Category: Beyond NYS

Venues and Musicians Across the state to require proof of vaccination

Proof of vaccination is becoming a norm across venues while musicians urge audiences to mask up in an attempt to save the live music industry from shutting down once again

The Delta variant of COVID-19 is striking back and is threatening shutdowns again across the country with cases in unvaccinated and vaccinated people climbing. In response to this surge of cases, the live entertainment industry is trying to combat the risk of shutting down again by implementing protective measures. Some venues require proof of vaccination to enter while others are asking for masks to be worn even by vaccinated individuals.

Many venues across the country have started implementing these measures including lots in New York State. With NYC requiring proof of vaccination to enter certain establishments which was announced by Mayor Bill de Blasio on August 3, 2021. The mandate will require proof of vaccination for indoor dining, gyms and performances areas in mid September across NYC. Since this announcement more and more establishments across the board are requiring vaccinations at their locations.

On August 11, 2021 All Capital One City Parks Foundation SummerStage in NYC announced that performances are now requiring proof of full COVID-19 vaccination for attendance. This new policy begins on August 14, 2021 with masks being strongly recommended and being required upon entry to the venue.

As of August 13, 2020 the Blue Note New York also located in NYC will require proof of vaccination from all customers, staff and musicians who enter the venue. Proof of vaccination may include a physical card or digital photo of the card from the CDC, NYC Covid Safe App or the NYS Excelsior Pass. Children under 12, who cannot be vaccinated, must wear masks.

AEG Presents, which is the second-largest live events promoter, is now requiring proof of full COVID-19 vaccination for attendance to events at all of their upcoming venues and shows. Proof of vaccination will be required for staff as well. AEG will not accept just a negative COVID test for entry to upcoming events. Shawn Trell, COO and General Counsel explained in his statement saying “Certain states’ regulations may override our mandate, or a few artists may not want to immediately get on board with the plan, but we know that using our platform to take a strong position on vaccinations can make an impact. The message we want to send is simple and clear: the only way to be as safe as possible is to require everyone to be vaccinated. And we’re confident that others who haven’t been ready to make this full commitment yet will follow our lead.”

In places like Rochester venues are requiring vaccinations left and right with venues like Bug Jar and Abilene Bar and Lounge both requiring vaccination for entry. Abilene Bar and Lounge’s owner Danny Deutsch posted on the bar’s website saying, “Abilene is too small a space, both inside and out, to adequately provide for a “vacced” and “non vacced” section. That being said, we hope that you’ll take comfort in knowing that everyone around you has been vaccinated.” The Bug Jar had similar reasons for requiring vaccination proof for entry saying that most touring acts “are mandating Vaccination policies in an effort to keep fans, production staff, and artists safe and we support that decision” on their social media accounts.

Musicians have started to jump on the bandwagon as well with encouraging fans to wear masks and keep social distance at their performances. Some have even started requiring vaccination at their performances.

PVRIS announced on August 12, 2021 that they were now requiring proof of vaccination or a negative test to attend the rest of their current summer tour. They explained it was to help keep their fans safe saying they, “Also appreciate those who wear masks as a courtesy for those around them. And for us(them) as well.” The band had already required masks for meet and greets and has been strongly encouraging fans to wear masks at their performances. They sent out the message across their social media platforms urging fans to play it safe so they can hopefully finish their tour.

Live Nation announced that artists will have the option to decide whether to require fans to show proof of a COVID-19 vaccination. Singer-songwriter Jason Isbell announced he will be requiring vaccination or a negative test for entry to his upcoming shows because of this option. “They’re just getting so much pushback from some of the governors of certain states who want to kowtow to their political base and try to make people think their freedom is being encroached upon,” Isbell said during an appearance on MSNBC. “I’m all for freedom, but if you’re dead, you don’t have any freedoms at all.”

https://twitter.com/JasonIsbell/status/1424734615915405313?s=20

Dead & Company announced a proof of vaccination requirement at their upcoming 2021 tour, which kicks off next week in Raleigh, North Carolina. People are required to provide either proof of vaccination or a negative Covid-19 test within 48 hours of the shows. The band has also gone a step further is safety guidelines for their upcoming tour detailing new protocols for the pit: GA ticket holders must show proof or else they’ll be relegated to a “non-pit” seating entry — even if they have a negative Covid test which will help ensure some social distancing from unvaccinated individuals.

It’s unclear if these measures will help save the live music industry from shutting down once again from COVID-19 but the measures being taken by venues and musicians to try to keep the industry afloat are commendable and appreciated by those who love live music.

August 13, 2021
Phish covers Hot Chocolate in return to Hersheypark
Phish’s 2021 summer tour has finally made its way to the East Coast with a return to the land of chocolate in Hershey, PA. Hersheypark Stadium once again played host, with the band playing their fourth and fifth shows at the venue, and the first ones here since 2010. Although plenty of rain and isolated thunderstorms joined the fray as well, there was no dampening of the spirits inside the stadium.

The inclement weather prevented fans from entering right away on Tuesday as the gates remained closed while rain pelted down on the parking lot, accentuated by streaks of lightening in the distance. Thankfully, this was the last of the storms for the day and the rest of the night stayed dry. Once given the green light, fans entered en masse and were treated to an exhilarating opening 1-2 punch of “First Tube” and “Axilla.” After such a scorching start, “Fuego” made more than sense to follow as the humidity eased and the grooves increased. Instead of rounding back into form, “Fuego” drifted for a while before turning into a “Runaway Jim.” Other Phish originals such as “Sample in a Jar” and “Llama” were peppered throughout the opening set, giving it an old school feel, while newer tunes like “Steam” and “Death Don’t Hurt Very Long” proved old dogs can indeed learn some new tricks.

While there may not have been any “monster” 20-minute jams that this summer tour has been blessed with repeatedly, Tuesday’s second set only contained one real pause as Phish weaved in and out of another set that featured a masterful blend of newer material and longtime favorites. “No Men In No Man’s Land” immediately set a course for “funky” and the band took it from there. “Soul Planet” later emerged from this before an impressive segue into the rare second set “NICU.” The last major jam sequence of the evening was spearheaded by “Golden Age” which had all of Hersheypark Stadium dancing in a collective rhythm. Longtime fan favorite “Lizards” got dropped late in the second set, the first one since Mexico 2020. The one and only cover song selection of the evening, The Velvet Underground’s “Rock and Roll” left everyone feeling alright and more than hopeful for the promise of tomorrow.

Setlist via Phish.net

Phish – Hersheypark Stadium – Hershey, PA Tuesday, August 10, 2021

Set 1: First Tube, Axilla, Fuego ->Runaway Jim, Gumbo > Sample in Jar, Steam, Sugar Shack, Llama, Death Don’t Hurt Very Long > Run Like an Antelope

Set 2: No Men In No Man’s Land > Soul Planet -> NICU > Joy, Scent of a Mule, Golden Age > Prince Caspian > Backwards Down the Number Line > The Lizards > Character Zero

Encore: Rock and Roll

On Wednesday, Phish gave a few nods to Chocolate Town U.S.A., kicking off the night with “You Sexy Thing,” by 70s funk band Hot Chocolate. They would return to the familiar riff a few times during the night, with Trey serenading the crowd and referring to them as ‘You Sexy Things.’

