2009 Reviews

Were You There? Scene a la Calgary Blog

Wed, 21 Oct 2009 00:00:00 +0000

Audience review of John Amor, Mark Berube and LeE HARVeY OsMOND at SAIT Oct 16

Were You There?

SAIT, The Gateway Lounge, October 16th. . .

A triple bill show that built through the evening to a fully energized experience of shared music.

Jon Amor opened facing a daunting task - solo, and armed only with his guitar he let his songs of personal experience capture the room. It always surprises me how far the blues have traveled from the U.S. south, and this guy just proved again that reflecting on life and love is hard, but with music in it there is no dragging us down for good.

Mark Berube and the Patriotic Few then dazzled again. I was surprised, but should not have been, by how many of the precise images in his lyrics were still fresh in my mind from last summer's hearing. Is this artist his own muse? He explores how the big world stories reflect on the front porch, storefront, street and highway. The cabaret style pulls you in so you can hear the poetry better. Totally engaging and satisfying.

Lee Harvey Osmond - Tom Wilson and friends - then proceeded to pump up the energy in the room to yet another level. Rediscovered that acid folk is one of those exciting genre mutations that opens the mind, heart and soul to fresh perspectives on what it means to be human. Truly this was our collective brains on music and we jumped with excitement for a bravura performance.

Once again, the SAIT Gateway sound technician had the room perfectly tuned. Thank you!

And thank you, Calgary Folk Festival for sponsoring this show. I was still talking to people about it at the train station when I ran into the lady who had been at the SAIT President's Ball just across the campus. It seems they got Kalan Porter - and I thought, wow, my ticket only cost $25 (plus the CDs - but hey - support live music) for a much better evening!

http://scenealacalgary-mw.blogspot.com/

Your mom's new favourite band, FFWD Weekly, Patrick Boyle, Oct 1, 2009

Fri, 02 Oct 2009 00:00:00 +0000

Saskatoon's Deep Dark Woods don't mind showing your parents a good time

Your mom's new favourite band

Published October 1, 2009 by Patrick Boyle in Music Previews

'When you play to moms in a theatre, they all pay 20 bucks and buy your CD’ — The Deep Dark Woods know the advantages of an older crowd.

DETAILS

Deep Dark Woods with Little Miss Higgins
Gateway
Saturday, October 3 - Saturday, October 3

More in: Folk / Country

“I don’t think we really listen to a lot of new music, that’s probably the biggest factor.” That’s the reason guitarist Burke Barlow of The Deep Dark Woods gives when asked how he and the band manage to sound so old-timey. “It depends on which of us you're talking to, but the stuff we listen to ranges from early Mississippi delta blues to early English folk music to Dylan and The Band and old bluegrass and everything like that. So I think that’s basically why we end up sounding like something from the past.”

Trafficking in a satisfying blend of twangy country and rootsy folk, the Saskatoon-based quintet indeed evokes the sounds of yesteryear. Through a prism of simple but satisfying harmony, the lyrical focus on universally relatable themes — departure, penury, yearning and taking it all in stride — is all the more resonant. Sitting atop wide-open arrangements that give ample space to banjo, lap steel and swoon-inducing organ, it all adds up to a romantic ideal of country music renaissance men. The only thing that clashes with this idealized image is the fact that Barlow and his bandmates are relative newcomers in a field where age is paramount — how on earth did such whippersnappers come to such an appreciation of “real music?”

“I don’t really know what it was,” Barlow says, admitting that most of the band’s previous musical projects were largely devoted to aping mid-’90s alternative rock. In other words, it’s perfectly normal. “I was actually talking to Joel Plaskett once about why he called it quits with Thrush Hermit and put out that folk record [In Need of Medical Attention]. And he said he just hit a certain age where it started to appeal to him. I think the same thing happened to a few of us, because our favourite bands were, you know, Radiohead and the Smashing Pumpkins and then all of a sudden we hit an age and it was like ‘Oh, Gram Parsons? Who is this guy?’”

The band’s decision to embrace a sincere appreciation of vintage songcraft has had its benefits. One of the most important consequences is that The Deep Dark Woods is one of very few up-and-coming indie buzz bands that enjoy a huge fan base among people its parents’ age. When asked what he thinks of the fact that this humble writer, for example, was introduced to the band by his dear mother, a card-carrying super-fan, Barlow seemed more than content with the situation.

“That age group buys a lot more CDs still, so that’s always a good thing,” he says with a laugh. “And they’ll tend to pay a lot more to see you. When you play in a bar, lots of people want to burn your CD and then sneak in the back door, but when you play to moms in a theatre, they all pay 20 bucks and buy your CD.”

Of course, if critical acclaim is any indication, The Deep Dark Woods shouldn’t be too worried about moving albums. Since the release of Winter Hours, it’s third LP, in February, the band has racked up one elusive distinction after another, starting with glowing praise from online tastemakers Pitchfork Media, sidling gracefully through a sit-in with Jian Ghomeshi on CBC Radio One’s Q, and culminating two weekends ago in Brandon, when the band received the Western Canadian Music Award for best roots duo/group recording of the year. Now that it’s through the struggling-for-recognition phase, is it possible that fans should be worried about The Deep Dark Woods’ ability to construct a heart-wrenching hit like All the Money I Had is Gone?

“It’s business as usual for the band,” assures Barlow. “It just means we have a little more cash when we get home from tour. A little more wham. It hasn’t really affected songwriting or anything like that. Mind you, most of the songs we’re playing now were written six months ago, so who knows?”

Big Rock Field Reporters - Best of the Fests

Wed, 16 Sep 2009 00:00:00 +0000

Over this past summer we traveled to five folk festivals across Canada. As you can imagine we noticed each festival had at least one aspect that really shone over the other festivals. Singling these out, we've made a fusion list to summarize the perfect Folk Festival! (Utopia)

Posted by Big Rock Brewery

AWARD FOR BEST LINE-UP.......

BEST LINE UP: CALGARY FOLK FESTIVAL

Calgary, hands down. As we mentioned in our blogs at the time, Calgary puts great effort into appealing to a younger audience, and as a result the lineup ends up far more diverse. Two of my favourite acts of the entire summer were Akron/Family and The Decemeberists, both of which were at Calgary Folk Fest.

