We’ve broken down the wall-of-text into easily digestible bullet points, roughly in order of importance.

• Sorry, no refunds. Well, not for the moment at least. Eager beavers’ Early Yaks’ monies are long gone, largely into clearing some part of the massive debt that the festival had incurred in its inaugural year. The blame for this is deftly deflected onto the Government and the Ladakh Autonomous Hill Development Council, and the flash floods that hit the region are co-opted into the explanation: “The LAHDC has their hands full with rehabilitation work, and the refund of the ticket money is not, understandably, a priority for them.” Altruistic as they may be, the chances that the LAHDC will in effect subsidize the Confluence’s debt lie somewhere between slim and none.
• The Confluence is moving. A multitude of locations are in contention. The new venue will be chosen with a view to “inspire our artists and confluencers” and “showcase local arts and talent.” The awesomeness that will be the new venue will allegedly fill you with excitement and an irrepressible urge to pack your bags and/or purchase tickets in advance.
• Hmm, do you really want your money back? The letter explains that the festival was bereft of corporate sponsorship (by choice) and that the few sponsors that were on board had unsurprisingly abandoned ship post-cancellation. Also, we are reminded in the letter that The Confluence was about love, peace, passion and other good stuff like that. Profit (or indeed loss) was never considered while plotting such lofty endeavors. If they weren’t thinking about money, materialistic advance ticket purchasers shouldn’t either. There’s also a stern line about the total absence of legal liability on the part of the organizers to effect refunds.
• Take the power back. Basically, if you spent money on tickets, you’re screwed. Getting screwed comes in three flavors. 1) Demand your money back and secure a seat on the ‘priority list;’ money will be refunded shortly after the problem of porcine flight is solved. 2) Wait it out, pledging your support for the event. If/when the next event happens,  you’ll get dibs on ticket/accommodation deals. 3) Get some closure by “donating” your ticket money to The Confluence. You will be transformed into a key stakeholder of the event, score an invitation to the next edition and get to bask in the knowledge that you’ve done your bit for love, peace, and poor fiscal planning.

It’s a tough spot for the organizers to be in. Establishing a festival franchise is essentially a loss-making proposition in the early years. While the organizers may not be legally obligated to refund the money, their credibility will be irreparably damaged if they don’t. Eastwind and more recently, Ujaan have succumbed to the numerous pitfalls that festival organizers face. We’re hoping all three properties can drag themselves out in the long run.

Photos by Henri Bourgeois-Costa

P.S: We’d pick option 3. Closure is important.

P.P.S.: No, we weren’t stupid enough to buy tickets in advance.

The artist lineup is expected to be announced soon. Last year’s debut edition saw performances by among others, Talvin Singh, Shaa’ir + Func, Bauchklang and Soulmate.

We’ll have more as soon as we hear it. Indiecision will be live in Ladakh this July. Check out our coverage of The Ladakh Confluence 2009.

More on the official website.

(Pic: Sharin Bhatti, Ladakhi monks declaring the 2009 edition of the Confluence open)

The Ladakh Confluence: Day 1 | Day 2 | Day 3 | Day 4 (was largely rained out)

Ladakhi Monks Gyomo Nakamura blessing the Confluence and declaring it open on day one.

Dylan-esque Bhakti singer Vedant Bharadwaj sang Kabir in the afternoon sun on day one.

New Zealand folk singer Anna Van Riel sang stories of her many travels.

Anna Van Riel

Ladakhi local traditional dancers CATS give a little introduction to local dance.

CATS dancers.

Talvin Singh and Rahul Sharma at soundcheck.

Tribal Flora take the stage and jam with Kasthenis, an Israeli singer on vocals.

Singer-songwriter Darlini from UK takes the stage on day three.

Portugal's Terracota try and push a bus out of a puddle post their one hour soundcheck.

David Swarupe from Italy (on the hangdrum) and Ortal Palleg from Israel (on the didgeridoo) jam on percussion day.

Between the long musicless gaps, confluence attendee Jai from UK jammed with Saahil from Mumbai. "I can't take these long gaps," he said.

Mumbai electro-rock act Shaa'ir + Func perform.

Shaa'ir + Func

Roberto Narain directing his well attended Drum Circle on day two.

While Rajasthan Roots played on stage, a few hippies broke into a pyromaniacal tribute of their own left of stage.

More pyromania.

Rajasthan Roots performing on day two.

Rajasthan Roots

Tribal Flora

Soulmate from Shillong perform.

In its maiden year, the extended line-up unfolded over the four days in the very ambitious venue of the highest plateau in the world – Leh. Considering the fact that over 60 artists traveled from across the globe (Terracotta – Portugal, Gateways – Switzerland, Anna Van Reil – New Zealand, Bauchklang – Austria, Rodney Branigan – Canada, Talvin Singh  – UK, Ortal Pelleg – Israel, David Swarupe – Italy) and far reaches of the nation as well (Rajasthan Roots – Rajasthan, Mahesh Vinaykram and Vedant Bharadwaj – Chennai, Shaa’ir + Func and Tribal Flora – Mumbai, Soulmate – Shillong) to congregate with local legends (Rahul Sharma, Ali Mohammad – monks who sings the blues, and Castaways – local rock band as generic as they sound) there was reason enough to pack and head to the mountains.

