Whippersnap Music & Arts Festival 2027
Description
Whippersnap is a world-class collision of sound and sight, where premier talent performs alongside the very best musicians Florida has to offer. The air here stays thick with the soul of heavy horns and deep funk. It is a sensory feast for the eyes as much as the ears, fueled by the vision of world-class lighting directors, the stages become explosions of color and light. Laser projection mapping morphs the surrounding trees into living faces, transforming the camp grounds into a glowing, electric forest. Yet, beneath the high-octane production lies a gentle heart, a family and dog-friendly community rooted in respect and a shared love for the "Whippersnap vibe."
2026 Festival Recap
Lineup
Neal Francis
The latest album from Neal Francis, Return To Zero, emerged from the kind of visionary fever dream that only the most masterful and inventive artists are capable of bringing to life. Amid a grueling tour schedule that found him playing nearly 400 shows from 2021 to 2024, the Chicago-based singer/songwriter/pianist immersed himself in creating a beautifully strange entangling of timeless rock & roll and ’70s-era dance music, merging supremely heavy guitar riffs with lush and pulsating grooves—all constructed sans digital programming, in keeping with his devotion to all things analog. Worlds away from the glitzy fantasia of archetypal disco, Return To Zero inhabits a far moodier atmosphere and ultimately makes for the most thrilling manifestation of Francis’ peerless musicality yet. Equal parts heady and hedonistic, pensive and euphoric, Francis’ third studio LP echoes both his deep-rooted psych-rock sensibilities and a lifelong affinity for classic funk. “I’ve always been intrigued by music that toes the line between funk and rock,” notes Francis. “In the past I’ve asked myself things like, ‘What would it sound like if Thin Lizzy cut a disco record?’ It’s something I’ve been fascinated with for a very long time, so I finally decided to really go for it.” The follow-up to his 2023 double live album and concert film Francis Comes Alive, Return To Zero marks Francis’ first full-length studio effort since In Plain Sight—a 2021 release acclaimed by the likes of leading rock critic Steven Hyden, who praised its “throwback big-band sound that recalls the highs of 1970s funk and swamp rock.” With his past work also including his 2019 debut album Changes (hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6), Francis began playing piano at the young age of four and became an in-demand sideman while still a teenager, touring with revered blues artists and beloved instrumental band The Heard before embarking on his solo career. Over the years, he’s sold out headline shows all across the globe, supported the likes of Wilco, Black Pumas, and My Morning Jacket, appeared at major festivals such as Bonnaroo, Fuji Rock, and Lollapalooza, and even performed at historic venues like Carnegie Hall. Like all of his studio work so far (including his 2022 EP Sentimental Garbage), Return To Zero finds Francis co-producing alongside his frequent collaborator Sergio Rios and recording live with members of his touring band (drummer Collin O’Brien, bassist Mike Starr, guitarist Kellen Boersma), elegantly showcasing his prodigious talent and dazzling originality as a keyboard player. Mainly created at Rios’ L.A. studio, the album’s grandiose yet warmly inviting sound also took shape from his close collaboration with composer/conductor Dom Frigo (who aided Francis by transcribing the LP’s symphonic string sections), Say She She (a Brooklyn-based psychedelic-soul trio who adorn a number of songs with their beguiling backing vocals), and a stacked lineup of co-writers that includes Queens of the Stone Age bassist Michael Shuman and Wild Belle co-founder Elliot Bergman. In the making of his most ambitious work to date, Francis faced countless moments of creative frustration—a factor that eventually gave the album its title. “I was cutting a lot of the vocals at home, using a hybrid process where I’d bounce the tracks from my computer to a tape machine and then record the vocals to tape,” he explains. “I’d be in my vocal booth in the closet with all our winter coats, and every time I needed to start over I’d press this button that says ‘RTZ,’ which stands for ‘Return To Zero.’ I was doing take after take and pressing that button over and over—it was a huge pain, but it also linked up with what I’ve learned in my meditation practice: no matter how frustrated you get, just remain calm and take inventory, and then begin again.” Although executing Return To Zero’s highly elaborate arrangements often involved a very time-intensive trial-and-error approach, the album-opening “Need You Again” surfaced from an immediate burst of inspiration after Francis attended a DJ set by Derrick Carter (a Chicago house legend who created a 12-inch remix of “BNYLV” from In Plain Sight). “My girlfriend and I went out to a queer dance party called Queen! and stayed till about four in the morning, and Derrick played a track that was a big rock riff over a funk beat,” he recalls. “The next day I went into the studio on very little sleep and started working on the demo for ‘Need You Again,’ and after I finished I couldn’t stop listening to it.” Featuring a guest spot from Grammy-winning guitarist Eric Krasno (Soulive, Lettuce), the result is a glorious entry point into the album’s groove-heavy soundscape, unfolding in sinewy riffs and larger-than-life rhythms as Francis narrates a tale of ruinous infatuation. “It’s a song about a love affair, and the experience of projecting magical qualities onto another person and feeling almost addicted or beholden to them,” he reveals. Another charmed moment in the album’s creation, “Broken Glass” was sparked from a session featuring Francis on bass and Shuman on drums, with the two soon conjuring the hypnotically potent riff that propels the track forward. With its viscerally charged depiction of lust and self-denial, the darkly majestic epic reaches a stratospheric crescendo at the bridge, when pounding drums meet with Say She She’s near-operatic harmonies. “Once we had that riff I started filling in some freeform poetry from my notebook, which had to do with the idea of taking direction in an intimate liaison,” says Francis. “It all came together so naturally because of how Michael was playing drums, bringing that Queens of the Stone Age heavy-rock thing I love so much.” One of the most dance-ready tracks on Return To Zero, “Back It Up” glides along on glossy synth lines and a playfully swaggering riff, imbuing a carefree spirit into Francis’ deliberately over-the-top confession of romantic desperation. “That song went through a few different phases before we got to the final iteration,” he says. “It took me a while to accept that it’s okay to have fun with the lyrics, instead of making everything so serious all the time.” Meanwhile, on “What’s Left Of Me,” Francis presents a gorgeously sprawling power-pop anthem built on his resplendent piano work. Co-written with Nashville-based songwriter Chris Gelbuda, the track arose from a piano-and-vocal demo captured at Chicago’s Fine Arts Building, soon evolving into a piercingly candid reflection on life on the road. “Chris and I are good friends and we got to talking about the challenges of being in a committed relationship while you’re on tour,” says Francis. “A lot of these songs were influenced by Electric Light Orchestra and the way Jeff Lynne synthesizes classical music and pop songwriting, and ‘What’s Left Of Me’ was definitely one where I was going for an ELO vibe.” Partly inspired by the funk and dance records he typically spins during his sets as an all-vinyl DJ, Return To Zero also encompasses everything from the spaced-out drama of “Dance Through Life” to the string-laced reverie of “Can’t Get Enough” (a collaboration with Durand Jones & The Indications’ Blake Rhein that is a sublimely mellowed-out homage to acid-jazz pioneer Roy Ayers). In creating such a complex body of work, Francis found his sense of perseverance repeatedly tested. “Most of these songs were pretty hard-won,” he says. “There was a feeling of pulling out all the stops to achieve what I was going for, and in the middle of that I was dealing with some depression and exhaustion. I ended up learning a lot about myself, and now I feel like I’m in a completely different place in terms of my priorities with mental health.” Despite its more daunting aspects, the writing and recording of Return To Zero also brought plenty of moments of pleasure, including composing with strings for the very first time and tracking songs with his longtime bandmates. “All those guys are like my brothers, and there was a feeling of us working together with an almost athletic desire to get better every time we did a new take,” Francis says. “Those were really long days at the studio, but they were also so much fun.” Looking back on the making of Return To Zero, Francis points to certain crucial lessons absorbed while creating his most extravagantly realized work so far. “One of the main things I’ve learned is that every album is going to be its own journey; I can’t really take the arsenal of things I’ve learned in the past and expect them to save me from any kind of frustration with whatever I make next,” he says. “Creating art is always going to be a challenge, which maybe goes back to why AI-created music is never going to be all that compelling—it’s just too fucking easy. The best I can do is use what’s at my disposal and try not to freak out or despair when it gets difficult, and hopefully end up making something that gives people joy.”