Despite the rain earlier in the evening as fans were arriving and pregaming in the Hersheypark lots, no spirits were dampened from the performance this night. A ‘Halley’s Comet’ clocking in at nearly 16 minutes provided liftoff for a set, thanks to Page McConnell keeping the jam going with his synth work. “Gotta Jibboo,” “Meat” and “Maze” rounded out one of the tightest first sets of the tour.

Set 2 started with a standard “Theme From the Bottom” but the true highlight came in the form of a nearly 20-minute “Birds of a Feather,” with a rainbow of lights punctuating the jam that unfolded. The chocolate references continued late in the set with Ruby (chocolate) Waves and “‘Choc’-Dust Torture,” which was also performed at Chocolate Night of the Baker’s Dozen, along with “You Sexy Thing.” “Show of Life” and “S.A.N.T.O.S.” rounded out the show, with fans setting their sites east towards Atlantic City

Phish – Hersheypark Stadium – Hershey, PA, Wednesday August 11, 2021

Set 1: You Sexy Thing, Wombat, Free > A Song I Heard the Ocean Sing, Halley’s Comet > Lonely Trip[1] > Gotta Jibboo, Meat, Maze

Set 2: Theme From the Bottom > Birds of a Feather, Bug > Light -> Party Time > Ruby Waves > Chalk Dust Torture

Encore: Show of Life > Say It To Me S.A.N.T.O.S.[1] Phish debut

Photos by Filip Zalewski
August 11, 2021
New Orleans Legend Tony Hall Talks Funk, performing with Dave Matthews, Jewel, Bob Dylan and more

In 1989, New Orleans had its own gold lit resilience of funk around town. Many helped add to the consonant grooves inside legendary buildings turned nighttime studios. Every great musician in town was collaborating and famous artists were there to help feed in the rhythm. Tony Hall was part of this golden era and is still a staple in the New Orleans sound.

Hall had been grooving with the renowned Neville Brothers on St. Charles Avenue. Tony played the chilling bass line on their album Yellow Moon. The track “Healing Chant” off the album won best pop instrumental performance at the 32nd Grammy Awards in 1989.

Tony has gone on to work with bayou locals like The Meters, Dr. John, Aaron Neville, Harry Connick Jr. Trombone Shorty, and Marc Broussard.

He has been part of infamous studio sessions with Bob Dylan, Emmylou Harris, Trey Anastasio, Dave Matthews, Willie Nelson, Joan Baez, Brian Eno, Daniel Lanois, Jewel, Edie Brickell, Linda Ronstadt, Pretty Lights, Herbie Hancock and Maceo Parker.

Producer and musician Daniel Lanois felt these sounds in his soul. He assisted in some of these collaborations and on his own work. Tony covers bass for Lanois’ famous original composition “The Maker.” It has been honored with covers by Willie Nelson, Jerry Garcia Band and Dave Matthews Band with Victor Wooten.

Tim Reynolds said this summer of his old band mate Tony, “You know those guys when you’re playing a gig, he’ll look right at you? That’s him. He’s a bad ass.” This past spring Tony just released a new studio record with his band Dumpstaphunk for the first time in seven years. He took some time to talk about the timeline on these projects with NYS Music.

Matthew Romano: Tony, Thank you for taking the time to speak with us today about your past, present and future musical experiences.

Tony Hall: Thanks man, lets get at it.

MR: Daniel Lanois claimed Oh Mercy was a record you listen to at night because it was, “designed at night. Bob Dylan had a rule, we only recorded at night.” What did that session look like behind the scenes in a house turned studio in New Orleans?

TH: We would go in at about 4 in the evening and Dan had a lot of ideas of the songs so we went through a bunch of them. Then… when Bob came… It would all go out the window. He’d start a groove and we would follow him. Let’s just match whatever he was doing.

TH: It was all of us in a circle in a room, facing each other. Very long hours on this record. So many different versions of songs.

MR: Well how about the funkiest collaboration on the track Everything is Broken?

TH: It started with Bob playing his line and we just came in. Willie (Green) grooves and I jumped in on the spot (bass line humming).

Ivan Neville, Keith Richards, Tony Hall, Don Was

MR: Was Dylan just playing harp on that track for his solo?

TH: No, he’s on guitar for that as well. He played guitar on a lot of songs and piano too. Brian Stoltz played with all of us as well on guitar.

MR: Was that just a studio experience? Did you get to bring that on the road?

TH: Just a studio record. Never got to play it live.

TH: My experience working with Daniel Lanois came from him producing the Yellow Moon Recording, Bob Dylan’s Oh Mercy, and Emmylou Harris’ Wrecking Ball. I recorded on his solo album Arcadia. He had a completely different approach.

TH: He pulls everything you got in you…out. On “The Maker,” was me noodling and I kept adding parts. He even wanted to add a harmony part to one line. It has five different bass parts on that track

TH: I met Dave Matthews in the early 90s. The Neville Brothers and DMB did a show together. I saw him in 2001 at a Emmylou Harris show and he knew as me the guy from “The Maker” that his band went on to cover

TH: When we did the Dave Matthews solo record Some Devil in 2003 it felt so good. Brady and Trey all suggested we should be a band. “Hey let’s take this on tour.”

MR: How was it behind the scenes during that legendary studio collaboration with Brady Blade, Trey Anastasio, Ray Paczkowski, Dave and Tim Reynolds?

TH: Dave had all the songs written and we just came in and added our own parts to it. When you hire people to do a record, you have them bring what they do to the table, you know? So you can give them a lot of options. You play some stuff… like this? Sometimes the first thing is the one. “How about that?” No you did it already… (laughter)

TH: I had a lot of fun with that record. One of my favorite songs is “So Damn Lucky.” And the song “Too High.” I love the end. The groove on the end is killing. We even overdubbed The Seattle Symphony to it. The big line everyone is playing together is led by Dave on the guitar. It’s killing. Its a great record!

MR: Where does he come up with those unique sweet up and down chord progressions? Are they easy to jump on?

TH: That would be a question for him (laughter). Some of the chords are open tuning with a lot of different fingerings for it. But it’s cool as shit. It works well together.

MR: Then there was the Some Devil live tour that went to every major arena in America. Headlining sets at Bonnaroo and Vegoose Music Festivals. Even a Caribbean Cruise with Bob Weir special guesting on the boat. Who chose all those great covers ranging from Sly and the Family Stone, Chaka Kahn, Little Feat, Joe Walsh, The Band, Bob Dylan, Paul Simon, Peter Gabriel, Stevie Wonder, Hendrix, Zeppelin and Stones?

