The Maple House Festival completed its inaugural presentation in a large retired livestock pasture on the verdant rolling hills of the Hartwood Acres Park in Pittsburgh PA. It was no coincidence that the festival was also a Parks Foundation benefit. The beautiful park area flanked by maple trees is, in other moments, a pleasant spot for a summer hike, picnic,  or horse ride.  It is also home to free summer concerts offered by the city, in a more casual setup.

Since the 2021 Astroworld debacle, expectations for a new music festival are not exactly high these days. Getting through a festival without rain, ruined muddy shoes, or worse is kind of an accomplishment. Festival evacuations for thunderstorms can be a kind of nightmare. Maple House fest even handled a successful evacuation and reinstatement with competence.

Unlike many festivals I have experienced, the Maple House Festival was exceptionally well-managed and run with almost an unprecedented level of hospitality for its pricing. It was also the first festival I have witnessed to-date, that included buffet lunch and dinner for its VIP attendees along with light beverages (soda, wine, beer, and water). The good food, a testament to the local good food scene, and to the desire to 'prove it' to us out-of-towners. Outside the VIP area regular mortals enjoyed gourmet popcorn, ice-cream, hot dogs, fried dough, and pizza along with their local craft beers at comfy umbrella’ed picnic tables.

I talked to more than a handful of festival-goers and the consensus was that patrons were generally happy to be out of their homes. Strangers talked to me over the railing of the photo pit a good deal more than usual— people were ‘coming out of their isolation’. As the sun rose into the afternoon and temperatures soared into the 90’s.  People seemed hot and happy, and happy to be co-mingling maskless.

More than a few attendees noted that they came to the fest to hear The Black Pumas, whose anthem ‘COLORS’ got heavy airplay during the past pandemic. They would get to hear it.

Musically, the fest was marked by both smaller local acts, and newcomers, as well as bigger names presented on two stages. Thanks to a flight delay, I arrived a little after the first two acts went on, and arrived just as Eric Gales was wrapping his blues guitar set at the smaller stage present, labeled the Gibson, for its sponsor.

I wandered 1000 feet over to the main stage, to hear Welshy Arms— a dynamic blues rock band that gave out so much energy during the first three songs, all the photographers were nodding ‘these guys are good’… as they exited the photo pit.  I stood at a distance and enjoyed their set.  Finally wandering back to Gibson.

Balancing the rock energy, with downtempo vibes was the trio of harmonizing sisters who appeared next: JOSEPH, on the Gibson stage. By the time JOSEPH had wrapped its set the festival grounds were 60% carpeted with picnic blankets inhabited by lounging patrons.

I bounced back over to the main stage to catch RIPE— who’s lead singer seems to be channeling Jack Black in School of Rock in sheer joy. Again, the photographers leave the photo pit bopping, and we head over to chill out at the Gibson stage with the indie pop sounds of Noah Kahan, who remarked that his mom lives in Pittsburgh, and he did his momma proud with his sweet lyrics and folk guitar.

The duality of musical experiences continues between high energy rock, to chill energy groove between stages. From Noah Kahan, I move to Elle King on the main stage. King lays down blistering banjo licks and jokes that every song she’s written ‘is about beer’. Small children are dancing, and adults are tapping their toes on picnic blankets. It’s back to the Gibson stage for the nearly smooth jazz of Lake Street Dive, with lead singer Rachel Price’s voice in fine form, bubbling effervescent notes over the verdant treeline.

The big local act of the festival was next on the main stage: Ghost Hounds, an R&B style group that just hasn’t gotten out like Black Pumas has. They deserve a listen— and delivered a high energy set. By the time they wrapped the crowd was up from their blankets grooving. There was a momentary pause, and just as the audience prepped to move to the Gibson stage to catch the Pumas - a voice came on the PA beckoning festival goers to take shelter in their parked vehicles from a thunderstorm that was headed towards the vicinity of the festival grounds.

Festival attendees moved calmly to their cars, and about 30 minutes later the storm clouds had blown over, and the fest signaled re-entry on social media. The patient were rewarded by calm and easy festival re-entry— and a lovely downtempo set by Black Pumas. Black Pumas served as a great act in their own right, but also as a groovy opener for fest headliner Jason Isbell and the 400 Unit. Isbell performed a both energetic and mournful set, ending the fest with an echoing and perfect version of Cover Me Up. Guests retreated quietly to their cars, happy, full-bellied, and ready to rest.

I'm hoping to see a Maple House Festival year two. I'd go. The thoughtfully paced music lineup was better than many a festival I have experienced, and I'll be curious to see what they come up with next.

Check out more photos from Maple House Festival 2022.

Cleveland Ohio is home to many things rock n’ roll thanks to the presence of The Rock N Roll Hall of Fame.  Neighboring Kirtland Ohio is home to the area’s largest summer festival: Wonderstruck.

