Through Digital Eyes

This tour finds DISPATCH teaming up with Calling All Crows and BallotReady to spread voter awareness by promoting executing your civic duty in a manner that’s as informed and involved as humanly possible. Along with making resources available to all fans, DISPATCH also hosted a ‘Democracy in Action’ event pre-show on Saturday that saw them gathering with fans for phone banking, postcard writing and more. It’s important that you vote, but it’s infinitely more important that you understand who and what you are voting for.

This tour also finds DISPATCH hitting the stage with a thoroughly varied collection of songs from all corners of their storied career. By shining a light on the new and spreading the fan-favorite classics across both nights, the band created setlists full of arrangements that complemented each other wonderfully, often (especially on Friday) pairing the old with the new—‘Flying Horses’ > ‘Trinket’ > ‘Outloud’; ‘Be Gone’ > ‘Open Up’ > ‘Only the Wild Ones’—in a way that made the shows feel unpredictably fresh and exciting.

This was my first time seeing much of the newer stuff performed live, and I was very happy with how natural it all felt within the context of the rest of their material. I’ll admit I occasionally (especially during the set-closing ‘Skin the Rabbit’ on Friday and ‘Break Our Fall’ on Saturday)  had some (unsurprising) flashbacks to my many nights spent at State Radio shows, but they never felt out of place given the natural chemistry throughout band’s current lineup and the always infectious, explosive energy on display.

Despite only playing two songs off their newest album, ‘Break Our Fall’, the band showcased their newer material very well across the two shows. In addition to highlighting two unreleased tracks (‘Johnny Whoop’ & ‘Trinket’), both of which were played both nights, they delivered five songs off of ‘America, Location 12’ on Friday and an even sampling of ‘America, Location 12’, ‘Location 13’ and the aforementioned ‘Break Our Fall’, on Saturday.

But, let’s face it; the shows’ highlights all featured old favorites. I really loved being introduced to the new songs—and the aforementioned set-closing ‘Skin the Rabbit’—on Friday, but the mid-set pairing of ‘Silent Steeples’ and ‘Flying Horses’ (which is, admittedly, my all-time favorite song) stole the show. And while I thought the pairing of ‘Break Our Fall’ and ‘Only the Wild Ones’ led beautifully into the set-closing stretch of ‘The General’, ‘Lookin’ Out My Back Door’ and ‘Elias’ (which was highlight worthy on its own, really), the winner for Saturday was just how awesome the pairing of ‘Bats in the Belfry’ and ‘Time Served’ felt coming off that ‘Came for the Fire’ opener.

Mt. Joy’s Matt Quinn opened the show with an enjoyable collection of stripped down songs that shone a light on his songwriting and emotional connection to his music.

CLICK HERE to see More Photos from the show on Facebook.

It had been far too long since I’d caught Lindsey Stirling on a standard tour, so I was especially excited to see what she had in store for us on this one. But then again, the Duality Tour feels like so much more than just your standard tour. Boasting truly stunning production, a jaw-dropping collection of costumes, always breathtaking choreography, heart-stopping aerial-work and a setlist that features a whopping ten of the twelve tracks off of her newest—most personal?—album, ‘Duality’, this tour showcases Stirling’s immense musical and physical talent in an emotionally cathartic manner that’s as relatable in its vulnerability as it is affecting in its positive perspective and sheer candor.

Throughout the show, Stirling and her fantastic troupe of dancers (and musicians) lead us on an ethereal odyssey not only through the story of ‘Duality’, but through Stirling’s entire artistic journey, offering a refreshingly honest look into her professional struggles and personal insecurities while beautifully displaying the talent, strength and determination that got her this far. This is a concert experience that’s as inspirational and technically impressive as it is utterly exhausting and downright fun.

I’ll always be absolutely blown away by the physicality of Stirling’s performances, so it’s no surprise that the highlights of the show came in the form of songs that featured her exhilarating aerial work. She blew the whole audience away with her gasp-inducing work on the silks during ‘Evil Twin’, and her work on the hoops during ‘Shatter Me’ had many on the edge of their seats. But there was so much more, too. I really enjoyed the production on the show-opener, ‘Eye of the Untold Her’ (with its creative shadow play), and ‘Underground’ (its lighting and choreography were stellar). The infectious violin work on ‘Les Fées’ and ‘Untamed’ cemented their status as favorites off of the new album. And the power move of ending the show with a song as positive and full of raw strength as ‘Survive’ was such a satisfying way to close out the night.

Walk Off the Earth (and adorable guests Luminati Suns) opened the show with a bonkers set that immediately grabbed the crowd’s attention and refused to let go. The set was filled with a gleeful energy that wholly embraced the communal spirit of live music. I was especially taken with the creativity and silliness behind their two medleys of covers.

