Newport Folk Fest has hot start
Fort Adams State Park, Newport, R.I., July 26, 2024
Reviewed by Marc Cantor and Josh Cantor
Early attendees at the Harbor stage were treated to a beautiful, inspirational and humorous set by William Prince, Canada's JUNO award (think Canadian Grammys) and 2024 John Prine Fellowship recipient. The direct charm, humor and open demeanor of this folk-country singer-songwriter, a member of the First Nations from Manitoba, masked songs with simple, yet powerful lyrics. Paying homage to his admitted hero Prine, Prince joked that the similarity in the spelling of their names made them neighbors in record store bins. Through songs like "Can't Put a Price on Piece of Mind," he reminded the audience of the importance of being present, and "being home."
Sir Woman,a project by Austin's Kelsey Wilson (also of the band Wild Child) is steeped in groovy funk/soul, embracing vibes over lyrics. For one of the earliest bands on the schedule for Newport's first day, this posed a welcome wake-up and starting gun. The seven musicians, including a duo of lead singers and harmonies from the others, created a large and loud sound. Guitar and drum solos, as well as Wilson's soulful voice, fueled the late morning set. The last song, "Blame it on the Water" from 2020's self-titled debut was a notable stand-out.
Singer-songwriter Billie Marten, a first-timer to Newport from England, engaged listeners with her ethereal, lilting vocals and message-driven lyrics and was even brave enough to introduce some never-before-performed music.
Glitterfox, a new rock quartet out of Portland, Ore., consists of married couple Solange Igoa (vocals) and Andrea Walker (guitar), Eric Stalker (bass) and Blaine Heinonen (drums). With relatively few studio recordings under their belt, their live shows are paving the way for a 2025 debut LP. Igoa's voice recalls Stevie Nicks, and the music's Southern Rock tinge shows a clear Fleetwood Mac influence. Igoa, hyped up on adrenaline and bouncing around the small stage and through the sizable crowd, appeared elated to be here, a sentiment that the audience clearly echoed. Highlights included the single "TV" and a song in Basque (Igoa's family is French Basque) that showed a welcome and impressive variety in style and sound.
Big Thief guitarist, vocalist, and sometime songwriter Buck Meek began his indie country-infused set accompanied by most Big Thief band members with the exception of Adrienne Lenker. In his nasal twang, he offered up a diverse group of story-telling songs, some his own, some new and some from the band. Lenker joined late in the set to help regale the crowd with Big Thief's "Certainty."
An enthusiastic Festival attendee was overheard boasting that she never missed an opportunity to see skyrocketing bluegrass star Molly Tuttle and her superb and talented band Golden Highway. From the ecstatic reaction of the Fort audience, she was not alone in her opinion. Tuttle showcased her singing and musical chops, with toe-tapping and head bobbing tunes such as "Alice in the Bluegrass" and "Where Did All the Wild Things Go." Enhanced by the band's accompaniment and soaring harmonies, Tuttle and crew owned the crowd, later asking it join them in her tribute to folk legends Woody Guthrie and Pete Seeger. Tightly circled around one microphone, Tuttle and bandmates joyfully belted "Big Backyard" and "This Land is Your Land" as the audience gleefully sang along. Tuttle recounted her last experience at Newport playing with her "idol" Dolly Parton, and good friend and former roommate Billy Strings. As this performance demonstrates, in the future, others may gladly recall the times they were able to play with her.
Boston based singer-songwriter Alisa Amador had nearly given up on her music career until she was awarded the 2022 NPR Tiny Desk contest. At the human-powered bicycle stage, the bilingual (Spanish and English) performer showcased her stunning voice and very personal tunes from her most recent offering "Multitudes," and even added a cover of Radiohead's "Don't Leave Me High." Amador is personable and relatable, and appeared comfortable enough with her appreciative audience to rhetorically ask, "if by the end of the set, you know what genre this is, please let me know." Whatever the genre, she was very welcome.
Wednesday is a constantly evolving indie rock band from Asheville, N.C. Active since 2017, the band has released five studio albums to date, including 2023's acclaimed "Rat Saw God." Incorporating a novel mix of shoegaze, grunge and a bit of a country twang, Wednesday includes singer Karly Hartzman, guitarist MJ Lenderman, lap steel player Xandy Chelmis - who wrestled more than admirably with technical issues beyond his control - drummer Alan Miller and bassist Ethan Baechtold.To those unfamiliar, the term "shoegaze" is used to describe a genre known for the performers making more eye-contact with their effects pedals than with the audience, so the band's inclusion in a folk festival that encourages togetherness and relatability is a bit odd, but certainly not unwelcome. By far the loudest set of the day, the songs' melodies shone through beautifully. One particular highlight was "Chosen to Deserve," which put Hartzman's loud-soft-loud vocals, Lenderman's impressive rock guitar work and Chelmis's twangy lap steel on display.