The Elevation Group’s flagship festival, Wonderstruck is in its 2nd year under this particular nomenclature (and in its second year of Peter Max influenced graphic design). It emerged from the LaurelLive music festival of earlier years.  With an audience of about 7000-8000, this year’s fest saw three stages sprawling across the dry grass covered hills surrounding Lakeland Community College.  The college’s grounds also provided a conveniently spacious parking lot.

Like other festivals managed by The Elevation Group— Wonderstruck presented a well-curated and diverse lineup of acts (28 in total).  The two larger stages saw acts that varied in genre from folk to funk, pop to rap, from post-punk to electronica.  The RADD Stage, the third smaller stage present was tucked near one of the food concession areas and shaded (and decorated) trees.  This smaller stage  hosted 10 up and coming bands who largely fell into the garage rock / indie pop genre.  The standout in this lineup was probably Cousin Simple', who performed with ferocious energy, reminiscent of Cage The Elephant during the first day of the festival.

In between stages were family friendly bouncy houses, games, face-painting, graffiti walls, and a large shade structure for sensitive young and old complexions.  There were vendors on the 'shopping side that sold tie-dye, clothing, jewelry, cosmetics, hats, and inflatable loungers,  Two separate food concession areas dished out a variety of delicacies, and those who were lucky enough to be in VIP ($275 pp for the weekend) were also treated to an included lunch and dinner in their ticket as well as all-day snacks and non-alcoholic beverages.

But the real bang for the buck was the music.  Priced at $159 for a weekend GA pass, $99 a single-day GA, or $50 a day for students-- the fest was a good value. The average ticket price for a stadium show of The Lumineers runs around an average of $100-120 on its own.

Highlight Day 1 - Saturday July 9th

DETENTION

To open WonderStruck was a very young band (3/4 of the band in still in high school) from Akron Ohio - Detention.  Musically, Detention straddles a spot between The Ramones, both in sound and lyrics, and Blondie in look.  Band mates were clearly having a great time on stage, and communicated it to the crowd infectiously.  At 1pm people in the crowd were dancing in the bright hot sunshine.

TAI VERDES

Anyone who’s seen Tai Vderdes before knew to expect a great performance.  The lanky singer appeared in midday heat in a stylish denim suit and cooling cornrows. He first burst into 'A-OK', his most famous tune, moving swiftly to “Last Day on Earth’ in a high energy rap-soul fusion set that saw him shed his jacket just before the third song.

24KGOLDN

A high energy set punctuated by a visit from TAI VERDES and a reprise of the A-OK song that 24KGOLDN remixed. Rap fans rejoiced, and many.

ALL TIME LOW

Adoring female fans waited for the arrival of ALL TIME LOW, and the lead guitarist was clearly entertained by their presence as he flashed a ‘vexed and waxed’ sign on the back of his guitar.  The band plowed through hits ‘Monster’ and ‘Dear Maria Count Me In’ as well as a cheerful cover of The Weeknd’s ‘Blinding Lights.’  By the end of their set, the size of the appreciative audience was immense.

THE LUMINEERS

As night fell The Lumineers began their set with 'Brightside', from their most recent and album of the same name.  What followed was a paired down version of their stadium tour, complete with a drum kit that emerged from a stage runway, and variations of songs that were more intimate paired down acoustics.. The set sprawled through a total of 21 songs (5 in the encore) and ended on the infectious 'Stubborn Love'.  For a festival goer, this was a very good value for a headliner performance.

Highlights Day 2 - Sunday July 10th

MICHIGANDER

At the start of Sunday we were treated to a lively set by the indie pop Michigander who’s single was oddly familiar (as they are in current airplay on several Sirius channels)..

BIG FREEDIA

At one point during Big Freedia’s set she had at least 10, if not 20 members of the audience up on stage playing along in a booty-shaking routine.  The joy and hilarity of this was apparent as I walked around observing a bemused audience, some who fell off their inflatable loungers, giggling.

DEAN LEWIS

Fulfilling the ‘teenage girls delight’ category was Dean Lewis, a handsome Australian who is more vastly famous in his homeland than perhaps in the US.  Still, the ladies lined up early to enjoy his sweet & soulful alt-rock tunes.  

SAINT MOTEL

Occupying the vaguely euro-pop/indie-pop category, Saint Motel charmed the audience with a slick set featuring hits, Sisters, A Good Song Never Dies, and the ear worm ‘My Type.’

MICHAEL FRANTI & SPEARHEAD

If you haven’t yet seen Michael Franti & Spearhead, you should.  Franti combines music, poetry and rap in a way that’s hard to describe, but his positive vibe is infectious.  People were dancing with gusto.  Of course his multiple forays into the crowd itself didn’t hurt nor did his bringing fans up on stage to sing with him.