FULL PHOTO ALBUMS from the show can be seen on Facebook: Lindsey Stirling; Walk Off the Earth.

There’s not much that can get me in the holiday spirit quite like a Lindsey Stirling Christmas Show. They’re family friendly displays that epitomize exactly who Stirling is as a performer; showcasing incredible choreography, wildly impressive/absolutely nerve-racking aerial acrobatics, beautiful costumes and her always jaw-dropping musicianship (duh), she brings her fans on a Christmas journey that celebrates every facet of the holiday.

While this year’s show is likely the most different I’ve witnessed because of the new selections she’s playing from ‘Snow Waltz’, it also maintains many familiar touches. The amusing bits that always get such genuinely joyous reactions from the crowd (such as the toy instrument medley and the tour manager Christmas tree interludes) still pop up throughout the set. They keep even the youngest of fans engaged during costume changes, and paired with Stirling’s heartfelt stories, guide us through her stunning display in a way that understands the whimsy of Christmas without ever abandoning the true reason for the season.

Highlights in a Lindsey Stirling show, for me, are always in the moments that show just how absurdly talented a musician she really is. ‘Angels We Have Heard on High’ is definitely one of them, and was a highlight in both of the previous Christmas shows I’ve seen Stirling perform. But this year it was even better, following her breathtaking arrangement of ‘O Holy Night’. Then there were two of her show-stopping original compositions off her newest Christmas album, the titular ‘Snow Waltz’ and ‘Ice Storm’, two rockin’ pieces that absolutely blew me away.

CLICK HERE to see More Photos from the show on Facebook, and Have a Very Merry Christmas!

Ween hit the stage a little later than scheduled, but that was only to accommodate the massive line quite literally wrapping around the block outside the venue. For their fans inside, it was a test of their patience, but once the band finally took the stage, said patience was rewarded with a 33-song marathon set that bounced all over Ween’s nearly 40-year career.

Despite never quite becoming a full-blown fan of Ween, I’ve always respected and enjoyed them whenever I’ve come across their music. I love how they’ve never taken themselves seriously and have always been ambitious and audacious in their manipulation of genre and theme. Getting to see them bring those ideals to life as they gleefully rocked their way through the night – delivering their bizarre brand of funk/psychedelia/etc. infused alt-rock in a display that shone a bright light on each song’s technical artistry and absurdist heart – was an absolute blast.

The setlist was the perfect example of what Ween is as a band; an unpredictable, wildly weird collection as varied in their sound as they were in the band’s spontaneous renditions. I especially loved that they played so much from “Chocolate and Cheese” (especially “Baby Bitch” and “The HIV Song”), as I’d listened to a bunch of tracks off it quite a bit many years ago. But the songs I didn’t know worked just as well as the ones I did – both on their own and in the context of the set as a whole. It all made for a technically impressive, utterly madcap ride that the packed house loved taking with the band.

Highlights of the set – alongside the aforementioned “Chocolate and Cheese” material – came in the form of the tracks that showcased just how versatile a band Ween is in terms of genre, such as “Buckingham Green”, “Powder Blue”, “The Mollusk” and “Doctor Rock” (which was even more insane, live).

CLICK HERE to see More Photos from Ween’s set on Facebook.

grandson took to the HOB Boston stage for an impressive 25-song set of his socially-charged brand of rap-rock that found him tackling the majority of his sophomore effort, “I Love You, I’m Trying” as well as plenty of his pre-COVID material – especially songs off his trio of “a modern tragedy” EPs. Throughout the first half of the set, he fed off his fans’ energy in a symbiotic display that found him exhaustively jumping all over the stage.

In a chaotic moment that led into a much needed mid-set ‘interlude’, grandson invited opener De’Wayne out for the intense “When the Bomb Goes”. He then followed with a dynamic collection of early cuts before inviting K.Flay out for the all-out blast that is “Zen” (a song she wrote with grandson and X Ambassadors). She then stayed onstage for a late-set moment of zen that found the two kick back for the acoustic “Peaches”. After saying goodnight to K.Flay, grandson continued the moment of calm by heading into the crowd to sing the emotional “Heather” among his devoted fans. Finally, he returned to stage for an explosive finale of “Despicable”, “We Did It!!!” and “Blood//Water”. The last of which was the clear highlight of the set along with “Zen”.

I was almost completely unfamiliar with grandson going into this show. In preparation for this show, I gave his sophomore album, “I Love You, I’m Trying”, a single run through when it was released last month, but other than that, I might’ve known a single song of his aside from“Zen” (and that was probably “Blood//Water”). It’s safe to say I’m familiar with him now, though.

