a career move as opposed to just something that we think is exciting to be a part of,” says Zawisa. “We generally play pretty small rooms, especially when we’re head- lining shows. And it’s also a unique experi- ence to get to play on bigger stages and in front of people who are not necessarily there to see us. So it’s a cool thing.” The organizers agree, and note that VIVA is part of a much larger puzzle. “I’m not sure we have the ability to launch someone from a single event,” Brejtfus says. “I absolutely think it’s impor- tant for these local acts to share the stage with national acts and be on a bill with acts that are touring and have that exposure.” That’s why the organizers are so doggedly focused on the idea of building larger partnerships. “We want active bands who are trying to take it to the next level,” says Baquet. “We also want to create a festival environment where an act who’s on the rise from Detroit comes in and meets a really dope artist who’s like-minded from New York, and then they’re able to do stuff together beyond VIVA. That leaves a lasting imprint of what VIVA PHX was to them moving forward, and that’s how you build a real deep-tie reputation. But it’s more than building partner- ships, booking more local bands and/or promoting synergy. VIVA does, to a very real extent, have to reshape perceptions. “People who aren’t from here think that we still drive horse-and-buggies and the I-17 is like the Sahara Desert,” Everheart says. “Emphasizing the talent here is really important. We are a pretty major city and there’s a lot of different genres.” Pfeffer agrees, and thinks that VIVA’s multifaceted approach in promoting the intersection of music, art and food is essen- tial to this mission. “It’s cool that if you want to show off what this city’s about ... you show off the different kinds of art,” he says. “Having different local businesses and food and all that sort of thing just gives you a better idea of what Phoenix is about. We’re the fifth- biggest city in the U.S., but I feel like there’s always kind of an underdog thing with Phoenix because Phoenix is such a new city. So it doesn’t have this, like, decades of history and legacy stuff.” It also helps that, to an extent, VIVA has a kind of role model: SXSW, the long- running super-fest from Austin, Texas. “I admire what they’ve created at SXSW immensely. It’s the perfect type of festival,” Baquet says. “I mean, it’s obviously taking all kinds of new directions and forms, but in its heyday, it was really a special thing. And the way they integrate their community and their city with all this, with brands and bands and different mediums of expression, that is all I want to see happen here in this booming downtown of Phoenix.” Pfeffer certainly agreed with the value of having our own SXSW-level standout. “The infantilization of the city is very real because we don’t have Lollapalooza or SXSW and we don’t have this massive event that’s indicative of the city,” he says. “(VIVA) could be something that could be that.” However, it’s not going to be just one thing that culturally “saves” this city. “I think we could benefit from that, or I think we could benefit from five things like that,” says Pfeffer of the SXSW connec- tions. “But I want it to start organically and be done by people who are from here. But we’ve just got so much scale that it’s going to end up on the map either way whether or not we have that big event.” Perhaps that’s why, even before the fest’s even taken place, organizers are already looking toward the future of VIVA PHX and how to expand the festival. “We’ve had conversations about inte- grating comedy and panel discussions and dance,” Brejtfus says. “Anything that really could highlight not just Phoenix, but anything that’s emerging nationally, I think we’re open to that. We do want to grow it into some other areas and not just be a focus on music. Obviously, we are music lovers, and this is what we do day in, day out. But I think the idea is to grow it not only in down- town, but with different activations.” For his part, Baquet leans into this over- arching idea called Relational-Cultural Theory. It’s a fancy way of doing things with a people-centric approach and achieving more meaningful success. “In a nutshell, when people come together and commune, it’s good for the people,” Baquet says. “The people are happier. The community is stronger. And it’s not just an idea; this is proven and this is how it’s been happening for all of humanity. That’s the foundation I want to lay for VIVA moving forward. Like, we come together, we make a better city, a better state and a better community.” In that vein, VIVA PHX’s second chance won’t be a true success because of local darlings and national faves, career growth, tasty cuisine, corporate sponsorships or anything else that’s ultimately about trends and fades. No, it’ll happen because everyone involved focuses on what truly matters most. “It’s cool to see the city grow and it’s cool to see the band grow and it’s cool to see more bands from Phoenix getting attention and having the opportunity to be on this,” says Pfeffer. “But the actual head- liner of the festival is the city.” Visit vivaphx.com for info and tickets. Veronica Everheart will perform at VIVA PHX 2024. (Photo by Alyssa Song) A crowd shot from VIVA PHX 2014. (Photo by Jessica Obert) Downtown Sound from p 20