VAMPIRE WEEKEND

Because Vampire Weekend can take an extended break producing a new album, and because we’ve all been in a pandemic-induced break of another kind— the arrival of Vampire Weekend as the WonderStruck finale was even more special.  The band, which has not performed often lately, was in fine form, careening from the opener ‘Bambina’ into the favorite 'Cape Cod Kwassa Kwassa' and ending in the ever popular ‘Walcott’ , a total of 20 songs.

On the way home a fan complained that he was going home to put the song ‘Yaweh’ on because it was missing from the Vampire Weekend set.  And indeed, Vampire Weekend did play that exact song at another Elevation Festival in Indianapolis, the month earlier.  Vampire Weekend delights in mixing up their sets for each performance.

The last of The Elevation Groups festivals this season WonderBUS occurs in Columbus Ohio on August 26-28th.  Detention and The Lumineers are on that roster as well as Lorde.

Check out more photos from WonderStruck Festival 2022.

THE THING festival returned to the historic Fort Worden of Port Townsend Washington after a three year hiatus. 'Fort Worden'-- the idyllic filming location for 'An Officer and a Gentleman'-- is presently a decommissioned Navy base that has been renovated into a college. Its sprawling parade grounds next to the ocean make a pretty location for a festival, and for those who camp, the nearby hillside is a picturesque campground with maritime views.

The festival sees itself as a kind of child festival, of Adam Zacks retired Sasquatch festival.  Much like a child, THE THING is a much smaller, curious, and exploratory entity as far as festivals go.  Zacks himself made his presence apparent and was seen enjoying both grounds and events.  The entire event was a benefit for
Seattle Theatre Group, and in a nod to passing arts traditions on to younger generations-- kids under 12 were allowed into the festival for free. 

With two acoustically well-divided stage areas, a small theatre, a church, and an auditorium among its venues, there was much to experience.  If my writeup leaves something out, there was simply so much to do. The festival covered more than just music, with dance, comedy, lectures, a game show, yoga classes, and art-making mixed in... as well as a splendid experiential architecture installation-- the Luminarium.  

A festival highlight - The Timisien Luminarium was designed by Architects of Air.  It looked like a bouncy house on steroids on the outside.  Inside there was no bouncing, but the maze of round walls and chambers bathed in LED hues made you feel like you were exploring someone's internal organs or an organic spaceship. I wondered why I hadn't seen one before in my years of festival coverage...and then I realized that the structure was probably not well-suited to the average trampling hordes of teenagers seen at the larger festivals.. (It could be sabotaged and deflate).  The structure also probably wouldn't have been a pleasant experience in 90 degree weather of a Bonnaroo-- yet in the mostly 70 degree weather of THE THING, made the shade of the structure pleasantly temperate.  It was probably also the perfect spot to lie back and listen to the Goose set on Friday night.

Musically THE THING was also an exploration with the artists presented being a mix of the familiar and identifiable and local while also presenting just about every audience member with some kind of music to discover.  There was no bad music at THE THING, but there was definitely music you had never heard or seen.

Friday August 26th

Fest day one delivered a range of sets from pleasant to outstanding. Wet Leg graced the main stage in the middle of the afternoon, and by their second song 'Wet Dream' had set the afternoon vibe to midtempo indie rock.  From Wet Leg, I wandered over to Sparks, a new wave band who enjoys more of a cult following in Europe than the states.  Sparks has barely been seen at festivals in the USA, yet they delivered a lively pop set with instantly hummable tunes.  Upon leaving Sparks, I was in for another treat from another pond: Hiatus Kaiyote of Australia.  Lead singer Nai Palm romped across at the main stage in a onesie adorned with sequined hand prints, delivering a funk-rock set with heavy garage rock vibes.  As the sun set over Fort Worden, the only Sub Pop artist of the fest, Father John Misty delivered a scintillating soft rock suppertime set.

Faithful to their rise, and drawing the largest audience of the day, Goose delivered a cheerful and pretty hour and a half long 8 song jam painted with the lighting director's full arsenal.  

Friday night saw the close of THE THING in the comedy performance of Triumph the Insult Comic Dog.  The puppet-comedian packed the fest's auditorium full of laughs. 

Saturday August 27th

Fest day two began with discoveries in form of a very young set of performers who included among them, a teen guitar prodigy. Osvaldo Ribas who played a magnificently lovely classical guitar piece he had composed.  Moving to the main stage with Shaina Shepherd, a cheerful bright soul vocalist whose cover of the song “Never Be Another You” by Lee Fields and The Expressions was featured in Nordstrom’s 2021 holiday campaign.  (Ms. Shepherd would later be seen in the crowd dancing to Durand Jones.)  I wandered from her set through the diverse genre presentations--Helado Negro (latin), Jarv Dee (hiphop), the Illuminati Hotties (tenderpunk) and then onto the remarkable and tremendous ReignWolf (blues-rock).