This show was on my radar in the first place because K.Flay was on the bill. I’ve been a huge fan of hers since I first caught her live in 2016, and this was my sixth time seeing her. To see her evolve as not only a performer, but as an all-around artist, has been great. And this very well might have been the best I’ve seen her, yet. (Though show at Big Night Live last year might have this beat.) I don’t really know what else I can say about her set. I had trouble reviewing her for the fifth time, now the sixth finds me fearing repetition.

As always, her raw (raw) connection with her music is staggering and vulnerable and freeing in its catharsis and pure, unrestrained joy. Her honesty in the wake of health issues that have left her permanently deaf in her right ear made the emotion behind her music hit all the more fiercely, this time around. And the new tracks she performed – the upcoming “Shy” and “Punisher”, and the recently released, insanely catchy “Raw Raw” – proved to show her strength and ability to overcome such a life-changing obstacle through creativity. The only other thing I can think to say is… I can’t wait for my seventh K.Flay show.

DE’WAYNE opened the show with a shockingly assured set that made the crowd go crazy.

FULL PHOTO ALBUMS from the show can be seen on Facebook: grandson; K.Flay.

Nearly a year into his massive Brighten Tour (paused only to deliver a full-blown 30-stop Alice in Chains tour late last summer), Jerry Cantrell hit the intimate Providence crowd with a well-balanced, atmospheric set. Despite gloomy weather keeping some fans from coming out, Cantrell and his band were met by a room of ardent fans, and gave them a set split between the very best of Cantrell’s solo work and some Alice in Chains fan-favorites.

Naturally, the solo material leaned heavily on tracks off of Cantrell’s newest album, 2021’s “Brighten”, including the powerful show opener, “Atone”, and the pitch-perfect show-closing cover of Elton John’s “Goodbye”. Those and the others all sounded fantastic, which should go as no surprise seeing as Cantrell and the band brought their all to their Rhode Island fans, delivering an all-around impressive show. Other notable solo tracks performed included “Psychotic Break” and “Cut You In”. And for the Alice in Chains songs, they unsurprisingly stuck with the classics that both the die-hard and casual Cantrell fans in attendance would go crazy to hear in such a setting.

However much I enjoyed getting to hear the “Brighten” material live, the night’s highlight for me came in the totally badass pairing of “Psychotic Break” and “Them Bones” early in the set. The pre-encore stretch consisting of “No Excuses”, “Got Me Wrong”, “Man in the Box” & “Would?” was pretty damn awesome, too, though.

Thunderpussy (pictured below) opened the show with a crowd-pleasing, rockin’ set full of energy and attitude.

FULL PHOTO ALBUMS from the show can be seen on Facebook: Jerry Cantrell; Thunderpussy.

Very large chunks of my childhood were spent listening to “Sixteen Stone” (then “Razorblade Suitcase”) on repeat ad nauseam and thinking Gavin Rossdale was the coolest dude alive. Yet I’d still, somehow, never seen Bush live until last October when they closed out their tour with Alice in Chains and Breaking Benjamin at the Xfinity Center. They delivered a fantastic – yet all too brief – set that blew even the headliners out of the water (sorry Alice in Chains diehards). Their set was so good, in fact, that I immediately swore that it would definitely not be another 28 years before I saw them again. Cut to Tuesday night, when – after more than four months away from live music, somehow – Bush actually ended up being my very next concert after that show in Mansfield last October (much like it was the closing date of their tour, it was also the closing date of our venue’s 2022 season).

I’d like to say there was a big difference between their opening set last October and this week’s headlining show, but there wasn’t… and that’s a compliment. From the way Rossdale and his bandmates hit the stage for both shows, it was made immediately evident that they attack each live set as if it’s a headlining gig, and face every crowd as if it’s a sold out show. Rossdale may be 57 (what?!?), but his energy filled the deceptively large MGM Music hall effortlessly and completely, and he dove into every single song on the setlist with everything he had. Naturally, the audience loved it, and it made for an exhausting 90-minute set nobody wanted to end, highlighting fan favorites from the band’s beginning and key tracks off their two newest albums, “The Kingdom” and “The Art of Survival”. The energy was so high throughout the set, Rossdale himself even ended up commenting late in the show how he was so caught up in the music that he kept forgetting to deliver the usual banter between songs. Not like anyone was complaining, the band sounded great, and the song selection flowed seamlessly from new to old and back, giving everyone something to get caught up in.

