The Newport Folk Festival has weathered many a storm in its 53 year history. It disappeared in the ’70s, nearly went bankrupt in the aughts, and faced a complete dry up of sponsorships. But last year, Newport jewelers Alex and Ani stepped in to become a major backer, the festival returned to non-profit status, and a Board of Advisors (Colin Meloy, Gillian Welch, Ramblin’ Jack Elliot, Jim James, and Ben Knox Miller) was established. Now, the festival has never been stronger, and even some damp evenings couldn’t keep the 2012 edition from being another in a nearly unbroken string of successes.
Newport has always been about bridging past, present, and future (just ask Bob Dylan), but this year’s fest had one of the strongest focuses on modern Americana Fort Adams has seen. Legacy acts were at a minimum, while young up-and-comers and contemporary heroes dominated the bill. This may have led to the markedly younger crowd, which in turn gave the impression of increased energy. Though attendance is still capped at just 10,000, there were more clogged pathways, longer bathroom lines, and standing room was stretched farther back from the shaded tent spaces than I’d seen before. Some festival-goers were none too thrilled with those who stayed on their feet, and complaints of “down in front” were not uncommon. Besides these wet blankets (it’s a festival, people), bad vibes were few and far between, as artists and fans alike mixed amongst the crowd to partake in the variety of styles, from Spirit Family Reunion’s washboard-and-banjo country stomp to Alabama Shakes’ soulful blues to tUnE-yArDs’ wild indie looping.
Photo by Ben Kaye
Thunderstorms threatened to wash out the entire weekend, and nervous festies regularly checked weather forecasts on their phones. Whether blessing or curse, the rain always managed to hold off until right around the headliners’ time slots. While the rain cut off My Morning Jacket’s Saturday night show, Jackson Browne continued on undeterred. Nearly everyone I talked to had horror stories from Saturday of either being stuck in the parking lots for hours or suffering through the downpour as they waited in line for the water taxis. I was in the latter group, and I would be remiss if I didn’t give a shout out to my three Amazing Grace lifesavers who serendipitously showed up throughout the festival and helped shield my camera from the elements. Without you ladies, I don’t know if these pictures and notes would have survived; my great thanks go to you.
But, dampness be damned, this was still Newport Folk Fest. No amount of bad weather could stop the magic from shining through, and while there were no mud-covered performances a la The Felice Brothers’ infamous 2009 throwdown, there were still too many thrilling shows to possibly catch them all. In fact, the new Museum Stage, while providing a wonderful intimate setting, only added to the conflict-heavy schedule. And really, if your biggest complaint is “there was too much to see,” that really says it all.
-Ben Kaye
Assistant News Editor
Friday, July 27th
Megafaun, Blitzen Trapper, Wilco – Fort Stage – Friday Night Pre-Show
In 2010, Steve Martin & The Steep Canyon Rangers headlined a Friday night pre-festival show at the International Tennis Hall of Fame. For the 2012 version, the folks at Newport opened the Fort Adams festival grounds for a special performance from three acts you couldn’t see with a two-day pass. Opening the separate bill was Megafaun, whose experimental approach to folk proved a mixed bag. While openers “Volunteers” and a cover of The Band’s “Look Out Cleveland” played fine to the slowly filling crowd, meandering breakdowns in “Get Right” and the otherwise exceptional closer “Real Slow” struggled to hold even the few fans standing at the rails.
It could have also been the dampness of the afternoon, as a fine drizzle was present for most of Megafaun’s set. That became a downpour as set up began for Blitzen Trapper, and the intrepid crew went to work protecting the equipment on stage. Though they did an applaudable job and the weather broke into a fine early summer’s eve, they couldn’t help from losing the PA a little, an unfortunate outcome that Blitzen’s Eric Earley had some trouble with. “Ya hear that dog whistling?” he asked, and later commented that “that high-pitched sound hurts my head, but I’ll block it out.” The rain delay forced the band to enact an on-the-spot setlist, which may have played to their favor. “Fletcher”, “Furr”, “Big Black Bird”, and more of their classic rock stories came out, hit after hit. Guitarist Erik Menteer found some more positives after the storm, claiming he liked the sound of his wet tambourine. “I might have to start soaking this every night,” he remarked.