AWARD FOR BEST HILL.....

BEST HILL: EDMONTON FOLK FEST

While Yellowknife had a nice little natural auditorium with its beachy hill, the award undoubtedly goes to Edmonton!

Performers at the Edmonton Folk Festival say this (time and time again) as they look out at around ten thousand people rising before them, "the hill really is magnificent". For the audience it means natural stadium seating- enjoying seeing the musicians rather than the backs of heads! The downtown Edmonton skyline acts as a perfect backdrop, along with the pyramids of the Muttart Conservatory. The highlight of the hill comes on Sunday night, when absolutely everyone on the grounds lights a candle and sings "Four Strong Winds", and the hill is transformed into a sea of moving lights.

AWARD FOR BEST CAMPING....

BEST CAMPING: WINNIPEG FOLK FESTIVAL

Do I even need to say it?

Winnipeg has a huge head up on other festivals for this reason, as no other festival even lets you camp (in fact, in Edmonton if you show up to line up before 6 am you are sent to the back of the line once the gates are opened). The reason Winnipeg was such a party was in a large part due to the camping after the show was done. Parades appeared spontaneously, people built entire castles, and were bullied into fireside haircuts after having one too many. The location of the Winnipeg Folk Festival (45 minutes outside the city) makes this camping experience possible. While the downtown aspect of Edmonton or Calgary is cool - Winnipeg has a fantastic head-up on other festivals with the campground experience!

AWARD FOR BEST BACKSTAGE....

BEST BACKSTAGE: WINNIPEG FOLK FESTIVAL

Well, Winnipeg gets another.

Even though most festival-goers don't get to enjoy festival backstages (remember, we're the Grasshoppers *ahem* VIP's), we had to mention Winnipeg because it really is cool.

Not only do the wonderful volunteers cook three meals a day in a great, huge food tent, but the backstage area has its own beer garden. (Generally speaking more beer gardens = more approval from Claire and Bryn.)

AWARD FOR BEST SCENERY....

BEST SCENERY: YELLOWKNIFE FOLK ON THE ROCKS

Yellowknife! It's sort of unfair really. How do you compete with a lake, a beach and nearly 24 hours of sunlight?

Yellowknife was beautiful, almost so beautiful they could have dropped the Jonas Brothers on stage and the Folkies wouldn't have minded (I said almost). Unlike any other festival, Yellowknife is mostly sandy, which makes sitting on your blankets for several consecutive hours much more forgiving. The nearby lake provides convenient relief from the hot sun. Tons of the festival-goers (including Bryn!) took advantage. Beautiful place. But, while we're kindly reminiscing, let's just forego mentioning the flies...

AWARD FOR MOST CHILL....

MOST CHILL: OTTAWA FOLK FESTIVAL

Well, perhaps it's the size and the fact that it is a newer festival but Ottawa definitely had a cool vibe. In our time at the folk festivals Bryn and I have experienced some *ahem* less than laid back attitudes at the Folk Festivals. But none of that was to be found at Ottawa where people really were there just for a good time and not to prove what die-hard folkers they are.

Keep it Ottawa! If this great vibe can be kept up as the festivals ages it will be a good thing.

We'll spend a few more days reminiscing and then post some of our best video footage. The folk fests may be over, but.... folk on!

We are passing the torch for the 2010 festival season. Post your application at bigrockbeer.com/grasshoppin.

http://www.bigrockbeer.com/blog/

Recession or no, music touring pays, Robert Everett-Green, Globe and Mail, Aug 29, 2009

Mon, 31 Aug 2009 00:00:00 +0000

Against the economy's negative tide, concerts in most musical segments continue to sell well all across the country

The recession bites, but the bands play on, and in many places the tickets are selling better than ever. Just when you might think that Canadians would have good reason to stay home and watch TV, they're streaming out to concerts, club shows and music festivals.

"The business in general is very solid," says Harvey Cohen, director of touring for Union Events, a concert promoter based in Alberta, one of the provinces most shaken by hard economic times. "Our volume is certainly up, the number of shows and number of bands touring is up. We have more shows booked for September than in any month in our history."

The Calgary Folk Music Festival actually did better than ever this year, selling out all tickets for the first time in its 30-year history. "And our tickets sold 10- to 20-per-cent faster than usual," says Kerry Clarke, the festival's artistic director. Prices were the same as last year.

The Calgary Folk Music Festival was sold out for the first time in its 30-year history.
Nationally, the concert business is reinforcing the old adage that when economic news turns gloomy, entertainment becomes more important, not less. The national unemployment rate stands at 8.6 per cent, but Riley O'Connor, chairman of Live Nation Canada, says the country's biggest concert promoter is doing a robust trade.

"There has been a drop, but not to a point where it's hurting," says O'Connor. "1991 was way worse, and severely affected our business."

Live Nation's total number of shows has declined to about 1,400 this year from about 1,600 in 2007, partly because some bands read the headlines and decided not to risk touring, O'Connor says. The caution was largely unnecessary in Canada, he says, because Canadians tend to go to more live cultural events than Americans do.

Against the Grain (ATG), a prominent Toronto club-show promoter, is having a banner year, according to co-owner Jeff Cohen. The company has even bumped up the number of its larger theatre shows at Massey Hall, one of which sold out.

"We've had more success this summer than any other summer we've ever done," says Cohen. "I don't think anybody has a problem with paying $20 to $100 for the bands they want to hear." Most tickets for ATG shows at Lee's Palace and the Horseshoe Tavern, their two main venues, sell for less than $30.

Some outdoor festivals around Toronto have had trouble attracting audiences, Cohen says, noting the Virgin Festival's decision to move downtown from a venue near Barrie because of slow ticket sales. But he says the problem is more likely related to those events' relatively low degree of local identity compared to the strong grass-roots tradition of the western folk festivals.

The softest parts of the concert market may be those with the biggest share of middle-class, middle-aged fans. Cohen says that "adult contemporary" performers such as Michael Bublé appeal to the most worried segment of the concert public - 40- to 60-year-olds with kids and mortgages. "Those are the guys in suits sitting in their offices, thinking, ‘Will I have a job tomorrow?'" Cohen says.

