So the Green River Festival begins a lot like most festivals: people line up at the gates way earlier than expected, tickets are taken, wristbands put on by soon-to-be experienced volunteers. All of this is done with smiles and an aura that is overflowing with community. Then, like at every festival the single regrettable moment occurs – that glimpse into the selfish part of human nature that none of us like to admit exists – the land grab. Those same people waiting in line who were reminiscing of great Green River festivals past and the day’s bands to come, walk briskly or maybe even run to claim as much of their ideal piece of earth as their superego will allow. And just that quickly, their id is repressed until they hit the highways again.
Luckily the first performer at the Green River Stage (the main stage) Suitcase Junket, allowed me to relax and settle into my first beer and just sit and be amazed at the sound, mind you high quality sound, coming from one man. Suitcase Junket is Matt Lorenz sitting on, of course, a suitcase equipped with drum kick pedals, a gas can, cook pot, circular saw blade and a wooden box of bones and silverware. He had excellent stage banter which enhances my appreciation of any act almost without fail. He also had a sweet voice, good heartfelt songs, and the patience to let them breathe. Some might say that the eerie throat whistling thing he does is a little gimmicky, but I found it to be completely mesmerizing, and allowed him to add 2 part harmony to his musical repertoire.
Charlie Parr kicked off the Four Rivers stage (which in years past was a dance tent) with solid, gritty slide guitar blues. He pretty much kept his head buried in his guitar, but he can sure play it. The Straybirds produced nice harmonies back on the main stage but for some reason didn’t especially stand out to me. Hayley Reardon, a young woman on her way to college, played a nice mix of coming of age songs that were perfect for sitting on the shady hill and snuggling with my kids – thanks to the Festival for re-orienting that stage so the big shady hill can be used as a natural amphitheater. Next year, they will have to figure out how to avoid the sound bleed from the main stage.
Langhorne Slim and The Law got the people up and dancing, which is quite the accomplishment for 3 pm with the sun beating down on a humid 90 degree day. The quartet flipped between poppy upbeat and folksy tunes that all were steeped in Americana.
Green River usually has a few “out-there” performers and this year was no exception. Arc Iris played both days and while they made for an interesting look, with Jocie Adams’ body suits and bejeweled face and their ivy-covered stage, and I envied their musicianship and total commitment to their art, I left with the same thought I often have when listening to avant garde jazz, “I’m not smart or brave enough for this yet”. tUnE-yArDs was more accessible. When Merrill Garbus played with only her bassist, Nate Brenner; the music was fine, but didn’t strike me as anything different from other musicians who are adept at creating songs with a looping rig. That changed dramatically when she was joined by the other three women on backup vocals and percussion which transformed the band to a unique vocal powerhouse.
I made it back to the Four Rivers stage to check out a duo called The Milk Carton Kids. They did have great harmonies, intricate guitar combinations, and clever banter, but I wasn’t completely grabbed – perhaps it was that I couldn’t stop think of how hot they must be in those matching black suits in the afternoon heat. Singer-guitarist Lydia Loveless followed with driving country-rock and story-filled songs and was supported by an energetic bassist, two other guitarist and drummer. Totally enjoyable.
On the main stage, J Mascis, the force behind Dinosaur Jr, played solo with his distinctive voice and the unmatched twanginess of his guitar setup. He offered a set of his songs plus a cover of Anticipation that his wife asked him to play so “the audience recognizes at least one song in his set”. While it hinted of the brilliance of Dinosaur Jr, the sound seemed thin and one-dimensional. I hope to see him with a band next time.
On the Parlor Stage, the one on a hill, Suitcase Junket, Charlie Parr, and Kris Delmhorst play “in the round” They alternated songs, and while I found each of their songs to be enjoyable, I was disappointed to find that there was virtually no collaboration among them.
Booker T Jones was the next up at the main stage and was full of spirit, smiles and optimism. To my surprise, he spent as much time on the guitar as he did on the Hammond B3 organ. He played the perfect balance of his old hits like “Green Onions”, some new songs, and a few covers. He acknowledged with respect the artists he covered and the whole crowd appreciated his being there.
Next I rushed back down the hill to see Red Baraat – a mix of Indian Bollywood, New Orleans Funk and DC Go-Go. Needless to say, the band is high energy and is composed of a 4 piece brass section, a 3 piece percussion section and one electric guitar. Sunny Jain, the band leader sings most of the vocals and plays a Dohl (the dance drum from Northern India) which barely tethers him to the two mikes set up on either end of the instrument. They are one of those bands that seems to have endless energy and enough juice to keep the crowd dancing for the entire set. They play music that is incredibly intricate with lots of changes yet somehow manages to keep a steady dancing beat. They are fun in their own right, but even better when you completely give into the nearly irresistible urge to dance.
When night falls the festival changes dramatically. The hot air balloons fill up and light up the sky and the average age of festers seems to drop by about 20 years. Stage after stage fills with hi-energy frenetic dance bands and the wild rumpus begins.
That rumpus was led by Rubblebucket which combines fierce vocals, joyous energy and the ability to drop any inhibitions while performing. I heard a number of festival goers questioning whether Rubblebucket was ready to graduate from late night dance tent band to the Saturday night closer, but they commanded the main stage with an extravagant show on par with any headliner. Frontwomen Kalmia Traver struts, dances, sings, and plays sax, percussion (and other instruments) in every conceivable position and stage location, and their songs are energetic, complex and danceable. While they may not be everyone’s cup of tea, you’d have a hard time finding people who dismissed them as bland. Their show featured synchronized and un-synchronized dance moves, giant balloon animals bouncing around the crowd, trips by most of the band off the stage and through the crowd, a giant silver body wig and a band of dancing aliens; yet somehow it was not distracting nor did it seem gimmicky or even over the top. You just dance away and when Traver instructs you in a bit of crowd choreography, you find yourself complying happily.
