By Paul Lundgren
1990s: Incubation and Hatching
According to the abridged history of Homegrown, generally summarized in a single sentence every year in the festival’s Field Guide: Scott Lunt had five bands play at his 30th birthday party in 1998, then decided to hold a festival in 1999 called Homegrown.
The full story, of course, is much more complicated. Lunt sums it up this way: “It’s the guitar, man.”
In the mid-1990s, Lunt spotted a green Guild Starfire guitar in a newspaper ad and bought it, setting off a chain of events that slowly changed Duluth’s music scene in ways few could have imagined.
At the time, most of the bands in Duluth were playing heavy-metal covers. There was a handful of acts playing original music at R.T. Quinlan’s Saloon and at an underage venue in the old Bell Telephone building, called the RecyclaBell. Other venues, like Le Petit Espresso House in Superior and the Urban Ground Café, hosted periodic shows, but the makings of a viable music scene barely existed. The Fitger’s Brewhouse and Amazing Grace Bakery & Café had just opened.
A new Duluth trio called Low was gaining an international audience, but in the band’s hometown it was a virtual unknown.
Lunt was fairly new to Duluth. An Austin, Minn., native, he arrived by way of Owatonna in 1992. Cloquet native Mark Lindquist graduated from Hamline University that spring and soon found himself in Duluth as well.
Lindquist had begun recording music on a 4-track in his apartment, and eventually met Patrick Nelson to form the beginnings of the band Giljunko. He remembers going to shows at R. T. Quinlan’s to see Minneapolis bands and quickly discovering a small crop of Duluth talent.
“It was a revelation,” he says. “Down in the Twin Cities we all just played really loud and never considered vocal monitors because no one was going to hear your vocals anyway. In Duluth, there were guys like Eric Swanson working the sound.” Three bands from the era that stuck out for Lindquist were Puddle Wonderful, the Fromundas and Swivelhead.
“I saw Puddle Wonderful and they just sounded so good,” he says. “They walked that fine line of being raw and aggressive, but the guys could play. I did not expect to find that. I thought Duluth just had cover bands and blues bands — which there were a lot of back then.”
Over at J.D.’s Java, a little coffee shop on East Superior Street where Designer Dogs is located today, the house music consisted of mix tapes, many of which were made by Lunt. When Lunt gave a mix tape to his friend John Hartley, Hartley sent Lunt a thank- you note referencing Lunt’s new green guitar and the disc-jockey skills displayed on the tape: “Thanks DJ Starfire.”
“He probably didn’t put too much thought into it, but the name really inspired me,” Lunt says. “And then one thing begat the next.”
In the summer of 1997, “DJ Starfire” took his mix-tape- making skills to the local airwaves, launching Random Radio, a pirate FM station broadcasting 80 to 90 watts of random music from his Central Hillside duplex. Dozens of friends volunteered to take shifts at the station, coming and going at all hours. Bands from around the region would stop by Lunt’s home to guest host Random broadcasts.
“Like the first night he was on I took my truck over there with the Giljunko boys and harassed him for a while,” Lindquist says. “I thought it was one of the coolest things I ever saw. No one had Internet then, so you listened to the radio to get the music you wanted to hear. Starfire was playing stuff that was relevant to people who were really into music. And he took an interest in what other people were up to. In Minneapolis they used to make fun of you if you gave them your demo tapes. Starfire wanted people to give him their demo tapes.”
The “Starfire” moniker started to truly take hold when Lunt came home and found at the top of his stairway a cassette tape Alan Sparhawk of Low had left for him. It had the word “Starfire” written on it and contained a demo of a song that bore Lunt’s nickname and later appeared on Low’s 1999 album Secret Name.
“I popped that into my stereo and I remember listening to it several times in a row,” Lunt says. Around the same time, Lunt started regularly spinning music at Fitger’s Brewhouse on Thursday nights. Dubbed the “Starfire Lounge,” the gig lasted six years and gave the name “Starfire” everything it needed to stick. As Lunt’s 30th birthday approached, his friend Mike Lowe happened to mention how “everybody should have a big 30 th birthday party.” Having recently attended an event at Lafeyette Community Center, Lunt thought that would be a suitable venue for a rawk and/or roll bash. “It’s funny how all these little things fell into place,” Lunt says. Having assembled his first band, Father Hennepin, he decided to hold the group’s debut performance on his birthday. He also invited Jon Olson, Amy Abts, Mark Lindquist and Gild to perform.
“It was during finals,” Abts remembers. “I was in my second or third year studying theater at UMD. I showed up with my guitar and was like, whoa, it’s a big party for Scott! Lafayette Square was all festive — candles and Christmas lights (in May). Snow drifts were melting down on the sand near the lake.”
Lindquist remembers playing an acoustic set and joining in with other bands, including a song with Father Hennepin that also brought to the stage Lunt’s grandfather.
“I’ve never seen Starfire so happy in his whole life than playing with his grandpa on stage,” Lindquist says. “And Grandpa was good, too.”
The show would be Starfire’s first time playing in front of an audience.
“I had a lot of family there,” he remembers. “People had no idea if I could do it.”
He could do it. Starfire, Father Hennepin and the Duluth music scene were on their way up.
Then came a warning letter from the Federal Communications Commission. Lunt faced fines as high as $100,000 if he continued his Random Radio broadcasts. As it turned out, he was ready to stop anyway.
“I got sick of it being in my house,” he said. “It kind of got out of control.”
There was still the matter of producing a CD of live recordings from the Random Headquarters, however. Setting up the release party meant doing something that terrified Lunt: talking to Rick Boo.
Boo and two partners had taken over management of the NorShor Theatre, which had been an on-again off-again music venue for years. Boo and his partners were focused on showing independent films, with maybe a jazz trio performing here and there. To Lunt’s surprise, Boo was receptive to having the Random Acts of Radio CD release at the NorShor.
By then, Lunt already had designs on making his birthday party an annual music festival. He was sitting at his dining room table with his roommate, Bryan “Lefty” Johnson, drinking coffee and playing cribbage, when the name popped into his head — the Homegrown Music Festival.
“Once I had a good name I just couldn’t not do it,” Lunt said.
The South by Southwest festival in Austin, Texas, served as Lunt’s model, though the landscape of Duluth would bear a stark contrast. The capital city of Texas has 10 times the population of Duluth and promotes itself as the “live music capital of the world.” While SXSW would feature over 700 bands in 1999, Lunt set his sights at 10.
Tim Nelson, a critical player in developing the first Homegrown, remembers using the Misery Sessions in Houghton, Mich., as a more scaled-down model of how a town with one-tenth the population of Duluth could pull off a music festival.
Meanwhile, Tim’s brother Brad Nelson had started a monthly newspaper with Cord Carbert (better known as ©rd R. Dada) called the Ripsaw, which featured a weekly column about local music titled “the Buzz.”
“I remember sitting down at Uncle Loui’s (a café in Duluth’s Central Hillside) and talking about what Duluth needed to make a cool scene,” Tim Nelson says. He felt Duluth could pull it together if it could get the bands, clubs and an alternative newspaper all working together. The paper was critical, because there were no blogs, no Facebook and no Twitter at the time.
“It was all very intentional,” Brad Nelson says. “We knew that if we were going to build a following for local music, that group would need to be somehow edified, because it’s hard to get interested enough in a band to go out and see a show if you don’t have any inroads to it. That’s what the Ripsaw was for.”
The Nelsons say Lunt was the perfect guy to rally the whole thing together.
