There’s no denying the cultural significance of Twin Peaks, even if the nearly twenty-eight-year-old series is largely celebrated by a cult fanbase. There’s a plethora of reasons for that, but that’s a different rabbit hole to dive down.
Influencing everything from the entertainment industry to even society -- at least in subtle ways -- the reach of the show has been vast. There are plenty of Twin Peaks themed events, and on the music side of it, it’s not news that themed bands exist, playing the music from the show. Some even creating their own original material inspired by the series. But how many music festivals has the show inspired? Ones the likes of which were taking place in Dallas on this Friday night? It may be impossible to know the answer for sure, though there’s a great chance Dallas hosted something that had never been done before. At least not in the manner it was executed.
Damn Fine Music Fest was the name for the event (because, really, what else would you call a music festival focused on Twin Peaks?), and it was conceived by Jeff Brown. AKA King Camel. The idea was a novel one that came about as the 2017 return of Twin Peaks neared conclusion: have bands create and play some music based on a handful of the series’ most iconic characters.
It wasn’t that simple, though. The bands were formed by combining select musicians from different established acts into new bands for a onetime only performance. That meant musicians of all sorts of different backgrounds (rock, metal, electronic, indie, etc.) were placed together to see what they could create. In some cases, some musicians had never even met one another prior to the pairings.
As intriguing a concept as that is, it’s also exceptionally bold. I mean, you are then relying fully on the fact that patrons will come check out the event based solely on the premise of it. Sure, all of the musicians have loyal followings in the primary bands they are a part of, but this wasn’t the bands they were known for, nor would supporters be hearing the music they’ve become familiar with. Instead, it would music that had never been heard before, and it was practically assured that it would never be played again. So, would the concept alone be a sufficient draw?
Intended or not, that made Damn Fine Music Fest even more like Twin Peaks. In terms of risk and reward the night of music was all or nothing. Would people turn out, curious at the prospects and potential of it, or would it be an absolute bust? Not unlike the gamble the show took in 1990, the network wondering if viewers would invest their time on it or just tune out completely.
Of course, no such skepticism was displayed by Brown who (almost prophetically) proclaimed on Facebook a few days beforehand that Damn Fine Music Fest would be his “opus”. A mighty statement considering all the incredible shows he’s booked over the past five years as King Camel.
Would that stand true?
Conservative expectations regarding the turnout were quickly quashed. Three Links was already fairly packed as the nine-o’clock start time neared; a small line stretching out the door. “Falling” ushered those people into the intimate venue, the song being a staple of the night heard often over the PA in between the acts. And upon approaching the stage, a small rug was placed on it, looking identical to the pattern of the floor in the Red Room.
First up was The Log Lady Band, featuring the talents of Rob Martinez (of HONOR SYSTEM), Poppy Xander (Poppy Xander, Helium Queens & more), Aaron Mireles (Sub-Sahara), Bill Spellman (from Clifffs) and Chelsey Danielle (Pearl Earl, Poppy Xander).
“My log has a message for you,” spoke Martinez, holding the log he was tightly cradling in his arm up to the microphone. Everyone gracing the stage this night worked to fit the part they were playing, and in his case, that meant sporting a wig that resembled Margaret Lanterman’s hair.
“That was it. That was the message,” he said after a few moments of odd silence. With the introduction out of the way, they set to work.
One curious aspect about some of these bands was that a few had wound up with a couple vocalists in the mix, leading one to wonder how the parts would be assigned. In the case of The Log Lady Band, they had three capable singers and utilized all the talents they had at their disposal.
A gauzy, dreamy pop style kept the songs they had concocted true to form for what viewers of Twin Peaks might expect; their opening number being a moody and atmospheric piece that found Danielle (who provided some additional percussion) at the helm. It was intoxicating, making it all too easy for the concertgoers to get lost in the music; the dark room illuminated only by the glow of the projector and the footage it broadcasted on a screen at the back of the stage only enhancing the ambiance.
Xander took the reins for the next number, a soupy reverb effect featured heavily over her vocals, further immersing everyone into the dreamscape that was being created. However, while that second song began in a similar fashion as their previous one, it wound up reaching a striking crescendo, becoming an absolute powerhouse that earned them rave applause.
While those songs were more about The Log Lady and came more from her perspective, the final piece they had written was different. Danielle confessed she had never watched the series prior to the conceptual stage of Damn Fine Music Fest. Not quite a rap, there was a definite rhythmic flow to the words of that song that was from the view of those unfamiliar with the show, specifically how “crazy” Lanterman looks when you first see her holding and speaking to her log. Bizarre, but in a way that it makes one more intrigued.
That closing number featured what was one of the most standout moments of the night. Minutes earlier Martinez had pointed out that they were using a lot of wood this night, from the log to the drumsticks Spellman was using (made out of the best kind of wood: “endangered redwood”, so joked the drummer). What took the cake was a log drum, which Danielle put to use as things wound down, using it for a drum solo no less.