A ReignWolf fan leaned over the rail to tell me they were so happy to be at one of the group's few festival performances on the West Coast.  A few moments into the ReignWolf set I would understand why--it was astonishing just two people could make that much sound, loud in a good way. Later that night, Isaac Brock of Modest Mouse quipped 'I had never heard of ReignWolf ...wow!'

Thanks to ReignWolf, I missed the Marcus J. Moore Jazz is Dead interview and wandered into the Dance with Life workshop, a seated dance workshop devised by two caring instructors who had worked in assisted living and nursing home facilities with people who had no range of movement.  Their gentle slow approach to getting people to move was inspiring.

From there it was on to Durand Jones and the Indications (R&B / soul) to Curtis Harding (soul) to the suppertime set of Jazz is Dead (jazz).  Jazz is Dead featured an assortment of Jazz Legends including Doug Carn and Henry Franklin, among others.  Modest Mouse appeared in the headlining slot on Saturday with an upbeat set of midtempo favorites. Future Emmy-Award winner, Jerrod Carmichael closed out Saturday night with stand up in the McCurdy Pavillion.

Sunday August 28th

Fest day three's sets began with a local band with the unusual name of Enumclaw tearing up the main stage in proper garage rock fashion.  L'Rain, an experimental pop artist followed, and then Lido Pimienta, a Latin art-pop artist in the brightest attire of the weekend.  Mid afternoon heat saw more indie pop sets from Nation of Language and The Dip contrasted against the experimental electronica of Yves Tumor and the witty rap of Freddie Gibbs.  Freddie Gibbs pulled in a huge audience of enthusiastic fans who lingered getting their dinners while Jose Gonzalez played his suppertime set.  The final headliner of the night, Jungle, a British electronica duo, whose vibrant music was immediately familiar even though I thought I had never heard them.  Haunting vocals of Arooj Aftab closed out the last event of the fest, as did a lantern parade complete with New Orleans style Brass Band.

With a cap of 6500 attendees over the sprawling space, THE THING achieved a civility, diversity and novelty that I have yet to see at any festival.  Mark your calendar for next year, as this event emerges as the more arty and more culturally diverse 'Newport Folk Fest of the West'.

Check out more PHOTOS from the weekend!

This year, after four years and 60 million dollars of renovation, the 2023 Beale Street Festival reopened in Tom Lee Park along the riverside in downtown Memphis Tennessee. At the height of Beale Street's popularity in 2017, the event saw 37,000 fans crowd the park. Attendance numbers this year were smaller and saner, with crowds of around 10,000 daily. This was in part a deliberate effort to keep the newly planted park-plants from being trampled into oblivion.

The ticketed lineup at Beale was divided into three corporate-sponsored stages equidistantly spaced along the riverside, with newly paved meandering paths peppered with food vendors leading between them. A ticketless and free fourth stage devoted to Memphis blues was stationed about 6 blocks away in the heart of downtown Memphis at W.C. Handy Park.

Musically the stages were curated to generate feel good vibes within genres. Most of the rock acts graced the Volkswagen stage, with R&B and Rap acts were primarily on centrally located Bud Light Stage. The Zyn stage, the stage closest to Beale Street itself, presented a variety of acts from Jam to Hard Rock, from Country to Reggae. The sequence of acts led people to largely stay around one stage for a few acts-- a strategy that allowed more people to fit into the park without feeling too crowded or hectic.

Friday sets commenced in the early evening with a lineup featuring up and coming acts Marcy Playground, The Sensational Barnes Brothers, and Low Cut Connie. Low Cut Connie lived up to its moniker as the lead singer dramatically ripped apart his t-shirt in the middle of his energetic set.  Moving on to later sets, PJ Morton warmed up the mid evening for a large crowd awaiting The Lumineers, while legendary Memphis originals The Bar Kays laid down the funk in advance of the arrival of Earth Wind & Fire, who would be followed by Ziggly Marley.

Contrast these acts with The Toadies, the LIVE, and then 311 on the ZYN stage-- all rock to hard rock acts with an entirely different vibe. The winner of the night was a tie between The Lumineers and Earth Wind and Fire, depending on your taste you would have been thrilled with either performance. Night one ended in the wafting tones of Reggae from Ziggy Marley as concert goers meandered happily out of the park. At the Downtown stage the evening highlight was the performance from 5-time Grammy Winner Keb' Mo'.

Saturday at Beale Street festival seemed nearly all about the Volkswagen stage (with a few key exceptions). Early in the day Sleep Theory and then after that, Mac Saturn, who seemed to be channeling both Mick Jagger style and energy, followed by a change of genre, but not a change of intensity in the dramatic performance of Living Color. In the city of Memphis, home of Elvis, Living Color lead singer Corey Glover had the crowd chanting through his tune 'Elvis is Dead' with ironic glee. Bouncing through the next set, was Colony House, a newcomer with great pop rock energy and cute boy appeal. The Struts and Greta Van Fleet - a pairing of acts firmly planted in glam rock glory. (Yeah, some may argue with me as listing Van Fleet amongst the glam, but vocals aside, their live stage performance is very glam.) Dedicated fans of Greta Van Fleet were already waiting for Greta Van Fleet at their stage railing at 2pm in the afternoon. Lead singer Josh Kiszka puckishly carried two dozen white roses on stage and then proceeded to lob blooms at elated ladies.

