So stop me if you’ve heard this one: How many Westchester hippies does it take to put on a music festival?…. All of them!
The 2017 Clearwater Music Festival – The Great Hudson River Revival – returned to Croton Point Park in Croton-on-Hudson, NY after a year-long hiatus. The festival was started by folk singer and activist Pete Seeger in the 1960’s as a fundraising vehicle to build the Clearwater sloop (an educational boat) that sought to clean up the then-heavily-polluted Hudson River. The festival is volunteer -run and the proceeds continue to support Clearwater’s numerous educational programs and work toward environmental and social justice. It draws an older crowd –an average age of 60 would be a conservative guess – but still with lots of kids and young adults who grew up going to Clearwater. The festival caters to the folk tradition that Pete Seeger helped nurture but has expanded beyond that to include young traditionalists, top-bill Americana and Roots acts, dance bands, and world music. With three main music stages, a dance tent, the new workshop stage plus a family stage, story-telling area and “Circle of Song”, there is something for everyone. And while the festival doesn’t sell alcohol, people are welcome to bring in any food or beverages they wish, adding to its low-key vibe.
Other folk festivals can be pretty “crunchy” but Clearwater takes it to a new level. Let’s start with the volunteers – there are armies of them, and they are organized into regiments related to function, and each squad has their own uniform (in this case a specific colored volunteer tee-shirt). First there are the traffic assistants lining the roads and parking areas in their cheerful yellow safety vests. There is no way to get to a parking spot without being guided by at least a dozen of these eager-to-help folks. Then there are the blue shirts – the “zero waste” patrols who in addition to emptying and transporting the contents of the garbage, recycling and compost bins, are posted in pairs at each disposal site to assist anyone who might file their refuse incorrectly. Volunteers are responsible for selling and taking tickets, working the cash registers in the merchandise booth (not a skill indigenous to the hippie way of life), staffing the environmental action/green cities educational booths, ensuring the spaces reserved at the front of each stage for the “folks in chairs”, staffing the bicycle valet parking, and performing most of the other necessary and menial tasks that are required to run a festival. They even run each of the stages (which are solar-powered, no less). However, the most numerous and noticeable group of volunteers are the orange-clad Peacekeepers that walk around and make sure everybody gets along. The Peacekeepers are instructed to be “assertive while being welcoming and considerate of the needs of our patrons”. Other crunchifying features include an activist area, circles of song, an artisanal food and farm market, the handcrafter’s village, American Sign Language interpreters at almost every stage, a working waterfront educational area, roving musicians, food to satisfy every possible dietary restriction, and a seating policy that states “unoccupied blankets and seats may be respectfully used by others until the owner’s return.”
All of these accommodations make easy targets for cynical review writers to take shots at, but in reality, it all really works. The festival went off without a hitch, and while you might spend a little more time waiting to pay for artist merchandise, or occasionally run into an “entitled New Yorker”, there is a sweetness and communal vibe at this festival that makes for a very relaxed and enjoyable experience.
Now for the music: Clearwater books a wide variety of folk and protest music spread over six stages. This year’s line-up ranged from up-and-coming blues newcomer Jerron Paxton to the more established Guy Davis; experienced protest singers Holly Near and Arlo Guthrie to the newer voices of Valerie June and Leyla McCalla; and those that lend their music to activist movements like Joan Osborne and those whose music shapes protest like Joel Rafael and John Trudell’s Bad Dog. Clearwater presents the legends of folk like Richard Thompson; continues the voices of those passed with Tom Chapin (Harry Chapin), Arlo Guthrie (Woody Guthrie) and Joel Rafael (John Trudell); as well as celebrating those artists gone at the Workshop and Circle of Song stages. All genres are presented including a range of Zydeco, Plena, Cajun, Salsa, Middle Eastern, and Contra dance bands; singer-songwriters Nick Lowe and Josh Ritter; roots acts Los Lobos and Alejandro Escovedo, and the international sounds of A-WA. Equally diverse is the range of issues raised in the music from the Native American experience of Margo Thunderbird to the socio-political with Chilean guitarist and activist Nano Stern to the progressive and inclusive values of Toshi Reagon and BIGLovely. With bands ranging from the volunteer Clearwater Walkabout Chorus to exceptional guitarist Tommy Emmanuel to top-bill festival act Lake Street Dive, it’s hard to not find an act to love nor to discover some new talent.