Super Sonic Shorties
Super Sonic Shorties is a collective of like-minded, experienced, accomplished musicians who just happen to be women—led by fearless drummer Nikki Glaspie. Nikki has traveled the world over with artists Beyoncé, Maceo Parker, Snarky Puppy, Yemen Blues, Dumpstaphunk, her own bands The Nth Power, KAMANI, Mike Dillon & Punkadelick, Trouble No More, and her 15-piece funk big band Nikki Glaspie & The Homies. Super Sonic Shorties features a rotating cast of incredible, musical ladies. Former lineups have featured Nikki Glaspie (drums/vocals), Amy Bellamy (keys), Kat Dyson (guitar), Tonya Sweets (bass), Marcie Chapa (percussion), Natalie Cressman (trombone/vocals), Jennifer Hartswick (trumpet/vocals), Shira Elias (vocals), and Kanika Moore (vocals). Members of Super Sonic Shorties have tour and/or recording credits with many artists, including Prince, Beyonce, Jay-Z, Lizzo, Herbie Hancock, Bruno Mars, Klymaxxx, JLo, Phish, Stephanie Mills, George Michael, Kanye West, Milton Nascimento, Cyndi Lauper, Maceo Parker, Snarky Puppy, Nicholas Payton, Stephen Marley, The Neville Brothers, Eric Benet and Erykah Badu. Band Members Nikki Glaspie (Drums / Vocals) - Founder (The Nth Power, Beyoncé, Dumpstaphunk) Jennifer Hartswick (Trumpet / Vocals) (Trey Anastasio Band) Kat Dyson (Guitar) (Prince, Cyndi Lauper, Chaka Khan) Tonya Sweets (Bass) (Lizzo, Klymaxx) Amy Bellamy (Keys) (A-Beez, Club D'Elf) Marcie Chapa (Percussion) (Beyoncé, J.Lo) Katty Rodriguez (Saxophone / Vocals) (Beyoncé) Shira Elias (Vocals) (Cool Cool Cool, Turkuaz) Kanika Moore (Vocals) (Doom Flamingo) Natalie Cressman (Trombone / Vocals) (Trey Anastasio Band)
Polyrhythmics w/ Adryon De Leon
Seattle-based Polyrhythmics are celebrating 16 years of sonic exploration, now entering their most exciting chapter yet with the arrival of vocalist Adryon de León as a full collaborative partner. Since forming in 2010, this powerhouse ensemble has redefined instrumental music with a sound that blends funk, soul, psychedelic rock, R&B, and Afrobeat into a kaleidoscope of rhythm and groove. Known for their dynamic live performances and innovative compositions, the band has earned a reputation as one of the most captivating acts on the contemporary music scene. Polyrhythmics emerged from the rich creative soil of Seattle's eclectic music community, releasing their self-titled debut album in 2011. Since then, their discography has grown to include fan-favorite albums such as Octagon (2015), Caldera (2017), Man from the Future (2020), and Life from Below (2025). Each release showcases their fearless exploration of genre boundaries and their commitment to crafting vibrant, deeply textured soundscapes. The band's relationship with Adryon de León has been four years in the making. What began with electrifying guest appearances — including a landmark New Year's Eve show and festival stages across the country — grew into a full creative partnership. De León's vocal feature on "Smoke and Mirrors," from Life from Below, offered listeners their first recorded glimpse of the chemistry the band and its audiences had already witnessed live. Now, with the release of "Got to Be for Something," that collaboration steps fully into the spotlight. The first single from their forthcoming collaborative album — due in early 2027 — the track is rooted in the deep soul tradition de León draws from, channeling the weight and fire of Aretha Franklin's most powerful work. It's a bold declaration of what this band has become. Over the years, Polyrhythmics have graced stages at major festivals and renowned venues across the United States and internationally, sharing bills with legendary artists while carving out a distinct space in the global funk and soul scene. Their music — equal parts danceable, thoughtful, and immersive — draws from the roots of American funk and soul while incorporating global influences that have only deepened with time. As Polyrhythmics move forward, they do so with new voices, new grooves, and a renewed sense of purpose. The best moments, it turns out, are still ahead.