Bush seemed to favor their heavier songs throughout the night, only ever really slowing things down for the mid-set “1000 Years” and “Glycerine” in the encore. And as I said, songs off their two newest albums took priority, making up just over half of the set. Other than that, they delivered their five singles from “Sixteen Stone”, as well as “The Chemicals Between Us” and “The Sound of Winter” from “The Science of Things” and “The Sea of Memories”, respectively. I personally would’ve liked for them to have tossed a few songs from “Razorblade Suitcase” into the mix, as well (definitely “Swallowed”, but maybe “Mouth” and/or “Greedy Fly”, too?), and even more off “Sixteen Stone”, but totally understand their sticking to the new material and songs that complemented it, as it created a cohesive setlist that never gave even the most casual fans in attendance the chance to get restless.

Unsurprisingly, the night’s highlights came in the form of my old favorites. Yes, they closed out the show with “Glycerine” into “Comedown”, and it was awesome. But “Machinehead” early in the set made the young, die-hard Bush fan in me lose his shit, and “Little Things” closing out the main set was an absolute killer.

Candlebox (first two below) and Devora (third below) opened the show. Candlebox sounded fantastic for a band I quite honestly forgot even existed (sorry). It had been a long time since I’d heard any of their more popular songs, but hearing them live reminded me how likable they are, and made for a very enjoyable set. And Devora – a self-described ‘Goth Dolly Parton’ – did her best to live up to the moniker with a memorable set of Country-tinged Goth-Pop.

FULL PHOTO ALBUMS from the show can be seen on Facebook: Bush; Candlebox; Devora.

Interpol had closing duties, and immediately drowned the intimate venue in atmosphere. It was a captivating set, delivering fan favorites while finding plenty of space for material off their newest album, “The Other Side of Make-Believe”, including the live debut of “Mr. Credit”, a moment the crowd ate up. Their lighting design might’ve been a photographer’s nightmare, but it sure complemented their music perfectly, making it almost impossible to not get completely lost in their 14-song set.

While I wouldn’t quite call myself an Interpol fan, that doesn’t mean I don’t have favorite songs of theirs, so the highlights of their set naturally came when they delivered two of them – “Evil” early on and “Rest My Chemistry” mid-set – with an enthralling intensity that brought to life everything that made them stick with me in the first place.

When it comes to Spoon, however, I am definitely a fan. Sure, I started out as a strictly casual fan for a while, thoroughly enjoying the many times songs like “I Turn My Camera On” and “The Way We Get By” popped up in TV shows and movies, and the insane radio play “The Underdog” got on WBRU upon its release. But then they dropped “They Want My Soul” in 2014 and I was hooked. They’ve never disappointed in the two previous times I’d seen them live, and with their career-spanning set that was as overflowing with energy and attitude as it was a killer collection of their fan-favorites, this third time was no different. They delivered the goods, and they delivered them hard.

It was especially great seeing their new material performed. “Lucifer on the Sofa” is still one of my favorite albums of the year, so far, and the songs they played off it – especially “The Hardest Cut” – sounded incredible live. But however great it was to see them deliver those new songs, the highlights of the night bring us back to “They Want My Soul”. They closed their set with “Do You” into “Rent I Pay”, and it was, for lack of a better word, awesome. It’s damn-near impossible to nail down a single moment as a highlight in a set as chock-full of joy-inducing songs as this was, though. So really, if you ask me again in a week (or an hour?) I might answer with that “The Hardest Cut” into “Inside Out” pairing (or the run that continued on from there with “Trouble Comes Running” into “I Turn My Camera On” into that set-closing pairing) or that incredible, show-stopping cover of John Lennon’s “Isolation”. They were all just so damn good.

Water From Your Eyes opened the show with a NOISY set. That’s a compliment. I dug them. I dug the noise.

FULL PHOTO ALBUMS from the show can be seen on Facebook: Interpol; Spoon; Water From Your Eyes.

Fort Stage

On Sunday morning, what was originally billed as ‘Brandi Carlile & Friends’ was re-billed as ‘Brandi Carlile & Friends’ plus the festival closing ‘Coyote Jam’. The rumors started flying, and despite it seeming unlikely/too-good-to-be-true in the moment, the most frequently uttered rumor ended up being spot-on. They did it, they topped (for most, though not quite me*) Saturday! After an all-too brief (and significantly shorter than scheduled) set from Brandi Carlile herself, the crew came out to transform the Newport Folk stage into a living room. Brandi Carlile then reappeared to introduce the final set of the fest, and what was briefly a ‘Coyote Jam’ was finally revealed to be a ‘Joni Jam’ (all four above), a group of musicians and music-lovers jamming to some of Joni’s classics and favorites, co-hosted by the woman herself, Joni Mitchell. That’s when the unbelievable happened, and – for the first on the Newport Folk stage since ’69 and any stage in over two decades – Joni Mitchell took to the stage for a full set that explored her songbook and some personal favorites as agents of healing and love. Joined by brilliant artists such as co-host Brandi Carlile, Marcus Mumford (on percussion), Lucius, Wynona Judd and many more, Joni Mitchell & Friends delivered a set that was equal parts celebration, tribute and – shockingly – comeback.  I had some issues (prompted by a mood that started with missing Carlile’s pre-Jam set, no doubt) with some technical/logistical aspects at the time (all of which make complete sense in hindsight). But the crowd as a whole were lost in the experience right from the beginning; lost in the fog (both figurative and very literally) of Joni Mitchell’s return. And before long, I was, too. It was a beautiful set, and when given the chance to truly shine on her own on the penultimate song of the set, ‘Both Sides, Now’, Joni Mitchell successfully and completely tore my heart out of my chest. She seemed to be having a blast doing it, too.