Photo by Ben Kaye
What was most interesting about this Friday night Newport Folk Fest set is that it wasn’t really a Newport Folk Fest set; it was a Wilco show with Megafaun and Blitzen Trapper opening, its own entity onto itself. If the multitudes of fans in Wilco garb weren’t the dead giveaway, the stage setup was. In three NFFs, I’ve never seen a band dress up the Fort Stage until Wilco, lines of white rags hung from the rafters dispersing the lights as foliage does to sunlight, and catching flashes of strobes like lightening in the storm that passed. At a solid two hours, it was also the longest set of the weekend. It all played into the idea that this was Wilco’s night, and they certainly made the most of it.
The career-spanning set touched on everything from “Box Full of Letters” to “Laminated Cat” to “Art of Almost”. Super-fans latched on to each note of every song, singing along and keeping hands high in the air, straight back to the road at the top of the main field. A mother-son duo in front of me seemed particularly engaged, shaking their hips constantly (if not a bit awkwardly) and shouting lyrics at one another during “I’m Always In Love”. Jeff Tweedy appeared to enjoy himself too, visibly brightening up during breakdowns and every rock-n-roll moment. Despite early protests that they didn’t have time for stories, he even found a few moments to recall an entertaining tale of his meeting the Ramones while trying to enter an 18+ concert when he was just 14.
Photo by Ben Kaye
The first of many to pay tribute to the 100th anniversary of Woody Guthrie’s birth, Wilco opened their show with “Christ for President” off 1998’s Mermaid Avenue. Due to the number done on the sound system by the rain, the first few lines were lost on the crowd. They had nothing to fear, though, as the real tribute came when Sarah Lee Guthrie and her husband Johnny Irion came out to cover “California Stars” and “Airline to Heaven” for the encore. Wilco closed with “Hoodoo Voodoo”, another Mermaid cut. Even though it was Wilco’s night, there was a deep hat-tip to Guthrie, and it was just the beginning of a weekend filled with reverence for the late legend of folk. -Ben Kaye
Saturday, July 28th
Photo by Ben Kaye
Apache Relay – Alex and Ani Harbor Stage – 11:30 a.m.
Amidst some heavy humidity, a standing-room-only crowd still showed up for Apache Relay’s set, which opened the Alex and Ani Harbor stage on Saturday. The Nashville troupe didn’t disappoint, putting on a solid set of roots rock. Frontman Michael Ford Jr. easily steals the show with his ragged, heady voice, breaking and twanging at times to enhance the band’s Americana with a rustic edge. As attractive as he sounds, it’s hard not to fix your eyes on the big man with the guitar, Mike Harris, all lovable cool with his shades and shaggy beard. Ben Sollee joined the band for a few numbers, including “The Watering Hole”, the first of many cameos throughout the fest. Songs like “American Nomad” and “Power Hungry Animals” were standouts, and the band was just what the festival needed to get in the mood for the weekend to come. -Ben Kaye
Photo by Ben Kaye
Preservation Hall Jazz Band with Del McCoury and Tao Seeger – Fort Stage – 12:40 p.m.
The iconic New Orleans outfit Preservation Hall Jazz Band was introduced as a group that had done things on the Newport Folk stage that had never been done before, and with promises to continue that legacy. Those who witnessed the afternoon set were not let down. The band playing their own numbers and jazz classics as band members alternated vocal duties would’ve been enough, but there’s always something more at a Pres Hall show. Country legend Del McCoury came out for a few numbers, including his “Careless Love”. Festival regular Tao Seeger also made an appearance for a pair of Portuguese language numbers, which added a nice international flair to the day’s events. The highlight of them all was when both musicians joined the band with yet another Ben Sollee appearance for a swinging version of the spiritual hymn “I’ll Fly Away”. Everyone on stage was pure smiles, and the sheer enjoyment was reflected right back at them from the faces in the crowd. -Ben Kaye
Photo by Jake Cohen
Deer Tick – Quad Stage – 1:40 p.m.
With their tough to categorize folk/country/rock hybrid, a return slot at Newport Folk for these local Providence boys seems obvious (especially after their now-legendary late night parties in 2011, and soon to be legendary aftershows this year). However, Deer Tick’s sound on their most recent recording, 2011’s Divine Providence, has started to match their live sound in bars and clubs: harder and with more distortion, more raw vocals from guitarist John McCauley, and more rock. Towards the end of their set, McCauley announced, “Considering this is a folk festival, we figured we’d play a rock song,” before launching into a spirited cover of Chuck Berry’s “Maybelline”, which followed the band’s original take on ’50s blues rock. It was an ironic comment given that Deer Tick had just delivered a set of countrified, rocked-out tunes off Divine Providence like “Clownin Around” and “The Bump”, during which fellow Middle Brother/Delta Spirit frontman Matt Vasquez appeared to jump on the keyboard bench and shout lyrics along with audience. Yet they reminded the crowd of their folksier roots with the fingerpicking electric guitar of “Houston, TX” from Born on Flag Day, which still transcended traditional folk norms with McCauley’s grungy, pinched vocal. – Jake Cohen
Photo by Ben Kaye
Alabama Shakes – Fort Stage – 2:00 p.m.