John "Papa" Gros
John “Papa” Gros (pronounced Grow) is a New Orleans pianist, organist and singer-songwriter whose career reflects the city itself—resilient, rhythmic, steeped in tradition, and always evolving. For more than thirty years, Gros has served as both a keeper and a translator of New Orleans music, blending funk, R&B, jazz, blues, rock, and Americana into a sound that is deeply rooted yet forward-looking. Born in New Orleans, Gros embodies his hometown’s culture and deeply rooted traditions, absorbing its music and spirit. He began playing piano and French horn at age eleven and attended Loyola University in uptown New Orleans, graduating with a degree in French horn performance. While his formal training provided discipline and technique, Gros’ real education came from the school of hard knocks in the clubs and on the streets—learning the language of groove, feel, and restraint from the musical elders who had built the city’s sound. That apprenticeship took shape in the ’90’s, when Gros evolved into a first-call sideman for some of New Orleans’ most revered artists. His tenure with George Porter Jr.’s Runnin’ Pardners placed him in direct lineage with The Meters and the architects of New Orleans funk, while tours with Snooks Eaglin, Earl King, Better Than Ezra, Anders Osborne, Irma Thomas and others sharpened his musical instincts and sense of purpose. These years cemented Gros not just as a formidable keyboardist, but as a musician entrusted with carrying cultural weight. Gros’ keyboard style, equal parts Professor Longhair, Dr. John, Art Neville and Randy Newman, follows in the great New Orleans piano tradition while forging a modern and innovative style and sound, placing him in direct lineage with and a torchbearer for the next generation of New Orleans greats. In 2000, Gros formed Papa Grows Funk, a band that would become synonymous with modern New Orleans funk. Anchored by a legendary twelve-year Monday night residency at the fabled Maple Leaf Bar, PGF fused deep funk grooves with jazz spontaneity and unfiltered live energy. Papa Grows Funk released six studio and live albums, including Needle in the Groove, co-produced by New Orleans legend Allen Toussaint, toured extensively throughout the U.S. and abroad, building a devoted following before disbanding in 2013, all documented in the independent documentary film, Do U Want It? After Papa Grows Funk ended its run, Gros returned to sideman work, contributing to high-profile tributes honoring Dr. John and the Neville Brothers. The 2014 Music Mojo of Dr. John concert—later released as a live album—featured Gros alongside Bruce Springsteen, Mavis Staples, Jason Isbell, and John Fogerty, and allowed him to perform with both Dr. John and Allen Toussaint, two of his most influential mentors. The widespread devastation and social upheaval of Hurricane Katrina reshaped Gros’ purpose, deepening his commitment to telling New Orleans’ story through music. That sense of responsibility carried forward into his solo work, beginning with Day’s End (2004), followed by River’s On Fire (2016), a bold statement of artistic independence and maturity. In 2020, Gros released Central City, a joyful, intergenerational celebration of New Orleans songcraft featuring an all-star cast of local icons and collaborators. Gros’ music has also reached wide audiences beyond the stage. His performances and compositions have appeared in HBO’s Treme, NCIS: New Orleans, The Judge, and C.L.A.W.S., reinforcing his role as an authentic musical voice of the city. His songs have additionally been broadcast during Major League Baseball Championship games and NBA playoff broadcasts, placing the New Orleans funk tradition on some of the largest stages in American sports media. The years that followed tested Gros yet again. During the pandemic, he forged new connections with listeners through weekly livestreams. In 2022, Hurricane Ida destroyed his family home and rehearsal space, prompting another long rebuilding process. From that upheaval emerged Silent S Recording Studio, where Gros slowly and deliberately recorded his most inspired project to date. That project, Giants (2026), is a groove-driven tribute to the artists who shaped Gros’ musical DNA—Allen Toussaint, Dr. John, The Meters, Levon Helm, and Billy Preston. Recorded live in New Orleans with support from the New Orleans Jazz & Heritage Foundation and the Threadhead Cultural Foundation, the album captures songs refined through years of performance and delivered with equal parts reverence and risk. Today, John “Papa” Gros stands as a bridge between generations: a masterful keyboardist, seasoned songwriter, and powerful live performer who honors the past by making it move in the now—loudly, joyfully, and in real time.
Funk You
For over 15 years, Funk You has been crafting a distinct blend of soul, rock, and funk that reflects both their Southern roots and an ever-evolving musical curiosity. The band formed in Augusta, GA and is now based out of the thriving music city of Atlanta, GA. The band has built a reputation for thoughtful, high-energy performances that balance tight arrangements with room for exploration. Known for their collaborative spirit, Funk You frequently brings special guests onstage, turning each show into a unique live experience. The band’s momentum has only grown in recent years, with standout performances on the Main Stage at SweetWater 420 Fest in 2025 and Joshua Tree Music Festival, Hulaween, Beaufort Music Festival in 2024. These appearances reflect a growing recognition of their ability to connect with diverse audiences through music that is both grounded and exploratory. Funk You has released four full-length albums and two EPs, each one capturing a different phase of their musical journey. Their breakout single, a soulful tune “She’s So High”, has garnered over 1.6 million streams on Spotify, resonating with listeners old and new. With more music and new collaborations on the horizon, Funk You continues to push forward with a sound that’s both familiar and unexpected, they continue to grow their community of listeners—one show, one groove, and one shared moment at a time.
Ajeva
Ajeva is a funk/rock band from St. Petersburg, FL. The band started in 2013 and features Reed Skahill (vocals), Taylor Gilchrist (bass), Mike Nivens (guitar), and Lyndon Thacker (keys). They've carved out a sound of their own with epic melodies and distinctive vocals that pair perfectly with their deep grooves. Each Ajeva show is a one of a kind experience with the band taking their songs to different places and new heights every night.
Tickets for good, not greed Humanitix dedicates 100% of profits from booking fees to charity