“Starfire was the idea guy,” Brad says. “No one had better ideas.”
Brad’s partner in creating the Ripsaw played another critical role in developing
Homegrown. Carbert drew the first chicken.
“I wasn’t given any direction,” Carbert says. “The concept was local musicians playing music. I was given the task to find something that was homegrown.”
He found a sourcebook image of a chicken standing on top of a basket of eggs and used that as his inspiration.
“It was a photograph and I turned it into an illustration,” he says. “We had a few things we were looking at. Starfire liked the chicken and thought we could use a different farm animal every year, but I got busy doing the Ripsaw and it’s been a chicken ever since.”
1999: Homegrown 1
The venue for the first Homegrown would be the NorShor Theatre, which at the time was unable to open its main theater due to fire code issues. That was fine with Lunt, who wanted to cram as many people as he could into the building’s mezzanine rather than have the crowd seem sparse in a large theater. The smaller space also allowed set designer Doug Odlevek to really make an impact, decorating the rom to create a festival atmosphere.
“I just remember the smell of the NorShor,” says Suzi Ludwig, who played with Father Hennepin on the festival’s first night. “It was an awesome place. A little bit of musty and cigarettes and it just smelled like history. Having a venue for this event was such a great thing, as far as building it to what it is today because it’s changed so much. Having those three components, the musicians, the venues and audience — all three of those things are so integral.”
Who was the very first act of Homegrown?
“Amy Abts opened,” Brad Nelson remembers. “People were crowding into the mezzanine, sitting on the stairs and on the floor by the stage. It was a great feeling to know that we were filling that room.”
Although there was some established camaraderie among the musicians, Abts remembers feeling that she didn’t know many people.
“I tried to get my theater friends to come see my set at Homegrown,” she says, “but all they cared about was Crazy Betty,” a band that played the following night.
When she finished her set she went to the bar for a drink and met a guy from New Orleans who asked her to sign his Homegrown poster.
“I was like, ‘what?’ she remembers. “I laughed at him but I signed it. Then some other people followed. I was starting to enjoy myself. I felt part of a community and it was celebratory.”
Abts’ set was followed by a new band, the Black Labels, and a reggae artist who was somewhat new to town, Max Dakota. Then came Giljunko.
“We were used to playing at places like the Pacific Club (in Superior where Centerfold’s Cabaret is now), where the audience either just wanted to hear the next band or wanted us to stop playing completely,” Lindquist recalls. “Quinlan’s and the NorShor mezzanine — particularly Homegrown — were kind of my first experiences where people wanted to hear what we had to play.”
Starfire’s Father Hennepin closed out the first night.
“It wasn’t just another show,” Lunt says. “Bands picked it up a notch that night. Lots of genres were represented. There was an awesome vibe. Everyone was so happy. It was so affirming. The NorShor mezzanine was just so full of people.”
Melissa La Tour, who would go on to become Homegrown’s director after the 2015 festival, attended both nights in 1999.
“The mix of music was great and everybody kind of fed off each other,” she says. “It felt like a party instead of the full-on festival it is now. Everyone seemed like friends. It was all at one location, so the musicians and fans could hang out and talk instead of racing to get from one place to another to catch a show they want to see. These days they’re trying to catch as much as they can, so they see maybe 15 minutes of a set, whereas in the early years people were more likely to stay for the whole show.”
The lineup for day two consisted of the First Ladies, 2 Sleepy People, Ballyhoo, Crazy Betty and Gild.
“I was young and beautiful,” says Toby Thomas Churchill, who played with Crazy Betty. “We were all young and we were all beautiful. The drinks were beautiful. The girls were beautiful. The guys were beautiful. The music still had a way to go, but nobody knew the difference.”
Leon Rohrbaugh, who played with Ballyhoo, says he remembers just being impressed there were finally enough bands in Duluth to have a two-day festival.
“For a while there were just like … four bands playing original music. … Then we got all the way up to 10. It felt like we were a real city.”
Still, Homegrown didn’t feel at the time like something that would go on year after year.
“It didn’t seem like it would ever repeat,” Rohrbaugh says. “None of us were really good at follow through back then. I think it was by the fourth year I played it when I was like, ‘oh, this is thing that’s probably going to keep going.’”
Over two nights the first Homegrown drew an estimated 700 people. It might not have been apparent to most of them that an annual event was in the works, but Lunt did have plans to carry things into the future.
“There is something about that weekend that is perfect,” he says. “There’s an energy that first week of May, because summer is right around the corner. Duluth comes out of its hibernation for Homegrown. Everything is lighter. We have this jubilant week together.”
2000: Homegrown 2
A solid crop of new bands had emerged in Duluth by May 2000, including the Black-eyed Snakes, Both, Accidental Porn and Bone Appetit. Musicians who had left the area were starting to drift back, like Jerree Small, Jamie Ness and the Dames.
One month prior to the second Homegrown, the Ripsaw ramped up to weekly publishing and dedicated a special issue to previewing Duluth’s second-annual music showcase. The issue served as the predecessor to what later became the Homegrown Field Guide.
The new master brewer at Fitger’s Brewhouse, Dave Hoops, created a special batch of beer called Homegrown Hempen Ale, a recipe he revived year after year until he left the Brewhouse in 2015. In the early years musicians and fans would gather at the Brewhouse on the Thursday before Homegrown to taste the new beer while Scott Lunt spun local music during Starfire Lounge.
Another tradition that began in 2000 was the kickball game between the bands that play on Friday night and the bands that play on Saturday night. Saturday won by a score of 7-6.
Although there were several great Homegrown 2 performances — among them the Black-eyed Snakes playing with Alan Sparhawk’s father sitting in, Bone Appetit cock-rawking the NorShor’s main stage, the First Ladies saving Homegrown from the villain Hu Phlung Pu, and Father Hennepin playing with a 10-member choir — the show that stuck out was Giljunko’s set, which offered no theatrics, but brought the crowd to a frenzy.
“I think that never have so many people freaked out so hard for so long in the NorShor
mezzanine,” Ripsaw contributor Barrett Chase wrote of the Giljunko set. “People
were even crowded into the bar area to dance, and the wall of mirrors in the lobby
actually fogged up like a bathhouse mirror. Everyone was completely soaked through
2001: Homegrown 3
The new crop of acts for the 2001 Homegrown included Mary Bue, Teague Alexy, If Thousands, Lookdown Moon (then known as Mayfly), No Room to Pogo, Charlie Parr and James Moors (then known as Sterling Waters). Two new venues were welcomed into the fold — Beaner’s Central (the West Duluth coffee shop Jason Wussow opened the summer after the first Homegrown) and the Red Lion Bar (where the Black Labels had already served for a year as the resident band on Wednesday nights).
Bue, at the time 19 years old, played her first Homegrown set at Beaner’s. She remembers the festival being “small” and “manageable” back then. She also remembers hitting the bars after her show.
“I wasn’t 21 yet,” she says. “People thought I was 21, so I got special service … until the Ripsaw the next year reported I wasn’t 21. My birthday wasn’t until a week later, and it warned the bars not to serve me. But yeah, I remember feeling pretty cool that I was part of it, and excited and the collective buzz. It’s just snowballed from there.”
In all, 38 bands were featured at Homegrown 3, including the first Homegrown
appearance by Low — though bassist Zak Sally did not perform with the band; he was in
Louisville watching the Kentucky Derby.