Last year, we CoSigned Alabama Shakes for their CMJ performance at the Bowery Ballroom. More than half a year later, these rising hot shots have gained swift fame on the heels of their debut Boys and Girls and the undeniable single “Hold On”. At their main stage set, they played the track second, a sign of pure confidence. Most young bands would stick such a well-loved song near the end of their set, but Brittany Howard and her ace crew know songs like “I Ain’t the Same” and “You Ain’t Alone” can hit home even harder. New cut “Making Me Itch” (as Howard explained with a grin, “We’re gonna play a new song ‘cause we’re in Newport”) was further proof these soulful blues rockers aren’t going to be a one-trick pony. They stormed the Fort like veterans, unintimidated to be on such a storied, esteemed stage so soon into their career. As their repertoire grows and their game continues to tighten, expect to see a prolonged reign. -Ben Kaye
Photo by Ben Kaye
First Aid Kit – Alex and Ani Harbor Stage – 3:00 p.m.
You really can’t help but smile when sisters Klara and Johanna Söderberg (of First Aid Kid) come on stage and start giving directions to their drummer in Swedish. “We are two Swedish sisters and a Swedish drummer from Sweden,” was how they introduced themselves. It might be easy to get distracted by the quaint banter and the striking beauty of the pair, even in their overtly hippie garb (they looked somewhat more comfortable in jeans and flowing t-shirts when they guested at Conor Oberst’s set on Sunday). Let the charm and good looks divide your attention, however, and miss one of the most talented duos working in the choral folk genre. Their magical harmonies in close thirds combine into a chill-inducing single sound, their songs full of whimsy and reverence for their inspirations, and their beauty captivating. Okay, so it’s really easy to get distracted by their beauty. Sensing the importance of Newport for the genre they call home, both sisters frequently commented on how excited they were to be there, name-dropped a host of folk legends in their country-ish “Emmylou”, and covered Joan Baez’s “Diamonds and Rust”. The appearance by First Aid Kit’s pal Oberst for his verse in “King of the World” was an easy highlight in what was already a stellar performance. -Ben Kaye
Photo by Jake Cohen
Dawes – Fort Stage – 3:25 p.m.
Dawes continued Saturday’s alt-country theme (which really began Friday night with Wilco) by delivering a set of straight-ahead rock songs liberally dusted with country and folk flavors. Despite the presence of two thirds of Middle Brother (no Delta Spirit) and honorary fourth Brother Jonny Corndawg, Dawes used their time on the main stage to showcase their sound without any sit-ins or guests. That is, aside from Matthew Vasquez, who could be seen singing along to “Fire Away” backstage and joined the band onstage for “When My Time Comes”. This was more than made up for when Dawes became both Conor Oberst’s and Jackson Browne’s backing band the following evening. The band worked their way through their catalog without really charging up the audience until the anthemic and powerful “When My Time Comes”, with lead singer Taylor Goldsmith and Vasquez leading a sing-along. New song “From a Window Seat”, about “sitting on a plane too long when the fear sets in,” added a bit of honky-tonk to their sound and gave fans a taste of what may be ahead for the band’s Americana stylings. -Jake Cohen
Photo by Jake Cohen
Ben Sollee – Museum Stage – 4:30 p.m.
I hadn’t planned on staying for the entirety of Ben Sollee’s intimate Museum Stage set, but I also hadn’t planned on being so blown away. Sollee advances the cello past its classical music origins and onto another level entirely. “How to See the Sun Rise” began with layered long tones in the lower register of the cello, over which Sollee crafted a beautiful, lamenting melody with hints of Appalachian nostalgia, and then he broke out on the chorus playing boogie-woogie with aggressive bowing. He even strummed the instrument on “It’s Not Impossible”, and got a funky groove going along with drummer Jordan Ellis. On “A Few Honest Words”, Sollee shows a social consciousness that harkens back to the folkies of early ’60s Newport, passionately singing in his clear voice, “We don’t choose our leaders/ They choose themselves.” He’s even “ditched the van” to ride his bike from venue to venue on recent tours. In the spirit of Newport collaboration, Sollee brought out Sara Watkins to sing and play fiddle on “Prettiest Tree on the Mountain”, and Apache Relay joined in on Paul Simon’s “Obvious Child”. In that same spirit, Sollee kept popping up onstage throughout the weekend, making him the sit-in MVP of Newport 2012. – Jake Cohen
Photo by Ben Kaye
Guthrie Family Reunion – Quad Stage – 5:35 p.m.