Those in The Log Lady Band had the most difficult job of anyone this night, because it was up to them to show everyone just what this night was about. They were the ones who had to take this vision that people had been hearing about for a few months and demonstrate for them what it was and what it would be like. They did it incredibly well, letting the patrons know what to expect from the other four bands, even setting the bar for them in the process.
Now everyone had a way to gauge all that would transpire this night; and judging by the deafening fanfare that Mireles, Spellman, Xander, Martinez and Danielle received, the crowd was even more excited about what lie ahead.
In the immediate sense that was another five-piece outfit, The Man from Another Place/The Arm Band.
Ariel Hartley (of Pearl Earl), Kenneth Pritchard (Dead Mockingbirds), Eric Vaughn Eisenman (LOAFERS), Cody McPhail (ATOP) and Adam Locklear (from Bargoyles) squeezed a large handful of songs into their 25-minute (more or less) long set.
It was in that time where things began to get more interesting as the people that had Three Links packed to the gills got to see the different routes these acts had taken with the premise.
Some atmospheric tones were still present, though The Arm Band came across as being a little more rock driven; Pritchard and Eisenman constantly messing with the switches and knobs on their pedalboards, creating all sorts of distorted sounds. Pritchard, who spent the duration of the set knelt down in front of his pedals, provided the vocals on that one, sparse as they were, before Hartley took charge.
“We are The Arm Band and we sound like this,” she remarked during the momentary break that followed. The rest of their set was absolutely dynamic, the other tracks tending to bleed into one another. Restrained as the verses were, the choruses of their second song were wildly chaotic, the frontwoman and guitarist waving her arms around in the air as she sung into the mic, the sudden change in pace taking everyone aback in the most pleasant way possible.
A rip-roaring instrumental segment, highlighting everyone’s full musical prowess, ultimately gave way to a behemoth of a closing song. It was of a massive scale, nothing short of being a wall of sound, the refrain being none other than, “That gum you like is going to come back in style.”
It was a solid set, and it was truly remarkable how cohesive these bands of musicians who had never performed together before were. Their chemistry was what you might expect from a group that has logged hundreds of hours together, which surely speaks to all the amount of time they spent prepping for this gig, ensuring everything was as tight as possible. That wasn’t exclusive to The Arm Band, but rather applied to each collective.
This performance continued alternating between light and dark beings from the show, the focus turning to The Laura Palmer Band.
Their attire was plastic. Lots of plastic. Like one might wrap a body in. It was genius, and deserves serious props, because it had to lock in so much body heat. Fashioned almost like cloaks, each member donned their outfit and then surrounded one of the microphones, all crooning into it. It felt pure and spiritual, setting the tone for what they had planned.
Combining the talents of Sammy Rios (Rat Rios), Sarah Ruth (from They Say The Wind Made Them Crazy), Kamaron Black (Native Fox), Gabriel Jordan (Duo Contra) and Paul Hernandez (Bummer Vacation), The Laura Palmer Band wound up laying claim to the title of best band of the night.
If “Falling” was the blueprint for everyone, then this grouping of musicians kept it most akin to that sound. It was driven by the keys and synth, Ruth’s hammered dulcimer only bolstering the beauty of pieces they had written. At the risk of sounding repetitive, what they did was atmospheric (each band made sure to include that component), though airier than the other groups. Ruth led them through the bulk of their time on stage as well, her rich, and in this instance, almost indiscernible, voice making their creations all the more mesmerizing. Getting lost in what they were doing came naturally as the patrons let the sounds envelop them.
With the exception of some subtle whistling, Rios had stayed surprisingly quite during the performance. That changed as they started to cap off their performance, the closing song finding them cutting loose. It was kinetic, the lack of space on the stage not hindering anyone as they knocked out the explosive number; Rios belting out the lyrics in a striking tone.
It was an astounding finish to a magnificent set; and in the final moments, members from The Killer BOB Band climbed on stage, doing their best (and spot-on) impersonations of BOB, snarling and showing their teeth as they “claimed” their victims. Each member of the Laura Palmer band crumpling to the floor, laying there motionless.
After seeing that, there was no questioning anyone’s dedication to this Damn Fine Music Fest, wanting to work in as many nods to the show as they possibly could.
With the event half over, it was impossible to ignore the similarities the bands were displaying. It was remarkable, actually. They each had their own variations that made them distinct, but despite the fact that each assembled group practiced separately and were able to use their own discretion to create whatever they had wanted, it was as if they had all started with the same foundation. They knew what their music needed to have in order to best honor the music from the series, made sure it was present, and then added their own interpretations to that. Thus, everything felt cohesive. Even if the approach the five groups took was somewhat different, it all still felt in line with one another.