Good concert action is the best news for many performers, who now derive much more of their income from touring. For a band such as Toronto-based Metric, a CD may be more valuable as a lure for the concert experience than as a generator of direct revenue. "CD sales have to be really, really strong to make the kind of money Metric is getting from their live shows," says Lenny Levine, president of Last Gang Records, which released the band's album Fantasies in April and also manages the group.

For bands at a lower level of recognition, recordings are often the engines that drive touring. "Nine out of 10 times, a booking agent will say, ‘Okay, what's going on with the record?'" says Levine.

Ticket resellers appear to have had surprisingly little immediate effect on the concert business, including those who operate on the Internet. Live Nation's O'Connor says he estimates the combined take by all types of resellers (including sidewalk scalpers) to be two per cent or less of total concert revenues.

Those resellers have mostly paid full price for their tickets, O'Connor adds, so even if they fail to resell them all, the musicians and promoters have been paid.

But if online resellers are left with a block of unsold tickets, they're unlikely or unable to hawk them on the sidewalk before the show. A venue that is technically sold out may have empty seats inside, and people outside unable to buy tickets. The venues end up selling fewer hot dogs, pints of beer and T-shirts than they might have if the resellers hadn't been involved, says O'Connor.

TicketMaster's much-reported stake in reseller TicketsNow, and its apparent funnelling of business to TicketsNow for some U.S. shows even when regular-price tickets were available, may have temporarily soured some people on a night of live music. But Last Gang's Levine says it did nothing to quell the desire that feeds the concert business.

"I think fans want to have a piece of the artist," he says. "They want to see them live, they want to buy the T-shirt."

Alex on the Web: Audience Blog

Mon, 31 Aug 2009 00:00:00 +0000

I came for the Decemberists and stayed for Glen Campbell

http://alexabboud.wordpress.com/2009/07/28/calgary-folk-fest-2009-i-came-for-the-decemberists-and-stayed-for-glen-campbell/

Calgary Folk Music Festival, Jessica deMello, National Post, August 1, 2009

Thu, 06 Aug 2009 00:00:00 +0000

The quiet, urban, tree-lined oasis known as Prince's Island Park was transformed last weekend for the 30th Calgary Folk Music Festival.

As dozens of happy sun-soakers floated by in rafts on the Bow River, thousands of people lined up for hours in the early morning heat to secure a spot for their tarp or camping chair on the island's largest field. Space secured, the tarps and blankets before the main stage were abandoned in a cheerful mosaic while their owners wandered around the island. Main stage shows began at 6:00 pm every night of the four-day festival, and there was a lot to see otherwise.

There was a large grassy area with picnic tables and picnickers. There was a row of small white kiosks manned by everyone from the Green Party to the Grey Cup, and another filled with vendors selling bamboo didgeridoos, handmade clay teapots, leather purses, clothing, and more. And as one strolled through the island, there was music.

Stage one - sponsored by Ship and Anchor Pub - was close to the arts market and one of the free water dispensers, behind which a row of food trucks were positioned. Meals - from pizza to oyster burgers to butter chicken - were served on heavy plastic plates from Enmax, which could be redeemed at various places around the island for two dollars. The forks and cups were biodegradable, and there was composting. Stage two, slightly further down the path, hosted 60 year old legendary Celtic folk signer Dick Gaughan among others.

On all six stages during the weekend afternoons, artists were thrown together for an hour of improv and jamming. Stage 3 - the Field Law stage - featured Ontarians Steven Page(former front man for the Barenaked Ladies), Sarah Harmer, Justin Rutledge and the Good Lovelies together in a set called "The Young and the Restless", while Stage 6 - the Broken City stage - featured an edgier, electro-acoustic group including Calgary's ownChad VanGaalen, Montreal's Kid Koala, Toronto's Esthero and American Emily Wells. The group met for the first time five minutes prior to stepping on stage. The result was a haunting and unpredictable set that kept a sweltering audience in their grassy seats.

Musical highlights came from both the main stage - Arrested Development and The Decemberists provided consecutive knock-out, jaw-dropping, and thoroughly original sets which brought a lounging crowd quickly to its feet; they were opened by another excellent performance from British rockers Gomez - and the more obscure.

Stage 4 - the Local 510 stage - gave its audience plenty of grass to sit on, even a little hill beside the stage, and a good view of the impressive collection of bicycles housed in a gated depot. Here, too, were some surprising and entertaining performances. The Tom Fun Orchestra Cape Breton, Nova Scotia riled the crowd with their aggressive punk folk songs, underscored with traditional fiddle, brassy trumpet, and teasing accordion, enveloped in lead signer Ian McDougall's whiskey-Waits-and-Springsteen voice and wildly beautiful back-up vocals from Carmen Townsend.

Published in National Post, August 1 2009

http://jessicademello.blogspot.com/2009/08/calgary-folk-music-festival.html

Bad Tempered Zombie audience blog

Wed, 05 Aug 2009 00:00:00 +0000

http://badtemperedzombie.blogspot.com/

BeatRoute festival coverage: Previews

Tue, 04 Aug 2009 00:00:00 +0000

http://www.beatroute.ca/view_archived_section.php?id=55§ionID=16

http://www.beatroute.ca/view_archived_section.php?id=55&sectionID=16

The arts lighting the way to a better city, Naheed Nenshi, Calgary Herald, July 30, 2009

Mon, 03 Aug 2009 00:00:00 +0000

Last week, I was lying on a blanket on Prince's Island, listening to music, watching my single favourite thing about a Calgary summer.

Each night during the Calgary Folk Music Festival, a group of "lamplighters" works its way through the crowd. Young and old, they carry exquisite handmade paper lanterns, signalling the end of the evening, and lighting people their way home.

I love those lanterns. Not only are they beautiful, I love what they symbolize --the power of community, the power of art. Every summer, they remind me of the very best of Calgary and all the reasons that I love to live here.

I was thinking about the lanterns while contemplating some of the other discussions that we've been having over the last several weeks, starting with the strange issue of whether cowboys, hippies or drag queens were more deserving of federal funding. Some Conservative MPs were OK with some folks who wear chaps, but drew the line at others in them (the hippies seemed to escape their notice).

The bigger issue here is whether such cultural events should be funded at all. Some folks argue that it's not the business of government to fund arts and culture, and that these should rely solely on patrons and donors.