Saturday
The music kicked off on Saturday with a folk jam session of sorts titled “Opening Prayer/Songs for Pete & Toshi” featuring (in alphabetical order of course) David Amram, Tom Chapin, Guy Davis, Holly Near, Tom Paxton, Joel Rafael, Joanne Shenandoah, and Josh White, Jr. They started off with Shenandoah and Amram leading the band with wooden flutes that had been carved from wood that had been submerged for dozens of years. It was a nice touch, but there is a probably a reason that all flutes aren’t produced this way. Matt Lorenz mesmerized the Hudson stage with his one-man-band project called The Suitcase Junket, which featured his “band” of reclaimed items: left heel on the bass drum suitcase, left toe on high hat and bag of bones, right heel on cookpot and circular saw, right toe on baby shoe hitting gas can, a guitar and a radio shack keyboard he found in a dumpster. The whole band is tied together by his charm, great songs, warm vocals, eerie two note humming/whistling thing he learned over the course of five years driving from gig to gig, and his original dumpster-diving guitar. If you haven’t seen him, treat yourself some time.
One of the more refreshing things about the festival is that there are very few cell phones and screens being brandished by the audience. This was driven home during The Suitcase Junket’s set when a woman who must have been in her 60’s, but danced like she was in her early 30’s, kept the attention of half a dozen kids by dancing with them while playing with a few pieces of fabric which were incorporated in the most creative ways. It was such a poignant reminder of how little we need aside from attitude and imagination to have fun.
Next on the Rainbow Stage, Nick Lowe played a solid solo acoustic set which led many people to be surprised at how many Nick Lowe songs they knew every word to. As the light rain turned to a steady pour, festival goers merely put up their umbrellas, tossed on their slickers and relaxed into the music. Larry Campbell & Teresa Williams turned in yet another professional set. Over on the Sloop stage, Martha Redbone delivered a great performance of folk songs drawing heavily on her album of William Blake poems that she set to music and from her catalog of Native American ballads. Joan Osborne took the Rainbow stage and played her new project, a full set of re-interpreted Bob Dylan songs – although she has a phenomenal voice, her set didn’t stand out to this reviewer’s ears, but did to a great number of other fans who rushed to buy her new CD after her set. Leyla McCalla, who shared Joan’s time slot has a beautiful deep voice and displayed ample talent, but didn’t really stand out.
Guy Davis, a warm-voiced blues singer lit up the intimate Sloop stage with his gentle attitude and spur of the moment set list. His song “She Just Wants to Be Loved” brought tears. Then it was back to the Hudson stage to be overwhelmed by the energy and passion of Toshi Reagon & BIGLovely, her 8-member band of mostly singers. She preached social justice and urged for a new commitment to activism. Her words were extremely moving and her music was infectious. She had the crowd on their feet, hands in the air, cheering on this activism. She’s worth a night out if she ever comes your way. She was followed by Holly Near who made similar pleas for action although in a less confrontational manner. She closed with a song advocating civil disobedience from old folks as police have no idea how to handle protesters who remind them of their mothers and fathers. Matt Lorenz’s Suitcase Junket played a second set on the Sloop stage and found a whole new crowd to captivate. It was amusing to look around at the number of audience members who were audibly trying to figure out where that two-toned throat singing sound was coming from.
Los Lobos played back on the Rainbow stage and featured the folkier side of their catalogue, but they turned out to be just a warm-up for the evening’s closer, Lake Street Dive. Rachel Price and the rest of the Lake Street Dive(rs) got the dwindling crowd up and dancing as they turned in the best set that this reviewer has ever seen them play. One particularly heartwarming sight was watching a group of tweens dancing enthusiastically next to a group of 70-something women who were dancing just as enthusiastically. The gauntlet was thrown down, although in accordance with the peaceful spirit of the day, there was nothing competitive about the challenge as neither group noticed the other wrapped up in their own joy. And even Lake Street Dive got political with “no more walls, just bass solos” introducing an upright bass solo by Bridget Kearney (rocking her Side Pony). Close to the longest day of the year, Lake Street Dive ended their set close to 9 pm but it was still twilight, and the setting sun was stunning. Closing with “You Go Down Smooth”, they were called back to the stage for encore “Seventeen”. This band was both a highlight of the day and the queens and kings of songs with tempo changes.
Sunday
Again, it was worth it to arrive on time on Sunday morning with two great opening acts. As the early crowd was setting up, Joel Rafael was mid-sound check, and it was clear that his set should be heard. But first, Jerron “Blind Boy” Paxton started up the Hudson Stage with his engaging story-telling and harmonica accompanied by “mic stand” percussion. Alternating between his “soggy” instruments – fiddle, banjo and guitar – he lamented the Louisiana-like humidity and introduced each song with a story. After songs about the devil and his grandmother, women, and moving to New York, he dismissed the sign language interpreter telling her to “wet her whistle with whatever she prefers”. He then immediately brought her back out to sign his spoken ode to whiskey, clearly a favorite quaff of his, before launching into a mini Banjo set. You could hear the difference between traditional-sounding British-style folk and the more percussive Geechee (Gullah) style. Paxton certainly whet the crowd’s appetite for banjo and his Black Banjo Music set later at the Workshop Stage. His banter was as entertaining as his traditional acoustic blues, and he and the crowd immediately established the politics of the day. Paxton: “I’m from the Country of Louisiana; it should have its own president.” Crowd Member: “We all should!”