Low had just returned from a successful European tour, and the band’s new album Things We Lost in the Fire had hit number one on the College Music Journal’s chart in February.
Lunt took time off from organizing Homegrown to serve as a nanny on Low’s tour, taking care of Alan and Mimi Sparhawk’s then-1- year-old daughter Hollis. To fill the void, Ripsaw arts page editor Tim Anderson handled the task of coordinating the festival.
“It was already well formed at that point,” Anderson says. “The structure was all there.”
One of the more significant things that happened in 2001, in terms of the ongoing history of the festival, is that it was the year cartoonist Chris Monroe drew the Homegrown chicken for the cover of the Ripsaw. Although a number of artists have illustrated the plucky cock over the years, Monroe’s rendering has served as the iconic logo of Homegrown ever since.
2002: Homegrown 4
In its fourth year, Homegrown had what could be considered the strongest batch of new bands in its history. Crew Jones, Dukes of Hubbard, Farewell Tour, the Keep Aways, Jackie & the Ripoffs, the State Champs, Stel & Lefty, Malec, the Undesirables and Haley Bonar all played the festival for the first time.
Starfire tapped Giljunko’s Mark Lindquist to create the schedule for Homegrown.
“People forget I booked that thing like a well-run fantasy football team for years.” Lindquist says. “Some of the bands started to get pissed when they weren’t booked at midnight at the NorShor. I always wanted to make sure there was a well-known band at each venue. It’s supposed to be about the bands you haven’t heard of. It’s not supposed to be about the four popular bands.”
The fourth annual Homegrown expanded to include 67 acts playing four nights at eight venues. A change in city law prior to the festival allowed Pizza Lucé to obtain an extended cabaret license, permitting dancing past 2 a.m. This allowed the new restaurant to host shows that didn’t start until the wee hours of the morning — such as Crew Jones on Friday and the Black-eyed Snakes on Saturday.
The capacity crowd for the ’Snakes performance flowed out into Superior Street and up Lake Avenue, with people watching through the windows. Inside the building, what many believe to be the first documented case of crowd surfing at a pizza restaurant occurred.
“I remember people on the bar taking their clothes off,” says Bue. “That was pretty exciting.”
The Black-eyed Snakes played Homegrown twice in 2002. The purpose was to give younger fans a chance to see the band at the all-ages venue, Beaner’s. The ’Snakes made that a memorable show as well, wearing horse-head masks for the majority of their set.
Those who thought the Black-eyed Snakes couldn’t be upstaged were wrong. The Dames followed with a set that front man Tony Bennett wasn’t happy with, saying later that he and his band mates “weren’t feeling it that night.” So, how did he compensate for it? He ate a Limp Bizkit poster on stage.
“The bits that I couldn’t get in my mouth went down the back of my pants and marinated in my ass crack,” he told the Ripsaw a year later. “I then pulled those poster pieces out and threw them at people in the crowd, who scrambled with Matrix-like speed to duck out of the way.”
Future Homegrown leader Paul Connolly, attending his first Homegrown, cited the Limp Bizkit poster-eating incident as his introduction to the Duluth music scene.
“I also remember the Black Labels showing up in a limo at Beaner’s to watch the Dames,” Connolly remembers. “I was just a junior in college, damaging my brain cells.”
Lunt remembers Homegrown 4 as the year it started getting difficult to organize. He forgot to reserve Chester Bowl Park for kickball and had to quickly find an alternate location, and amps were blowing out at multiple venues.
“My phone was ringing off the hook,” he says. “I remember playing kickball at Observation Park, talking on the phone under an umbrella while running bases and drinking a beer.”
2003: Homegrown 5
There weren’t a lot of new bands in the 2003 Homegrown, but one of them would later become Homegrown’s biggest draw — Trampled by Turtles. The group was a four-piece at the time and hadn’t come up with its name, so the show was listed on the schedule as “Dave Simonette Band,” misspelling Simonett’s name.
Also new at Homegrown in 2003 were the DTs, Words to a Film Score and Boy Girl Boy Girl. The latter band, comprised of Tim and Brad Nelson, Jen Jones and Nikki Moeller, was excited to play its first show during the festival. Unfortunately, the group blew the power out at the Red Lion and spent more time standing in the dark than playing music.
Homegrown expanded to five days for its fifth year and included 77 acts. Starfire was seemingly in high spirits, having shaved his hair into a chicken-like mohawk. Capt. Dann Edholm created a giant replica of the Ariel Lift Bridge over the NorShor’s main stage, which was the last time any serious degree of decorating took place at the festival.
2004: Homegrown 6
In the months leading up to the sixth Homegrown, real adversity began piling up for the first time. Rick Boo had closed the NorShor Theatre in October 2003 because of mounting debt. The Ripsaw was struggling, and at the end of the year switched to a monthly magazine format in an effort to make it profitable.
Then, in March 2004, Lunt sent an email to musicians, friends, press and venue owners to inform them he would no longer organize Homegrown.
“I have been pondering ways to scale back the festival and I have come to the conclusion that I can no longer muster the enthusiasm needed to organize an event of this magnitude,” he wrote. “I want to thank everyone who has helped over the years and I hope that out of the ashes of Homegrown can grow something bigger and better. Duluth has so much talent and potential. I have no doubt that brighter days are in the future.”
Darker days would come before the brighter ones, but there would still be highlights along way.
A conversation at the Brewhouse between Lunt, the Nelson brothers, Don Ness and Christopher Halverson led to an agreement in which Lunt would run the festival one more time, as a collaborative effort involving help from the Ripsaw and a new nonprofit all-ages venue Halverson and Ness were working to open on First Avenue West.
The Twin Ports Music and Arts Collective, commonly referred to as “the MAC,” was created as a performance and gallery space, funded by donations and the proceeds from benefit concerts featuring Duluth bands.
The first performances at the MAC were during the 2004 Homegrown, with no fewer than 16 bands playing there over two nights. A memorable show by the Black-eyed Snakes included a crew of men dressed as Denfeld High School basketball players taking the stage to shake maracas and tambourines with the band.
Toby Thomas Churchill remembers performing with the Alrights at the now-defunct Red Lion Bar, where Zeitgeist Arts Café is now located. “It was packed to the gills and a little rowdy,” he says. “That was pretty wild.”
The Alrights were one of three new bands playing the festival in 2004 that would go on to play the next eight years in a row. The other two were Boku Frequency and Sweetgrass. Boku Frequency missed the 2013 festival but returned in 2014.
The sixth annual Homegrown would be the last one organized by Lunt. It was also the first year the number of bands decreased, with a roster of 74 acts, down three from the previous year. Lunt lost about $3,000 on the festival, which was approximately the total cost of paying bands at the time.
“I obviously didn’t get into it to get rich,” Lunt says, “but I sure didn’t want to lose money.”
2005: Homegrown 7
Following the difficult 2004 Homegrown, a deal was reached where the Ripsaw would take ownership of the festival, buying out Starfire for the sum of $3,000 — roughly what he had lost the year before.
“The Ripsaw was in the tissue with Homegrown anyway, so it seemed natural,” Brad Nelson says. He owned the paper at the time with his brother Tim, who had bought the majority of Cord Carbert’s share in 2001.
“We just didn’t want Homegrown to die,” Tim says.
The Ripsaw’s experiment with publishing as a monthly magazine ended with its December 2004 issue, and four months passed without a new edition. The Nelsons were planning to bring it back in time to promote Homegrown, with issues occurring every other month thereafter.
