H.O.R.D.E. - April/May 2012 Relix Issue
The April/May 2012 issue of Relix magazine offers a deep dive into one of the most influential and eclectic touring festivals of the 1990s: H.O.R.D.E. (Horizons of Rock Developing Everywhere). Anchored by a retrospective cover story, the issue celebrates the legacy of a movement that helped define a new generation of live music culture, one rooted in improvisation, collaboration, and community.
Founded in 1992 by Blues Traveler frontman John Popper alongside members of Widespread Panic, Spin Doctors, and other likeminded bands, H.O.R.D.E. was more than a response to Lollapalooza—it was a deliberate counterpoint. While alternative rock dominated the mainstream festival circuit, H.O.R.D.E. embraced jam bands, blues-rock, and roots-driven performers who thrived on stage and forged their reputations in front of live audiences.
The Relix cover story traces the festival’s origins from a DIY tour to a major national brand, chronicling its run from 1992 to 1998. Through archival interviews, behind-the-scenes stories, and reflections from the artists who lived it, the piece captures the spirit of an era before the explosion of mega-festivals. H.O.R.D.E. brought together a unique mix of bands—Phish, Sheryl Crow, The Black Crowes, Dave Matthews Band, Gov’t Mule, and Medeski Martin & Wood all shared stages with Blues Traveler and Widespread Panic—creating unexpected collaborations and cementing musical friendships that lasted decades.
What set H.O.R.D.E. apart, and what this Relix issue celebrates so vividly, was its sense of musical democracy and fan intimacy. It was a tour built by musicians for musicians, with a rotating lineup and no clear hierarchy. Fans didn’t just come for one band—they came for the entire experience. The article explores how this ethos helped shape the jam band scene that flourished in the 2000s and inspired festivals like Bonnaroo and Mountain Jam.
The retrospective also delves into the backstage culture, the road rituals, and the festival’s evolution from summer experiment to full-blown cultural moment. Photos from the era capture sun-drenched stages, muddy fields, and candid moments of artists laughing, jamming, and building a community from scratch. These visuals, alongside newly conducted interviews with Popper and other key players, offer a heartfelt and often hilarious look back at what many consider the golden age of grassroots touring.
In addition to the main feature, the issue includes related content—album reviews, tour previews, and interviews with newer acts carrying the H.O.R.D.E. legacy forward. It connects past and present, showing how a 1990s touring festival laid the groundwork for today’s independent festival culture and the thriving world of live improvisational music.
Ultimately, the April/May 2012 issue of Relix stands as both a celebration and a historical document. It pays homage to a moment when musicians took charge of their own destinies, fans followed them across the country, and a new model of live music was born—one rooted in authenticity, spontaneity, and the shared joy of discovery.