I disagree. In my mind, the right role for government is to improve the lives of citizens, and art is an important part of that. Visit the McKnight/Westwinds LRT station some time, and see if you can resist smiling at the whimsical topiary sculpture out front, or being moved by the reproductions of community members' family memorabilia embedded in the glass of the shelters.

Or go to Summerstock's production of Rent in Olympic Plaza over the next two weeks, and watch high school students sing and dance their heart out. It's free if you bring your own lawn chair, 12 bucks if you want a seat. (Try not to think about how Bill 44 would prevent the classroom discussion of this work of art that deals with religion (!), drugs (!!) and homosexuality (!!!) without notes being sent home in advance.).

Or hit Shakespeare in the Park, by-donation at Prince's Island Park through August, running a hip-hop Romeo and Juliet and A Midsummer Night's Dream featuring the music of Queen. I kind of hate the first play, but that's OK --maybe this production will show me something new with its soundtrack and gang warfare setting.

And that's really the point --art doesn't have to be universally loved. We may think that the Peace Bridge is ugly and not fit for its surroundings. Based on personal experience, the show we see at the Calgary Fringe Festival has about a 30 per cent chance of being really awful. But that doesn't matter-- the point of the art is to help us face questions like what we think is beautiful and why, or what we value in our lives and communities.

My friend Salimah put it nicely, when, in response to my last column referring to city council hearings as "theatre", she said "theatre's highest objective is to deliver the truth about human nature." I think that can be expanded to all art.

So, what then is the role for government and other institutions in all of this? I would argue that, rather than try to pick favourites, choosing between cowboy and drag queen, that we work as a community to encourage risk-taking, trying new things. This includes funding flagship institutions, like the Epcor Centre, where artists can practice their craft, ensuring that arts education remains an integral part of public schools, and providing money to arts organizations and festivals so that ticket prices can remain accessible to most citizens. It also means ensuring that public infrastructure includes art and is built to the highest standard--even if that means we get a bridge that a lot of people find ugly, that's better than one that has no response at all.

The good news is that current governments seem to agree. They are jointly funding infrastructure like the new home for the Mount Royal Conservatory, and funding levels are slowly increasing in many programs. Like those lamplighters, our leaders are helping light our way to a better community.

Naheed Nenshi Teaches At Mount Royal College's Bissett School Of Business.

Reflector blogs / posts - University of Calgary

Fri, 31 Jul 2009 00:00:00 +0000

http://www.thereflector.ca/category/arts/folkfest09/

FFWD Blogs

Wed, 29 Jul 2009 00:00:00 +0000

Lots of great festival stuff at http://www.ffwdweekly.com/calgary-blogs/

http://www.ffwdweekly.com/calgary-blogs/

Folk fest talent runs deep, Mike Bell, Calgary Herald, July 27, 2009

Mon, 27 Jul 2009 00:00:00 +0000

It's safe to say, once again, the title of Most Hated Human Being on Prince's Island Park for yet another folk fest weekend belonged to one Ms. Kerry Clarke.

It is to her many curses were directed. In her direction many epithets were hurled. And at her many deservedly aimed their anger and derision.

Yes, as the 30th anniversary of Calgary's annual music extravaganza came to a close Sunday evening, Clarke and the irresponsibly exceptional job she continues to do as artistic director of the event remains as laudable as it is frustrating.

The reason?

Well, for all the moments of wonder and aural awakenings she's responsible for in booking and programming the four days of music, there are just as many missed opportunities and regrets for those attempting to take in all the good stuff.

Sunday workshops--the pairing of seemingly disparate or easily connected acts and artists under one theme--provided yet another diabolical exercise in time management, as there was so much wonderful music taking place spread out over six stages any attempt to pause and appreciate meant losing out on something just as good or possibly better.

Take the early afternoon time slot of 12:50 to 2ish, for example. Perhaps you wanted to settle into the Sunday psilocybin sunshine of Rock, Stocks and Two Smoking Carols featuring locals Jay Crocker, Ramblin' Ambassadors and Chad Van Gaalen with woodsy weirdos Akron/Family--a delightfully out-there and captivating collaboration that provided some sonic vitamin C for the many already musically (and otherwise) hungover. Well, that meant you had to miss out on or catch only a whiff of a pair of great sidestage concerts by Hayes Carll, who won over many this fest with his vivid country grit, and nice, pop experimentalist Emily Wells.

Soon after came another Sophie's Choice by way of a concert by great roots rock act The Acorn, workshops featuring friends and acquaintances of talented West Coast artist, producer and performer Steve Dawson (Deep Dark Woods, Ebony Hillbillies and The Sojourners), or a stacked stage hosting acts under the Cooking with Brass umbrella. The latter was another superb example of the collaborative magic at work, featuring altfolk waif Mirah teaming with Jon Boden&Jon Spiers, and members of Bell Orchestre and Tarhana as they oscillated wildly between horn-fuelled Gypsy skronk and Celtic second line.

Despite the refreshing cloud cover, things were just heating up. Next came the pull of the joyous Lost In Cyburbia, which united the positive vibes of Justin Rutledge, Carolyn Mark, Mark Berube and the Patriotic Few, and Calgary good guy Michael Bernard Fitzgerald, and the raucous guitar fest Streaming Consciousness, which featured a cooking jam session led by Tom Wilson (from LeE HARVeY OsMOND) and Alejandro Escovedo. The cover of the Velvet Underground's I Can't Stand it --pure perfection.

Time to relax and reflect after that? Hardly. Next came the decision between: Mirah's lovely, lilting side concert; the contemplative folk of the Freshly Picked workshop, featuring Dawson and the subtle, sweet Laura Ashley country pop of Sarah Harmer; or the hip-hopstravaganza Starting From Scratch. For many, the third choice obviously proved the charm, as the audience in front of the tent hosting Arrested Development, Mutabaruka, turntablist Kid Koala and local duo Dragon Fli Empire was perhaps the largest any side stage had hosted in the history of the fest. The positivity of songs such as AD's People Everyday and the genuine good feelings of all the acts raised so many hands in the air, it was impossible to have a care.

Except, of course, what you may have missed.