Meanwhile, the NorShor transferred management again and the MAC closed its doors in January after failing to raise money or draw crowds.
The Nelsons headed to England during the tail end of the Homegrown planning process, where Brad was playing drums on tour with the Black-eyed Snakes. While overseas Brad got an e-mail from Ripsaw music-section editor Brandy Hoffman indicating bands were upset and pulling out of the festival following the announcement that Homegrown would no longer offer paychecks to its musicians.
“A lot of people assumed we were going to make a lot of money on the festival,” Brad says. “Everything blew up.”
As it turns out, the Nelsons got the idea of not paying bands from a knowledgeable source.
“I suggested not paying bands,” Lunt says. “I could have maybe gotten away with that. It was my fault. The pressure of having to pay for everything just grew every year.”
Although the amount bands had been paid for playing the festival was always the same meager rate — $50 per band or $25 for solo artists — it was something that had come to be expected, though it also took a bigger toll on the budget as the number of bands continued to increase.
“It turned out to be a bad idea,” Brad Nelson says in retrospect. “We thought nobody cared about $50. For a lot of bands, that’s $10 per person. We thought, let’s just be honest and say the money isn’t there. We’ll put together packets for the bands with T-shirts and beer tickets and they’ll be happy. It didn’t work out that way.”
At first, the bitterness was mutual.
“We felt burned,” Tim Nelson remembers. “We thought we were part of a movement.” But when the Nelsons returned from Europe and started talking to musicians, most of them understood, and the festival went on as planned. There were 84 acts at Homegrown 7, including new bands like the Hobo Nephews of Uncle Frank, the Little Black Books, Portrait of a Drowned Man, Sleepfarmer and Retribution Gospel Choir (a replacement for Low).
Still, it was Homegrown’s lowest moment. By the end of the year, the Ripsaw was out of business, the NorShor was closed yet again due to fire code violations, and the Nelsons were through with running Homegrown.
Fortunately, Don Ness was ready to roll up his sleeves and turn the festival into a nonprofit. Homegrown’s biggest years were still ahead.
“I do think it belongs in a community group,” Brad Nelson says. “In the long run it makes it sustainable.”
Despite the lumps, the Nelsons hold on to fond memories and big expectations for the future.
“Those days in the early 2000s of Homegrown and the Ripsaw defined our present culture and will be part of it for a long time,” Brad says. “We’re honored to have been part of that. Those will always be the wonder years.”
By the end of 2005, Homegrown had been passed off from private ownership into nonprofit hands — on paper fiscally managed by the Bridge Syndicate and organized by a steering committee comprised of artists, but in reality, handed off to Don Ness, who would have to find those committee members and shepherd them.
2006: Homegrown 8
Ness put together a large steering committee, chaired by Alan Sparhawk and Amy Abts, with a variety of subcommittees. By the time the festival was near, the steering committee was down to 10 people and the subcommittees were reduced to two.
“It was critical to start with a broad group,” Ness says. “They were committed to the health of Homegrown. They got a sense of what was going on, took that and went out and told their friends. That built credibility for what the festival was going to be. When it came time to do the work, the group got leaner, but we had to cast a wide net to find those people who were willing to work.”
Ness was bold with his vision, vastly expanding the festival right out of the gate. Under Ness, Homegrown would grow into an eight-day event, and for the first time include more than 100 bands. There would be poetry, videos and visual arts. The festival would return Superior to the fold, this time significantly. Themed shows like New Band Night and Experimental Tuesday would emerge.
The first Homegrown Field Guide, a 36-page magazine promoting the festival, was also published to compensate for the loss of the Ripsaw’s coverage.
While the Homegrown off-season lacked the Ripsaw, the void in music-scene coverage was filled by numerous upstarts, including the Perfect Duluth Day blog
founded by Scott Lunt and Barrett Chase in 2003), the Transistor (published weekly by Adam Guggemos since 2004), High Plains Drifter (published monthly from 2006 to 2008 by Jimi Sides) and …And the Heroin Screams Help! (randomly published by Paul Connolly and Mat Milinkovich from 2005 to 2007).
Digital photography exploded in 2006, and Homegrown was suddenly crawling with photographers who shared huge galleries of images on Flickr.
New bands performing in 2006 included Cars & Trucks, the Acceleratii, Batteries, Kritical Kontact and Mr. Kickass — all of which would become Homegrown mainstays in the following years.
The NorShor Theatre had been closed for eight months due to fire code violations, but Ness gambled the issues could be resolved in time for Low to play a show on the main stage during Homegrown. At 9:30 a.m. on the day of the concert, he got the call from then-fire marshal Erik Simonson indicating the show could go on. More than 400 people showed up. Within a month, however, the mezzanine of the building would be turned into a strip club.
Sacred Heart Music Center hosted its first Homegrown show, featuring Orley Francois, Charlie Parr, the Three Altos and Trampled by Turtles. It was the first time a space that large had been used for a weekday show during Homegrown.
At Bone Appetit’s “Farewell Reunion” Homegrown set at R. T. Quinlan’s (one of the band’s many last shows ever) a character known as “Max Blast” introduced the band wearing a powder-blue suit and sporting a thin, black mustache that was drawn on with a Sharpie marker. That was the moment Chris Whittier had unleashed the first Homegrown Sharpie mustache on the world.
Further indication that Homegrown had entered a new era: Father Hennepin didn’t play the festival for the first time. Through 2005, Lunt’s band had been the last act to remain together and play every Homegrown.
“That year was a turning point,” Ness says. “We expanded to eight days, we put out the first Field Guide, we established nonprofit transparency. It was when we developed the expectation and understanding of what Homegrown was going to be. It was a good first year. People embraced the weeklong format. That was a big risk. I would say expanding the reach of the festival is the thing I’m most proud of.”
2007: Homegrown 9
The ninth Homegrown would go down in history for a number of things unrelated to music.
For the first time in Homegrown history, the Friday bands finally defeated the Saturday bands at kickball, winning 4-3. Bone Appetit’s Cory “Hotrod” Ahlm celebrated by simultaneously drinking Snow Storm Wintergreen Schnapps and Pennsylvania Dutch Egg Nog. The invention of said cocktail was proclaimed a “Homegrown miracle.”
This was also the final Homegrown before Minnesota’s ban on smoking in workplaces took effect, so it was the last time bar venues were filled with a nicotine haze during the festival — other than in Superior, where smoking was permitted until after the 2010 Homegrown.
Renegade Comedy Theater produced a live show called the Renegade Radio Hour, which was broadcast live on KUWS Radio. In addition to sketch comedy, it featured music by Jamie Ness and Charlie Parr.
Twins Bar became a Homegrown venue for the first time, hosting a hip-hop showcase that filled it to capacity.
The Tap Room had moved out of the Fitger’s Brewery Complex to a spot on Fourth Avenue West above the Duluth Athletic Club Bar & Grill, where Trampled by Turtles played to a packed house. It was the only year TBT didn’t play at Pizza Lucé during its first seven Homegrowns.
Ness relinquished his position as festival director following the 2007 festival, announcing he was planning a run for mayor. That fall, he was elected.
Local music has played a big part in my life,” Ness says looking back. “It kept me grounded in this community in a different way than school did. Without local music I might have moved to the Cities. Meeting those people meant a lot to me during that time in my life.”
The Homegrown steering committee appointed Paul Connolly, guitar player for Portrait of a Drowned Man, to be the next Homegrown director.
“I didn’t play in a popular band,” Connolly says, “but I was willing to do a lot of work for no money, so I was qualified.”