TH: That was Dave and Trey’s call any given night. Ya know during the break sometimes (laughter). Let’s go do this…

MR: After meeting Trey Anastasio and Ray Paczkowski at this project you ended up in the studio with him for his Album Bar 17.

TH: The Trey thing, musically, was very talented. I didn’t know him before Some Devil. He had me come to Atlanta to do a session and sent me the songs to learn. But it wasn’t a session. It was an audition. Which is a cool way to audition somebody. Make them think it’s a session so if it doesn’t work you pay them and they just go. You don’t have to tell them they suck (laughter). But afterwards they said hey you got the gig. I’m like cool… what gig? (laughter)

Brady Blade, Tony Hall

TH: But the composition “Goodbye Head,” that song I listened to and it was a very long jam. I thought, “Oh, I got this,” and during rehearsals Trey’s like, “You have it down?” (of course). But I didn’t check the end of the tape where there was a whole ‘nother section. It got to the jam part and I just stopped. This tune gave me a run for my money. That song kicked my ass, I got to tell you that right now.

MR: Then you went on a US tour with Trey Anastasio as part of an ever changing cast on stage in 2005 and 2006. It had special guests like Stewart Copeland, Bill Kreutzmann, Jon Fishman, Skeeto Valdez and Jeff Sipe along the way on Drums. Yet It always had you on bass and Ray Paczkoswki on keys as a constant. There was even Raymond Weber from New Orleans with you holding the bottom end down on drums at one point.

Trey Anastasio, Stewart Copeland, Tony Hall

TH: Yea Raymond ended up in the band after Trey came to sit in with us for the Dumpstaphunk show at B.B. King’s in New York City. So we call some stuff I got him to do, “46 Days” and um, “Cayman Review?” Raymond killed it on “Cayman.” He was like, “Damn you hear that on the bell? That reminds me of New Orleans.”

TH: But our official live band release came from Original Boardwalk Hall Style in Atlantic City on New Year’s Eve 2006. That was the most cast with an 11-piece band. Yea, but I had a lot of fun playing with Trey. He would kick into a groove and then I’d pick up. He’s like, “OK this is your job, when it mellows out you take the way.” I think it was good for him to have someone who’s like, “Come on. Come on.”

TH: He was always adding songs though. Like that Frank Zappa “Peaches En Regalia.” By it being new at soundcheck, I would learn it that night. So afterwards in Albany, between eating, I’m making notes before the start of the set figuring it out (laughter).

MR: Heading Back to The New Orleans studios in 2017 you were a part of Trombone Shorty’s record that has the ultimate cover of Ernie K Does “Here Come the Girls.” Shorty is also on your new record this year.

TH: Yeah that’s nice. I think George (Porter) is on the original version. I’ll have to look it up.

TH: We have known Shorty since he was young. Coming up he’s always been extremely bad ass. In the beginning he used to do some shows with us and then did his own shit. Then blew up. He’s the man and puts on a hell of a show. Phenomenal player on the trumpet and trombone. It’s like nobody can touch him. But he also plays everything else like drums, keyboards and sings.

Joseph “Ziggy” Modeliste, George Porter Jr, John Mayer, Bob Weir, Bill Kreutzmann, Tony Hall

MR: Speaking of horns you were on legendary sax player Maceo Parker’s album released last year recorded at an old New Orleans hotel turned studio.

TH: Yea at Goat’s studio down in the ward, who’s Maceo’s soundman. It was fun and great to be on a record with his original track MACEO. Then great covers by Dr. John on “Right Place Wrong Time” that Dumstaphunk started doing.

MR: The new Dumpstaphunk record you just released this year has some just straight funk instrumental tracks. Where did the “Dumpstamentals” come from?

TH : Some of those came up at soundcheck. Me and the drummer Deven Truscleir started jamming on some stuff and other people came in. Ian (Neville) always records those on his phone and so do I so we can revisit them. Ian came up with Backwash when checking his rig during warm up and things like that.

TH: We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know? We did two of our favorite covers by Sly and the Family Stone for “In Time” and Buddy Miles’ “United Nations Stomp.”

MR: How about Buddy with Band of Gypsies? He also covered “Don’t Keep Me Wondering” into “Midnight Rider” by The Allman Brothers for his own record.

Tony Hall Beacon Theatre

TH: He also covered their song “Dreams.” I know those from Buddy and I found out later they were Allman Brothers songs. Just like “Down By the River,” I learned that from Buddy and then found out after it was a Neil Young song

TH: Yea Buddy’s the man. He’s one of my favorites. One of my mom’s favorites. She used to play it all the time. His live release is one of the best records. One of my top favorites.

MR: Last time Dumstaphunk played New York State was headlining the 2019 Blues Fest in downtown Syracuse. After ho urs you and Deven Trescleir on drums came for a special sit-in with the band at Funk n Waffles for a bass-leading cover of The Temptations “Standing on Shaky Ground.” Less than a month later Dumstaphunk was opening for The Rolling Stones at the Louisiana Superdome in front of 60K. Are you ready to get at it like that again in 2021?

TH: That was a great show, Most of the time when you’re an opening act people are just walking in doing your set or the place doesn’t fill up until your last song, but that show the crowd was there and it was a lot of our fans, the energy was high and we felt the love. It was our home town, it felt great!

MR: The Woodstock 99 documentary just released features your performance with Brady Blade and Jewell. Any memories of that infamous Sunday gig in Rome NY?

TH: We drove over night to the festival, I woke up on the bus at the site. I didn’t do much. I watched a few bands from the side stage. We had a good set. We stayed to watch the Red Hot Chilli Peppers show and left right before everything went down. The people from the documentary reached out about my experience there. I was only able to tell them what I’m telling you (laughter).

Tony Hall

August 10, 2021
Bela Fleck Announces New Album “My Bluegrass Heart” and Upcoming Tour Dates

NYC-native and 16-time Grammy-winner Bela Fleck marks his return to bluegrass with My Bluegrass Heart, out September 10. In preparation for this release, Fleck shared the single “Charm School,” a collaboration with fellow bluegrass musicians Billy Strings and Chris Thile.

Banjo virtuoso Béla Fleck is best known for his work with the bands New Grass Revival and Béla Fleck & the Flecktones. Fleck was inducted into the International Bluegrass Music Hall of Fame as a member of New Grass Revival in 2020.

My Bluegrass Heart is the third chapter in Fleck’s multi-decade-spanning trilogy that began with 1988’s Drive and continued in 1999 with The Bluegrass Sessions. Produced and composed by Fleck, My Bluegrass Heart carries on the bluegrass tradition of sharing music between generations.