The rest of Sunday on the Fort Stage was a bit of a mixed bag, for me. I missed the opening set, ‘Love Will Go All the Way’ A Spiritual Helpline Gospel Revue (obviously not pictured), in favor of the other stages’ offerings. The first Fort set I caught was Sierra Ferrell (first below), who failed to impress with a genre-bending sound and unique voice that was definitely an acquired taste. Following that was Valerie June (second below), someone else whose voice is an acquired taste. Thankfully, for me, it’s one that’s right up my alley, and her adorable stage presence only added to her set. Also, she played my favorite song of hers early on, before I had to run off, so that didn’t hurt. Sylvan Esso (third below), who were quite busy throughout the weekend, were next. While I wasn’t wild about their sound (at least not for the Newport Folk stage), their set was memorable for the fact that they announced and performed a brand new album in its entirety up on stage. The Roots (fourth and fifth below) then made their Newport Folk debut with a set that turned the fort into an all-out party. They’re a fantastic band, and their energy is exhaustingly contagious, I only wish I could have caught even a little more of it all.

CLICK HERE for More Photos from the ‘Joni Jam’, CLICK HERE for More Photos of The Roots, and CLICK HERE for More Photos from the Fort Stage.

Quad Stage

Sunday’s Quad Stage was very similar to Saturday’s Fort Stage, in that there wasn’t a single dud to be found, and more than one set that blew my socks off. Maren Morris (all three above), who was probably one of my three most anticipated acts of the weekend, won the day for me with a set that not only should’ve been headlining this stage, but would’ve done a killer job headlining the whole damn day had they not pulled off the historic feat they did. She’s a star, and her set brought the whole damn tent down. I’m especially happy I made it back by the time she ended with ‘My Church’, because it was straight-up magic on the Newport Folk stage. Kicking off the day was John Craigie & Friends (first below) performing The Beatles’ ‘Let it Be’. It was an extremely last-minute set added after Japanese Breakfast’s morning set was moved to the headlining slot after Trampled by Turtles had to cancel. (Yikes!) Craigie opened the set joking that he didn’t have any friends, and so when asked to do the set, had to walk around backstage making friends just to get the set in order. His ‘Friends’ included Langhorne Slim, The Ballroom Thieves and More, and they all came together to deliver a tribute to The Beatles that never seemed nearly as messy as it probably should have. Hermanos Gutiérrez (second below) followed with an instrumental set that was as impressive and interesting as it was a nice moment to slow down a bit. After them came one of the biggest surprises of the whole weekend, The Linda Lindas (third below). The quartet ranges from the ages 11-17, and the kids in the crowd had a blast with their set. Their punk and power-pop inspired sound was a ton of fun, and pairing that with their outrageously energetic stage presence made one of the most surprisingly enjoyable sets of the weekend. Another surprise was Joy Oladokun (fourth below), who thoroughly impressed last year (or so I’d been told, many times, throughout the day) and came back to do it again this year. Her sound and songwriting was great and she was so clearly and completely at home onstage that it made you feel at home watching her there. After several schedule changes, the headlining spot ended up in the hands of Japanese Breakfast (fifth and sixth below). It was a set I was long looking forward to, and despite it making me miss out on Brandi Carlile, I couldn’t have been happier with what I caught of it. Within those first three songs I did manage to catch, singer/songwriter/best-selling author Michelle Zauner made me go from casual supporter to full-blown fan with her control and passion and irresistible charisma.

CLICK HERE for More Photos of Maren Morris, CLICK HERE for More Photos of Japanese Breakfast, CLICK HERE for More Photos of The Linda Lindas, and CLICK HERE for More Photos from the Quad Stage.