Under his direction, the first CD compilation of Homegrown bands was released at the end of the year. Homegrown Rawk and/or Roll: Starfire’s Mix included 15 tracks by bands that helped make the festival famous.
2008: Homegrown 10
“I pretty much took Don’s model and tried to expand it out,” Connolly says. “I didn’t want to make it bigger; I wanted more quality and to add an extra layer of communication with the bands. I didn’t have ambitions to take on extra stuff. It was a lot to take on.”
The tenth annual Homegrown featured 150 bands at 23 venues. Connolly managed to lead the organization of the festival while holding down a fulltime job as a graphic designer.
“I was running the festival on my lunch breaks and late at night,” he says. “It wasn’t a well-oiled machine by any means. The budget was tight, so when the festival started, the checkbook was pretty much at zero.”
A new tradition that started in 2008 was a Monday-night photo show featuring images from previous Homegrowns. The exhibit was coordinated by the Duluth Photographer’s Guild, which had formed one year earlier and thoroughly documented the 2007 Homegrown experience.
The first Homegrown shows in Duluth’s West End neighborhood occurred at the Blue Crab Bar (now the OMC Smokehouse) and the Venue at Mohaupt Block on Experimental Tuesday, featuring acts like Sammy Macon and Ronald Mr. Donald.
Bone Appetit reunited for a show on the NorShor’s main stage, and Giljunko returned to Homegrown after a four-year hiatus — six considering Mark Lindquist didn’t show up for his band’s gig in 2004 due to over indulgence in post-kickball intoxicants. The line to see the show at Pizza Lucé extended around the block for the back-to- back lineup of Giljunko and Trampled by Turtles.
The upstairs of the NorShor was a strip club at the time, but the main theater was a separate entity called the Orpheum Nightclub. Homegrown patrons who needed to use the lavatory had to pass through the crowded mezzanine, where numerous strippers were milling about. Apparently, one of them was injured and filed a workers’ compensation action against the NorShor Experience club. The manager of the NorShor threatened to pull Homegrown into it, but nothing ever came of it beyond giving Connolly something else to worry about instead of taking a lunch break.
Connolly credits his ability to make it through his first year as director to the help of steering-committee member Dave Mehling.
“That dude saved my ass,” Connolly says. “At festival time it was pretty much me and him. He knew I needed help, and he was the guy who would do the things that needed getting done, with no glory attached.”
A second Homegrown compilation CD was released late in 2008, Homegrown Rawk and/or Roll: Lindquist’s Mix.
2009: Homegrown 11
Highlights of Homegrown 2009 included the last shows at the Blue Crab Bar featuring Shana David, Healthy Band Music Club and the Moon is Down), Mayor Don Ness sporting a “Marc Gartman tribute beard,” the first-ever Homegrown Pub Quiz, a reunion performance by surf rockers the Hadjis followed by Fred Tyson in all his glory at the Main Club, a logistical nightmare of an attempt to coordinate bus trips from the center of Duluth out to the Lakeview Castle (now the Clearwater Grille) for shows, and Retribution Gospel Choir performing an afternoon concert in an Endion-neighborhood living room.
It was also the first year Homegrown’s video showcase became the Homegrown Music Video Festival, with a new format of having videographers produce music videos for songs randomly drawn from a hat.
Trampled by Turtles played the last in its series of Pizza Lucé shows at Homegrown. In future years, larger venues would be needed to contain the growing TBT audience.
After two successful years running Homegrown, Paul Connolly announced in the summer the would be stepping down.
“Paul was a critical person in the evolution of the festival,” Ness says, noting that Connolly had the perfect demeanor for the job. “He was quiet, unassuming and stayed above the fray, which was something that was needed at the time.”
Above all else, Connolly had brought stability to the festival.
“After Donny gave it up I wasn’t so sure about Homegrown’s future,” Lunt recalls. “I was skeptical it could keep going. After a year of Paul running it I felt reassured.”
In July, the steering committee convened to launch a search for a new director, and four months later, Shana David-Massett was chosen.
Ironically, David-Massett had been nearly cut from the list of performers for the 2009 Homegrown. She was new to town, no one had heard of her and she hadn’t performed much outside of guest vocal slots during Jazz at the Toga. On the strength of the mp3 she submitted, the committee chose her for the last available slot in the 2009 festival. By the end of the year, she was running the whole thing.
2010: Homegrown 12
In February 2010, Starfire posted Random Radio’s original Technics SL-1200MK2 turntables and his briefcase for sale on Craigslist. He described the briefcase on Perfect Duluth Day.
“Anvil Briefcase. This is the briefcase I used when organizing Homegrown, Geek Prom and whatever other silliness I could come up with. Now it just sits in the basement begging to be used.
You can run this thing over with a truck and it will still function. Just ask Eric Swanson.”
Melissa La Tour, the longtime Homegrown volunteer who picked up garbage at the first festival, was quick to call dibs.
“I wanted that briefcase, and I got it,” La Tour says. “I have it. It’s been through a lot. There’s a sad and unfortunate story attached to it.”
But that story comes later.
In the meantime, David-Massett was hard at work organizing Homegrown for her first time.
“It was a really neat way to learn about Duluth,” she remembers. “To go from, ‘gosh, are they gonna let me play’ one year to ‘oh, you want me to help? Yeah, sure!’ That was good. It was a real turning point for me in Duluth. I really was struggling with what all to do with my day. It was just a great introduction to some just fantastic people and of course some phenomenal music and a cool scene that is just so unique and special and perfect and wonderful and does not exist anywhere else I’ve ever been in my life. It knocks my socks off.”
Among the bands reuniting for Homegrown 12 were the Fromundas and Ballyhoo. Both bands helped transform the local music scene in the late 1990s. The Fromundas had not performed together in 13 years; Ballyhoo had been broken up for eight years. Bone Appetit played what at that point was considered its final-final show, closing out the Rex Bar.
“There isn’t one fucking person who would deny that we fucking rocked that town over the years,” Cory Ahlm wrote on Perfect Duluth Day after the show. “In the end, I like to think we left a nice big skid mark on certain parts of that music scene that can’t be wiped off.”
The NorShor Theatre, still with a strip club on its mezzanine level, hosted a Saturday show that filled its main theater like never before. Retribution Gospel Choir opened up, expanding its audience from the previous year’s living room show by about 800. Frank Nichols took the stage to say a few words and blast on his harmonica, then Trampled by Turtles drove it home from there.
Laura Sellner, who four years later would make her first Homegrown appearance with Superior Siren, remembers using her sister’s I.D. to get into the TBT show at the NorShor.
“I heard about Homegrown after graduating high school,” she says. “That’s about the time I was introduced to this group of local musicians. I really wanted to be part of Homegrown and experience that.
“That’s when I was starting to write songs, too. The goal was to come up with an act and form a band so I could play in Homegrown. I wanted to make music, always, but that was the big festival in Duluth. To be part of that I couldn’t just be playing random songs, I had to form an act so I could perform as a band at Homegrown.”
One thing no one knew about the 2010 Homegrown is it would be the last time its founder, Scott Lunt, would be intoxicated at the festival. By February 2011 he attended his first Alcoholics Anonymous meeting.
Lunt has been sober for more than seven years now. He says he was drunk at every Homegrown up until 2011, though in the early days he was more cautious because he had to handle money and run from venue to venue to solve problems.
