Northwest Arkansas continues to grow as a cultural landmark that draws revelers from far and wide. This weekend, another chest-pounding statement from the region known as Format Festival took place. The three-day festival shook the ground beneath Bentonville September 22, 23, and 24th. We Write About Music was there on Saturday to get a feel for what the innovative festival is doing to change the game. It was a day filled with world-class performances, one of a kind event spaces, and some unfortunate weather developments.

To start out the day, Nikki Lane filled the warm country air with her smooth sounding country ballads. While the crowd was sparse for the 2:20pm performance, Lane and her band played well to the energy of the early birds. Lane remarked during her performance that she is not used to performing during the day, adding that she normally isn’t even out of bed until 2pm. The stage she was opening, dubbed North of Oz, is one of the festival’s two main stages. Her performance at this stage was followed soon by Hermanos Gutiérrez. This lineup order had a clear throughline of guitar-forward folksy country vibes. Those in attendance really turned their ears on to music they may have never heard of. The overall sound challenged the taste of fans at the festival for some of the larger acts like Alanis Morrissette and Modest Mouse. It is fair to say that these acts left with new fans.

The other main stage is naturally named South of Oz which was opened by the rap group The Pharcyde at 3:15. The group brought the chill 90s hip hop vibes that got people moving. The Pharcyde’s energy was palpable with their explosive dance moves and solid vocals. Most notably, the group utilized call and response to transfer some of that energy to the crowd. The tactic worked and even those present that were unfamiliar with the group were infected by the nostalgia.

Before getting on to the next set of the day, it’s important to note Fomat’s refreshing approach to stage design. The North of Oz stage features a large tent covering the stage area and the sound booth being its own art installation by Danielle Hatch. South of Oz is probably the festival’s most traditional stage, looking more or less like a typical mid-size concert stage. However, where Format’s unique vision really comes to life is across the festival at Next Door.

True to the festival’s eclectic venue design language, the Next Door stage is itself a large-scale art installation by Jonah Freeman & Justin Lowe. When attendees come upon the stage entrance, some are tricked into thinking they’ve missed the stage entirely. This is because the entrance to the structure is a line of port-a-potties. The experience of entering one of those dreaded tiny poop capsules at a festival is typically a disgusting and humbling endeavor. But at Next Door, what lies behind is a pleasurable refuge from the outside elements and a delightful feast for the senses.

After a refreshing blast of cold air hits you, you’re met with a dream-like environment with art covered walls leading to another entry way . Beyond this entry is the performance space itself. Situated inside a large white dome, Next Door boasts a state-of-the-art projection screen taking up the entire ceiling. While there were bean bags on the floor for those wanting to take in more of the mesmerizing imagery, it was mostly standing room. But this was just fine for those trying to get a good view of the stage’s first act of the day, Angel White.

Angel White quickly took control of the small room with an electrifying performance befitting a stadium. While watching the group perform, one can’t help but notice White’s supreme vocal talent. Singing with a classic western style, he really sells his songwriting with clear diction punctuated by rockstar energy. This progressive take on classic country-western is quickly becoming a cornerstone of contemporary American music. This revolutionary energy in the music was made even more resonant for those in the room by the equally radical nature of the performance space in Next Door. The band is situated at audience-level which encourages more direct connection between the musicians and their audience. While those a few rows back may be unable to see the band, they are still able to listen to the music and get lost in the ever-changing projections above.

Big Wild was next over at the North of Oz stage, and they certainly delivered on their reputation for putting on a solid performance. Their progressive blend of indie rock with melodic electronic sounds propelled the energy of the crowd to really take flight. His voice and stage presence give off a warm and friendly energy that is very inviting. This aura combined with the bouncy sonic quality of the music was successful in getting the crowd moving even in the heat of the day. He demonstrated his musical prowess by delivering a face melting turn on the drums which added to the overall entertainment value.

Immediately following Big Wild, Modest Mouse started over at South of Oz. The crowd pleasing set included fan-favorite songs like “Float On” and “Dashboard”. Considering the songs were released 19 and 16 years ago respectively, it speaks to the band’s prowess among alternative music fans given the music’s staying power. They backed up their familiarity with a strong live performance that pleased fans both new and old. The festival began to grow in size quickly by this point and seemed to be reaching a fever pitch of excitement and camaraderie. Pleased with the fact that the sun was no longer beating down, the party was going in earnest by this point.

Closing out the North of Oz stage was none other than Alanis Morissette. Little can be said for the legendary singer/songwriter that has not already been said. But one thing you certainly cannot say is that she can’t perform anymore. With a pensive and focused stage presence,  she rounded out the day’s performances with a crowd pleasing 90 minute set. Morissette started the show with a video montage of references to her and her work in movies and tv over the years. This demonstrated her impact on pop culture and continued relevance over thirty years after her first hit single. The inclusion of this montage comes off as a tongue and cheek reference to the almost mythological aura around her public persona. A good chunk of the crowd at Format was born well after the release of the legendary album Jagged Little Pill in 1995. This made her a household name and made her music take on a life of its own.

Following Morissette’s performance, attendees made their way to the festival’s other stages for late night performances. Classixx and Green Velvet were set to close down the Drag Me to the Disco stage, Mandrake was at Next Door, and Dombrance at Røde House. Unfortunately, the unpredictable Arkansas weather had other plans and a storm was bearing down on Bentonville. Festival organizers made the unfortunate but smart decision to cancel all remaining events for the day. While this was a disappointing end to the day, it was still not a bad way to spend a Saturday.

There is a lot more that can be said about Format, as it is a wild and unique event. It has a stage that you enter through a port-a-potty after all. But the story here lies in what this festival means for the city of Bentonville and the surrounding region of the United States. This region has long been looked over by many in the contemporary art world, mostly seen as flyover country. But this event, and others like it have got the public’s attention now due to their progressive programming and refreshing approach. Bentonville is becoming a bastion of creative energy with a new style all its own.

For those seeking affordable accommodation options in festival areas like Bentonville, exploring opportunities such as apartment caretaker positions can be a practical solution. These roles not only offer housing affordability but also provide the chance to enjoy unique experiences by combining caretaking responsibilities with festival attendance. Bentonville is becoming a bastion of creative energy with a new style all its own.

Photos by: Mitchell Arias-Elmore, Ismael Quintanilla III, & Roger Ho

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