That problem was taken care of as the workshops wound down and focus returned to the main stage, first inhabited by the interesting concoction brewed by Darol Anger, Mike Marshall and Vasen. Part jazz, part roots, part (insert style here), the menagerie were a smooth, rustic lead-in to an evening that soon turned to something a little less earthbound and a whole lot more heavenly.

The back-to-back pairing of gospel act The Sojourners and soul legend Mavis Staples was inspired to say the least. The Sojourners' classic style and harmonies were pure redemption in song form. When they were joined onstage for their final song by Steve Dawson, it was hard to imagine coming closer to God.

That was until She came out in the form of Staples. Wow. A voice carved from a redwood, a presence just as immense, the 70-year-old singer and her slick, classy backup band owned the whole outdoors. Her raspy and rapturous version of the Band's The Weight was one more memory that every person should have.

Closing out the evening was headliner Loreena McKennitt, whose new age Celtic tapestries were an autopilot landing for the entire weekend--a calm, smooth, tasteful mesh of a half-dozen sounds and genres. Not wow. But it wrapped things up in a fitting and fanciful bow.

That said, the damage was done.

And Kerry Clarke was still the Most Hated Human Being On Prince's Island Park.

For yet another year.

Folk fest talent runs deep, Mike Bell, Calgary Herald, July 27, 2009

Mon, 27 Jul 2009 00:00:00 +0000

It's safe to say, once again, the title of Most Hated Human Being on Prince's Island Park for yet another folk fest weekend belonged to one Ms. Kerry Clarke.

It is to her many curses were directed. In her direction many epithets were hurled. And at her many deservedly aimed their anger and derision.

The reason?

Except, of course, what you may have missed.

That said, the damage was done.

And Kerry Clarke was still the Most Hated Human Being On Prince's Island Park.

For yet another year.

Music for all appetites on Day 3, Heath McCoy, Calgary Herald, July 27, 2009

Mon, 27 Jul 2009 00:00:00 +0000

Alejandro Escovedo killed, plain and simple.

And Glen Campbell? The Rhinestone Cowboy was by turns great, goofy and charming.

But both of them provided moments that made day three of the Calgary Folk Music Festival a memorable one.

At press time Saturday, those were the two mainstage acts that really stood out, although, to be fair, the night's headliner, acclaimed folk-pop singer-songwriter Sarah Harmer had yet to take the stage.

Escovedo's performance was a highlight of the evening, the Mexican-American singer-songwriter kicking things off with the anthemic Always A Friend off his excellent Real Animal disc. He followed that up with the blistering rock of Everybody Loves Me and Sister Lost Soul dedicated to his fallen comrades in the punk movement.

Escovedo also has mighty folk roots and he showed as much during the quieter moments of a set that brought the night its rock 'n' roll torque.

As for Campbell, the 73-year-old country-pop legend's show had its up and downs. There was definitely an old showbiz hokeyness to his performance and his once smooth croon was a bit on the creaky side at times. Also, at a number of points throughout his set he complained that he couldn't hear his guitar through the monitors. There did seem to be some sort of glitch in that area, but ultimately it worked itself out and it was clear

that Campbell is still a dynamite guitarist with a fluid, tasty style.

Musically he was pretty spot-on showing he's still a formidable stylist on classics like Galveston, Wichita Lineman, Southern Nights and Rhinestone Cowboy. Yes, some consider the latter tune to be a punchline, but I love the thing, finely crafted pop gem that it is.

Campbell also touched on a few tunes from his comeback album, on which he covers the likes of Tom Petty and U2, and while his renditions of such tunes are solid, there was an awkwardness in their delivery live, as if Campbell's not entirely comfortable with them.

Another artist who seemed a bit uncomfortable at times was former Barenaked Ladies bad boy Steven Page who played a set that grabbed people's attention, even if some were just curious as to how he'd do without the colourful cutups he once called bandmates.

A Barenaked Ladies bad boy? Now there's an unlikely description, but hey, he was busted for drugs last year (although the charges were ultimately dropped).

Looking summer dressy in sunglasses, pink slacks and a white dress jacket, Page played a solo acoustic show which certainly had the odd awkward moment. There's no question that he's still feeling his way as a performer minus the Ladies. A few of the ol' joker's jokes even fell flat, though most seemed to hit the mark.

His saving grace, however, was the tunes he plucked from the Ladies' catalogue, all of which won him a lot of love from the crowd.

Page is a talented guy, but he's got an uphill battle when it comes to being accepted by the public without his former band.

Of course, this being a folk fest weekend the music wasn't limited to the mainstage--you could catch various artists jamming at the workshops.

Truly, if there wasn't something to satisfy your musical tastes on day three of the folk fest, you need to broaden your horizons.

Either that or give up on music altogether and take up golf.

Calgary Folk music Festival, saturday at Prince's Island Park. attendance: 12,000 (sold out). the festival wraps up today.

Festival Folkies, Stephen Hunt, Calgary Herald, July 26, 2009

Mon, 27 Jul 2009 00:00:00 +0000

For better or for worse, folk fest turns into safe haven from reality

Obviously, The Calgary Folk Festival is about the music, but during the hot part of the afternoon, when your shirt is stuck to your back and all your fantasies are reduced to a single, simple desire--shade--it sometimes becomes as much about the people who attend as the musicians who perform.

That's when the audience becomes the attraction as much as the show they're watching.

Maybe it's because somewhere along the way, folk festivals became safe havens of a sort from reality, a place where the usual laws of order, decorum and fashion find themselves temporarily suspended until Sunday night--for everyone, performer and audience alike.

As a result, you get to see things you normally don't. Sometimes this is great. Sometimes not so hot.

I like to think of the folk festival's audience as a human sculpture garden full of folkies.

