Wayzata has long prided itself on honoring tradition, celebrating community, and stewarding its place on the shores of Lake Minnetonka with elegance. But in denying the permit for WAAM Fest, the city missed a critical opportunity to demonstrate that those same values can grow to include a rising generation.
Let’s be clear: this isn’t about Electronic Dance Music as a genre or whether every neighbor loves every bassline. It’s about whether Wayzata wants to be a city that listens only to what’s familiar—or one that learns to listen to its future. Concerts like WAAM Fest aren’t new in structure; what’s new is the demographic asking to be seen. While the community has warmly embraced family-friendly rides, yacht club parades, and much larger classic rock tributes, WAAM Fest was one of the few recent proposals that reflected what teenagers and young adults actually engage with today.
Yet despite years of successfully hosting large-scale concerts on the lakeshore—including performances by Brad Paisley, Dierks Bentley, Jennifer Nettles, Big & Rich, ZZ Top, and Sammy Hagar—the City Council this time cited the format of the music as a key reason for denial. Specifically, electronic dance music (EDM) was flagged as incompatible due to community complaints. That marks a notable departure from past precedent, where genre rarely, if ever, played a decisive role in event approval.
Some councilmembers acknowledged the high quality of past productions, even praising promoter Rick Born’s professionalism and community investment. But others expressed discomfort with the timing, volume, and fit of WAAM Fest, even while affirming the event was well-managed. Have we, however unintentionally, created a kind of “Rick Born Tax”—a higher bar for certain event holders, audiences, or music formats? And why is the City requiring a cut of ticket sales as a condition for issuing a permit?
It’s worth pausing on Born himself. Ask around town, and you’ll hear stories of how he treats employees, tenants, artists, and concertgoers—with care, creativity, and class. He doesn’t throw parties for profit alone; he brings music that resonates across generations and invests deeply in this place. His summer music series has helped transform Wayzata into a marquee live entertainment destination—an identity many towns would love to claim. Another producer without deep ties to the community may not receive feedback with the same openness and goodwill that Rick Born consistently has.
To see this permit denied—not due to safety violations or planning failures, but because of musical style and noise complaints—is disheartening. By now, the City and its staff should expect these events as part of the annual rhythm and be well-equipped to manage them smoothly. Pointing to a lack of 90-day notice feels less like a substantive barrier and more like a convenient excuse to side with the complainers.
No one is suggesting that community concerns should be ignored. Noise, crowd control, and staffing are real issues—and they deserve real solutions. But these challenges aren’t new, and they’re not unique to this event. With clear communication, thoughtful planning, and a spirit of collaboration, they can be addressed without defaulting to denial. Other events with similar or greater logistical impact have found a path forward. Why not this one?
Critics focus heavily on EDM’s energy and crowd draw. But generational shifts in music and culture have always stirred discomfort before becoming legacy. Elvis, the Beatles, the Rolling Stones—what once shocked America now fills its memory books. Cultural vitality requires new expression. Denying that expression—particularly when presented in a ticketed, controlled, professional format—is a rejection not just of music, but of the people who identify with it. Rick Born deserves huge credit for bringing Steve Aoki to Wayzata last year—one of the most recognizable performers in the world for EDM and a major draw by any standard.
Each summer, large-scale private music events on Ferndale Road draw significant attention—and, according to city records and neighborhood accounts, more noise complaints than WAAM Fest ever has. Despite this, those events have continued to receive permits year after year, with little public scrutiny and no apparent effort by the city to impose similar restrictions or deny access. Unlike WAAM Fest, which is professionally produced, ticketed, and designed to be inclusive and controlled, these private gatherings are often less regulated and lack the same level of accountability. The contrast raises questions about consistency in permitting standards and whether the city applies different rules depending on who’s hosting—and who’s attending.
Born’s concerts have become a substantial part of James J. Hill Days—a signature event that reflects the heart of Wayzata’s civic spirit. With its bustling vendor booths, carnival rides, and lakeside charm, it continues to shine as a cherished tradition. The Wayzata West Metro Chamber of Commerce deserves deep appreciation for orchestrating such a complex and beloved celebration with warmth and excellence.
But here’s an invitation to all community leadership: try viewing the weekend through the eyes of a teenager. Walk Lake Street not as a homeowner or parent, but as a high schooler. Notice how many booths are geared toward adults—home services, healthcare, financial planning. Most of the carnival rides may delight younger children, but only a few offer a draw for older teens. Beer gardens, by design, are off-limits. Yes teens can attend the daschund races and buy food from the food trucks, but there seems to be something missing. For a group eager to belong, to gather, to celebrate safely in their own way, there’s often no clear place to land. The concerts proposed by Rick Born would have helped to bridge that gap—offering a professional, energizing experience that speaks to them directly.
WAAM Fest offered a rare chance to change that: a curated, age-appropriate music experience designed for high school and college-aged residents. Turning it down didn’t just mean one less activity. It signaled, however unintentionally, that this version of fun might not belong on the lakeshore.
We’re not suggesting Wayzata sacrifice peace or dignity. We’re suggesting it welcome new expressions of joy—especially when delivered with planning, professionalism, and the same reverence we afford the same or similar events. Once a modest festival, James J. Hill Days has grown into a major regional draw, in large part due to the energy brought by Born’s music productions. The absence of a headline concert this year will be noticeable—on the stage, on Lake Street, and in the crowds who might have come.
The city should revisit this conversation—with openness, with fairness, and with the understanding that inclusion is not just about who gets to ride the ferris wheel. It’s about who gets heard.
WAAM Fest isn’t just a concert. It is a chance for Wayzata to say to its young people—and to teens and college students across the surrounding communities and the region—“You belong here, too.” It offered a rare moment where the energy, sound, and culture of a new generation could be reflected on the lakeshore, not as an afterthought, but as a welcomed part of the community’s evolving story.
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