“I was never a horrible alcoholic,” he says. “It’s just not good for me. Now I don’t remember what it’s like to be drunk. I just have a good time without it.”
2011: Homegrown 13
Highlights in 2011 included Homegrown’s first shows at the new Clyde Iron Works, where Charlie Parr, Old Knifey & the Cutthroats and Trampled by Turtles filled the house.
Elton John was in town for a concert at the new Amsoil Arena, and his keyboard player Kim Bullard sat in with Jessica Myshack during her set at Fitger’s Brewhouse.
Leon Rohrbaugh had recently formed a new group — A Band Called Truman. He remembers well the band’s first Homegrown show at Lake Avenue Café, now known as Lake Avenue Restaurant and Bar.
“We did a Zeppelin cover and there were five or six girls who were really rowdy in the crowd,” says Rohrbaugh. “They jumped up and stole our microphones, finished the song for us … probably better than we were going to do it.
“They were obviously inebriated and didn’t want the fun to end, so they wouldn’t give the microphones back for the next song. We just played with them screaming into the microphones.”
Two legendary bands from before there was a Homegrown played the 13th annual festival. Low returned for the first time in five years and only the second time as a three- piece, closing out a show at Sacred Heart. Puddle Wonderful reunited at R. T. Quinlan’s for its only show since 1998.
“Puddle Wonderful was a personal highlight for me,” says Walter Raschick, who was a steering committee member at the time. “The band had called it quits before I moved to the area, but after listening to a friend’s cassette for years, I was thrilled to see those songs played live. There’s so much history to this music scene that’s before my time, but it’s funny, I’ve experienced enough old stuff now that young guys ask me about it.”
Raschick grew up in rural Wisconsin and came to Superior to attend UWS. He started hosting a radio show at the college station in 2004, taking on the persona of Walt Dizzo. By 2007 he was providing volunteer help for Homegrown, then became a steering committee member in 2009.
When David-Massett decided after Homegrown 13 to return to Jacksonville, Fla. to open a movie theater with her husband, Raschick was the steering committee’s clear choice to be her successor.
Six years later, David-Massett is still operating Sun-Ray Cinema. “It was a closed single- screen movie theater when we moved back to Jacksonville,” she says. “We’ve since added a second auditorium, making it an almost 21st Century business, kinda sorta. It’s doing really well.”
2012: Homegrown 14
Raschick estimates he was working 78 hours a week while putting together Homegrown 14, between his other four jobs. Just to add a little extra work on the pile, a new off- season event was created — the Homegrown Winter Fiasco. The inaugural event was held in January at Rex Bar, and featured performances by Next of Kin, Jason Wussow & Friends and the Acceleratii. The Winter Fiasco grew out of a need to start recruiting volunteers three months in advance of the full-blown festival.
Homegrown continued to expand in 2012 with 167 bands performing. The new tradition of a large midweek show at Grandma’s Sports Garden was started, that year featuring the Boomchucks and Big Wave Dave & the Ripples. Another new addition to the festival was a Sunday afternoon show at Club Saratoga.
At Clyde Iron Works, Trampled by Turtles returned with Father Hennepin and Equal Xchange opening, an event which produced a full day of online speculation about the line outside the building for tickets, which ultimately flowed smoothly.
Raschick is particularly proud that on Saturday night four venues were at capacity simultaneously — Tycoons, Rex Bar, Pizza Lucé and R.T. Quinlan’s.
“The hardest part of being director was not getting to see the shows I want to see,” he says, “but there were a few times I got to look around and see people having fun.”
Melissa La Tour took on the role of volunteer coordinator in 2012 and says it really opened her eyes to how much local talent was out there.
“I used to map my Homegrown route out like everybody else did in the beginning,” she says. “When you’re volunteer coordinating — I had to be on call, so I might not catch the entire Surfactants set. I might be halfway across town. It introduced me to a lot of the musicians I’d never seen before. So now that’s one of my favorite things is stumbling into a venue and ‘oh my gosh, they’ve been around, and I haven’t caught them yet.’ Or ‘who’s this new group that just started up?’”
She says an eight-day festival with all local music is basically unheard of anywhere else.
“Other festivals bring in national acts or acts from a larger region,” she says. “In the case of Homegrown, a lot of the artists have performed with each other — they might be spinoffs of other bands that have been around or just friends — but there’s that sense of community. There’s a venue buy in and a community buy in and an artist buy in and sponsors buy into it because it’s something special for them, too. So, everybody wants to be a part of it.”
Don Ness was in the middle of his second term as mayor of Duluth in 2013, and nearly six years removed from directing Homegrown. As the 15th annual festival approached, he could sense there wasn’t a lot of room left for growth. The years of cramming Homegrown with more bands at more venues were soon to end.
“We’re beginning to see the limits to the structure,” he predicted in a 2013 interview in the mayor’s office. “I’m really looking forward to the NorShor reemerging as the focal point of the festival. Then you can have big shows downtown again.”
At the time, Ness was under the impression the NorShor would reopen in 2015. It would take another three years.
Before Ness became involved in Homegrown, he was a founder of the Bridge Syndicate, a sort of networking group for young professionals that strived to increase cultural and economic opportunities in the Twin Ports. The Bridge Syndicate was the nonprofit organization that took over Homegrown at the end of 2005 and kept it alive. Seven years later, Homegrown was ready to stand on its own.
Other young professional’s groups had formed in the city while the Bridge Syndicate had slowly slipped away. By 2012 its sole purpose was serving as the fiscal agent for Homegrown. So, under the leadership of new festival director Walter Raschick, Homegrown subsumed the Bridge Syndicate and became an independent nonprofit with its own board of directors.
“We wanted to be able to plan ahead for potential grants for organizational assistance and didn’t want to be beholden to an entity that basically didn’t exist anymore,” says Raschick. He credits the first board chair, Jonathan Lee, with getting the necessary paperwork in place, establishing bylaws and pushing the mission forward.
“It was fun to be a part of those meetings and the political wonkiness of it,” says Raschick. “To see the formation of the board of directors and the developing of a structure that would be more organized, but still allow the spontaneity of Homegrown to exist.”
Around the same time, DJ Starfire returned to the airwaves. Scott Lunt had hosted two shows on KUMD in 2009, The Local and The Lounge, before taking an extended break. Upon returning he launched a new show, North Country Jukebox, which he continues to host every other week in rotation with his longtime band mate Ted Anderson.
2013: Homegrown 15
Homegrown’s 15th anniversary saw the festival grow to 184 acts — 173 bands, 10 DJs and one fire-spinning group. It was also the first year of what would later be called “Westside Wednesday,” a night of music exclusively in the West Duluth and West End neighborhoods. In the inaugural year, however, it was held on Tuesday.
Performers on the big stage at Clyde Iron Works were Jason Wussow & Friends, the Keep Aways and Trampled by Turtles. The following night at the Sports Garden, Sarah Krueger, Charlie Parr and Fred Tyson & His Tysonettes played the big room.
Homegrown 15 was the first time Mark Lindquist performed as a visitor from out of town. He left Duluth to raise a family 120 miles west in Baxter. He had been somewhat inactive as a musician for a few years, but by 2013 returned to form.
“I went back to recording on cassette 4-tracks in my basement,” he says. “It’s just me playing all the instruments — piano, drums, guitar.”
2014: Homegrown 16
Another off-season event was added to Homegrown in 2013. The Twin Cities Takeover was held at the Amsterdam Bar in St. Paul with a lineup of Sarah Krueger, the Fontanelles, Cars & Trucks and Retribution Gospel Choir. The event would repeat in subsequent years with a new name, Twin Cities Invasion, and a different location, the Turf Club.