August 28 to 31 were dates booked over the pasteuring and flat land, situated on the banks of the Indus River that hosts the annual historic festival of Sindhu Darshan each year for the people of Ladakh. Located around 8kms before Leh between the hamlets of Shey and Chagmanslor, the venue was perfect to create a medley of traditional and the contemporary – in terms of culture and music. The organizers couldn’t have picked a more fitting location considering their lineup including artists that border the divide between yesterday and tomorrow. And the fact that artificial stages and permanent arches would make for the ambient environment of the little land, enclosed between high peaks and building infrastructure, was particularly endearing.

Two stages were set-up, the Nyima that ran acoustic gigs and the main stage, the Skarma that pulled power for the headlining acts each evening. Tents scattered around the property were supposed to give a lesson in local Ladakhi art and craft, assisted and spearheaded by Rob from the Mad Show on Pogo and a Film Tent that would screen movies through the day courtesy Sapna Shahani, noted filmmaker.

But overriding the minimal crowd walk-ins, considering how most walking in wore volunteer badges, the total number of some 200 a day who managed to attend the confluence came for the love, peace and the music. Only this was a literal cosmosis of castaway firang bikers and hippies who were willing to dance and trip to everything that had a melodic sound and of course out-of-towners who didn’t mind the idea of the confluence. Celebrity spotting was easy. Purab Kohli and Vasundhara Das seemed to have flown in for a bit of the artists’ haven. But more than a tight stage-to-stage scrambling, The LC was a bass line of loosely connected dots. The artists were seen mostly hanging out like it was an open mic night of sorts and in between the many power failures (Leh has its concurrent blackouts), the best part of the festival were the instant  jam sessions that broke out in between the shows.

And amidst the mediocre and the awkward, the truly notable performances of Shaa’ir + Func, Vedant Bharadwaj, Rajasthan Roots, Tribal Flora, David Swarupe and Ortal Palleg and of course Soulmate clearly stood out. On opening night, the CM of J&K Omar Abdullah arrived to see Talvin Singh and Rahul Sharma open the fest as the headlining act. There seemed to be the promise of better things to come. “I am excited to be here and to be a part of a cultural fest like this. I promise you these young minds will bring in more and I am willing to do whatever it takes to make this work,” he cheekily opined. Chering Dorjay, chairman of the Ladakh Autonomous Hill Development Council, promised much more in years to come, as ministers tend to do.

There was even unseasonal rain that threatened to disrupt the last day of the confluence, that managed to be saved by a set by Bauchklang who were gasping for breath but threw in a neat performance accompanied by Suchet Malhotra, Vasundhra Das and a jam partner in Harsha from Hyderabad. True to their performances, they closed the Ladakh Confluence over a merger of arms aloft in pandemonic trance.

The organizers in Rayna Jhaveri and Swaati Langeh hoped to have had a better crowd gathering and a tighter show, but excusing the many structural breakdowns, LC was true to its namesake. It was a big jam space in the middle of the mountains and the often idled musician mingled amongst the crowds, invited people on staged, jammed with nu and new inspiration. So what if the locals mostly eluded, except for on day three when the local favourites in Soulmate made sure the discounted Rs. 600 per ticket for the locals, made for a great attendance. Experimental bands in Gateways even saw a bit of the rock fan angst you run into at campus gigs. But the genius in impromptu shows, especially in Rodney Branigan’s appearance three nights of the four made for much entertainment.

The highlight of the festival was the daily Drum Circle organized by ace percussionist Roberto Narain and Priyanka Blah from Tempo Tantrick. In the middle of the expansive field post sunset, the duo would light a bonfire and pass a rhythmic instrument. They’d direct us to a melody and we were all musicians. The confluence made us that in Leh.

This was the scene over the four days. Sunset would gave away to dusk, dusk to twilight, the impenitent tropical pyrexia cooled slightly, but the temperature of the crowd was rising. You would have to be a very dull person – a snob, or a sad cynic – not to enjoy this show. The sound is of symphonic scale, and of course there is the spectacle, especially here, on and off stage – the sight of fans, arms aloft, singing every word of every song.

Follow our coverage of The Ladakh Confluence: Day 1 | Day 2 | Day 3 | Day 4 (was largely rained out)

Soulmate followed as crowd populars and pleasers, with the Skarma stage finally getting power back. The blues reverberated through each track and ‘Voodoo Woman’ and ‘Blues In My Soulmate’ finally made one feel part of a music fest. They lived up to the hype and the locals finally filled the crowd. A bit of a dampner was Swiss and Gujarati tribal project, Gateways taking to the stage. After an awkward soundcheck, the collective managed to skim through its set.

As on day two, Robert Narian’s Drum Circle drew the crowd in. I must say, we all were getting better with our beats. And finally followed a rhythm. At least we attempted ‘We Will Rock You’. But while the stage largely eluded the crowd, musicians got little jam corners revving. Off crowd jams were strewn all over the green field. A hangdrum here, a guitar jam there. The mountains and needless to say, the questionable substances and the much scattered shows were finally sowing the inspiration in. At least we all sang our own songs.

Check out our in-depth coverage of The Ladakh Confluence, with daily reports!