They nearly always come back, all the people that leave bluegrass. I had a strong feeling that I’d be coming back as well.
Béla Fleck

Fleck first shared single “Charm School,” featuring Billy Strings on guitar and Chris Thile on mandolin, on July 28. The track is hypnotizingly fun – the interweaving of instruments is in a soulful, yet danceable way. The inclusion of the count off and “whew!” at the end with excitable agreeance by the other musicians feels so organic. This natural approach makes listeners feel present at the recording session, only to be brought down from bluegrass heaven once the eight-minute piece inevitably comes to an end. “Charm School” is a promising introduction to My Bluegrass Heart, proving that Fleck’s love for the genre is just as passionate as ever.

In some ways, it’s the wildest and jammiest track on the album, and yet highly melodic and organized. I feel this was the perfect vehicle for this band and the perfect band for this song.
Béla Fleck

“Charm School” is out now on all major streaming platforms and My Bluegrass Heart is available for preorder on BelaFleck.com.

Fleck has also announced he will be touring My Bluegrass Heart throughout 2021 and 2022, including a special night at the Ryman Auditorium in Nashville on January 7 with Sam Bush, Michael Cleveland, Jerry Douglas, Stuart Duncan, Sierra Hull, Edgar Meyer, Justin Moses, Mark Schatz, Billy Strings, Bryan Sutton, Chris Thile, Molly Tuttle and more.

Ticket information for the “My Bluegrass Heart Tour” can be found on Bela Fleck’s website and more dates are to come.

Béla Fleck: My Bluegrass Heart Tour

With Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz, & Bryan Sutton:

9.17 Roanoke, VA // Jefferson Center

9.18 Berryville , VA // Watermelon Pickers’ Fest 2021

9.19 Glenside, PA // The Keswick Theatre

9.21 Pittsburgh, PA // Carnegie of Homestead Music Hall

9.22 Bethesda, MD // The Music Center at Strathmore

9.23 Cumberland, MD // DelFest

9.24 Princeton, NJ // McCarter Theatre Center

9.25 Boston, MA // Berklee Performance Center

9.26 North Adams, MA // FreshGrass

9.28 Kent, OH // The Kent Stage

9.29 Cincinnati, OH // Taft Theatre

9.30 Charlottesville, VA // The Paramount Theater

10.01 Raleigh, NC // IBMA Bluegrass Live!

With Sam Bush, Jerry Douglas, Stuart Duncan, Edgar Meyer, & Bryan Sutton:

* = Béla Fleck, Sam Bush, Stuart Duncan, Edgar Meyer, Bryan Sutton

11.27 Grand Rapids, MI // DeVos Performance Hall

11.28 Fort Wayne, IN // Clyde Theatre

11.29 Milwaukee, WI // Riverside Theater

12.01 St. Louis, MO // The Sheldon Concert Hall

12.02 Des Moines, IA // Hoyt Sherman Place

12.03 Salina, KS // The Stiefel Theatre

12.04 Denver, CO // Paramount Theatre*

12.05 Jackson, WY // Center For The Arts

12.07 Portland, OR // Arlene Schnitzer Concert Hall

12.08 Seattle, WA // Paramount Theatre*

12.09 Eugene, OR // Jaqua Concert Hall – 2 shows!

12.10 Redding, CA // The Cascade Theatre*

12.11 Reno, NV // Silver Legacy Resort Casino

12.12 Berkeley, CA // The UC Theatre

12.14 Costa Mesa, CA // Segerstrom Center for the Arts

12.17 Los Angeles, CA // Theater at the ACE Hotel

12.19 Tucson, AZ // Fox Tucson Theatre

With Sam Bush, Michael Cleveland, Jerry Douglas, Stuart Duncan, Sierra Hull, Edgar Meyer, Justin Moses, Mark Schatz, Billy Strings, Bryan Sutton, Chris Thile, Molly Tuttle & more:

1.7.22 Ryman Auditorium // Nashville, TN

August 4, 2021
Newport Jazz Festival: These are a Few of Our Favorite Things

Jazz was back at Fort Adams State Park last weekend as the Newport Jazz Festival staged their 2021 program at reduced capacity and with only two stages of performances. Spirits were high, on stage and off, making for a thrilling three days of non-stop music. The playing was top-notch across the board, highlights abound, there was barely time to catch your breath. What follows is a chronological list of our absolute favorite moments.

Makaya McCraven at the Quad Stage, Friday

Drummer Makaya McCraven brought his quartet, including Marquis Hill on trumpet, Matt Gold on guitar and Junius Paul on bass, to the Quad Stage on Friday afternoon. McCraven often let his band form the rhythm between them while he danced within and around it, using his kit as more of a lead instrument. He was in constant motion, rarely settling into a groove, yet somehow managing to push and pull the quartet through multiple changes, from fusion to swing to funk to more freeform. They previewed an upcoming album re-imagining the work of Gil Scott Heron that featured some singing from Paul and spoken word recordings of Heron’s. “Misplaced That Place” gave McCraven’s kit the full workout while a cover of Tony Williams’ “There Comes a Time” allowed the band to stretch out while he established a hard grooving beat. Between the quality and diversity in his playing, we didn’t see a better drummer at the festival.

Robert Glasper Acoustic Trio at the Quad Stage, Friday

In his first of three sets for the weekend, artist-in-residence Robert Glasper presented his acoustic trio, with Justin Dyson on drums and Vicente Archer on bass. They were also joined by DJ Jahi Sundance on the “ones and twos” during a set that was heavy on improvisation. The hyper-tight quartet nee trio danced around themes of both pure invention and some more familiar, like Cyndi Lauper’s “Time After Time” or an extended riff around “Happy Birthday” played for Glasper’s young daughter Lola who was hanging with mom side stage. Glasper took some long piano breaks, sang along with some of Jahi Sundance’s spoken word samples, and also gave his bandmates plenty of space to shine. The set closed with Glasper’s 2021 Grammy-winning song, “Better Than I Imagined.” The set was certainly some of the strongest improv we saw all weekend. It seemed that the trio had enough ideas to go another hour, but unfortunately they ran up against the end of their set time and had to cede the floor.

Kamasi Washington at the Quad Stage, Friday

Kamasi Washington and his big band overpowered the Quad Stage in their appearance late Friday afternoon. They closed out the stage for the day, fortunately for anyone who would have had to try and follow them. Festival artistic-director Christian McBride summed up Washington in his introduction from the stage as “A hurricane … of music.” It was an apt description! Washington’s large band featured a horn heavy front that came blasting forth while a massive rhythmic swirl was generated from the back. It sucked you in and spat you out before you realized what was happening. Whether playing the gently melodic “Announcement” from the soundtrack he made for Michelle Obama’s “Becoming” or the racial justice anthem “Fists of Fury,” the music is powerful and moving. The set peaked midway through with “Sun-Kissed Child,” a new piece written after Washington became a father that featured his most fiery playing of the afternoon. Washington created music you experienced as much as heard.