“Establishing events that expand the audience for Duluth music were important,” says Raschick. “It’s not like no one in the Twin Cities pays attention to Duluth music, but the publications tend to focus on the same five bands, so we wanted to expand that.”
The last significant jump in the number of performers at Homegrown also happened in 2014. The schedule featured 200 acts, although one cancelled on short notice and brought the number down to 199. Up to that moment in the festival’s history, it had grown at an average pace of a dozen acts per year.
Toby Thomas Churchill was at a transition point in his musical career at the time. His stints in the bands Crazy Betty and the Alrights had concluded, and he had begun performing eponymously. From 2014 to ’17 he also had a solo side project called Starling of Athens. Having performed in every Homegrown, he’s been there to witness the growth.
“One year it was just a couple of venues and then, boom, it’s all the venues and a hundred bands,” Churchill says. “It’s a little inexplicable. I’m not sure how that happened, but that it did is obviously amazing for a town this size. It seems to be something of an anomaly, which makes it obviously very special.
“By the way, when I see young bands now, I want to steal their organs — their livers and kidneys and lungs and such — and maybe drink their blood.”
Memorable moments in 2014 included the Black-eyed Snakes performing with Charlie Parr at Clyde Iron Works, the Blasphemists weirding out the regulars at the Gopher Lounge, a bat flying around ominously over the audience at Sacred Heart Music Center during a performance by Low, and Sarah Krueger turning her set at Rex Bar into a dance party.
Raschick says the Black-eyed Snakes and Charlie Parr getting together was a rare case of festival director meddling. It was a show he wanted to see, so he popped the question.
“They both were like — ‘Sounds great! Let do it.’ I was happy to make that happen.”
Laura Sellner, the young woman who stole her sister’s I.D. to get into Homegrown as a fan four years earlier, played the festival for the first time in 2014 when she formed the band Superior Siren.
“I got the group of guys that I first played with — Andy Olmstead, Alex Piazza and Kyle Keegan — so that I could perform as a band at Homegrown,” she says. “I had been playing open mics at Sir Ben’s and then me and the guys had maybe one show at the Brewhouse. So not a lot of people had heard the songs.”
One of Superior Siren’s tracks was selected to be included in the Homegrown Music Video Festival that year, screening the night before band’s gig at Amazing Grace. Director Kate Harrison, who now goes by “Killy Kay,” produced a video for “Swamp Creature” that had everyone at the festival asking, “who is this Superior Siren?”
“That was very perfectly set up so people could see it on Monday and come to the show on Tuesday,” Sellner says of the fortuitous chain of events. “Killy Kay and I have created many videos together since then. It’s really cool to see how that collaboration has progressed and how her work has progressed.
“That show continues to be my favorite, I think because it was the debut of my original music, but also because it was very intimate. Everyone there was very attentive, and the guys that I was working with just had this really awesome set and included Radiohead covers and Fleetwood Mac covers. The versions of my songs that I did with them were different than now, but special in their own way.”
Seller says one of the best parts of Homegrown is playing venues she might not normally play and partnering with musicians she might not normally reach out to. This year will be her fifth Homegrown playing at a fifth different venue.
“With my female band, we’ve played at Spurs on First and Lake Avenue Restaurant in a dark corner, and at Grandma’s. So it’s always a different experience. It’s an opportunity to immerse your art into a wider audience.
2015: Homegrown 17
In the lead up to the 2015 Homegrown, a lost briefcase was returned, but the return brought tragedy with it.
Melissa La Tour, at the time Homegrown’s volunteer coordinator, left a training session at Homegrown’s Chicken Shack, located that year in the Temple Opera Building where the Vintage Duluth store once operated. A few people helped her load things out of the space.
“Someone set the briefcase next to my car and it never made it into the car,” she says. “It had all this stuff in it — organizational stuff and also memorabilia — all my Homegrown passes from over the years were in there.”
It was later found in the alley behind the NorShor. Since it contained nothing valuable to the average ransacker, the items that had been inside were scattered in the general area. Someone gathered it all up and tried to return it to the Chicken Shack, but no one was there and the door was locked.
Michael Mooney, an employee at the nearby Black Water Lounge, walked by and agreed to take the case and get it back to its owner. He called La Tour and made arrangements to meet her and return it before he went to work.
“I get down there and I’m waiting and waiting, and no one showed up,” La Tour remembers. “It was the same day as the Empty Bowl fundraiser at the Depot. I was planning on going to that in the afternoon. I called and left a couple messages on (Mooney’s) voicemail and there was nothing. I walked outside to get some fresh air and I saw there was some commotion down the road. A DTA bus had been in an accident. I found out later Mike was killed on the bus.”
The driver of the bus had a medical emergency that morning, and Mooney jumped from his seat to aid him. The bus struck a stop sign and traffic-signal pole, slammed into concrete barriers around a construction site, then collided with another DTA bus. “Two days went by and I was telling my friend at work about how the person who found my briefcase didn’t show up to return it and also there was an accident down the street,” La Tour remembers. “And the light bulb just went off. … Oh my God, it can’t be the same person.”
Mooney had locked the briefcase up at Black Water, and the regional manager found it a week later. Mooney’s sister, Maureen Talarico, found a note Michael wrote about meeting La Tour and gave it to her.
“Whenever I take that case out I always think of him,” La Tour says. “He was trying to do good both on returning the briefcase and helping the person having a medical emergency on the bus. And then that happened to him.”
Homegrown added its second out-of- town event in 2015, holding the inaugural Iron Range Invasion in March at three venues in Virginia.
“I’ve never seen an audience that enjoys live music more than the Iron Range,” says Raschick. “They get into it up there.”
The main festival in May featured 200 acts in 2015, making it the largest year of Homegrown in terms of performers. The number of acts does not, however, include participants in the annual Homegrown Photography Show, Homegrown Music Video Festival and Homegrown Poetry Showcase.
A sort of new element added to the festival in 2015 was the “Rawk and Run,” led by Alan Sparhawk. Unofficial running groups had gathered in previous years to incorporate some level of healthy living into a week associated with consumption and lack of sleep. The 2015 run was the first time such a run appeared on the official Homegrown schedule.
“I like those special sort of active things and opportunities for musicians and friends to bond in a different way,” says Mary Bue. “The festival started with music and snowballed into art and film and all of these other things, sporting events, so it really has expanded. It has its own evolution.”
Large-stage shows in 2015 included a first-time Homegrown performance by members of the Duluth Superior Symphony Orchestra in the Clyde Iron Works event center. Also, on that bill were Big Wave Dave & the Ripples and Trampled by Turtles.
Longtime Homegrown musician Leon Rohrbaugh recalls Emily Haavik’s performance at Teatro Zuccone as a highlight.
“I’d never heard of her,” he says. “I saw her at Teatro and was just amazed by her — the songwriting, the way her band could play like four-part harmonies … they were really earnest and honest, so that was really refreshing to see something that was just different.”
For Bue, performing with the Electric Witch was a 2015 highlight.
“Walking into the Flame, the disco ball going, and wearing giant go-go boots,” she remembers. “I feel like Homegrown is such a license to be super weird and over the top as far as performing goes. People pull out all the stops.”