A welcome fixture to the Newport experience, Allison Russell, is, by many accounts, the festival's conscience, continuing to use the music to not only entertain, but to sound a clarion call of the world's social injustice, as well as a beacon of its promise. She masterfully held court on the Fort stage, infusing her soulful R&B inflected vocals with emotional appeals. "Dreams and miracles happen here," she announced to the crowd. Preacher-like, with eyes closed as if in prayer, and backed by her band Rainbow Coalition, she swayed and danced, alternating between vocals, clarinet and stringed instruments. A highlight was her rendition of "Eve Was Black."
Fans eagerly anticipated a TBA performance at the Quad stage, speculating as to the identity of the unannounced performer. Those who were hoping for Beck were rewarded, albeit after a 20-minute delay due to an accident on the bridge approaching Newport. Admitting (and sounding like) they had not been able to rehearse, Beck and his band roughly attempted a historical journey through folk, beginning with Dylan's "Maggie's Farm," It was not until Beck finally performed as Beck, playing favorites such as "Loser," that he regained his form.
On the Harbor Stage, Chicagoan Petey combined his brand of breezy indie folk with the dry comedic wit that has made him one of social media's rising stars. He was joined for a few songs by friend and fellow indie darling Miya Folick, who offered her angelic voice in harmony. Petey's songs are surprisingly earnest – in contrast to his often hilarious comedic banter - and lightly steeped in Emo. He repeats phrases and guitar lines that envelop the listener in a warm embrace. During his set, a swarm of dragonflies had descended on Fort Adams, and perched atop the fingertips of audience members. It was a surreal moment, elevated by Petey's songs.
Muna, the indie band fronted by singer-guitarist Katie Gavin, pleased and strongly connected to the crowd of enthusiastic followers. Before launching into their popular "Kind of Girl," dedicated to those in the transgender community, Gavin pointed to the value of personal growth, change and awareness.
The psychedelic soul/rock of Austin's Grammy-nominated Black Pumas blessed the festival's main Fort Stage. Lead singer Eric Burton was pure electricity, commanding the stage and working the crowd (even walking deep into the crowd mid-song at one point). The band has been around since 2017, and driven by a pair of studio LPs and high-energy live shows, they have developed a solid following.
Audience members were eager to sing along and participate with claps and vocalizations when prompted by Burton. Besides the hits, including 2024's "More Than a Love Song" and 2019's number-one single "Colors," the highlight of the set was when the legendary Mavis Staples was wheeled onto the side of the stage. While she didn't sing (in this set, anyway), she sat and danced along with the band's grooves. Burton and Staples shared a short dance during one of the final songs of the set, a display of pure joy and love.
Over the past few years, lead vocalist and primary songwriter for Big Thief, Adrienne Lenker, has built up a successful solo career, as well. Based more in her acoustics and poetry than in the electric stylings of the larger band, Lenker is able to showcase her songwriting skills unencumbered. Sitting alone on the Quad Stage with just an acoustic guitar, she drove home the image of what many may conjure when they think of a folk singer. She is unassuming and soft-spoken, and the honesty and imagery of her songs are heartbreaking and human. The lack of other instrumentation allowed the raptured audience to clearly listen to the breathtaking lyrics and gentle finger-picking.
Among several unreleased songs in the set, Lenker played a new song, "Incomprehensible," that drew an extended standing ovation mid-set. Nearing the end of the set, Lenker brought out Big Thief bandmate and fellow festival performer Buck Meek to join her with his own acoustic guitar. The two sat side-by-side, affirming their love for each other (Lenker and Meek had been married for several years in their 20s), and how much they enjoy singing together. They even recalled early days sleeping in the band's van.
Indie-rock Irish heart-throb Hozier closed out the first day with generous and effusive conversation, poetic lyrics, in addition to his extraordinary vocals which range from the falsetto to deep and breathy. He joked to the appreciative and often fawning crowd that he was so warm that his internal temperature made him safe for consumption.
Before being joined by touring mate Russell for "Work Song," he worked through crowd favorites, including "Unknown," and "Cherry Wine," one of the first songs he released nearly 10 years ago by his estimation.
Fan highlights included "Would That I" (complete with audience accompaniment), "Almost (Sweet Music)" and "Too Sweet." Before including the (now nearly de rigueur) plea for peace in the Middle East and end to the occupation of Palestine, he credited Staples and Joan Baez for their influence in supporting the American Civil Rights movement, which, in turn, influenced the Civil Rights movement in Ireland. Closing out the day, he welcomed both legends on stage for a moving rendition of The Band's "The Weight." The crowd sang along with gusto and much gratitude.
Sunshine and great music reigned once again in Newport, as the festival continued to fulfill its promise to warm the hearts, ears and consciences of all blessed to attend.
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