Folk Alliance International Conference Day 3: Docs, rock, and hip-hop

Noel Paul Stookey and Livingston Taylor. // photo by Nick Spacek

Rather than rush headlong into Friday, I got my day going at noon with a presentation from the Folk Americana Roots Hall of Fame on the inaugural class, entitled “Standing on Their Shoulders,” with the Hall’s curator, Deanna McCloud, Noel Paul Stookey, Livingston Taylor, Lead Belly Estate’s Terika Dean, and Anna Canoni of Woody Guthrie Publications.

Canoni told stories of how the Woody Guthrie Center partnered with the Dropkick Murphys and it was just a fantastic introduction as to why the museum is located in Boston. As with the day prior, I could hear Stookey speak all day long, but Taylor’s excoriation of “the elders” to stop being afraid because it’s all being manufactured by corporations to get you to watch another Ozempic commercial was maybe the highlight.

It seems like a random sidebar, but the ultimate point was that museums are a safe space where you can let you mind wander and become more often. The totality of the discussion was that I think I might be planning a trip to the East Coast later this year and maybe pay more attention to Livingston Taylor, whose impromptu performance of “Never Lose Hope” was definitely a surprising highlight, equalled only by Stookey’s a cappella rendition of a song whose title was the same as the panel itself. Never thought I’d get to sing along with a member of Peter, Paul, and Mary two days running, but that’s Folk Alliance.

Plus, they closed the panel with Taylor and Stookey doing Lead Belly’s “Goodnight Irene,” and I may have transcended my physical form for about three minutes. Holy shit. Bucket list stuff, right there.

Avery Hellman. // photo by Nick Spacek

Took an afternoon break to nap and crammed into the Bose lounge to catch Finding Lucinda, the documentary from ISMAY’s Avery Hellman. The conference features a documentary every day Thursday through Saturday, which is a pleasant change of pace and superb way to broaden the offerings from just music or people chatting. Hellman’s documentary is a journey of introspection via a series of meetings with those who were there for the early years of Lucinda Williams’ career. It’s just as much a chance for Hellman to explore their own plans, hopes, and worries regarding a musical career as it is looking into how Williams became the icon she now is.

The Trials of Cato. // photo by Nick Spacek

A break for dinner and it was time to kick off the official showcases. First up was the Trials of Cato, whom I’d briefly caught the previous night in the British Underground room upstairs, but this time on the big stage of the main ballroom. Catching bands in a small space and then catching them on the big stages really offers up a complete picture of what these musicians are really capable. The Trials of Cato also sneak in with an instrumental opening number, then break out the vocal harmonies on the second, so you get struck first by one prowess and then another in quick succession. They make quite a racket for a trio on stringed instruments (and a little keyboard), and with the low end cranked to the maximum in the main ballroom, it felt like a storm was brewing from these two Welshmen and a Yorkshire Brit.

Rainbow Girls. // photo by Nick Spacek

Having missed all their private showcases in the two previous nights, catching Rainbow Girls at their official showcase set was a priority. Their mix of on-point witty stage banter and dreamy harmonies had the audience in the palm of their collective hands. They played none of the music from their International Folk Music Award-nominated album Welcome to Whatever (the only independent album nominated, bee tee dubs), instead opting for brand-new tunes which had achingly confessional subject matter. I love that their music would equally be at home on KJHK or Bob McWilliams’ Kansas Public Radio show without either the college kids or old folkies raising an eyebrow.

Patrick Stefan. // photo by Nick Spacek

I’d ran into Patrick Stefan’s manager repeatedly over the past three days, and had heard from several people, including my wife, his voice was something special. With just his guitar and a fiddle player as accompaniment, Stefan’s singing is nimble–quiet and powerful, almost conversational, but it trips along, following the guitar’s rhythms equally as much as the melody. It’s a hypnotic and calming balm, much needed as I’d started to spin out from too little sleep and too much caffeine. It’s as close to hearing Jeff Buckley at Sin-é as you can get and wow. Wow. Just… wow.