Back on the main Rainbow Stage, Joel Rafael with John Trudell’s Bad Dog was closing their set with what might have been the most powerful performance of the day – Rafael’s presentation of Native American/human rights activist and musician John Trudell’s spoken-word-with-music “Rich Man’s War”. The powerful lyrics backed by slack-key guitar and indigenous atmospheric singing made one pause and reflect.
Sunday’s spectacular weather allowed Clearwater to showcase its idyllic setting: Croton Point Park – a spit of Westchester County park land jutting into the Hudson River about an hour north of New York City. Across the river, the New Jersey Palisades tower over the Hudson majestically undeveloped (due to the Rockefeller Family who wanted their river view unspoiled). The sloping hill in front of the Rainbow stage provides excellent tiered seating for the audience. The Hudson stage is right on the river, allowing festival goers to sit on the river buttresses, and sail boats to set anchor and catch a set or two. Stands of old trees provide massive shade. Wild open fields allow for lots of activities, vendors, and activists, yet still provide space for families “running” their little ones. One can even pop off for a brief swim.
Other musical highlights for the day included a strong set from Australian fingerstyle guitarist Tony Emmanuel. Mainly instrumental and with influences from folk to jazz, rock and classical guitar, he never let up for his hour-long set. As one fan said “This Motherfucker doesn’t even stop long enough to let you applaud.” Alejandro Escovedo arrived with a new (to me) line-up including a second guitarist, bassist and drummer, and delivered a great performance including a nice version of “Five Hearts Breaking” with drummer John Moen beating the box he was sitting on with a brush stick. Valerie June’s distinctive voice, unique style and updated take on protest music provided a nice dose of introspection, forcing you to look beyond her intricately piled hair and gold lamé jumpsuit. Playing solo, Richard Thompson provided a solid hour of acoustic guitar driven folk rock punctuated with stories. Early in the set he talked about finding a book of music but not reading music he had to just play it his way. But he thought Mr. Seeger would approve and launched with clear voice into folk standard “Down in the Valley” reminding the audience of the additional verses beyond their grade school music class rendition. Margo Thunderbird and Thomasina Winslow (who delivered a nice set the day before) were dynamite together, both clear of voice and speaking passionately on the Native American experience. Upbeat ten-member Brother Joscephus and The Love Revolution covered the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and even this non-Beatles lover appreciated their full band treatment of these classics (and learning how to sign “Lucy In the Sky With Diamonds”).
Canadian group The Barr Brothers played a great set, seemingly much harder than their CDs. Opening with a long intro, they launched into “Beggar in the Morning” ending it with the opposing sounds of the harp strumming and drums beating. Followed with “Deacon’s Son” that just kept building, it was a great introduction to their music. They are solid Americana with a lively stage presence, and the inclusion of classically-trained harpist Sara Page was a new touch to this genre. The other main stage closed with Arlo Guthrie, solo on keyboard or guitar. As a fellow musician, activist and contemporary of Pete Seeger, it was a suitable ending to a powerful and inspirational weekend.
Approaching its 50th year, the Clearwater Great Hudson River Revival is the real deal; its organization follows its politics. From the moment you approach the festival’s entry, the main focus on the volunteers is greeting you with a smile, a brief nod at your wristband, and the offer of a program, nary a glance at your cooler or backpack, never mind your purple hair, slow gait, or lumpy body. Staffed by volunteers, all proceeds support the environmental education, advocacy and stewardship of the Hudson River. Committed to full accessibility, all stages have sign language interpreters and a large area up-front set off not for photographers or VIPs but for those with disabilities, and access for them is maintained by a “peace keeping force”. And most stages are solar powered. Signs are everywhere but they are quotes by famous activists, including festival founder Pete Seeger; reminders to recycle; and remonstrations against Indian Point (the nearby nuclear power facility) and such. Families are welcomed; not only is there a playground, open space galore and even this year a solar-powered mini-carousel but also a Story Grove, an environmental education tent, and a Family stage; and gosh, it’s held on Father’s Day weekend. Activism is supported not only through the voice of the folk performers many of them integral to the current and past protest movements and human rights activism, but with an area devoted to organizations fighting against climate change and war and for human rights, the environment and organ donation; a Green Living Expo; and an Artisanal Food and Farm Market. Human Rights are defined inclusively with support for various causes including LGBT, criminal justice, marriage equality, immigrant justice, women’s issues, and indigenous people. And to showcase the Hudson, there are tons of river-related activities including sailing on the Clearwater Sloop and Mystic Whaler schooner. The only inconsistency is the 64-page program; but it is chock full of information, and, there were numerous reminders to recycle it.
Welcome back Clearwater Festival. You are still needed.
Additional reporting by Jordan Hamowy.