Harbor Stage

The highlight of Sunday’s Harbor Stage lineup was the solo set from Dawes’ Taylor Goldsmith (above) that not only found him teaming up with Blake Mills and members of Goose, but also fans from the audience and the Newport Children’s Choir. Bendigo Fletcher (first below) had a very fitting sound and seemed to deliver exactly what the crowd was looking for in their opening set, but I just saw too little to ever get into it. Thankfully I caught a bit more of Buffalo Nichols (second below), because I instantly took a liking to his sound and hated that I wasn’t able to catch the full performance. Dakhabrakha (third below) was interesting, but not nearly captivating enough to get me to stick around longer than the one song I went over to photograph. Blake Mills (fourth below) displayed his not insignificant talent in a set that was a sleeper to someone like me who wasn’t already a dedicated fan. Finally, Anais Mitchell (fifth below) hit the Newport Folk stage one final time with a wonderful set I had to peel myself away from in order to catch the end of Maren Morris.

CLICK HERE for More Photos from the Harbor Stage.

All-in-all, Sunday was an amazing end to a truly soul-enriching weekend that only the Newport Folk Festival can so consistently deliver. I’m already looking forward to what they have in store for us in 2023.

Please Check Out My Photos/Coverage from Friday & Saturday!

*I really wasn’t kidding when I said Paul Simon coming out of ‘retirement’ to play ‘The Boxer’ & ‘The Sound of Silence’ (and more) at Newport Folk was something I’d be talking about for years.

Fort Stage

There wasn’t a false note all day at the Fort Stage, which boasted not only our epic finale, but a youthful collection of artists that immediately clicked with the audience, as well. Kicking off the day was The Ballroom Thieves (first below), a band I’ve been a big fan of since seeing them play Boston Calling back in 2015. Their sound has evolved significantly since then, and while I might prefer their older material, there’s no denying their significant growth as performers. It was great seeing them again. After that, Adia Victoria (second below) delivered her charged blues-rock sound in a whopper of a performance. She was one of the artists I purposely didn’t look into prior to the festival, and I’m glad I made that decision because she blew me away. Lucy Dacus and Clairo (third and fourth below, respectively) brought the young crowd to the Fort Stage with their mid-day sets. Both delivered great sets that saw the fans going crazy. I preferred Dacus, but only because I really do think I’m just too old for Clairo. Next up, Bleachers (fifth below) kept the youthful vibes going as they playfully worked through a loose set. They sounded great, and took to the spirit of Newport Folk very well, but Jack Antonoff really could’ve calmed down with the profanity. I don’t normally care about stuff like this, but at this festival it comes off as disrespectful and tone-deaf. Finally, it was time for the rumor-mill to quiet down and for Nathaniel Rateliff & The Night Sweats to take the stage for their “American Tune Revue” (all three above). Within seconds of them gleefully diving into ‘Mother and Child Reunion’ (with help from Lucius), it became obvious what this set was. And even more so, what it meant. As the band and their friends made their way through a brilliantly curated Paul Simon tribute set, it seemed as though not a single member of the crowd was leaving, and with good reason. After delivering killer renditions of so many Simon classics – including the incredible ‘Homeward Bound’ with Lukas Nelson, and the crowd-pleasing ‘Cecilia’ with Marcus Mumford – Rateliff invited out the guest of honor. As Paul Simon took the stage, officially making his Newport Folk debut to join Rateliff and the band for ‘Graceland’, the crowd lost it. Nathaniel Rateliff & The Night Sweats then left the stage as Simon brought out Rhiannon Giddens to sing an updated redition of ‘American Tune’ as he accompanied on the guitar. The band, as well Jerry Douglas and other guests, returned once again for a rendition of Simon & Garfunkel’s ‘The Boxer’ that absolutely destroyed me emotionally. It was such a perfect, important Newport Folk moment, and every single person present felt it. Finally, the other artists left the stage, and Paul Simon closed out the evening and his long overdue Newport Folk debut with a staggeringly beautiful solo rendition of “The Sound of Silence”. It was all very much the type of moment you don’t get often in live music. The type of moment I’ll be talking about for years, and I won’t be the only one.

CLICK HERE for More Photos from “American Tune Revue”, CLICK HERE for More Photos of The Ballroom Thieves, and CLICK HERE for More Photos from the Fort Stage.