By Sunday, the tent village that Prince's Island Park turns into for four days every July will be gone for another year. However, memories-- or are they flashbacks? --will probably last forever. - The Snoozer: A guy on his back, under a tree, sunglasses on, ball cap tipped forward, nestled under whatever shade is available, snoring away the hottest part of the afternoon. Not to be confused with Rodin's The Thinker. - The Quirky hat: Everyone has one. Quite often, they came into your life as one of those it-seemed-like-a-good-idea-at-the-time things, and then it disappeared into the drawer you keep your quirky hats in. It takes a folk festival--particularly when the forecast calls for cloudless and 30 degrees--to get you to break one out. Now picture 12,000 people doing this, at exactly the same moment, and you get the idea. - The Solo Folkie Dancer: While it is quite a common occurrence for someone to burst into spontaneous dance on TV commercials, it is much rarer in real life--except at folk fests. Here, an individual at any given moment might just feel the beat, stand up and start to shimmy-shake in time to the music. I like this idea, although this has never happened to me. - hugging guy: I'm out on the festival grounds Saturday, walking around, and two 20-something guys walk up to me and ask if I want a hug. Stuff like that only happens at folk festivals. I swear. (If the humidity had been a little lower, I would have said yes.) - Babybjorn-Wearing guy: This guy, like many of the others in the human sculpture garden, used to be me. However, after seeing The Hangover, one can never see BabyBjorn Wearing Guy and have it be the same again. - Tattoo Girl: She's pretty, she's free, she's 23, she has more tattoos than a Samoan chieftain. Call it the Angelina Joliezation of our young women. We're in favour. - Shorts-wearing Guy: Easily the single greatest concentration of middle-aged men wearing shorts since the British Empire abandoned India. (Also, be on the lookout for his close cousin, Culottes Wearing Guy). - The chair people: Forget a classless society where everyone is the same as everyone else. Folk festivals are strictly divided into two hierarchies: those who have those nifty little chairs and those who don't. The Chair People always win. - little hippie kid: Having been born in 2000, they missed the Summer of Love by 33 years, but mom dresses them up so that they look like Haight-Ashbury moptops, circa 1967.

First sellout for Calgary folk fest, Alexandra Burroughs, Calgary Herald, July 27, 2009

Mon, 27 Jul 2009 00:00:00 +0000

After 30 years of tunes, tarpies and tumultuous weather the Calgary Folk Music Festival wrapped Sunday with a complete four-day sell out.

"We've come full circle," says Folk Festival general manager Les Siemieniuk. "There's a progression from the first year to now. It's not like we haven't been close to selling out before, but this is the first time we've made it."

Exactly 12,000 tickets were sold each day of the four-day festival, bringing the total to 48,000. That's capacity for Prince's Island Park, but Siemieniuk says there might be other ways to achieve growth.

Although he didn't rule out the idea of lengthening the four-day event, he said another option might be to host events throughout the winter or to place stages off-site throughout the current summer festival.

"There are all sorts of things we could do," says Siemieniuk. "But let's just enjoy this success for now."

That's exactly what folkies did Sunday.

Oblivious to audience numbers and broken records, Calgarians of all ages kicked off their summer sandals Sunday and folked out.

They danced like no one was watching, ate like they weren't on a diet and shopped like they didn't have a mortgage.

"It's been amazing," says Cathy Terepocki, who brought her boutique to the festival for the first time this year.

"People have been so kind and so interested in our stuff. We'd heard good things about the festival, but this has been incredible."

While the crowds packed food vendors (fresh fire-roasted pizza was a new favourite) and the usual suspects kept people busy in the beer gardens, many first timers took the time to walk the grounds and take it all in.

"I didn't know what to wear, I didn't know what to bring. I just wasn't sure what to expect," says Naz Fortis of taking in her first festival.

"I have always heard how easy it is to come down and enjoy it. Now I wish I had come all four days."

The festival's accessibility might be the secret behind its latest success.

"It's really gone mainstream-- young or old, straight or gay, folky and not-so-folky" says Jude Williams, 49, who has been volunteering at the festival since 1996.

"There really is something for everyone here."

Whether napping in the shade beside an afternoon workshop or shaking it one metre from Arrested Development's incredible afternoon jam session, there really was something for everyone Sunday at the folk festival.

Kids could be found scaling the climbing wall, stilt-walking or having their face painted while teenagers roamed the grounds in herds picking their own music and setting their own schedules.

"I like to come down with my mom and then ditch her," said one 14-year-old girl, who asked not to be named.

"She's probably happy I take off with my friends down here all day."

Strange bedfellows make folk fest sing, Heath McCoy, Calgary Herald, July 25, 2009

Mon, 27 Jul 2009 00:00:00 +0000

Pastoral-folk concept rock --with a baroque bent.

It's not something one comes across, well, almost ever, but that's just what Portland's the decemberists were set to serve up Friday night at the 30th annual Calgary Folk music Festival as day two's headlining act.

That sort of strange, gothic offering made perfect sense to cap the evening, however, because if you were looking to pinpoint a day that defies your traditional folky stereotypes, you probably couldn't have picked a better one than Friday at Prince's Island Park.

Prior to the decemberists' set, which was scheduled to take place after press time, the sellout crowd eagerly anticipated the peaceful, easy hip-hop of arrested development and the political folk-punk of the mekons.

Of course, every day at the Calgary folk fest pushes those old-folk boundaries to varying degrees. But on Friday the richness and variety of flavours that the festival offered was on particularly fine display.

Opening the mainstage show was lee Harvey osmond, the latest gritty offering from ontario singer-songwriter tom wilson, best known for his work with '90s rockers Junkhouse and roots trio Blackie&the rodeo Kings.

Looking like a mountain-dwelling hermit adopted by a good family, Wilson indulged the darker, trippier side of his muse with Osmond. It kicked the festivities off with a grim but fairly engaging rumble.

Meanwhile, on a smaller stage at the far end of the park, scenester favourite Chad Vangaalen attracted a sizable crowd with a set that was both sweet and dissonant. with that very delivery, and his quivery voice, Calgary's Vangaalen often brings to mind neil young --that is, if ol' shakey had opted for a life of isolation and disconnect, like Brian wilson. It's an odd combo but clearly it's working for Vangaalen.

Another treat on the smaller stage was the sultry jazz of trip-hopper esthero who performed beautifully stripped of her usual electronic trappings.

Back on the mainstage, acclaimed U. K. indie rockers gomez got the first notable rise of the evening with a set that was one of the night's highlights. the band delivered a groovy, nicely driving set that touched on Britpop, blues rock and psychedelia.