Danielle Ponder at the Quad Stage, Saturday

Rochester soul singer Danielle Ponder emerged from obscurity and quickly won over the early day crowd on the Quad Stage. She was admittedly nervous for what was likely the biggest show of her career so far, not to mention in front of a jazz crowd fixated on minutia. It didn’t show from the get-go. She commanded the stage like someone who was performing most of her life, which she has. She mixed together love songs like “The Only Way Out” and “Holding Me Down” with songs of social and environmental justice like “Poor Man’s Pain” and “Look Around,” constructing a set that took the unknowing audience on a journey establishing a clear picture of Ponder’s immense talent and m.o. Using Nina Simone as a compass, she called an audible from the stage and lead her band through an unplanned cover of Radiohead’s “Creep.” It was already midway through the set, and she had already received a standing ovation, but she played it as a comfort to calm her nerves. The repeated lyric, “What am I doing here, do I belong here?” was incredibly apt though was answered with a resounding “Yes!” as the audience provided a second standing ovation in a row. For the set closing “Darker Than Blue,” Ponder had the entire crowd standing and singing along, “Can’t you see us rising, higher!” Thousands of new fans eager to buy whatever comes from the record deal Ponder announced she had just made.

Brandee Younger at the Lawn Stage, Sunday

The last piece of the lineup puzzle was placed just weeks away from the event, and it ended up being one of the very best sets we saw all weekend. Harpist Brandee Younger and her trio, with Dezron Douglas on bass and Allan Mednard on drums opened the proceedings at the Lawn Stage on the final day of the festival. The harp was the lead instrument but each player was superb and at their greatest moments were equals within the music, a place that was reached often. There were very little established solos. One piece ended in a short drum solo which gave Younger a laugh, since Mednard had told her, “No drum solos.” on the ride up to Newport. “In Love and Struggle,” written for the play of the same name, exemplified their penchant for three-way improvisation as it built with each instrument establishing an individually fantastic sound that meshed together to form something beyond. Younger invited Rochester’s Mikaela Davis on stage to help pay tribute to harp visionaries Dorothy Ashbee and Alice Coltrane, each celebrating August birthdays. Davis lead the trio through Ashbee’s “Action Line” showcasing the range of the harp, as each artist had their own unique style. Younger followed with a Coltrane medley to complete the harp history lesson beautifully. The set closed with a humorous nod to the pandemic with a piece titled “Toilet Paper Romance,” written during her and Douglas’ live stream events from their living room. Live music is better in person, and this was a thrilling set.

The Bogie Band featuring Joe Russo at the Lawn Stage, Sunday

The big band format got shuffled, blended, and mixed up when saxophonist Stuart Bogie brought his band to the main stage Sunday afternoon. The band was nearly a mirrored double quintet, with two trumpets, two trombones, two saxes, a flute, sousaphone, percussionist and drummer all standing in lines across from each other. The music had a New Orleans brass flavor played with a Lounge Lizards or Frank Zappa controlled chaos with a little Beastie Boys groove thrown in. Rhythms could be established by a repetitive flute or xylophone melody, from Joe Russo’s incredible drumming or multiple percussionists. Bogie played the part of band leader, frequently stepping out from his mic to stand front and center and conduct the 11-piece band. The band grew exponentially when he employed the audience to scream “Hey!” on command, which he used beyond the confines of one song. Russo was given the opportunity to play more of a lead role on “We Organize” as the rest of the band laid down a multilayered groove for him to explore regions beyond the beat. What a joyous set of music, keep an ear out for The Bogie Band.

The Jam Jawn at the Lawn Stage, Sunday

There were some great only-at-Newport ensembles at the festival, including the Vibe Summit and Jazz Gallery All-Stars, but one stood above the rest. The Jam Jawn, with Christian McBride, Joe Russo on drums, Marco Benevento on piano and keyboards, John Scofield on guitar, and Mikaela Davis returning to the stage, again uncredited, on harp. True to their name, the Jam Jawn used songs as a mere blueprint from which to start. An electric Miles Davis groove, likely “Miles Runs the Voodoo Down” turned into a free form session with the quintet eyeing each other from across the stage, either searching for improvisational cues or more often flashing recognition of great playing. Davis formed tight bonds with Benevento and Scofield, weaving harp lines enmeshed perfectly into their soloing. Festival artistic-director McBride also ably directed traffic from the stage, holding down the grooves whether on electric or upright. Russo continued his masterful drum work from the previous set with The Bogie Band. On a set-closing loose version of “Get On the Good Foot,” the band invited up a literal lineup of players from both David Ostwald’s and Stuart Bogies’ bands. Horn solos eventually became a horn backline and just like that the set was over. The hour went all too quickly, and as special as it was, we have to hope these five make music together again, it was just too good.

The Audience, Everyday

One of the key elements to live music is of course the audience. Some have expressed concerns about returning to crowded concerts and the common annoyances they can bring. But the people out enjoying the 2021 Newport Jazz Festival proved their own importance to the music. The artists fed off the crowd’s energy, it simply isn’t the same as playing to a virtual audience or half-filled room. Even at reduced capacity, it felt like the space around both stages were quite crowded the whole weekend and their excitement was infectious.

And the people came to listen. During quiet moments you could hear a pin drop. Keep in mind that at this venue the pin is falling onto grass. Then during more exuberant sets, like Khruangbin’s Friday night closer, a dance party broke out all over the lawn. Whatever the music called for, this audience was at the ready. When crowd participation was requested, everyone was at the ready to provide extra voices, hand claps, or perfectly placed “Heys!”

The weather was perfect each day and people were out in their Friday, Saturday and Sunday best. The typical concert attire of band t-shirt and whatever shorts were next in rotation was mostly dismissed in favor of a variety of fashionable dresses, button downs, pants and a very strong hat game.

It was simply a pleasure to be a part of this audience, the excellence of the music was only enhanced by being amongst like-minded music lovers who provided encouraging woos and whoops or slapped the ground or beamed a huge smile in recognition of great playing. Here’s to hoping the relationship between performer and listener can continue on unfettered, and grow to what it was not so long ago, and even stronger. We’re still stronger when we sing together.

August 4, 2021
Blind Boys Of Alabama And Béla Fleck Unite To Cover “I Wish I Knew How It Would Feel to Be Free”

The Blind Boys of Alabama and Béla Fleck have joined together on record for the first time to release a special 45RPM 7” on Alabama-based label Single Lock Records. The powerful and uplifting cover of Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” marks their first release of 2021, and it is one to remember.

Jimmy Carter (center) and the Blind Boys Of Alabama

American Christian/Gospel icons Blind Boys of Alabama and banjoist extraordinaire Béla Fleck, have collectively earned 20 Grammy Awards and scores of other accolades. Now, they share the A-Side of this historic collaboration in, “I Wish I Knew How It Would Feel to Be Free.” A Billy Taylor and Dick Dallas classic popularized by Nina Simone, it continues to serve as an anthem for the Civil Rights Movement to this day. The Blind Boys of Alabama and Béla Fleck revitalize the song in a masterful cover that fans around the world will not want to miss.