Quad Stage

Arny Margret and Skullcrusher (first and second below) opened the stage with back-to-back sets that I immediately had to run off on. Then I skipped Hurray for the Riff Raff in favor of taking in just a little more of that Adia Victoria set. When I came back to the stage, I was met by The Backseat Lovers (both above). And well… wow. They were a band that really wasn’t even on my radar, and the second they started playing I knew that would never again be the case. Their sound was right up my alley, and their stage presence and energy guaranteed it would be the same case for everyone on the quad. A last minute cancellation by Bonnie Light Horseman created the next set entitled “Clusterfolk” (third below). It was a collection of artists coming together to deliver something unique and ambitious, and the crowd ate it up. Lucius (fourth below) was up next, and unsurprisingly mesmerized every single person in the crowd. It was a beautiful set that I eventually had to tear myself away from to catch some of Bleachers. But as soon as I got what I needed from that set I immediately returned to finish out Lucius’. I unfortunately missed Psychic Hotline (no photo), as the set was running late and there was no way I was going to be late to whatever was waiting for us in “American Tune Revue”.

CLICK HERE for More Photos of The Backseat Lovers, and CLICK HERE for More Photos from the Quad Stage.

Harbor Stage

Hannah Geaorgas (first below) kicked things off with a promising opening set of which I sadly only caught a few songs. Midlake (second below) followed with a crowd-pleasing set that was damn good but mostly lost on me because the heat was quite honestly already taking its toll. Thankfully, upon returning to the Harbor Stage, I was well hydrated and had spent some time in the shade, because Madi Diaz (third below) was wonderful, and I’m glad I had the chance to catch a fair chunk of her set. Next up, Neal Francis (fourth below) blew the crowd away with a contagiously energetic set that cured any heat-induced fatigue. Taking over as a last-minute replacement for Durand Jones and the Indications, Langhorne Slim (both above) took it to the crowd as he opened his solo set among the folk. It’s hard to not be immediately taken by the positivity and love radiating from Langhorne Slim and his songs. Plus, he’s just so damn good. Closing out the Harbor Stage for the day was the Black Opry Revue (no photo), a set I completely missed out on aside from half a song by The Kentucky Gentlemen in passing.

CLICK HERE for More Photos from the Harbor Stage.

Stay Tuned for More from the 2022 Newport Folk Festival... Coming Soon!!

Fort Stage

Lee Fields (first below) opened up the day with a ton of energy. It was one of those overwhelmingly charismatic soul sets we’re sometimes gifted with, and just like the others I’ve experienced, this was delivered at the exact right moment to get the blood flowing for the day to come. Following that was Faye Webster (second below), a last-minute addition to the lineup. She delivered a reserved yet memorable set that certainly stood out, especially for someone who joined the festival so late in the game. Béla Fleck’s “My Bluegrass Heart” (third below) was next, and helped to fill the day’s banjo quota quite perfectly. Then it was time to get blue. Taj Mahal (fourth below) took the stage at 80-years-old and proceeded to blew me away. He sounded just as good and often better than any studio recordings I’ve heard of him over the years, and it was so awesome to finally experience his music live. As the afternoon sun was reaching its most unbearable point, Courtney Barnett (fifth below) hit the stage running and made us all forget about the brutal heat. Hers was my second most anticipated set of the whole day, and despite seeing her perform several times before, I was still (as always) taken aback by how damn good she was. The National (all three above) acted as the day’s ‘headliner’. As the festival’s own Instagram so perfectly put it, The National delivered a set that felt right at home at the fest. Matt Berninger’s control over the crowd was incredible, and their openness to collaborate with fellow festival artists made their set a perfect closer to the opening day of the fest.

CLICK HERE for More Photos of The National, CLICK HERE for More Photos of Courtney Barnett, and CLICK HERE for More Photos from the Fort Stage.

Quad Stage

How Dinosaur Jr. (all three above) wasn’t the headliner for this stage, I’ll never understand. Theirs was not only the day’s best set, hands down, it was also the loudest. No, scratch that. Their set wasn’t just the day’s loudest set, it was the festival’s loudest set… ever… period. Sadly, the rest of the lineup on the Quad Stage didn’t do much for me, if I’m being honest. The three opening acts, The Dead Tongues, The A’s and Arooj Aftab (first, second and third below, respectively), simply never managed to grab me. Sure, it was cool seeing the first ever full band performance by The A’s, but beyond that their odd sound and stage presence didn’t do much for me in the little time I was present. Later in the day, the crowd came out big-time for Goose (fourth below), and seemed to love every single second the band was on stage. And closing out the day was the Silkroad Ensemble with Rhiannon Giddens (fifth below). What little I caught was quite good, but it never felt like it should be the headlining set of the Quad Stage.

CLICK HERE for More Photos of Dinosaur Jr., and CLICK HERE for More Photos from the Quad Stage.