All that on one stage, it was quite a day-- but the breakout story of the fest was Glorilla who appeared on the Bud Light stage and brought out Memphis native Moneybagg Yo for a few songs.  Her set was followed by none other than THE ROOTS. Concert goers who missed out on the both the jam (Gov't Mule) hard rock (Halestorm) stylings of the ZYN stage probably felt like they had entered into an alternate universe as they exited through Hardy's country set, which featured unquestionably patriotic lyrics about being a 'redneck' and 'loving your country'.

Free concert goers downtown found there was much to love in this country with Cedric Burnside's set. Sunday began cheerfully at the ZYN stage with pop rock acts Beach Weather and then Moon Taxi, leading to a break for Andy Grammer's upbeat country music infusion. The crowd was enthralled with Grammer, and a good many concert-goers remained stationary for Young the Giant afterwards, or it could simply have been they were waiting for AJR. At the Bud Light stage ille Manny and then Eric Benet warmed up the crowd for the impressive Yola, the rarely seen Dru Hill, and finally the R&B delight Jasmine Sullivan. All of these acts were good, but most of the fest action was over at the Volkswagen stage with the Dirty Streets and Shovels & Rope gathering a sprawling crowd for mid-afternoon set of Gary Clark Jr.

Gary Clark Jr., who has famously tweeted "I DONT KNOW WHAT TO WITH THIS HAIR SO I PUT A HAT ON IT." appeared, for a change, hat-less. His short spiky dreadlocks added to the aura of this brilliant guitarist's set in a way that had the crowd whispering "he's channeling Hendrix..." Indeed if Gary Clark Jr. keeps playing this well, he may be appreciated as being equally gifted.

In a kind of book-end to Saturday's glam rock extravaganza was the Sunday night set first country great Lucinda Williams, and then Robert Plant & Alison Krauss - here a Led Zeppelin rock original in his present incarnation, singing torch songs, songs the crowd sang along with as they meandered home. Meanwhile, downtown concert-goers ended their weekend with the free treat of Los Lobos.

Weeks leading up to the festival saw notable gun crime in downtown Memphis that had some attendees voicing advance concerns for their safety. This writer noted that the overall beauty and niceness of the new park, along with well-planned event security felt very safe. As a single woman I did not worry at all. There was an overall feeling that downtown Memphis is on the improve, and with headlining festival sets of decent length I fully expect the crowds to be larger and sprawling for 2024.  What will next year's lineup bring?

Thursday nights are often the start of the weekend, in New Orleans some say the weekend never stops, and that proved true for the Fleur De Dead show at the Saenger Theatre on April 28th. With a setlist that complemented with the forthcoming weeks of Jazz Fest in Nola, a great mix of musicians, and fresh incoming concert-goers from all over-- Fleur De Dead delivered a jam that met audience enthusiasm with grooving frenetic joy.

The evening draw was of course Grateful Dead drummer Bill Kreutzmann. For those not following Kreutzmann has been in the headlines recently for dropping out of the final Dead & Company tour due to a 'shift in creative direction'. The official statement was that Kreutzmann was "well and not retiring".  Supporting drummers Jeff Franca and Wally Ingram added segments and backing drums, to this show but with a playing time over 3 hours no one thought anything ill of Kreutzmann. With recent Dead & Company shows showcasing tour members who didn't have the opportunity to drum before (Steve Parish), it seems like the 'shift' might have also been a kindly decision to 'let people have their chance to play' on the final tour.

'The Kids' were comprised of bassist Reed Mathis, keyboardist Aron Magner, saxophonist James Casey and guitarist Tom Hamilton. Guests for the evening included Molly Tuttle on vocals and guitar, and New Orleans funk-legend George Porter Jr. on bass.

The setlist began with The Cars’ “Good Times Roll” with Manger on vocals and from there moved into a long and elaborated “Truckin’.” With swaying audience mirth apparent, the band flowed into “Scarlet Begonias" with Casey and Hamilton each performing solos.

George Porter Jr., the first special guest of the evening, laid down vocals and bass for both The Meters classic “Fire On The Bayou” and Dead favorite “Sugaree", all while bathed in pretty golden and red light. Porter hugged bandmates, and handed the stage to Molly Tuttle, the evening's second guest. Tuttle commented it was her first visit to New Orleans and she was 'living the dream' performing with Billy & The Kids.