Jimmy Carter (center) and The Blind Boys perform live at Nelsonville Music Festival | Photo by Rubato

Leader and oldest member of the Blind Boys of Alabama, Jimmy Carter, has helped define American Gospel music over the past eighty years. The Blind Boys are not only five-time Grammy winners, but they are Grammy Lifetime Achievement Award winners. Carter sang with the original group, including Clarence Fountain in the 1940s while they attended the Alabama Institute for the Negro Blind together. However, he was deemed too young to tour with them at that time. Following his time with the Dixieland Blind Boys and the Five Blind Boys of Mississippi, Carter then joined the Blind Boys of Alabama. He has become a beloved member with the group for over forty years.

We’ve crossed paths with Béla Fleck on stage and socially for many years. He’s an incredible talent. This is one of the most unique collaborations for the Blind Boys. I’m excited for the song and 45 to be shared with the fans.
Blind Boys’ Jimmy Carter

Eric “Ricky” McKinnie (center) and The Blind Boys of Alabama

Hailing from Atlanta, Georgia Eric “Ricky” McKinnie began his musical career from a young age. His gospel roots propelled him to greatness after he, his mother, and his brother formed the Ricky McKinnie Singers in 1978. Later, In 1989, Clarence Fountain invited McKinnie to join the Blind Boys of Alabama as a drummer, vocalist, and tour manager. Since then, Ricky has been performing with the iconic group, leading them to awards while inspiring millions of fans across the nation. Learn more about the rest of the Blind Boys members HERE

After sharing stages with Béla Fleck in the past years, I find it to be both exciting and a pleasure to sing on a track with him. Anyone that misses this collaboration is missing one of the best.
Ricky McKinnie of the Blind Boys on Fleck and their latest release

Béla Fleck performing live at Red Rocks Amphitheatre

Bluegrass artist and master banjo player, Béla Anton Leos Fleck is a true legend in his field. Born in New York City, Fleck discovered his love of music at a young age through TV, radio, and a newly bought banjo. Years later, his relocation to Kentucky instilled within him a uniquely majestic sound that not only helped revitalize modern bluegrass, but also great success over the years. Now, he teams up with the Blind Boys to once again bring even more life to the Civil Rights classic.

I loved having the chance to work with the Blind Boys. I’ve dug their music since I first heard them, and it was such a thrill to be in the band!
Béla Fleck

“I Wish I Knew How It Would Feel To Be Free” | Single Lock Records

Single Lock Records has released this special song on all major listening platforms. Check out the release YouTube below:

For more from the Blind Boys and their legacy visit HERE along with their Spotify and YouTube. Also, be sure to listen to more of the iconic Béla Fleck via Spotify and YouTube:

July 31, 2021
Restless World Music Releases New Afrobeats Single

Restless World Music returns with the first of 5 songs to be released over the rest of 2021 and into 2022. “I No Go Play” was released on all streaming platforms July 24.

The new song perfectly represents Restless World Music’s brand of writing songs that combine different cultural influences and musical genres by combining Afrobeats, Reggaeton and R&B. Here’s the recipe for “I No Go Play”: start with an Afrobeats musical base. Add a chorus inspired by Nigerian slang. Sprinkle some pop and RnB in the bridge and a dash of reggaeton in the verse melody. Top off with a brilliant West African vocalist, and you have Restless World Music’s latest single. Listeners who like artists like Mr. Eazi, Burna Boy, Tiwa Savage, Davido, and Wizkid will like the romantic, energetic, and confident vibe of “I No Go Play.”

Earlier songs from the artist include “Precipice”, “Cyclone, “Ashes”, and “Stratosphere” with often collaborations with Candance XYZ. The follow up to the debut tells the story of complicated love. Whereas the theme of the earlier songs was natural elements and how they relate to human emotions this new track takes a more direct approach to discussing topics.

The name “Restless World” Music is inspired by the world around us, in which an ever-moving ocean of events, people, and beliefs shape each day. Songs can tell this story, and in telling it, can take us on a journey through joy, sorrow, and a thousand emotions in between. Just like the constantly evolving mix of different cultures in the world around us, songs by Restless World Music blend different musical elements, styles, and genres. Additionally, in Restless World songs, melody resides not only in musical notes, but in the sounds, syllables, and shades of meaning of each word in the lyrics.

For more information visit the Restless World Music website.

To stay up to date with Restless World Music be sure to follow Twitter, Instagram, YouTube, and Facebook.

Pre-save the new single now on Spotify.

July 30, 2021
PhanArt Atlantic City Announces Artist Lineup

PhanArt shows are back and in person, with the first installment coming to Caesar’s Atlantic City on Saturday, August 14. The event showcases more than two dozen artists, featuring posters, clothing, ceramics, photography, fine art and much more–all with a Phish inspired flair.

The last in-person PhanArt show was held on December 30, 2019 in NYC. After this long hiatus due to the pandemic, organizers and vendors are eager to enjoy another great event. Much like the last show, the Atlantic City event will present morning yoga sessions, live music by (this time by Sweeping Views), and “phan philm” screenings. This is the first new PhanArt show, with others planned for Lake Tahoe and Denver in September.

This year’s “phan philm” screenings include “We’ve Got it Simple“, a documentary exploring the wonderful world of Phish fans, and “Cirque du Cambodia“, which tells the story of two Cambodian teenagers with dreams of joining the Cirque du Soleil company.

As always, admission is free. The show will run from 12-5 PM at Caesar’s. The art show, yoga and film screenings are all located on the 3rd floor of the Centurion Tower, above the Palladium Ballroom, in Empire A & B. Check out the video below to get hyped up!

July 29, 2021
FloydFest 2021: A Music Odyssey

Nestled deep in the hills of Virginia, Floyd Fest 2021 kept true to its theme ‘Odyssey” when it provided a dreamy, cantina-like oasis for curious seekers and seasoned travelers alike. Artists including Goose and Andy Frasco & The U.N. blended into the crowd for Billy Strings and waited patiently for Leftover Salmon between their own sets in order to bask in the familiar and the favorites.

Fire ritual spoiler alert

But what really happened that weekend? Why were there mystical creatures? What was that thing that happened with the full moon and the fire ritual performed by Goose on Friday?

The Quest

Most that have traveled that far from home for a beach with tented structures that barely qualify as “chair”. Beverages served inside the protective outer layer of a large fruit elevate one’s lounging experience.

Attendees resorted to extreme measures by day 3 of hiking the hill from camp to the main stage.

Others have always felt the magnetic pull of the electrical currents flowing through consoles responsible for light and sound. The wise were beckoning.

Lockn’ The Wise looks prepared for Fred the Festival

Nestled down in a small valley of rolling hills, tents lit like little huts in a shire. Moon, red like a western sun, rising through the faraway wildfire’s haze. After hours upon hours of travel, it seemed like a mirage, or a figment of imagination.

