It was one of the most ambitious events downtown Phoenix had ever witnessed. And yet, the Trunk Space still triumphed in producing the second annual Indie 500.
In an impressive 38 hours — during which a significant amount of attendees pulled two all-nighters — 500 songs were performed, according to Facebook updates from the Trunk Space.
From the first performance by Clay Martin to the final set by Dogbreth, it was an exciting marathon to follow, whether through social media or in person. But five hours inside the venue was all it took for me to recognize that the event wasn’t simply about the race to achieve an impractical goal.
The aim of the Indie 500 was far more meaningful: to increase the sense of community in our locale. It was the achievement of this grander purpose that made the event worthy of a 38-hour standing ovation.
My afternoon arrival landed on the five-song set by The Ricardos, quite luckily for me. Though the band had been brought to my attention a few times, in my explorations of the local music scene, hearing the musicians live made me enthusiastic for the talents to follow. With rawness and a hint of musical angst — wonderful elements of rock music, to my ears — the band displayed potential for increasing permanence in the world of downtown music.
Following The Ricardos was a trio of genres that only the Trunk Space could bring together. The slightly heavier elements of Captain Samurai’s set were followed by Run-On Sunshine’s enormously energetic solo set. Immediately after, Language Barrier — a group that formed specifically for the festival, but will continue as a band — brought a mix of classical piano and pop-based songs to their set, including clear vocals and, uniquely, the use of an accordion.
The next acts were two that I wanted to see more from than the allotted five songs. Oliver House was easily the strongest act I saw, instrumentally speaking, with a beautiful, alternative mesh of strings and percussion, complimented by vocal performance. On the pop-punk side, The Darling Sounds introduced some of the most well-written songs I witnessed at the event, and a compelling performance to accompany them.
To end my night with the Indie 500, I sat down on the floor of the Trunk Space with what must have been at least 80 other attendees to watch an awe-inspiring performance by Kimya Dawson. A folk-punk staple in every corner of the nation, Dawson was a deliverer in not only music, but also in humor, storytelling and the meaningful messages behind her songs.
The Trunk Space community was personified through what Dawson said was her first Arizona performance in about six years. As the singer promoted independence and the exploration of creativity, the audience united to sing along to various songs, including the famous “Loose Lips.” As she called for those experiencing depression and other forms of inner conflict to reach out for help, the attendees displayed their support for Dawson and for each other.
From my experience at the second annual Indie 500 alone, it seemed clear that our community needs the Trunk Space, a place that is quite possibly Arizona’s greatest supporter of young and local acts. But often overlooked is another fact that was emphasized at the festival: Increasingly rare venues like the Trunk Space that bring unique musicians and events into the world need the community’s help to survive.
Contact the columnist at Emily.Liu@asu.edu
