Dear Dakota

from volume 03 issue 08

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Words & Photo: Joel Mora

After their four-and-a-half-hour drive and six-hour wait it’s Dear Dakota’s turn to hit the stage at The Talent Farm in Pembroke Pines. Drummer Eric Millsaps sets up his kit, which he doesn’t allow anyone else to touch; Zane Bezesky practices his mic swinging, checking the circumference of his twirls and making sure he doesn’t harm any of his bandmates; and James Patrick, Mike Gray, and Tyler Cole tune their guitars and bass.

The Gainesville pop-rock group knows it’s important to have a good show – it’s their first time in South Florida. Before they start, the band put their hands in a circle and say, “Let’s have fun!” They turn around and encounter the dead faces of the 15 people in attendance.

Bezesky, with the energy of an artist in an arena, screams, “We’re Dear Dakota. Let’s ROCK OUT,” and the band dive into their set.

Playing a show in front of 15 people might be familiar to any band that’s been together only 11 months, but Dear Dakota have reached milestones that for most bands require more years and more facial hair. They’ve opened for Motion City Soundtrack, played in front of thousands at Gator Growl, and have clothing and instrument endorsements.

The band credit their successes to their hard work and dedication.

“For Gator Growl we only played ‘Ode to an Ex’, but we practiced it at least 200 times that week,” says Cole.

“Dude, I crack the whip,” adds Patrick.

With their EP, Sink or Swim , coming out in February, the band hope to gain more attention with their self-described “pop for the introspective.” Their melody-driven sound and emotion-dissecting lyrics have created a fanbase stretching from junior high kids – they recently played at a middle school – to the college crowd. Their style grabs from both Anberlin and Journey (“Steve Perry is my hero,” says Bezesky); However, they try to create their own identity with songs like “Summers in FLA.”

The show at The Talent Farm is their attempt to gain exposure in South Florida. But as one starts getting closer to the venue and see the open fields around it, one realizes that a lot of the exposure is going to the horses – literally. Dear Dakota still perform with every mic swing and guitar toss they would’ve included in a larger show. With Bezesky pointing at the audience to join in their fun, Cole starting a handclap and Patrick headbanging, the audience approaches the stage and starts dancing. After the set, they give CDs to a group of girls who sang to most of the songs.

“There are no guarantees in being in a rock band,” says Patrick. “You just got to get nuts, get sweaty.”