by Gavin Heaney

Photos by JP Cordero/BeachLife Production & Mike Balzer

Throughout my life, I have immersed myself in the timeless melodies of Johnny Cash, and it never struck me that he was categorized within the country music genre. His voice, so authentically unique, transcended any specific classification, resonating simply as magnificent music. However, it undeniably embodies the essence of traditional country music. Meanwhile, the Grateful Dead’s iconic album American Beauty stands out as a quintessential example of California country music, encapsulating the heart of Americana. While enjoying tracks like “Friend Of The Devil” and “Truckin’”, I often found myself overlooking the country label entirely, captivated instead by the sheer brilliance of the songs. These tracks resonate with the spirit of outlaw country, evoking imagery of freedom akin to wild mustangs rather than the stereotypical cowboys. It becomes clear only when they are rounded up and branded that their roots lie in country, a proud lineage acknowledged by those who recognize the authenticity and deep tradition of this vibrant music heritage.

The BeachLife Ranch Festival aimed to capture these untamed songs and their rebellious artists, bringing them to a welcoming stage. This initiative was their driving force, and they succeeded spectacularly in delivering a genuine country and Americana music festival experience to Redondo Beach last weekend, reuniting fans with the roots of the genre.

As Friday afternoon unfolded, festival attendees, adorned in cowboy hats and flip-flops, welcomed The White Buffalo, who delivered his poignant tunes. Although organizers had initially planned to incorporate live horses into the event, they instead showcased this remarkable talent. Jake Smith’s powerful whiskey barrel baritone voice is unmistakable, as he passionately shared ballads exploring themes of murder, heavy drinking, reckoning, and redemption. In the midst of life’s harsh realities, the darkness in his music serves as a beacon of truth. White Buffalo’s narrative-driven songs resonate deeply, with his rendition of “Come Join The Murder” standing out as a highlight of the entire festival.

“Come join the murder

Soar on my wings

You’ll touch the hand of God

And He’ll make you king”

As the day progressed, the polished sound of Jamestown Revival graced the stage, their harmonies reminiscent of the iconic Crosby, Stills, Nash and Young. It’s a rare occurrence when striking visuals align with exceptional talent, yet Jamestown Revival delivered both with finesse through their insightful songwriting and impressive band chemistry. Their track “Young Man” tugged at the heartstrings, incorporating a piano crescendo that alluded to The Band’s classic “The Weight.” They concluded their set with the energetic country rocker “Prospector’s Blues.” Following them, Pete Yorn made his long-awaited return to the stage after a two-year hiatus. “I’m not rusty!” he announced with enthusiasm as he strummed his beloved twelve-string acoustic, delighting fans with nostalgic early 2000s alt-pop hits. Yorn’s easygoing nature shone through as he engaged with friends in the crowd, performing fan favorites like “Life On A Chain” and “Strange Condition”, alongside a cover of The Rolling Stones’ “Dead Flowers.”

Old Crow Medicine Show burst onto the stage with an electrifying energy that left the audience spellbound. The sheer intensity and charisma of this band is an experience that cannot be missed. Band leader Ketch Secor ignited the stage with a frenzied fiddling performance, breaking bow strings and sending rosin flying as he passionately sang, “Cocaine, you’re gonna kill my honey dead!” Their song “Tell It To Me” is but one of many that explore this theme, performed with an exhilarating speed that is exhilarating. Old Crow Medicine Show embodies true entertainment, reminiscent of a traditional vaudeville traveling show. Each member seamlessly transitions between instruments, takes lead vocals, and embodies their roles as character actors. Their stage banter, rich with humor, playfully poked fun at California’s lifestyle, embodying a warm Southern charm. Secor humorously remarked that he would paddleboard home if the crowd didn’t enjoy their new song “Paint This Town,” but the audience’s enthusiastic cheers assured him they were on board. Guitarist Mason Via floated across the stage with the grace of a marionette, while Jerry Pentecost energetically scratched his washboard, and the “Reverend” Mike Harris humorously admonished the crowd for joining in, declaring it “devil music.” The band brought the crowd to life with their hit “Wagon Wheel” as the sun set in a stunning amber glow, with everyone swaying and singing along to this timeless classic. They humorously promised a traditional agrarian song in atonement for their exuberance before launching into an explosive cover of Kiss’s “Rock and Roll All Nite.” The energy soared as the audience raised their devil horns and sang along, creating an electrifying atmosphere of celebration.

The Lumineers lit it up Friday night. Photo by JP Cordero/BeachLife Production

As darkness enveloped the sky and the silver moonlight illuminated the sand at The Yonder Stage, The Lumineers took the stage, presenting themselves as the new voice of American music. In terms of country comparisons, lead singer and songwriter Wesley Schultz resembles a youthful Kris Kristofferson with a hint of Willie Nelson, yet his voice soars beyond both legends. There’s an approachable and trustworthy quality about him, akin to a father figure offering comfort. His straightforward appeal lacks any pretense, resembling a circuit rider spreading campfire-style hymns to those in need. Their performance of the poignant “Gloria,” which recounts the tragic cycle of addiction within American families, resonated deeply, reminding me of loved ones lost to this battle. Friends who fell victim to overdoses, took their own lives, or were tragically taken from us. It’s a universal truth that everyone knows someone affected by addiction. My heart ached, pondering the pain that leads individuals to seek solace in substances, as we often find ourselves fighting against the confines of our existence. In this shared moment, I prayed for all my friends, both present and departed, and their families caught in this painful cycle. The Lumineers’ music served as a healing balm, transforming the performance into a cathartic ritual. To confront our inner demons, we must first drag them into the light. Thank you, Lumineers, for this profound experience.