Tuttle started her set on acoustic guitar with an eerily beautiful “China Doll”, followed by a more upbeat extended version of Harry Styles’ “Sunflower, Vol. 6.  For her third and fourth tunes Tuttle & the Kids worked a jammed out Bird Song into Jefferson Airplane's White Rabbit.

The first set ended with a Hamilton-led cover of Bob Dylan’s “Tangled Up In Blue.”  The audience disappeared to line up at the Saenger's many bars for hydration.

Tuttle reappeared at the start of the night’s second set with Billy & The Kids. Commencing with crowd-pleasing classic Beatles “Get Back” into “Help On The Way,”, “Slipknot!” and a sprawling “Eyes Of The World.” Tuttle performed gorgeous vocals for “Standing On The Moon” before ceding the mike to Hamilton for The Rolling Stones' “Dead Flowers”. The anticipated “Franklin's Tower” was up next and saw Tuttle on electric guitar and with Reed Mathis on lead vocals.

Up next, an emotional high note, as Casey performed a heartfelt and teary Bob Dylan’s “Forever Young" followed by “Take Me To The River” that gave way to a “Drums” jam with all three drummers playing in tandem. Finally, “Iko Iko.” had people swaying in delight on their way out of the theatre. A special night, a special, if not exactly associated, start to Jazz Fest.

The New Orleans Jazz & Heritage Festival stands as a radiant beacon of America's diverse musical scene. This multifaceted gathering represents an immersive journey across the musical map of America and beyond. Describing its innumerable treasures can prove daunting, as there is a veritable banquet of sound that is impossible to fully consume, let alone encapsulate in a single piece. But in attempting to relay the highlights of the 2023 festival's first weekend, one must reconcile with the abundance of excellence presented.

Friday, April 28th

The festival’s inauguration day found attendees exploring the race grounds under a clear blue sky, welcomed by a symphony of melodies hanging in the air. Amidst the occasional sways of revelry and rhythmic toe-tapping, there were noteworthy performances that painted a panoramic picture of diverse musical tastes.

My festival journey took me from the infectious indie-rock tones of Motel Radio, through the rhythmic pulse of glbl wrmng’s rap, to the exuberant stage presence of La Tribu De Abrante. As part of the festival's celebration of Puerto Rican music, La Tribu, a compelling ensemble of over a dozen musicians, animated the afternoon with an explosive blend of plena drumming and salsa.

The festival's main stage offered a succession of energetic acts: Big Freedia and her graceful ballet dancers, Tank & the Banga's dynamic performance, and ultimately, LIZZO, who held court in a fashion-forward denim corset ensemble. LIZZO’s 20-song set kept the crowd mesmerized, demonstrating her musical prowess.

Between the main festival acts, I caught glimpses of performances from the roots-inspired Allison Russell, the iconic Mavis Staples, the exotic allure of Bassekou Kouyate & Ngoni Ba, and modern music legends like Robert Plant & Allison Kraus, and The Wu-Tang Clan. Nicholas Payton's vibrant trumpet set offered an enthralling finish, complete with an impromptu dancer echoing his notes through movement.

Saturday, April 29th

Dark skies and downpours marked the second day of Jazz Fest. Despite weather disruptions, including a cancelled set from local favorites, The Revivalists, the day offered memorable performances from Maggie Koerner, Sweet Crude, and the vibrant display of the New Orleans Mardi Gras Indians.

Angélique Kidjo's highly anticipated Congo Stage performance, marred by technical difficulties due to the rain, still managed to entertain a vast, patient crowd. A plethora of female musicians graced the stage, including Samantha Fish, Jesse Dayton, DJ Arie Spins, and Jazmine Sullivan.

As the evening fell, a generational divide saw Steve Miller Band and Ed Sheeran on opposing stages. Both artists delivered engaging sets to devoted crowds, with Sheeran's live-looping technique bringing an added layer of authenticity to his performance, which carried on despite an encore from the rain.

Sunday, April 30th

The concluding day of the first festival weekend was a melange of phenomenal guitarists and the city's signature funky rhythms. Local talent, from the Neville brothers to Rebirth Brass Band and Preservation Hall, all played their part in preserving the festival's vibrant heritage.

I was swept away by the groundbreaking stylings of North African legend M'dou Moctar, the electrifying energy of Gary Clark Jr, and the stunning collaboration of Tedeschi Trucks, who seamlessly incorporated classics from Taj Mahal and Dr. John. The day also witnessed enduring performances from Los Lobos, Kenny Loggins, and Marcus King, with an emotive finale from Jill Scott.

As the festival concluded, its triumph was reflected not only in a record attendance of over 460,000, but also in the wealth of musical experiences it offered. The 2023 New Orleans Jazz & Heritage Festival marked another milestone in its celebration of diverse music and rich cultural heritage. This eclectic symphony of sound offered attendees a taste of genres they might not usually indulge in, truly an immersive education in the world of music.

