Stage @ 12:15-1:00 PM]

For those looking to end the WayHome Friday with a bang, attend Danny Brown’s closing set. This Detroit-native is no stranger to the festival circuit; he delivers high-energy through his performances without missing a beat. Danny’s shows are known for getting quite rowdy and #NSFW, to say the least, but that certainly doesn’t take away from his big finish.

SATURDAY, JULY 29TH 2017

Cover of Charlotte Cardin’s Big Boy EP

CHARLOTTE CARDIN [WayBright Stage @ 2:00-2:30 PM]

Charlotte Cardin is a pop/electro singer from Montréal who is best known for her single, “Like It Doesn’t Hurt, featuring Husser. Her smooth vocals compliment any backdrop, while her lyrics sing truths about tales of lost loves and relationships. Charlotte released her solo debut EP, “Big Boy“, in 2016 with Cult Nation Records with songs in both English and French.

Photo by Carlotta Guerrero

SOLANGE [WayBright Stage @ 8:30-9:30 PM]

One simply cannot leave out this beauty while highlighting the best-of-the-best at WayHome. Without Solange, there would be no list, and, frankly, if you take anything away from this article, let it be this one suggestion: do not miss her set.

Photo by Steven Taylor

RUSS [WayAway Stage @ 12:15-1:00 PM]

Russ is not only a singer-songwriter, but a producer, a beat-maker, and an artist who never stops grinding for his dream. Over the past decade, Russ has put out consistent singles and videos, making him a rising-star from Atlanta. Russ has released eleven “unofficial” albums before eventually signing to Columbia records and releasing his newest project, “There’s Really A Wolf“.

SUNDAY, JULY 30TH 2017

Photo by Ebru Yildiz

MITSKI [WayBright Stage @ 6:00-6:45 PM]

In 2016, Mitski released her fourth studio album, “Puberty 2” through Dead Oceans Records. The whole world applauded Mitski’s vulnerable and complex songwriting, whose subjects include love, depression, self-alienation, and racial identity. The New York Times describes “Puberty 2” as “an impressive collection of D.I.Y punk and indie rock.”

Photo by Liam MacRae & Sean Brown

DANIEL CAESAR [ WayAway Stage @ 6:45-7:30 PM]

Daniel Caesar is a singer-songwriter making waves in the Toronto music scene. Transcending the frameworks of R&B/Soul, Daniel’s music resonates with his audience and creates a moments of self-examination through his lyrics. The 21-year old Toronto native debuted in 2014 with his EP “Praise Break” and has since received attention from major music publications across the country. Daniel speaks directly to a millennial generation through ballads of love, lust, and faith.

Source: The Independent

FRANK OCEAN [WayHome Stage @ 9:45-11:15 PM]

I don’t think there is a combination of words or sentences that I can string together to explain the excitement I feel to finally see Frank Ocean live at WayHome. After a four-year hiatus, Frank has delivered with Blonde, Endless, and consistent singles we will cherish for decades to come. *cough* “Lens” *cough.* This angel sent from above needs no backstory or convincing. See his show, fall in love, and dance slowly under the moonlight, drifting away with his voice.

See the full line up for the 3 day festival here, and continue following our arts and culture coverage on FacebookTwitter, and Instagram.

WayHome Festival 2016 – Street Style by Chris Smart

Cover

Glastonbury in Somerset UK, Governors Ball in New York, Golden Plains in Victoria Australia and, of course, Coachella in Southern California. All the music festivals around the world aren’t just about music anymore. Each one of them has a distinctive personality, yet all share the same purpose: bringing interesting people together with a passion for music but also for art, culture, and why not, fashion.

This past weekend, in Barrie, Ontario, just north of Toronto took place Canada’s latest music festival adventure, WayHome Music & Arts which is produced by Republic Live and AC Entertainment, the same organizers behind major US festival Bonnaroo. The lineup included LCD Soundsystem, Arcade Fire, The Killers, Major Lazer, among others. Like any other festival, WayHome was about music, but also about something else. In their own words: ‘This is not the music festival you think it is. And we’re making it a place for people who love one or all of those things to come together to make a kaleidoscope of sound, smell, colour, and spectacle.’

These events have become the perfect excuse to celebrate the inner hippie spirit that we all have deep inside. Freedom and joy are the central mantras of such hedonistic pilgrimage, and the dress code is now more dress code than ever. Don’t you dare even to show up if you aren’t in possession of either a pair of mirrored sunglasses, a fringed item – vest, crossbody bag or booties -, a bandana, or gladiator sandals if not all of them.

Was, indeed, a fashion kaleidoscope what Chris Smart captured with his camera. Spontaneous, fresh, and natural looks were spotted all over the place. Attendees’ style was eclectic, but they all projected a sense of community. Everybody is welcome to join and celebrate life together. Isn’t that supposed to be the whole point of it anyways? No matter where we come from, we are all part of it. Maybe, that explains why every year we look forward to attending this festival and share that strange yet magical feeling that we are all on our way home.

These are our TOP 4 favourite trends from WayHome 2016:

Denim Short Shorts

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The Romper

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It’s All About The Braids

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No Without My Choker

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For the best street style visit www.csmartfx.com