Folk-punk pioneers the mekons were another big hit of the evening. led by the revered Jon langford and sally timms, the band fully vented its rootsy side with a raw and poignant set of hillbilly folk and country music that coursed with the left wing piss and vinegar of their punk beginnings.

At press time the Grammy award winning Arrested Development had just taken the stage with afro-centric world beats bouncing up wonderfully against hip-hop beats, inspiring hundreds of festivalgoers to get up and dance.

One couldn't help but wonder if the decemberists' grim gothic folk visions might be a bit anticlimactic. But a park full of folk festies seemed eager to find out.

Rich, diverse flavours at day 2 of Folk Fest, Heath McCoy, Calgary Herald, July 25, 2009

Sun, 26 Jul 2009 00:00:00 +0000

Arrested Development is what sold it for me, ultimately.

The Grammy Award winning hip hop band turned Prince's Island Park into a soulful, gospel-raving dance party Friday night at the Calgary Folk Music Festival and it made the event something that 12,000 fans (that's a sell out) were glad, maybe even giddy to be a part of.

On the other end of the spectrum entirely – and we're talking the dark side of the moon here – was Portland's The Decemberists.

Pastoral folk concept rock with a baroque bent.

It's not something one comes across, well, almost ever, but that's just what The Decemberists served up as headliners of the 30th annual festival.

Looking like the house band at a funeral parlour the band unloaded its somber, dark and frankly bizarre concept album The Hazzards of Love on folks that were thoroughly stoked after Arrested Development. It could have been an anti-climactic downer but, at press time at least, it wasn't at all.

It was highly theatrical visually and arresting musically as the band moved from gothic folk balladry to heavy rock dirges.

Flavours. Rich, diverse flavours. You couldn't get more diverse than The Decemberists and Arrested Development and it's that exact daring and diversity that the Calgary Folk Music Festival has come to be known for.

Day two of the festival was full of such variety.

Opening on the mainstage was Lee Harvey Osmond, the latest gritty offering from Tom Wilson of roots trio Blackie & The Rodeo Kings.

Looking like a mountain-dwelling hermit who had been adopted by a good family, with his shaggy visage and dapper, dressy duds, Wilson indulged the darker, trippier side of his muse with Osmond.

Meanwhile, on a smaller stage at the far end of the park, scenester favourite Chad VanGaalen attracted a sizable crowd with a set that was both sweet and dissonant. With that very delivery, and his quivery voice, Calgary's VanGaalen brings to mind Neil Young – that is, if ol' Shakey had opted for a life of insulation and disconnect, like Brian Wilson.

Back on the mainstage, acclaimed UK indie rockers Gomez got the first notable rise of the evening with a groovy, nicely driving set.

Folk-punk pioneers The Mekons were another hit. Led by the revered Jon Langford and Sally Timms the band fully vented its rootsy side with a raw and poignant set of hillbilly folk that coursed with the left wing piss and vinegar of their punk beginnings.

But the group that really notched up the night's fun-factor – to a degree of all out glee – was Arrested Development.

Their incredibly energetic set – which included gospel tunes, hip hop beats, Sly Stone covers and instantly recognizable hits – inspired hundreds, nay thousands of fans down on the grass to get up and dance. If they didn't get you shaking your rump just a little, you have no funk in your bones.

Follow that up with the artsy, gothic-rock oddity that is The Decemberists and you'd think the perfect vibe might have been spoiled. Somehow it wasn't. Somehow that weird science worked.

It's a delicate balance that not many events can pull off, but 30 years in, the folk fest can.

– hmccoy@theherald.canwest.com

http://scenealacalgary-mw.blogspot.com

Sun, 26 Jul 2009 00:00:00 +0000

An audience member blog

Day 2 and the weather is holding. It would be too hot if we were not on an island being cooled by the breezes that blow through the river valley. And there is lots of shade to be had.

First order of business is to hit the Merch Tent - absolutely must have this year's t-shirt for my granddaughter (I need one as well, but the mission is to get her one before they are sold out). I manage to stay focused and do not hit the CD bins - just yet.

Settle into my usual spot (a state secret, but a lot of people are discovering it this year and it is getting crowded - may have to do a scouting mission for a new refuge). And LeE HARVey OsMOND open. A brilliant set that presents songs from the underbelly of society. I am drawn to the dancing area so I can absorb it fully. A member of the group is a vetern of the 60's coffee house circuit and his solo is a time trip. This collective melds so many traditions together - the music is complex, but sounds simple - a specific joy to experience.

Then a mini-set from Mark Berube and the Patriotic Few. Mr. Berube has an astonishing voice. Strong, clear and an amazing range that he negotiates effortlessly (which is a lot of hard work to pull off - it needs those 10,000 hours of practice to master). The songs appear to be lighter than those from LeE HARVey OsMOND, but are just as well observed and subversive. A major talent discovery for me and some workshops move from "very likely" to "definite" category.

ASIDE: If this pairing was an ad for the double bill at SAIT Gateway Lounge this fall, it worked. I will be there.

One more ASIDE: Carolyn Mark continues to be an exceptionally good MC - thanks!

Drift back to my refuge and Bell Orchestre appears and entrances. Again the music is complex but sounds simple. Orchestral instruments being used to explore the sounds you might hear in another dimension. The final number is one of the most beautiful pieces that I have ever heard inside or outside a concert hall. I do not think that I can describe it adequately. Let's just say the sounds emerging from these classical instruments were on the far edges of the instrument's technical range, but the result of the meld presented feelings of the tranquility found in when we celebrate our common bonds. Amazingly satisfying.

The Good Lovelies present the next mini set. Amazing triple harmonies from these ladies. They are working in the very old love song tradition. A great modern example of the original can be found in Karina Gauvin's CD: Les Chants d'Auvergne. But no need to search for that, just find these ladies and enjoy. The lyrics evoke the best of the values found when two people love simply. The harmonies make you think such a thing is possible. I will be certain to follow them this weekend.

Gomez, the self-identified British Rock Insurgency, arrive. Blast off! I am immediately in the dance area which is functioning as a mosh pit. We are a mix of people who know the band well and those of us who are discovering them. Wonderful abbreviated conversations while we dance our hips out of place about the band. These are great rock musicians, and they mean to create change. I am ready to march with them. It is an astonishing set.