Olive Klug. // photo by Nick Spacek

Olive Klug had maybe the youngest crowd of any official showcase yet. Seeing a bunch of folks under the age of 30 lining the seat in the small room Klug was playing kind of made my heart sing. At 44, it’s impressive that Klug can make me relate to a song called “Coming of Age,” written when she turned 25. Lines such as “I’m like a toddler running through the bank” hit pretty close to home, and the accompanying jaunty whistling only brought its lackadaisical look at delayed adolescence closer to my heart. Plus, that’s one hell of a honky tonk holler coming out of Klug’s mouth in every song, making it impossible to ignore her. You should pay attention.

Amrita Soon. // photo by Nick Spacek

Amrita Soon played the tiny Brookside room, and I believe this marks the first time I’ve managed to find my way in there in my entire history of attending Folk Alliance. It’s quite intimate, only twice the size of the largest private showcases a few floors up, but with more comfortable chairs. Soon came all the way from Kuala Lumpur, Malaysia, and it was very much appreciated. She said she was afraid nobody would show up, but then she was unable to look the enthusiastic crowd in the eye. Judicious application of a small pedal array allowed Soon to harmonize with herself – not that it was even needed, but the end result was a lovely effect. The looping, however–next level. Subtle, but in such a way that you just all of a sudden realize there are three more guitars and two other singers.

Strange Boy. // photo by Nick Spacek

Ireland’s Strange Boy mixes traditional music with hip hop and I was full of trepidation. Sometimes, melding traditional music of your culture with modern sounds can be absolutely brills: see also Snotty Nose Rez Kids or the Halluci Nation. It can also turn me off faster than a cold shower in the winter: see also Skerryvore. Limerock’s Strange Boy is a little more like slam poetry backed by rhythmic Irish folk music than a fully hip hop meets traditional Celtic execution. The emotional resonance is there, but it ultimately wasn’t for me musically. I felt as though someone was playing a Streets album at the same time the Chieftains were on stage, but the intensely responsive audience was very much in disagreement, so your mileage may vary.

Flamy Grant. // photo by Nick Spacek

First private showcase was drag queen folk singer Flamy Grant who, yes, came to fame covering Amy Grant songs in full drag, but who has since begun crafting catchy, rabble-rousing folk of the Pete Seeger and Woody Guthrie variety. It’s a style very much informed by Grant’s Christian upbringing, but the variety of Christianity where you care about the poor and disenfranchised, not the other one. All that and a voice which can burst out the walls of a hotel room and right through the goddamn roof, as well? Yesplz.

Nick Carswell. // photo by Nick Spacek

Caught some random things because I was basically beyond exhausted by 10:45, so I just started wandering and only half paying attention to my intended schedule. That meant Kate Cosentino and her witty observational acoustic gems, then Carswell and Hope (in this case, “Hope” consisting of Fritz Hutchinson on percussion rather than the usual full band, but wonderful nevertheless). Nick Carswell is one of my favorite people to randomly talk music with, so much so I frequently forget just how talented a musician he is. I need to remember this far more often because he knows how to write a song.

Caught the Trials of Cato again and just fell deeper in love with their music.

Bandits on the Run. // photo by Nick Spacek

Bandits on the Run were my favorite discovery of last year’s Folk Alliance and seeing how far they’ve come since is astonishing: Adrien is part of the Avett Brothers musical, the band is developing a What’s Eating Gilbert Grape musical, and their singles have found acclaim throughout the musical community. Their music is, as I heard a random man mutter, “just too good.” I could listen to them harmonize every night and the fact it took until midnight on Friday–actually about ten minutes after–to see them perform this year is a shame and testament to how stacked this year’s offerings have been. Their indie folk is the fucking best and their stage presence commands whichever room they’re in.

OKAN. // photo by Nick Spacek

I saw OKAN after someone poured me some bourbon and it was like drinking a half pint of Four Roses all by my lonesome in about three minutes, so things get a little hazy at this point, but their music is hypnotic. It grooves so hard, the wall against which I was leaning fairly vibrated. The room was PACKED, with those near the door dancing like nobody watching (or they’d also been given four shots of whiskey). Canada knows how to get down.

West Texas Exiles. // photo by Nick Spacek

After a discussion with Resonant Rogues, I wandered up to the seventh floor for the West Texas Exiles. Thanks to Mat Adkins, owner of the Crossroads’ Pairing, for the recommendation. They were just the perfect mix of twang and energy to end my night.

New this year to the conference is that the public can get tickets to the official showcases. You don’t have to register for the conference to go for just one night. Individual evening tickets available here.