The Electric Highway: From Stoner Metal Roots to a Sonic Revolution

V13 Media had the pleasure of chatting with the team behind The Electric Highway, a festival that began as the 420 Music and Arts Festival, celebrating varieties of metal such as stoner, doom, psychedelic, and sludge. Over the years, it’s evolved, expanding to include hardcore, punk, surf rock, and more, while keeping that signature fuzzy vibe that attendees love.

Joining us today is CC Getty, one of The Electric Highway’s Founders. We’ll dive into the festival’s journey and what makes The Electric Highway a kick-ass experience.

Get more information and tickets on the official website.

What is the overarching vision for The Electric Highway Festival in terms of music genre, atmosphere, and attendee experience?

CC Getty: “The Electric Highway originally started as the 420 Music and Arts festival with a focus on stoner metal, doom, psychedelic, and sludge and has progressed over the years. The people who attend the festival like the overall vibe, so even with the name change to The Electric Highway, the core feeling is the same. We have expanded to include hardcore, punk, surf rock, and any other music that has a fuzzy vibe.”

How do you define the festival’s unique identity compared to other music festivals?

“We are the only festival featuring this style of music in Western Canada. We are one of the earliest festivals in the traditional festival season, and we have a smaller, more intimate feel because we are inside. This is the final year of the festival. We just want everyone to have a great time and enjoy the music.”

How do you select artists and performers for the lineup? What criteria do you use?

“We choose artists in various ways. We do take submissions, but we also search out bands in the style of music that we enjoy and think people would like to see. We have brought in bands that people have never seen before in Calgary and sometimes Western Canada, such as Wo Fat, Sasquatch, and Dopethrone.”

What is your strategy for creating a balanced and diverse music lineup across different genres and audiences?

“Our musical wheelhouse is not terribly broad, although it has increased over the years. We look at bands from the different styles of music and choose bands. We always end up with a good mix. We do have to exclude more bands than we choose from our submissions. We are very clear on the styles of bands we are looking for, but somehow we end up with everything from black and death metal to folk and alt-rock. The key is just having a good fuzzy vibe that people can groove to.”

How do you approach booking local or up-and-coming artists compared to big-name headliners?

“We generally approach them in the same way. We find out availability and cost, and then see if it works with our budget. Obviously, we negotiate, too. Sometimes it works. Sometimes not. At the first edition of the festival, we decided we really wanted Wo Fat. My partner literally sent a Facebook message and received a response a minute later, and bam! Wo Fat was the headliner.”

How will you structure the festival schedule to maintain a steady flow of excitement and engagement throughout the day(s)?

“The festival starts late afternoon and runs through the evening. We take the bands and plan how they fit together best to create flow between the bands. We also have an excellent stage manager and crew, and they are very efficient at changeovers, so there is no lag in the show. There are usually 15 minutes between each act, so it moves along briskly. We also have a market at the show and a big merchandise area with band gear, so people shop for cool items or their favourite band’s t-shirt. And many people attend year after year, so everyone spends time catching up or meeting first-time attendees. It is a very friendly audience.”

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What considerations are made when scheduling set times to avoid conflicts between popular artists?

“Because of our venue, we can easily control that. We have one stage in one venue, so it is not a problem.”

How do you balance the length of performances with the need for crowd engagement and other activities (e.g., food, installations)?

“We have a format we have been using since our first festival in 2017. It seems to work well and gives a good balance for the musicians, crowd, and vendors. We are lucky that the venue has a kitchen and people can buy food throughout much of the festival.”

What factors go into selecting the perfect venue for the festival, and how do you ensure it aligns with your festival’s vision?

“Our very first festival took place at a great venue that unfortunately is no longer around. We had worked with them before, and the space was perfect for what we were doing. This is the third year at our current venue, Dickens. We love this venue because of the owners and staff, the layout of the space itself, and the stage, sound system and sound engineer. We know what to expect, and they treat the bands and fans very well. It’s our home base for the festival and other shows we produce.”

Will there be any unique or non-music-related vendors, such as art, clothing, or interactive installations?

“We have a marketplace that is always part of the festival. It has local artists, writers, interesting clothing and jewelry, hot sauce, and more. We also have a big area dedicated to band merchandise with an excellent staff running the whole thing. This year, we will also have an area with any remaining merchandise that we have from previous festivals at a discounted price. We have been known to have great artwork, so you can grab stickers, pins, posters, and t-shirts from as far back as the first 420 music and arts festival.”

How will you address accessibility for people with disabilities, both for attendees and staff?

“Our venue is fully accessible despite it being below ground level. Most people enter via the stairs, but there is also an elevator. And there is a fully accessible bathroom as well.”

How do you plan to stay in touch with festival-goers after the event, for follow-up engagement or early bird tickets for the next year?

“Well, we have very active and well-developed social media. Despite this being the last festival, who knows? You might see a standalone concert event in the future.”