The Parlor Stage closed out with the wild Bella’s Bartok which featured high-energy, reckless Balkan dance music. It somehow helped that this rowdy fare was offered up by sweaty, mostly-mustachioed players whose faces were seemingly randomly smeared with face paint of all colors to give the ensuing dance party a sinister and seductive feel. The final band of the night was Antibalas on the Four Rivers Stage. Antibalis is a party band from the 90’s that feels like the love child of Fela Kuti and the Buena Vista Social Club on speed. After they finished, the crowd walked back up the hill to their cars, sweaty, exhausted and in love with music.
Sunday started off even steamier, but I love the early hours at festivals. The grounds are less crowded, I have a chance to check out the vendors and really get situated. But, seeing the opening acts is the best time to discover new artists and support live music by buying their cd – yes I still buy cds. Wandering in before the gates opened, I heard the main stage opener, The Lonesome Brothers’ sound check. Talking only to the 20 volunteers wandering around and me, they quipped “Let’s play a song. We won’t play you the whole song because then you’ll know the ending.” The local trio’s set was a nice way to start the day: steady banter, harmonies, clever and clear lyrics, alt-country.
Joe Pug offered up healthy doses of folky singer/songwriter earnestness, but even when he played to the hometown crowd by trashing the elite of Connecticut, he didn’t grab me. Strolling up the hill back to the main stage, I was compelled by Sean Rowe’s deep voice. It was just him, his guitar and his impossibly stiff beard, but that combination commanded the whole stage and delivered on the promise of something special.
Valerie June got the full attention of the crowd at the main stage. Simply her appearance forces you to gather in close to get it all the detail – the Medusa-like hair adorned with a flower crown (made by one of the vendors), the mirror-studded oversized glasses, rings and necklaces galore, gorgeous teal ribbon lace dress, even her slide is festooned by a scarf. But you stay for the music, the voice, the songs and stories. I had seen her before, but this set she blew me away with the ease that she moved among blues, gospel, country and vintage genres while maintaining an intimate and personal connection to each song and her instruments.
Guitar-toting Parker Millsap played a solid set with his fiddle and double bass sidemen on the Four Rivers stage. His Oklahoma country base shows through, but there is just enough gospel and blues plating to keep his songs fresh and interesting. He also has a genuine quality that enables him to relate to the audience with ease. On the main stage, the Preservation Hall Jazz Band delivered their usual professional and upbeat performance. They showcased everyone’s talents, but saxophonist and singer Clint Maedgen really stood out to me. Although their entire set kept my feet tapping and face grinning, I wish they would move away from simple standards like “You Are My Sunshine”.
My second discovery of the festival (Suitcase Junket being the first) was Elephant Revival. There is a zen quality to this band that blends Celtic harmonies and folk rhythms with ease. The band seems to be full of counterparts that shouldn’t go together yet somehow completely work. This is exemplified by lead singer, Bonnie Paine, who sings beautifully while scratching a washboard with formal white leather gloves that had menacing metal claws protruding from each finger which she delicately adjusted after each song with an overused set of needle nose pliers. The music was also full of juxtaposition that enabled it to sound Celtic, trippy, upbeat and soothing all at the same time
The Punch Brothers contributed a great set. A newgrass supergroup led by Chris Thile, their sound ranges from bluegrass to acapella Americana to roots rock with hints of Beach Boys harmonies. And then they cover Claude Debussy (as in 19th century classical composer) and you don’t know what to think. The whole front of the stage was filled with dancers throughout the set. Later they got the entire crowd to sing along “The old triangle went jingle jangle, all along the banks of the Royal Canal.”
Steve Earle and the Dukes was the Sunday closer, and although much of the crowd had waited enthusiastically for him and hung on his every note, the long drive ahead had me trudging to my car for home.
Green River has always been a nice, comfortable, community music festival. Even though it was sold out on Saturday and perhaps on Sunday, there were no lines to speak of and plenty of room for everyone. One of the things that always makes me smile at this festival is the fact that anyone can walk hand in hand with each other without any external negativity. I realize that shouldn’t be remarkable, but it makes me smile every time.
In addition to the hot air balloons, Green River rounds out the music with the Makers Market, a set of well-curated crafts, advocacy groups and artisanal food vendors; Hula-hooping; The Flying High Frisbee Dogs; a kids craft tent and a Mardi Gras parade that traipses through the festival grounds. New this year, was a shuttle to a local swimming hole. Note to self, bring bathing suit next year.
Planning is important with most festivals — what new bands do we need to check out?, what’s allowed in and what’s not?, which stage should I set up at?, etc. Green River is usually different because you can see every band that is performing with relative ease. However, when I pulled up early Saturday morning to the gates of this fabulous, family-friendly, roots music festival I’ve been attending for years, I realized I had gotten too complacent about this one. Signature fSounds, who is now producing the festival for the second year, had brought back the Friday night lineup, “July evenings are so pleasant and this gives us another balloon launch and glow, not to mention the opportunity to program more great music”, and I had missed it.
The future is bright for this festival, but I think it can go one of two ways: 1) keep it homey and charming like it is with lots of local acts and local vendors; or 2) make it go the way of other big festivals with bigger acts, more tickets and VIP viewing areas. They could easily add another stage in a neighboring field or even at the corner of the existing one. They would have to get rid of the balloons – they take up a lot of room. And… all I can say is that I really hope they keep it the loving, local festival that it has always been – it feels just right.
