Camp Flog Gnaw goes off

Dorothy Dark / A&C Editor / The USD Vista

Nov. – Last Saturday at Dodger Stadium Tyler, The Creator showed Los Angeles, Calif. a good time. The fourth annual Camp Flog Gnaw brought thousands to the city with the promise of carnival fun and live entertainment from noteworthy performers in the Hip-Hop industry and beyond. His festival has a reputation for bringing together big names and lesser-known talents to create an experience that only Tyler, the Creator can make happen.

There was no shortage of quality music and fun at Camp Flog Gnaw. The biggest issues that arose for those in attendance branched from questions of what performances should be prioritized over others. That, and the lengthy lines to be anticipated at any popular event in Los Angeles. There was undoubtedly a lack of organization on the part of the festival’s management, which meant long waits for entry into the festival and even longer lines for attractions once inside.  The waits could last for hours, but they somehow did nothing to diminish the positivity which radiated throughout the festival.

The first day began with hoards of people being guided into the main entrance like cattle, while collectively complaining about the disarray. This is nothing unfamiliar to advocates and attendees of music festivals, but the crowds seemed to reach endlessly in every direction. The atmosphere while waiting for entry was noticeably tense and with good reason. The length of the lines cost many the chance to see notable performances. Most shows required arriving at least two hours in advance to guarantee viewing. From the first day, it was apparent that the full Camp Flog Gnaw experience required thorough planning. After about an hour and a half wait, attendees arrived at security booths to undergo searches just before scanning their wristbands and stepping foot inside. Once through, a wide road led to the festival’s center. The stadium stretched far to better accommodate the number of people in attendance. This seemed to melt away any former frustrations as the anticipation took over the crowds.

Junior Grace Getchell described her experience of the festival and noted the convenience of the chosen location.

“I’ve only been to two other music festivals, but Camp Flog Gnaw has been the most enjoyable yet,” Getchell said. “The venue was large enough to not feel squished, but small enough that it was possible to get form one stage to another in between set times.”

A few feet down the main road, stores and booths for merchandise occupied the space to the left. “GOLF” was lit up in multicolor above the entrance to the baseball stadium, advertising the Tyler, the Creator’s line of apparel and accessories. After walking further past the merch stalls, another lot opened up.

The Gnaw stage was nestled into a semi-circle, surrounded by neon carnival rides and games. Though this stage was the smallest, songs played from the speakers whether a performer was present or not. Small groups of eager attendees would gather around to continue their celebrations while waiting for upcoming acts.

Beyond these lots, the main road curved downward and eventually led to an even larger expanse of festival-goers, carnival attractions, and vendors, all stationed in between the Camp and Flog stages. The Flog stage was tucked away on the right and it hosted a number of remarkable performances. Kali Uchis, Playboi Carti, and Pusha T played later in the evening, after earlier sets from groups like Little Dragon. Their appearances provided tempting alternatives to the Camp stage lineup.

At the base of the main road, the massive Camp stage was situated on the left and featured some of the festival’s most anticipated performers. Saturday afternoon it hosted performances from Hobo Johnson and the Lovemakers, followed by Rex Orange County. After the sun went down, there were scheduled appearances from The Internet, A$AP Rocky, Tyler the Creator, and SZA, which drew in the majority of the festival’s attendees. On Sunday, the stage was set for acts including Men I Trust, Jorja Smith, Post Malone, and Kids See Ghosts. Ms. Lauryn Hill, Kid Cudi, and Kanye West, all of whom were set to appear on the Camp stage, drew significant attention from music enthusiasts both young and old. Crowds were consistently gathered, as the stage almost always provided a memorable festival experience.

On Sunday evening, the festival was blessed by the musical genius of Ms. Lauryn Hill, who took the stage with expected force. The 20th anniversary of her album “The Miseducation of Lauryn Hill” called for the revival of her masterpiece, which was performed with as much passion and lyrical precision as her tour for the her 1998 album.

The adornments of silver over her hair and face only added to the mysticism of her performance, as her eyeshadow and headdress caught the light even when projected on the big screen. Her presence seemed to travel beyond the stage and pulled at the hearts of each person in the audience. Her intimate engagement with the crowd and resounding voice created a maternal energy which carried across the festival grounds. She took on the image of something divine, and the passage of time took nothing from her capability as a rapper and musician.

Ms. Lauryn Hill gave an incredible performance, and introduced a younger generation to an album that transformed her followers 20 years ago. The female DJ who opened for her introduced her in asking “Are y’all ready for class to be back in session?” She took attendees back to school, which was incredibly special to witness in Los Angeles, Calif., especially at this point in U.S. history.

In the wake of political tensions and national crises such as the recent mass shooting at Thousand Oaks and the wildfires still raging through Southern California, the time for relaxation and renewal feels especially limited, perhaps even inappropriate. It often seems there is little room for joy in this time of grief and reflection. Camp Flog Gnaw took place in the aftermath of these horrors and offered a moment of celebration, but did not ignore the significance of these events on the collective conscience of the people in Los Angeles.

“Thank you for the memories Mac Miller” was projected on every stage throughout the day, and most artists at some point noted the strength with which communities have rallied in the face of recent strife. The entire festival called for a self-awareness that made the gathering feel all the more necessary. The artists gave phenomenal performances, but they also energized the audiences in a deeply spiritual sense. The outpour of artistic expression is as important now as ever, and Camp Flog Gnaw amplified the artistry of musicians to offer more hope in trying times.