>>REVIEW
CALGARY FOLK MUSIC FESTIVAL 2006
What was to like? Well, what wasn’t? Except for the final few hours, when gale winds broke trees and rain added its own percussion, sunshine ruled all four days. But, it was the music, not weather, that will be the talk of the 2006 Calgary Folk Music Festival for years to come. Music – sweet, sweet music – music to dance to and singalong with and think about and smooch to and even catnap to.
Sold out crowds appeared Friday, Saturday and Sunday while Thursday was only a few hundred people short, but there was no need to feel crowded. The few moments of waiting in lineups for food, beer or potties were just opportunities to hear music drifting from one of the stages, take in the tempting scents of food drifting in the July air or get an opinion from a fellow folkie about who to hear on the side-stages.
And there was lots to hear, making this year one of the best yet for using the strategy of staying on the move. Robbie Fulks stole the show Friday night, pounding the country corn out of riffs and lines, popping with wit, twists and melody. It was no surprise that his CDs immediately sold out, and that thousands of new fans turned out to any workshop where he took the stage, like at Saturday’s Countrier Than Thou where he and his band created magical musical thunder with Tom Phillips, Tim Hus and the compelling Elliot Brood.
The same day, Son Volt’s Jay Farrar joined Fulks onstage with Dave Alvin and Austin sweetheart Eliza Gilkyson for a musical hour that will be remembered as much for the skilled collaboration as for the passion. The set seemed to supercharge Alvin, whose guitar-laced rock tempered by swirling organ sounded like an updated version of Bob Dylan’s legendary mid-’60s band when he took to the main stage later that evening. Alvin nearly stole the show, only to be followed by the interesting Little Axe, who split from their bluesy beginnings into a beatier dub sound that balanced precariously on the edge of description while catching and keeping the crowd’s attention.
Son Volt was in fine form, holding true to their well-beaten but fairly straight rootsy path. Veteran songwriter Kris Kristofferson closed the evening – his songs like "Me and Bobby McGee" and music from his recent This Old Road album sounding even better when unleashed under the trees into July’s silver dusk. In spite of his trademark smoke-stained voice and patented straight-shooter delivery, at no time did the man’s set sound like a retro offering.
At the other end of their careers, songwriters Kathleen Edwards and Feist made flawless transitions to the big stage – their voices and songs reaching out and touching the audience.
But, as usual, the workshops were like homemade trail mix, offering enough customized pick ’n’choose texture to satisfy every palette while keeping you on the move. While festival veterans like Dan Bern delivered expected humour and passion, underknowns like Hamilton’s Melissa McClelland and New York’s Stew enchanted and surprised, the former with her sweet airy lyrics spun out through clear sultry vocals and the later with his commanding stage presence and keyhole precision in creating entire scenarios connecting people, politics and emotion with just a few lines.
In a festival where the best in the world come together, Alberta musicians shone. At a workshop featuring Stew, Bern and New York’s Dar Williams, Calgarians Kris Demeanor and Lorrie Matheson’s penchant for melody and irony earned massive cheers. Especially refreshing were the later two as main stage emcees on Friday night. They were joined by Chantal Vitalis, dealing out jokes, songs and introductions in a manner that entertained rather than annoyed.
So, what was to like at the 2006 festival? Nearly all of it. What’s not to like? We have to wait a whole year now to do it again. |
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