2016: Homegrown 18
It could be said that Mary Bue brought her third term with Homegrown to an end in 2016. Over the years she has three strings of playing the festival, each broken up by a few years where she lived in other cities. From 2012 to ’16, she was deeply invested, serving on the Homegrown’s board of directors and steering committee, at times simultaneously.
“I love how grassrootsy and how small it started and how it snowballed into this beast,” Bue says. “It’s turned into almost a year-’round thing with the Winter Fiasco and doing all the outreach shows. I remember being on the board and committee and having meetings all year. That excitement, and that there are so many people volunteering and performers playing for the rate that they do, and all the talk about it and people who attend it … I just think it’s special.”
Before departing Duluth once again, Bue played the big stage at the Sports Garden in 2016.
“Playing at Grandma’s was super amazing,” she says. “There were like 600 people and I debuted my big sexual assault song and it was extremely powerful for me to have the opportunity to have the huge crowd and just feel like, ‘damn, Duluth, this is so intense.’”
At Clyde Iron Works the “Westside Wednesday” show featured Teague Alexy & Friends, Low and Red Mountain.
The 2016 Homegrown was the last organized by Walter Raschick, the festival’s longest serving director during its nonprofit era. He held the job for five years, spanning 2012 to ’16. Since then he has served as director emeritus, charged with establishing connections with other festivals and doing regional outreach.
“Walt raised Homegrown into its teenage years,” festival founder Scott Lunt says. “He was everywhere. He got around during all of those big nights where there are 6 or 7 venues running at once. I’d see him everywhere I went.”
2017: Homegrown 19
Melissa La Tour took over as director following the 2016 festival. Similar to Raschick, she rose up in the ranks, volunteering for Homegrown in various capacities before taking on the chief leadership role.
“Walt was big shoes to fill,” she says. “He did a lot during his five years. But everyone is such a team player in this. Somebody might be labeled a director or a volunteer coordinator or a volunteer, but none of it could go if all of us weren’t here.”
La Tour says part of her mission is to continue that “feeling of Homegrown” throughout the year.
“Obviously it peaks with the festival,” she says. “But I hear bands and other people say Homegrown comes and then during the rest of the year a lot of times the shows are quiet. It would be nice to keep that excitement throughout the year versus resurgence in May and then quiet time.
“Another thing I would like to continue — because I think Walt was great with this, too — is keeping the female artist and the non-binary artist a focus. Making everyone feel included, and not like it’s a festival that you have to meet a certain criteria to perform for.”
The biggest change with Homegrown in 2017, however, was the explosion of the Children’s Music Showcase. The festival had experimented numerous times with holding a family event designed for kids, and the results were consistently tepid. The decision to hold the event on the opening day of the festival at the Duluth Children’s Museum, however, brought people out in masses.
Westside Wednesday was also particularly well received in 2017, from the Social Disaster’s scintillating performance at Clyde Iron Works to Al Sparhawk joining Low Forms for a set of Joy Division covers at the Gopher Lounge and Jimi Cooper tearing it up at Mr. D’s with Father Hennepin.
Cooper also took a fill-in role with Glitteratti on Saturday night at Pizza Lucé. That show turned into a Dukes of Hubbard reunion at the end when rhythm guitar player Ben Wizik was coaxed to step up from the audience to join in. The Dukes had last played Homegrown in 2004 and broke up in 2005.
2018: Homegrown 20
The headline going into the 2018 festival seems to clearly be the return of the NorShor Theatre, and a mini-return to event coordinating by Scott Lunt. The Homegrown founder came out of retirement when he heard the 20 th annual festival was not going to include music at its founding location.
The completion of the NorShor renovation was overlapping the planning for Homegrown and it wasn’t clear at the time if a music event could be pulled off there. Lunt wouldn’t take that for an answer.
“This cannot stand,” he said. “It had to happen.”
Lunt says if the NorShor had come back during Homegrown’s 19th year or 21st year it might not have been important to have an event there, “but the way it has worked out … the timing just seems perfect.”
Harkening back to when his friend told him everyone should have a big 30 th birthday
party, Lunt is ready to dive back into the fray and curate a Homegrown jam.
“What Mike Lowe said has always stood out in my mind,” he says. “That’s what inspired me 20 years ago and now I would say everyone should have a big 50th birthday party.”
Lunt says putting together a two-hour show will be nothing compared to running the entire festival.
“Back in those days I would get all nervous and sweaty and I’d start to chafe,” he says. “I started powdering up for Homegrown after a while. Once you’re chaffed that’s all you think about.”
He’s also amazed at how well run the festival is now, despite being three times larger than it was when he stepped down from running it in 2004.
“It’s just such a good machine,” he says. “Finding volunteers was always the hardest part when I was running it. I had trouble with that. It’s like Grandma’s Marathon now.”
For longtime Homegrown performer Leon Rohrbaugh, the best part is getting together each year with the usual cast of music fans.
“It’s fun. It’s like a family,” he says. “A lot of those people I only get to see during Homegrown because I’m older and I don’t go out that much. I like the longevity of the crowd. There are a whole bunch of us who have been going for 19 years. I think that’s cool.”
Suzi Ludwig of the bands Father Hennepin and Dance Attic sees it like a holiday. “Everyone is ‘happy Homegrowning’ everyone and it’s a weeklong joyfest,” she says. “More than one single thing it’s like an energy that seems like it’s been spreading and spreading.”
She also sees Homegrown as glue that keeps musicians together.
“Every band has to practice at least once a year,” she says. “Homegrown sort of puts a fire under people. You got to get together; you don’t want to suck. It keeps everyone playing music a little bit, which is pretty outstanding I think.
“Starting this has developed musicians and it has developed venues and fans that go out and hear music. And it’s unique compared to other cities where there just isn’t live music. I went to Newport Beach a couple years ago and tried to find some live music — and Newport Beach is like the hub of the whole surf scene way back when — and there’s just nothing. I don’t know if we realize how unique and fortunate we are to have such awesome music in Duluth.”
Homegrown’s 2010 and 2011 director, Shana David-Massett, grew up in New York and now lives in Florida. She echoes Ludwig’s sentiment regarding the uniqueness of Homegrown.
“Jacksonville is a big city,” she says. “Eight-hundred thousand people. Largest city by area in the country. They should be doing ten Homegrowns based on their size. So it’s really inspiring that Duluth can somehow do what Jacksonville can’t. It has a lot of spirit and spunk. My takeaway from it was so much joy. There were so many people working so hard. I was so proud to be part of such a phenomenal team.”
Laura Sellner of Superior Siren likes the way music is mashed together with poetry and art during the festival.
“It’s a time when everybody comes out,” she says, “including people who don’t usually come out to shows — and I just really enjoy that the city is bustling, and people are moving from venue to venue and there are many different experiences to have, many different art forms to see. … The city kind of comes alive.
So, what does Homegrown’s future hold?
“I don’t want to say that we’ve maxed out, but I don’t know how much larger it could get,” La Tour says. “With the talent available it could become larger. We already have more bands applying to play than we can fit in. Without adding additional days or venues it would get tricky with logistics. Sometimes it’s tricky to get past that grandfathered in phase where someone might have played the festival the past 15 years and then you have a whole bunch of newness come in … hopefully there’s enough room where things can cycle through and everyone can be happy.”
And whatever happened to Scott Lunt’s green Guild Starfire guitar that set the Homegrown Music Festival in motion?
“It was stolen a long time ago from our old practice space in the Corner of the Lake Building,” Lunt says. “I still kind of expect to see it again at Homegrown … some teenager playing it. I’m sure it’s changed hands a few times.”