The Ladakh Confluence: Suchet Malhotra

The four-day Ladakh Confluence recently concluded in Leh. The event generated significant interest-the location by the banks of the Indus was picture perfect, and the line-up tempting enough for fans to fork out Rs 5,000/- each for a festival ticket. It was the first time in five years that anyone had attempted to organize a music festival in Leh, after a bunch of Aussie motorcyclists did it in 2004, with Envision and HFT in the line-up of what was then billed the World Peace Festival.

The Confluence Festival 2009, in spite of the hiccups it suffered, was successful for various reasons—a sizeable turnout, a clutch of global acts, the very best of Indian talent, the lure of the mountains and the never-say-die spirit of the organizers, who kept it going despite the electricity generator failing on the first day itself, a day when only Talvin Singh could make an appearance on main stage. By the second day, the festival had righted itself, and there were notable performances from Rajasthan Roots and Portuguese powerhouse Terrakota. Shillong blues act Soulmate & Shaa’ir n func’s acoustic set powered day three, and then on day four, just when things seemed to be going right, the skies opened and the desert at 11,500 feet witnessed a veritable deluge of rain that kept up through the day. It was only by sunset that the organizers had wound up the ruined main stage and opened the acoustic stage to the public, and Vedanth Bharadwaj gamely went up with his acoustic guitar while volunteers struggled to get the generator going (again).

I came on at 8 pm, and ended up doing a one-and-a-quarter hour solo set instead of the 30 minutes I was told were for each artiste (to accommodate the waiting line-up). I had no idea why the next act (Ashu, to be followed by guitarist Rodney Branigan) were not coming onstage, but I kept going. Buoyed by the terrific energy of the volunteers who managed to get the stage (a roof was constructed on the spot) & generator going, and an expectant public come to enjoy their money’s worth, I gave it my all, and the people of Ladakh responded by dancing their shoes off (literally, with all the slush around). Then Bauchklang beatboxed the daylights out of everyone. Thus endeth Confluence I.

The Confluence is an important landmark for the nascent festival scene in India. It can be done is the first takeaway. The festival also generated great camaraderie between artistes, volunteers and the public who came and supported it. It was a green festival, and there were workshops and a small stage where budding talent could find a voice, plus bonfires and jams aplenty. For me some of the most precious moments came at the hotel where the musicians were staying, when Sanjay Divecha and Randolph Correia picked up acoustic guitars and began trading licks, when Rodney Branigan stepped out into the hotel lawns and gave us a show that never made it to any main stage, destroying one of his guitars in the process (Yamaha, whom he endorses, give him two each month).

Sure there were hurdles, and the weather wreaked havoc, and some artistes never did perform, but the Confluence nonetheless witnessed great music, and succeeded in bringing tons of music lovers to the rooftop of the world. These travelers will carry the tales of the festival back home, and the good news will spread.

I look forward to a great festival next year.