Newport Folk Festival made a triumphant return to the fort this year, laden with curiosity and high anticipation. The buzz from last year's surprise performances by Paul Simon and Joni Jam carried over, setting the stage for another captivating experience. Adding further intrigue was this year's inclusion of Lana Del Rey, which pushed ticket prices on the controversial secondary market to unprecedented heights, primarily driven by her fan base.

The 2023 iteration of Newport Folk Festival saw possibly its highest attendance in the eight years I've been going. The festival sold out as usual, and it seemed like everyone converged at the entry gate unusually early, eager for the fest's legendary surprises. This led to longer check-in lines and a record number of bicycles parked along the harbor, filling the venue with festival-goers and their lawn chairs. The festival is so beloved that additional notoriety might actually ruin it. Thankfully, the crowd was courteous and amicable, save perhaps for some grumbling about Sunday's late gate opening.

This year featured five stages—three main stages and two smaller ones. The overlapping sets meant some difficult choices had to be made about what to see and what to skip, a typical festival dilemma. Rumors about special guests proliferated, as the gaps in various artists' tour schedules were closely examined.

Friday Highlights:

CAAMP: During the sweltering 3pm slot, sweat dripped down my legs as I stood by the main stage, but that didn't deter me or anyone else from dancing to CAAMP's energizing set, which kicked off with their song "Believe."

James Taylor: An illness forced Noah Kahan to cancel his set, but James Taylor stepped in as a last-minute replacement and delighted the crowd with classics like "Fire and Rain" and "Sweet Baby James."

Maggie Rogers: Dressed in a simple, eye-catching summer dress, Rogers delivered a strong set that included guest appearances and wrapped up with a memorable performance featuring the lead singer of Del Water Gap.

Heavy Make Up: Edie Brickell, CJ Camerieri, and Trever Hagen hosted an underattended but immensely fun jam session that many unfortunately missed.

My Morning Jacket: Jim James and company closed out Friday's main stage with an unforgettable set featuring Animal from the Muppets as their "guest drummer."

Saturday Highlights:

Sumbuck: The day began with gentle music from Sumbuck, an offshoot led by CAAMP’s Taylor Meier.

The Backseat Lovers: Lead singer Joshua Harmon captivated the crowd and photographers alike with his infectious energy and, notably, his headbanging hair.

Goose: The band built on the Muppet theme from the previous day, featuring Animal once again in their Marvin Gaye cover "Baby, Don't You Do It."

Jason Isbell: A Newport regular, Isbell delivered another standout set, filled with hits and deep cuts alike.

Jon Batiste: Closing Saturday was the charismatic Jon Batiste, who mixed crowd interaction, food, and music into an unforgettable experience—until a looming storm cut it short.

Sunday Highlights:

Black Opry Revue: This ensemble focused on marginalized artists in country, blues, and roots music, offering an array of astonishing talent.

Remi Wolf: Known for her high-energy performances, Wolf delivered a slightly toned-down but equally enjoyable set at Newport.

Lana Del Rey: Despite some logistical issues and an unorthodox ending, Del Rey captivated her fan base with a compelling set.

Folk Family Revue: Those who opted for the opposing stage were treated to Valerie June performing alongside Muppet Floyd Pepper from Electric Mayhem.

Billy Strings: The weekend culminated with a singularly focused set from Billy Strings, who captivated the audience from start to finish.

Concluding Thoughts:

The 2023 Newport Folk Festival may have veered from its singalong tradition but compensated with a plethora of delightful surprises. While the lack of communal singing was missed, the trade-off seemed appropriate given the circumstances, including the pandemic and artists' busy touring schedules.

Next year may see a continuation of these new traditions. Regardless, Newport hasn't given up on delivering crowd-pleasing surprises—or Muppets, for that matter. As for future attendance concerns, at the time of writing, an unprecedented number of people are on a waitlist for early-bird tickets for 2024.

On Friday, August 25th, the THING Festival returned to Port Townsend, WA, for its third season. The three-day event, curated by Adam Zacks of the Seattle Theatre Group, showcased an eclectic lineup on two main stages and three associated venues. One festival-goer described the experience as "a mostly chill-out menagerie." Of the two stages, the Jeremiah Green stage memorialized the Modest Mouse drummer who tragically succumbed to cancer in early 2023. Green, a local resident and the brainchild behind The THING festival, was just 45 years old.

Friday's performances set a tone that persisted throughout the weekend: high-energy, raucous sets during the early hours mellowed to more serene tunes by evening. The Philadelphia band, Soul Glo, kicked off at the Jeremiah Green stage with a robust punk set. They were followed by the more laid-back indie sounds of King Tuff. By the time I reached SYML (who humorously suggested that their acronym stands for "Stuff Your Mom Likes"), I anticipated something tranquil. They did not disappoint, ensnaring the audience with their ethereal melodies. Their vibe seamlessly transitioned into the next act, Cigarettes After Sex, which deepened the dreamy mood. Friday's headliner, Fleet Foxes, offered a gentle set, with lead singer Robin Pecknold reminiscing about his childhood in Port Townsend. Their notes resonated hauntingly through the valley.