The Village

Floyd traveler familiar with the midday sun and opts for shade and to see Chupacabra’s set.

Uncertainty and overwhelm upon arrival. The seeker arrived to a new town, hustling and bustling as it has for many years. Floyd Fest attendees in 2001 seem more like townsfolk in a small village nestled far away from any industrious city. Everyone goes about their business. No questions. Each and every person appears to have a job, a home, and a role within the community.

This staff security member has been collaboratively painting with the same group for over 10 years.

There might have been plans to have a meeting of the minds and spirits, but the lack of cell service created a mentality of embracing what was, not what could have been. Any plans to meet friends were let go at which point, the true experience began.

Moon is tight

The Celebration

Off in the distance, there was music. Light began seeping onto the edges of the forest. Following blindly on the trail, the hero contorted their way through campsites, following weaving trails until a light began to show.

As the path opened up, a mass of people gathered in the shape of a bowl became illuminated by a flood of beautiful shapes and colors. Attendees entered the area with joy and music. It felt like a dream, looked like a dream, and had the soundtrack of Billy Strings. Everyone was there.

Certain supernatural laws seemed to morph when moving through the dimensional force field that was the gate of Floyd Fest 2021, Friends seemed to appear, exactly at the perfect time, by sheer luck and with a dash of synchronicity. It was often in those moments that we would miraculously have our friends cross paths right in front of us.

Roger Gant composing ideal combinations of shapes and colors for the moment.

It was great to run into friends that I have no seen since shutdown. Usually we get to see each other when I stop in their city for tour. I was not expecting so many reunions.
Roger Gant, lighting director, Billy Strings

A patient Goose (member) Jeff Arevalo waiting for Leftover Salmon to begin.

This was more than just a little town, it was a place for many woodsfolk, elvish types and wizards to gather and celebrate the diversity that has successfully coexisted.

Billy Strings’ bassist Royal Masat

It was a place for young warriors to display the fruits of their training and for elders to inspire support within and between communities.

Goose Connections

One wiser, more experienced female traveler easily recognized the look of wonder and amazement on a young couple’s face. She approached the two after Billy’s encore and asked “Is this your first time?” The two cautiously nodded, unsure of why this was being asked. The elder was elated and welcomed the couple. She had spotted the newcomers early in the night and just had to know if her gut instinct was correct, then promptly welcomed the two. She shared that she had been attending Floyd Fest for more than a decade and it felt just as good in 2021 as it did her first year.

This long time fan of the Grateful Dead was blown away by the kindness of Goose Fans at her first show.

The beautiful thing about gathering for Floyd Fest 2021 is that the travelers and the seekers were able to share Goose through one of the highest energy ultra marathon birthday celebrations to date. Many Floyd regulars had only studied Goose through youtube and live streams, but Friday night, they were able to experience a proper southern Goose Flodown. Feet stomped. Crowd pulsed. Andrew Goedde’s smoke with white lights during “Arcadia” awakened the spirit of Tennessee Ted for the first time since Pelham. It could not only be seen, but also heard thanks to the masterful sound engineering by Sam Bardini.

Bathing in light thrown by Andrew Goedde. It would not have been the moment it was without these lights.

After two and a half hours of anthem after anthem, the young couple ran into the elder as one would in that fantasy fiction we seemed to be living in at Floyd and they were able to ask knowingly, “first time?”

Peter Anspach giving a warm and friendly greeting.

Convergence and Birth

On the eve of the full moon, there was a ritual burning of candles for one chosen bassist. This converged with a chemical reaction from energy between musical newcomers with the wise seasoned ones. The next breakout band emerged from the garden stage around the same time Turkuaz performed their Talking Heads set.

An Empress of Organos

Melt

Melt from NYC had a full and engaged crowd despite fierce competitors at the main stage. Empresses Veronica (vocals) and Marlo (guitar) seranaded the garden stage with dynamic melodies.

An Echo of A Rose, Marlo

Keys and horns dances perfectly with bass and drums. Respect for one’s bandmates for melt looked like laying down during a member’s solo. This band enchanted anyone within earshot.

Melt showing respect for their bandmates

The traveler returned home with tales of strings and salmon as well as intel on Melt for ‘heard them first’ stock brokers everywhere.

Cody the Wise

At the end of the day, Floyd Fest was summed up best by traveler Cody Wimer when he shared his thoughts on Floyd:

Home festival. Best place. Hot days. Cold nights. Music fire.

Moon is tight

CLICK HERE TO LISTEN TO MELT’S EP WEST SIDE HIGHWAY

July 28, 2021
Folk On at the Fort: Music Returns to Newport

After a year of silence, Newport Folk returned to Fort Adams this weekend with the first of two three-day events dubbed “Folk On.” The first notes to grace a Newport Festival Stage in two years were from the Resistance Revival Choir, appropriately singing Burt Bacharach’s “What the World Needs Now.” “Arts and culture change minds, joy is an act of resistance!” they announced from the Quad Stage. 80 hours later the weekend closed out with a surprise appearance by Chaka Khan leading almost every female artist still around in “I’m Every Woman” and a raucous and joyful dance party on and off stage. In between, music, reunion and reflection tangled together to lift up all in attendance.

Folk Past and Future

Newport has a keen knack to straddle the dangerous line between nostalgia and tradition. It remains true to it’s roots by respecting it’s past and adhering to its roots and principles, all the while pushing boundaries and always with an eye on what’ next.

Music history was on display throughout the weekend, both Newport’s and otherwise. Much of Friday played out like a blues revue, similar to how George Wein used to piece together programs in the early days of the Jazz Fest. British Duo Ida Mae ran through their new album, paying tribute via influence to many of the blues greats who graced Newport’s stages, like Son House and Fred McDowell, whom Chris Turpin cribbed solos from in “Click Click Domino.”

Celisse, in her bright flowing rainbow-colored dress, blasted some bad-ass blues riffs of her own, her pink-glittered amps just trying to keep up, her cover of Bill Withers “Use Me” highlighting her fiery set. Black Joe Lewis and Marcus King both brought a big band blues filled with horns, soul and funk.

The Busking Stage, a small pop-up tent thrown up on the edge of the lawn, hosted intimate performances buy lesser-known new talent and some surprising larger artists. The close-in space, stripped down performances, with fans sitting attentively in the grass surrounding the stage, harked back to the earliest days of the fest. One of the larger crowds at the stage occurred when Andrew Bird and Jimbo Mathis previewed their Quad Stage set on the smaller stage. Playing their old-timey fiddle and guitar tunes from their 2021 release, These 13, one could almost imagine they were back in 1959.