A jubilant Ketch Secor, Old Crow Medicine Show. Photo by Mike Balzer

Songwriter singer Wesley Shultz, The Lumineers. Photo by Mike Balzer

Brandi Carlile closes her set Friday night with a solo, acoustic performance of “Somewhere Over the Rainbow.” Photo by Mike Balzer

The legendary duo, Hall and Oates, concluded the first night of The BeachLife Ranch Festival, bringing a nostalgic after-party vibe that resonated with the audience. Yacht rock found its safe haven in Redondo Beach as they performed a string of classic hits, including “Maneater,” “Out of Touch,” “I Can’t Go For That,” “She’s Gone,” “Rich Girl,” and many more. Each melody was ingrained in my memory, a soundtrack of my childhood shaped by the rhythmic waves of 80s FM radio. Perhaps it was the wave of nostalgia or the influence of Jack Daniel’s, but at times, Daryl Hall, John Oates, and saxophonist Charles DeChant appeared almost like the beloved Muppet band from my youth. I noticed the Jamestown Revival members soaking in the performance, along with several other artists in the VIP section, all paying homage and learning from these living legends. The night ended on a high note, reminding us that every genre has its rightful place in the world of music.

As Saturday dawned, the true essence of country music began to unfold. Mike and The Moonpies from Austin delivered a hearty dose of feel-good outlaw rock, cleverly weaving in the Allman Brothers’ “Midnight Rider” into their unapologetic anthem, “The Hard Way.” They were followed by the Orange County country cover band Redneck Rodeo, who energized the crowd with their lively spirit and unexpected ‘90s cover songs. Local acts also shone brightly at the festival, with Scott Fleetwood offering a genuine country feeling, supported by lead guitarist Uncle Rob Witham, whose riffs and harmonies were tight and engaging. Emily V’s mesmerizing fiddle work alongside Anjilla Piazza’s rhythmic cajon shaker complemented Fleetwood’s deep, rich vocals, showcasing his authentic style. On the pop-up stage in Tito’s Barn, Lomita-based duo Hard Rooster provided a soulful rendition of Townes Van Zandt’s “Waitin’ Around To Die,” drawing a loyal crowd of friends and fans. My band, Latch Key Kid, took the stage on Sunday as a duo, inspiring line dancers led by Kickstart Country’s Adia Nuno. Her line dancing instruction was a hit, attracting attendees of all ages eager to learn the steps while the barn DJ played country and even club rap music for the synchronized dancers. As the sun dipped below the horizon, Shooter Jennings gathered family and friends on the beach to celebrate the music of his father, Waylon Jennings. The ensemble delivered heartfelt renditions of classics like “Luckenbach Texas” and “Mama Don’t Let Your Babies Grow Up To Be Cowboys,” creating a warm and informal atmosphere that made everyone feel at home.

Wilco’s Jeff Tweedy performs Sunday at BeachLife Ranch. Photos by JP Cordero/BeachLife Productions

Cowgirls in the Sand: Celebrating Women in Country Music

The women at BeachLife Ranch truly made a significant impact on the festival experience. Waxahatchee delivered an indie rock performance infused with the harmonies reminiscent of the Dixie Chicks. The dynamic Tenille Townes kept the ‘90s nostalgia alive, passionately belting out “Ironic” by Alanis Morissette and Joan Jett’s “Hate Myself For Loving You,” while also showcasing her original works, including the catchy “Somebody’s Daughter.” With rock star charisma, she commanded the stage, effortlessly swinging her Danelecto guitar and striking poses in high-waisted ripped jeans, white boots, and oversized sunglasses. Ashley McBryde emerged as a fierce, down-home outlaw figure, captivating the audience with her gritty tales of heartache and betrayal in tracks like “Martha Divine” and “Voodoo Doll.” Her powerful baritone voice fluctuated dramatically, soaring to heavenly harmonies that resonated deeply. In a lighthearted moment, she quipped about feeling like she was about to deliver a TED talk, inviting the crowd to momentarily set aside their worries. The audience at the Hither stage absorbed the energy of her performance, creating one of the largest crowds of the event.

Twins Tim, and Phil Hanseroth bring Brandi Carlile to the stage.

As the festival reached its climax on Sunday, Brandi Carlile delivered a mesmerizing performance, showcasing a blend of hard country rock, acoustic ballads, and piano-driven melodies, all enhanced by a stunning string section. Her musical style draws inspiration from Melissa Etheridge, the Indigo Girls, and the grunge era of the 90s in Seattle. As a consummate performer and Grammy-winning artist, she captivated the audience with the emotionally charged “Mother of Evangeline,” supported by the haunting sounds of bowed cellos that added a symphonic richness to the festival. At one point, I wondered if she drew inspiration from David Bowie when she transitioned into a cover of “Space Oddity,” followed by a rendition of “Creep” by Radiohead. Carlile’s inclination towards alternative rock raises the question of whether country music truly defines her or if it’s simply the genre where she found her voice. Regardless, her songs transcend genre boundaries, resonating with universal themes that appeal to a wide audience. They are far from mere “sad lesbian songs,” as she humorously noted. Her rendition of “Somewhere Over The Rainbow” floated gently through the night sky as I lay on the grass with my family, gazing up at a palm tree swaying in the breeze, reminding us all that everyone is striving for their own version of heaven.