However, it seemed logical that The Killer BOB Band might be a little heavier, considering their focus was on the loathed entity of The Black Lodge. But would they be?
Their set was a slow burn, intensifying to that point, though it began in a vein that resembled the other artists. All though exceptionally creepier.
Teddy Waggy (of Midnight Opera) led the band for the first few songs, their opening number finding her using lipstick to first draw on her wrist, and afterwards drew a line from the corner of her mouth all the way back to her ear. There was something about the way she presented herself as she it that was unsettling, though that feeling paled in comparison to the bone chilling silence that followed.
It was a minute or two of quiet that proceeded that introductory song. The stares were unblinking and frankly, uncomfortable, as the musicians channeled their inner Killer BOB. It was as if the crowd was afraid to make a sound, not wanting to ruin the mood being conveyed; the eerie silence ultimately being broken by Matthew Craine (Dead Mockingbirds) as he launched them into their second song.
By the fourth number Mountain of Smoke’s Brooks Willhoite got to put his chops as a sludgy metal musician to work, bellowing out the words to the hard-hitting track. It was in stark contrast to really everything that had been heard thus far at Damn Fine Music Fest, perfectly portraying the vile behavior BOB exemplifies. They built upon that with their closing song, a grittier and darker piece, thanks to synth and keys courtesy of Daron Beck (of Pinkish Black). Back in the realm of dreamy (or better, nightmarish) music, Beck let out some menacing screams designed to terrify; he, Craine and Waggy eventually joining Willhoite, who had vanished from the stage. They piled off the stage, forcing their way through the crowd, the four BOB’s roaming all about the room as the final notes rang out and resonated.
They had captured the spirit of BOB exceptionally well in the music, going from unassuming to realizing the vicious nature of the character in the tail end. Structured brilliantly, they wound being the most all-encompassing group of the night.
Things had fallen a little behind schedule, not that anyone cared. Besides it was still early, just around midnight when the fifth and final band got started.
Sporting either coats or dress shirts with ties, Nicole Marxen-Myers (from Midnight Opera), Max Henderson (BATHHØUSE), Charlie DeBolt (of TEENAGE SEXX) and Chris Moline (Mother Tongues) all looked the part of special agent Dale Cooper. Their badges were the icing on the cake.
As scenes from every era of Twin Peaks played on the screen behind them, the quartet treated everyone to a performance that seemed to combine elements of each act that had come before them. The synth and keys were integral to it all; and shortly after they got things underway, they were joined by a fifth Cooper, one there for artistic purposes.
As they journeyed through the character’s history, he munched on a donut and sipped some coffee. His phone doubled as a microcassette recorder; and later on, as scenes from within the Red Room played, he placed a chair in the middle of the stage, having a staring contest with the wall.
Things took a dramatic turn when The Dale Cooper Band arrived at their fourth song. Marxen-Myers removed the microphone from the stand and left her post behind the synth. Her blood curdling howls came out of nowhere as she prowled towards the center of the stage. It was the most Laura Palmer-esque scream heard from a musician this night. Not only surprising, it was downright chilling; the harsh glance she shot at the audience as she slipped further into character being unnerving as hell.
Their final two songs were a thrilling onslaught that ensured Damn Fine Music Fest concluded with a bang; that fifth Cooper returning, some “blood” smeared on his face before he laid down in the final moments, crossing his arms as if drifting away peacefully.
Before anyone had a chance to move Marxen-Myers requested a hand for all the musicians who had invested so much time and effort into making this happen, along with the mastermind, King Camel. She had barely finished when one of Sheryl Lee’s signature screams blasted over the PA system, catching everyone off-guard.
And that’s how you end a show, at least of this specific scope.
What a wonderous event Damn Fine Music Fest wound up being, surpassing any and all hype and expectations that had surrounded it in the months leading up to the show.
Anything that could have been construed as a concern for it wound up being proven irrelevant, the fact that it was a celebration of that compellingly bizarre world that David Lynch and Mark Frost created being all anyone needed to venture out to Three Links. It was interesting to see nearly two dozen area musicians collaborate together – in lineups that typically would never be seen – and hear their explorations of the residents and visitors of the fictitious Twin Peaks, Washington.
The effort everyone had invested in creating these new works and subsequently polishing them up to get them performance ready was evident and they did an astounding job at it. They all owned the stage, delivering nothing less than a stellar performance, making certain that Damn Fine Music Fest was an unforgettable experience.
Was this King Camel’s opus? Quite possibly. It definitely stands out as one of the strongest events he has put together, and in terms of inventiveness, it is unparalleled, even by Brown’s standards.
Together he and all those musicians orchestrated something that was epic and in due time will surely become legendary. A stand-alone event that was unlike anything Dallas or North Texas had ever seen. Its brilliancy raised the bar, and there’s a good chance that no one will ever come close to touching it.