Easing back from nothing to full-on festival, the 2021 Folk On event, had a half-capacity crowd and a bunch of artists bringing a more stripped down set then their pre-pandemic norm, which provided a mellower vibe that felt more in tune with folk fests of yore. Grace Potter, in a set that spanned two days due to Friday ending early due to impending storms, played a solo set. Just her voice and a guitar or electric piano. Her voice was stunning throughout, but especially on “Stars.” Phosphorescent shunned dismissed his usual full band and was accompanied only by piano. Back to closing out the fest Saturday night, Jason Isbell was stripped down to an acoustic trio, with Sadler Vaden on guitar and Amanda Shires on fiddle and vocals. “What Have I Done to Help” pushed the format to it’s limit, all three jarring back and forth. Kevin Morby also went without his band, playing in various configurations with Cochemea Gastellum on saxophone and flute, Katie Crutchfield and a drummer. A duet with Cochemea on “Oh My God” was jaw-droppingly good. And in Crutchfield’s own set she was accompanied by only a drummer. Lucy Dacus played “Partners in Crime” without the usual Autotune for the first and probably only time ever, which she thought a folk fest “simply couldn’t handle.”

History was also explored through multiple tributes, as is generally the case at one of these things. Devon Gilfillian brought a full set tribute to Marvin Gaye’s “What’s Going On” that was surely a Folk On highlight. Multiple guests, including Joy Oladukun, Kam Franklin and Celisse, joined a big band assembled for just this purpose, that may just have been the best this music has sounded in 50 years. Sadly, Gilfillian explained, he covered the album because all these years later the country is still just beginning to get the message through.

Billy Strings also played a tribute set, to festival alum Doc Watson. Strings explained how he loves to think about Newport’s rich history, and referenced the large portrait of Watson in the green room. His quartet, seated throughout, blitzed through Watson originals and covers he made his own, like “Way Downtown,” “Summertime,” and “Shady Grove.” What the festival lacked in quantity of bluegrass was made up for in quality in this one hour set.

There were too many amazing covers to count, some highlights include: Grace Potter’s playing “White Rabbit” on her Flying V guitar; Phosphorescent boldly covering Randy Neman’s “Days of Heaven” hours before Newman took the stage himself; Joy Oladukun taking Prince’s “The Cross” for a spin, Waxahatchee working in Jason Molina’s “The Dark Don’t Hide It” with Kevin Morby; Bird and Mathis inviting Margo Price to sing on “Angels of Montgomery,” one of a few tributes paid to the late John Prine.

Pushing through the layers of history, folk’s future was also on full display. Yasmin Williams wowed the crowd with her unique lap guitar playing, particularly when she “leveled up” with tap shoe beats, calumbo melodies, a guitar hammer and even a bow. Soothing and exhilarating all at once, she is an extraordinary young guitar talent. Joy Oladukun played deeply personal songs themed around mental health and social justice. She expressed desire to “keep doing this for a long time,” and the timeless quality of her songwriting foretells that it is a dream that will likely come true. TrÃ© Burt also showcase his immense songwriting talent with meditations on time, self, and the injustices of the world. “Under the Devil’s Knee” poignantly placed today’s black struggles in a style of classic protest songs of the 60s. Yola returned to the Fort to preview her forthcoming album that will soon make her a household name, inviting Natalie Hemby and Brandi Carlisle along for the ride.

Folk Family

Any time an artist is invited to play at Newport they become a part of the Folk Family. The fans are also members of the family. With the festival on pause in 2020, this year felt like a bit of a family reunion on both sides of the stage. Some groups had matching t-shirts, some matching pins, but everyone wore beaming smiles, just happy to getting back to being amongst music lovers and music makers.

After months and months at home with literal family, artists seemed quite content to keep spending time together. The amount of related artists sharing the stage was prevalent. Ida Mae, Maggie Price and Jeremy Ivy, Jason Isbell and Amanda Shires, Kevin Morby and Katie Crutchfield. Grace Potter had her husband, producer Eric Valentine, as her “over-qualified” guitar tech, whom she also lovingly bantered about between songs.

Stronger Together

As the banner says upon arrival, “We’re stronger when we sing together.” True to it’s patriarch’s words, the Newport Folk Festival has been rife with collaborations in recent years. After a slow start to the weekend, by Sunday the normal expectation of sit-ins was back to near full throttle.

Erin Rae hosted a rotating cast of guests for a set dubbed Gentle Times, in what has become a Newport tradition. Langhorn Slim joining to lead the band in Ted Hawkins’ “Sorry You’re Sick,” Taylor Goldsmith up for “For What It’s Worth,” Nathaniel Rateliff singing on Link Wrays “Falling Rain” and around and around it went. Not too shabby for Rae’s first ever set at Newport! They were most definitely stronger together.

Singers Adia Victoria, Haley Heynderickx, Kam Franklin, Margo Price, Joy Oladukun and Nathaniel Rateliff were seemingly always within reach for a sit-in with whoever was asking. Brandi Carlisle even was available for a surprise visit or two. Celisse on the other hand couldn’t hide her impending trips to the stage when her sparkling pink amp sat atop the stage.

Caamp graduated to the main stage and fans took advantage creating an impromptu dance floor in the limited view area behind the soundboard that only grew as the set progressed. They were all stronger together.

Once and Future Sounds

The themes of the weekend all came to a head during the Sunday finale set, curated by woman-of-the-moment Allison Russell, named Once and Future Sounds. Most of the aforementioned female artists joined Russell on stage as they were invited to “join the circle.”

“We’re two crescent moons forming a full moon… our circle is unbroken since 1959 [the year of the festival’s founding] … roots, branches, it’s our time to rise.” Russell explained through an opening monologue. Caroline Randal Williams interspersed the set with performances of her poetry while Yasmin Williams and the house band laid down beautiful backing music. One line in particular connected the dots perfectly to the festival’s history, future and to the present theme of the set, “Sister Rosetta Tharpe distorted those strings because there is no man made box that can tell our story.”

Celisse joined “the circle” to bend some strings of her own in a stirring performance of “Eyes on the Prize.” Many of the women playing the festival were invited into “the circle” to add their voices too: Margo Price, Kam Franklin, Adia Victoria for Tina Turner’s take on the Beatles’ “Help,” Franklin premiering her own song, “Don’t Get Caught Sick,” Yola, Celisse, Brandi Carlisle, and Franklin paying tribute to Mavis Staples with “I’ll Take You There,” Carlisle and Russell playing Alicia Keys’ “A Beautiful Noise” … it was a soul-stirring set through and through. And just as the set seemed to be wrapping up, the surprise of surprises, as only Newport can bring them, Chaka Kahn arrived on stage to bring that dance-party we mentioned earlier.

After a two-year wait for music at the Fort, Newport Folk provided a perfect blend of past, present and future with the right amount of the expected and unexpected. As always, it just leaves us wanting and waiting for more. For some lucky fans, that’s just what they got, with the second three-day event underway. Stay tuned for our coverage from that soon.

https://www.youtube.com/watch?v=dw1fuqWFc4Y

July 27, 2021