Saturday began energetically with Cherry Ferrari, a local pop-metal ensemble, and was followed by the soulful blues of another local, Grace Love. The standout act of the early afternoon was Geese, fronted by Cameron Winter. Their performance evoked the legendary sounds of rock’s past, channeling vibes akin to Jim Morrison and Blind Melon. Hatchie, a fantastic female-led band from Australia, followed them. Laufey, an Icelandic songstress, surprised the crowd with her jazzy love ballads. As I delved deeper into the festival, upon hearing Lil Yachty's set, a fellow attendee inquired if it was rap. I responded, "Yes, but you'll like it." Accompanied by an all-female African-American band, Lil Yachty exhibited mastery in rap and psychedelic rock, and soul. The day wrapped up with the soothing rhythms of headliner Sylvan Esso, which felt like a musical palate cleanser.

Sunday saw an early set by the local band, King Youngblood, with their unmistakable garage rock vibes. The day was filled with diverse performances from space jazz band High Pulp, funk maestro Kassa Overall, indie pop delight The Beths, the distinctive R&B act Three Sacred Souls, and an unforgettable appearance by rap legends, Digable Planets. Thundercat took the honor of being Sunday night's headliner.

The festival grounds buzzed with activity. Between stage performances, attendees could browse stalls featuring local artisans and food vendors. Interactive spaces included areas for performance art, a tent for lantern painting in preparation for the evening parade, poetry readings, spoken word acts, the intriguing Sound Cave Project nestled among old, gutted pianos, and performances by a local vaudeville troupe, The Travelling Spectacular. The Wheeler Theatre was a melting pot of diverse talents: drag queens, podcasters, and lecturers. The day's events concluded with performances by talented female comedians.

Adam Zacks' vision of transforming this festival into an "exploration festival" has certainly borne fruit. Attendees raved about discovering new music and relished the overall experience. Each headlining set attracted larger audiences, signaling growth for The THING. Yet, it retains its intimate, cozy, and family-friendly atmosphere. It might just be that The THING is gaining recognition as perhaps the best small-town music festival in America.

Check out more photos from THING 2023.

For years Dave Matthews Band has made its way to The Garden in New York, NY for two nights in November...  Friday, November 17th we got a chance to join in on night one of the collective’s Walk Around The Moon fall tour at the venue. It is commonplace for the group to cajole their many friends to play along on these dates and this two-night stint was no exception. Fans at the World’s Most Famous Arena were treated to no less than five guests as Derek Trucks, Susan Tedeschi, Trombone Shorty, James Genus, and Jon Faddis popped in through the setlist.

Nostalgia pervaded the set.  The show began with "Virginia in the Rain," from their 2018 album Come Tomorrow moving into "Old Dirt Hill," before ambling onto the new & sultry "Straight Shot," which had only debuted a few days before at their latter Mohegan Sun show.   From there Matthews moved into the driving mid-eastern whirr of "Madman's Eyes," a staple on the tour (and in repeated airplay on the DMB Sirius XM channel of late).  Although the song was written to be about gun violence, it somehow felt like it could also speak to the recent conflicts in Israel (which were notably being protested in the neighborhood around Madison Square Garden that same afternoon).  

A solemn moment that moved into consolation and joy in the subsequent hit 'The Best of What's Around'.  Up next the audience grooved through the hard-rocking 'She', and the soft and high meandering 'Walk Around the Moon' until the moment of the first guest-- Susan Tedeschi.  Together the duo delivered a rousing version of The Band's 'The Weight' before being joined by Derek Trucks in a potent expression of Dylan's 'All Along The Watchtower'.  From there the trio went into the immensely loved 'Lie in our Graves', from the seminal Crash album, mixed with snippets of Clapton's 'Wonderful Tonight'.

The stage was cleared of guests briefly as Matthews & company jammed into 'Spaceman' before inviting SNL bassist James Genus to sit in on '41'.  Guests continued with Trombone Shorty joining next for the first version of 'Come Together' since 2021.  Jon Faddis emerged and jammed with Shorty and Matthews on the beloved 'Jimi Thing' which funked into 'Brick House'.  Faddis stuck around as Shorty departed for the close of the collaborations with 'Warehouse'.

Matthews continued with 'Cry Freedom', 'Pig', and 'So Damn Lucky' before the encore comprised of Pearl Jam's 'Just Breathe', 'Pantala Naga Pampa', and 'Rapunzel' completed the evening.

For the second and tour leg closing night at The Garden, the band would see the return of guest Trombone Shorty along with Mark Whitfield, as well as an entirely different setlist.