Harbor Stage

The Harbor Stage brought me my two favorite ‘discoveries’ of the day. John Moreland and John Craigie (above, respectively) completely stopped me in my tracks. Both with their songwriting, but then Moreland with his emotional depth and soul-crushing voice, and Craigie with his assured presence and razor-sharp wit. The stage’s openers were lost on me, though. Leith Ross and Carm (first and second below, respectively) might’ve nailed their sets, but I saw too little of their sets and wasn’t won over in the time I did spend with them. Then there was Cassandra Jenkins (third below), who had the bad luck of coming on very shortly before I had to run off for Dinosaur Jr.’s set. What I did see was good, and I was happy to see her again later in the day joining The National for “I Need My Girl”. The Felice Brothers (not pictured) closed the stage with a set that drew a massive, and rapturous, crowd.

CLICK HERE for More Photos from the Harbor Stage.

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The Veterans

Folk Fans know and embrace the feeling the second it envelopes them as they enter the festival grounds each year; that unstoppable feeling of being among family. Many of this year’s artists have not only performed at the festival in the past, but have performed there so often that their being announced feels like a homecoming. Whether it’s headliners like Brandi Carlile or Nathaniel Rateliff, the likes of Lucius, Courtney Barnett, and the newly added Langhorne Slim, or one of the many others, these are the types of sets that make Newport Folk what it is. If you’ve seen them before, treat yourself to another round. If not, now’s the time to see what makes them keep coming back, and more significantly, what makes NFF keep inviting them back.

The Unknowns

This one’s subjective, but one of my favorite parts of each Newport Folk Festival outing is the discovering. Without Newport Folk, it would’ve taken me far longer (if ever) to discover some of my very favorite artists. Don’t be afraid of the unfamiliar names on the lineup. If you have the time, do a bit of research before hitting the festival. If not, make it a point to wander around the festival grounds throughout the day, taking in a little bit of everything… you just might find a new favorite band.

The Conflicts

It’s really best to just come to terms with the realization that, at any festival, you’re bound to miss out on something you were really looking forward to. I know personally that I’m already beyond bummed by overlapping sets such as Dinosaur Jr. and Japanese Breakfast on Friday, Lucius and Bleachers on Saturday, and the heartbreaking near-complete overlap between Maren Morris and The Roots on Sunday. But that’s just the way things go with festival lineups. All we as fans can do is make the choice that makes the most sense to us at the moment, and hope nothing goes down that triggers the all-powerful FOMO.

The Self-Care

This one’s simple, and has nothing to do with the music.Take care of yourselves. Remember to hydrate… drink plenty of water, then go on and drink some more. Use more sunblock than you think you need. Be sure to eat something throughout the day... nobody wants to be hangry when their favorite band hits the stage. Never hesitate in alerting security or any other festival staff if you see something (anything!) that doesn’t seem right. Be nice and take care of each other; above all else, we’re all there to have fun.

That’s all there is to it. Go get those schedules ready, and I’ll see you at the Fort.

Folk On!

The show marked Slipknot’s first time playing Providence in over 20 years*, and their Rhode Island fans came out ready for anything the band had in store. Lead singer Corey Taylor claimed to be struggling with his voice at one point early in their set, but showed little to no signs of it as he roared his way through one brutal fan-favorite after another. And the rest of the band stepped up their game to compensate for his struggling vocals, when he did show signs of tiring. Each and every member of the band left it all out on that stage Saturday night, matching the crowd’s energy with a theatrical intensity that was only ever outshone by the tour’s incredible production.

Aside from a handful of newer songs, the setlist was very much a collection of greatest hits from throughout Slipknot’s 23-year career. But with a production chock-full of intense lighting and pyro (including, but definitely not limited to, a bass flamethrower during “The Devil in I”), Slipknot made sure even the long-time fans were getting something unique out of a set predominantly filled with songs the band has been playing for years. It’s their best production in years, and if you ask me, it’s the band at their very best in years, as well.

The highlights of the show for me naturally included two of the songs off their sophomore album, “Iowa”. Their “Disasterpiece” opener really was the perfect way to throw an arena full of Slipknot fans into the deep-end head first. And the stretch of “The Heretic Anthem” into “Psychosocial” (from “All Hope is Gone”) into the pyro-heavy “The Devil in I” (from “.5: The Gray Chapter”) made for an incredibly effective mid-show reminder that Slipknot was there to put on one hell of a heavy metal show.

Cypress Hill (not pictured) and Ho99o9 (pictured below) opened the show. Cypress Hill sounded fine (I mean, c’mon, who doesn’t love some Cypress Hill?), but mostly fell short due to lack of onstage energy and their set’s overlong DJ lead-in. Ho99o9 delivered an interesting display, effectively warming up the crowd with their bizarre stage presence and fitting sound.

FULL PHOTO ALBUMS from the show can be seen on Facebook: Slipknot; Ho99o9.

*I could be mistaken, but the only other Slipknot show in Providence I was able to find any trace of was from September, 1999.