I miss Jolie Holland as I am in dire need of hydration and the line up is long at the lemonade stand. I am intrigued by what I can hear so will track her at the workshops.

Mekon is fun. Another collective of musicians who are exploring a pure traditional folk sound, but you know the punk genre where they started is still there - inspiring energy where you might have expected mournful wailing. A fresh hearing for the genre - which is all I desire this weekend and am experiencing in spades.

OK, Arrested Development is this year's "formula band." Here to give the crowd an occasion to stand and dance. They present virtually the same set as they did the last time they were hear. It was intriguing then. It is boring tonight. It is fun to watch the crowd dynamic though.

Cory Harris reminds me how much I love the pure, clean picking sound of Piedmont Blues. I really have to seriously explore this genre as it does not seem to have antecedents in Bluegrass (which I can not abide for more than 15 seconds) but seems to have emerged in the same geographic region. A winter project involving a lot of listening. A perfect antidote for the stale, sanitized pseudo hip-hop that went before.

Uh Oh, someone is wearing Miss Haversham's faded wedding dress on stage. A sure signal that we are in for an over the top performance or really disappointing self indulgence. Great Expectations are not met - it is relentless, boring, self indulgence on offer. Halfway through The Decemberists set I join the exit parade.

Am really excited about Saturday's workshops and will get to the site far earlier than usual. I have found all the supplies that I might need, except the sun screen.

http://scenealacalgary-mw.blogspot.com

Family-theme festival makes love blossom. Eric Volmers, Calgary Herald, July 23, 2009

Fri, 24 Jul 2009 00:00:00 +0000

30-year-old folk fest called 'a huge base for volunteers'

The romance blossomed on Prince's Island, backed by a soundtrack of world beats, strummed guitars and the earnest vocals of countless Canuck folkies.

In February, Matt Lund and Carlene Scott will be married on a sandy beach in Mexico after a three-year courtship. For the close-knit community of volunteers of the Calgary Folk Music Festival, the union must seem like the joining of royal families. Matt's parents, Ruth and John Lund, have been volunteering since the festival's humble beginnings in 1979. Randall and Andrea Scott have also been mainstays on Prince's Island for more than a decade.

Now 25, Matt and Carlene met as 15-year-old volunteers. Three years ago--bolstered by the festival's famously raucous volunteer parties and a mutual love of music--the friendship became more special. And while the couple kept the engagement "hush-hush" at first, word has quickly spread as the festival gets set to launch its 30th anniversary celebrations today.

"Nobody really knew for the first couple meetings that I went to (this year)," says Lund. "Then it got out because Carlene's mom is a co-ordinator. She went in and was talking about it. It got back to (festival general manager les siemieniuk). I'm sure everybody knows by now."

The couple's impending nuptials seem an upbeat chapter in the ongoing story of the folk fest volunteers, an army of 1,500. Many have grown close over the years, often sharing in both the happy and sad milestones of each other's lives.

Like their parents before them, both Lund and Scott have become dedicated front-line volunteers at the folk festival. Lund is a security co-ordinator and Scott is on his crew. But both were separately weaned on the eclectic sounds of the folk festival long before they met. Lund reckons he went to his first folk fest as a baby. Scott remembers attending as a 10-year-old. The following year, she was volunteering at the lost-and-found and lost children's tent.

By 15, she met her future husband at a volunteer party. They hooked up again at 21, bonding over a love of Alexisonfire and its folky offshoot City and Colour. By the time the latter played the 2007 festival, the couple had already been dating a couple of years and volunteering for almost a decade.

"A lot of my parents' friends who I grew up with were there," Carlene says. "It's a huge base of volunteers that we know. It's sort of like an extended family to go and see all those people."

The "extended family" theme is a common sentiment among longtime volunteers.

John Lund, who has volunteered at the festival since it began, said he was pleasantly surprised that a romance blossomed between his son and the offspring of fellow folkies.

"I think it snuck up on people," he says. "I don't think anyone really saw it coming. For the kids, they were just other kids to be with. It's fun when the kids grow up in an environment and then choose to have it as part of their lives as an adult."

Don Hansen has certainly instilled a love of the event in his children, providing the festival with a willing brood of four kids to help out at various times in the festival's history. Joel, 18, and Theo, 16, will be on the island as volunteers this year, as they have been in year's past. Their mom, Mardelle, has long served as an artist liaison at the festival. But there connection runs deeper than just volunteering.

In 2007, the "extended-family" reach of the folk-fest crowd helped them get through a tragic period in their lives. Don's oldest son, Stephen-- who had also volunteered at the festival--died of an accidental overdose at the age of 26.

"When he died and the memorial service was being arranged, it wasn't done through a church or anything," says Hansen. "It was like the church of folk music. The people who all helped were people in the folk scene. Kerry Clarke, the artistic director, helped set up chairs. People brought food, they sang."

"When there's a need, they came in droves," says Mardelle. "They were there. If something goes wrong it would have been the same with us, if someone needed help. We all do our own thing in the community, but we all come together."

One of the Hansens' favourite pictures kept on the family piano is of Joel and Theo as toddlers, wearing matching knit hats in a stroller and grinning at the camera. Taken either at the Calgary or Canmore folk festivals-- where the family also volunteers --the sugary shot is probably not one the now-teenage subjects cherish as much as their parents, but it does show how they've been able to soak up various strains of music for most of their lives. Joel, who volunteers as a tech on various side stages at the festival, is now a bearded, bass-playing Slayer fan. But he has nevertheless taken to broadening his friends' musical horizons by introducing them to the music of festival favourites such as Blackie and the Rodeo Kings, the Oysterband and Guy Davis.

"I definitely remember hanging out with the artists, just chilling out backstage with mom," he says. "Lennie Gallant, Guy Davis--I've been hanging with the Green Fools since then. They taught me how to walk on stilts."

"Performers would return year after year," adds Don. "And they see the kids grow up."

Like the Lunds and Scotts, the Hansens have made volunteering a part of their family fabric.

It's a tradition that Matt Lund and Carlene Scott hope to continue with their own children.

"I have no intention of stopping any time soon," says Carlene. "It's a great place for kids. It's a great way to spend a weekend and really family-oriented--everyone together on the main field in the sun."

evolmers@theherald.canwest.com