Here was the brightest candle burning in honor of Woody Guthrie’s 100th anniversary. At its height, for a rendition of “This Land Is Your Land”, there were no less than 20 Guthries on the Quad Stage (yeah, some were babies held by their parents, but they still count). The set opened with Sarah Lee Guthrie performing the Woody-penned “Folk Song”, followed by Cathy Guthrie leading the fam in the hilarious “Shit Makes the Flowers Grow” from her band Folk Uke (“I didn’t think I’d have to play any of my songs,” she remarked, “because they’re not really appropriate folk songs.”) The man everyone was waiting to see, Mr. Arlo Guthrie, came out for the third number, “Dead or Alive”. He filled the set with his loving tales of family and mischief, often referring to his late father and recalling his lessons. A highlight in a prime set showcasing folk music’s first family came when the band covered Wilco’s “Airline to Heaven”, spliced in The Allman Brother’s “Jessica”, and seamlessly went back into Wilco. -Ben Kaye
Photo by Jake Cohen
City and Colour – Harbor Stage – 5:40 p.m.
City and Colour frontman Dallas Green explained that he was performing as a solo guitarist and returning to his singer/songwriter roots because, as he was told, “it’s not that kind of a festival.” Funny, especially on a day that featured Deer Tick, Dawes, Blind Pilot, and headliners My Morning Jacket. Yet when he launched into the chorus of “Sleeping Sickness”, he highlighted his clear, passionate tenor, free of the full-band treatment on Bring Me Your Love. His voice is reminiscent of Justin Vernon, but with more immediate emotions and more power in his natural range. Mostly, his voice has tremendous soul, and the lack of a full band allowed the audience to concentrate on that intensity. “Sing it if you know it,” he implored the crowd, and it seemed like plenty did. -Jake Cohen
Photo by Ben Kaye
My Morning Jacket – Fort Stage – 6:05 p.m.
Anyone expecting a rip-roaring My Morning Jacket set to tear the Fort Stage to pieces was probably pretty foolish. I freely admit I can be a fool sometimes, and my expectations for this set are just another example. (Note to self: always quell expectations – always). Of course MMJ weren’t going to go into a set of “Holdin’ Onto Black Metal” or “Rocket Man” covers – this is Newport! The pale suits were a fitting wardrobe choice, and it only makes sense they’d tailor their setlist to the scene, as well.
That’s not to say they didn’t play excellent songs, like “It Beats 4 U”, “Victory Dance”, and the always powerful “Dondante” (a brief loss of sound during the sax solo but a small hiccup); it just took a minute to adjust to what was not going to be your typical marathon MMJ rock show. It was still an impressive outing from Jim James and crew, who barely spoke save for one big “Hello!”, instead letting the music and the guests say it all. Guest appearances came in two separate one-two successions, but the cover of The Band’s “It Makes No Difference”, dedicated to the late Levon Helm and featuring guests Brittany Howard and Clint Maedgen of the Preservation Hall Jazz Band, followed by “Smokin’ from Shootin’” with Ben Sollee and a screaming Conor Oberst, hit hardest. As far as solo aspects went, “Welcome Home” from the band’s iTunes Sessions made a rare, and possibly first ever, appearance right at the start, a tasty treat for MMJ diehards.
Photo by Ben Kaye
The dark clouds predicted by weather reports all day started rolling in heavy during the set, and while the wind whipped about James’ already wild hair, the crowd headed for the exits early. Unfortunately, long lines for the water taxis and parking lot shuttles meant most everyone was caught in the downpour. Or perhaps this was fortunate, as those heartbroken they had to bail early likely ended up seeing more of the set. In the end, though, no one saw the whole thing, as officials called the performance off due to the severe threat of lightning and torrential rains, leaving “I’m Amazed” as the last number. It was one of the punchier cuts of the night, and who knows if that would have led to that “Black Metal” appearance or the classic “One Big Holiday”. Though it arrived a bit short and soggy, the performance was no less of a well-structured and delivered package. -Ben Kaye
