The International Folk Alliance Conference is an annual event that draws together music industry professionals from throughout the world to share ideas, network, and celebrate traditional music and dance. It is an event of celebration, education, and entertainment. Jivewired.com made it's first FAI appearance at the
23rd Annual Folk Alliance Festival on February 18th and 19th, and we are thankful to have participated and honored to have been invited. Executive Director Louis Jay Meyers and Managing Director Cindy Cogbill and their entire staff made me feel like family within five seconds of our initial meeting.
The four day conference is a truly wonderful experience that encapsulates the folk community, replete with artists inspired by the traditional influences of roots music, bluegrass, electric and contemporary folk, rockabilly, country and western, honky tonk, jazz, and Western swing. Folk Alliance accomplishes its mission of promoting its community in all facets, and features enlightening workshops and business panels, films, interpretive dance classes, wonderful guest and keynote speakers, mentor sessions and open mics as well as an astonishing amount of music through juried performances and private showcases.
If you are new to the genre, Folk Alliance is an unparalleled introduction. If you are a veteran, the festival provides interpersonal access to your favorite artists and influences either one-on-one or in cozy, dorm-like settings. I can't say enough about the alliance organization and before I go any further, it is important to mention the sound management staff. They handled well over 200 juried performances without a hitch. The sound beaming from each showcase was nothing short of magnificent overall.
I will run through my two-day itinerary in two parts and cover the highlights of each event I attended at the conference. Having seen 50+ acts over the 2 1/2 day period I was in attendance, I'll focus on the events that were unique and stood out.
For those who have never been to Folk Alliance, I cannot stress the importance of keeping and adhering to a set schedule. With so much going on and so many temptations it isn't difficult to divert from your agenda. For future attendees, keep pace, step lively and make sure you keep all of your appointments. Use breaks to catch up and you'll walk away with a truly unforgettable experience, just like I did.
By the way, clicking on any of the images below will link to a full-sized picture.
Eileen Carson
Two-Step Dance Class, St. Louis Room
The first event I attended on Friday morning was a Two-Step Dance Class taught by Eileen Carson who is the Founding Director at
Footworks Percussive Dance Ensemble in Annapolis, MD. The class was fast-paced and informative and Eileen made it quite fun for the participants. Her knowledge of the culture and history of folk and step added a great aspect to the class.
Describing herself as coming from parents who were “upwardly mobile hillbillies”, Eileen Carson has dedicated her life to preserving, celebrating and promoting the folk-art traditions of clogging and percussive dance, and her enthusiasm was evident throughout the hour. The band was great as well, the highlight being a cover of the traditional American folk song "Deep Elem Blues" in which the chorus was lightheartedly changed to "Folk Alliance Blues."
The class was a great history lesson in dance, music and folk tradition. Astonishingly, the participants were vigilantly attentive considering the early morning start after an obvious late night of fun and festival hi-jinx. Eileen truly provided a multi-faceted side to folk history that is often overlooked by today's generation.
Lunch At Westy's
346 M. Main St., Memphis, TN 38103
Located in the heart of The Pinch district in Memphis, Westy's is home to one of the most famous delicacies in town: The Hot Fudge Pie. For lunch I had the Westy's Home Burger - which is essentially a cheeseburger served on regular white bread with the crusts cut off, just like Mom used to make us when we were growing up. The burger comes garnished with mayonnaise, and I added ketchup, mustard and sliced pickles and it was 100% deliciousness. I also ordered fried corn "off" the cob as a side dish but it was essentially an ear of corn. Maybe that is why "off" is put in quotes, or maybe the server misunderstood me.
For dessert I had the heavenly hot fudge pie, which was pure ambrosia. The dessert consists of a perfect marriage of tantalizing ingredients: a warmed brownie topped with french vanilla ice cream, fudge sauce and real whipped cream. It tasted so good I literally did not want to swallow it. I would say for anyone who travels to Memphis, the trip is not complete without trying this dessert.
Semi-Private Rehearsal By Red Molly
Marriott Hotel 1st Floor Lobby
After the sleep-inducing hot fudge pie at Westy's I headed back to the Marriott to plan my day. I decided to skip the afternoon showcases so I could use that time to plan and pack my itinerary with the hope of maximizing my time at Folk Alliance. While mapping out my agenda I fortuitously stumbled upon an impromptu rehearsal by the band Red Molly.
Here's what caught my attention:
- Three sirens walked past me and over to the corner of the lounge area.
- They were carrying instruments and one amplifier that was no bigger than a lunchbox.
- Two sat and one stood after connecting her acoustic bass to said mini-amplifier.
- They began to play and sing in barely audible, but pitch-perfect fashion.
“Then I looked and heard the voice of many angels . . . "
I started taking pictures. Honestly, I had no idea who they were. I didn't want to be the first to go over to them so I watched and listened as they elegantly practiced their dulcet harmonies.
Here's the thing. The lobby was littered with makeshift minstrel performances fashioned to draw a gathering in the hopes of promoting various showcases. But not Red Molly. In quiet confidence they practiced for about 35 minutes in the most remote corner of the lobby; Laurie MacAllister on bass, Abbie Gardner on dobro and Molly Venter on acoustic guitar and with voices that would make angels bitterly jealous. Red Molly succeeded in capturing my undivided attention amidst everything that was going on, which suddenly seemed to be half a world away.
In fact, the band was pretty much finished when Laurie decided to put out cards with the band's showcase schedule. That was my cue to walk over and introduce myself. Trying to stay low-key and under-the-radar, I told Laurie that I was in town to review showcases and I would make sure to see one of Red Molly's shows. She suggested the best shows to see, and I ended up seeing two performances. I will have more on those further into this article.
I had four festival-defining moments during my weekend at Folk Alliance International. Meeting Red Molly was the first, and a wonderful surprise. I'm glad I stuck around to watch, I'm glad I introduced myself to the band and I'm glad I kept my promise to see the band perform. Cindy Cogbill had mentioned that the band was heart-melting and that was an exaggerated understatement. Red Molly, even in rehearsal, was simply stunning.
OFFICIAL SHOWCASE: ASCAP NIGHT - QUIET ON THE SET
St. Louis Room, Friday Evening
ASCAP hosted the Quiet On The Set Official Showcase, headlined by Rosie Flores & Friends. I stayed for the headline show, a performance by Mai Bloomfield at 7:00 PM and a performance by Matt The Electrician at 7:30 PM.
Rosie Flores & Friends 5:45 PM
Rosie Flores, the "Rockabilly Filly" of Bloodshed Records, and her band the Rivetors opened the Friday evening festivities accompanied by a juggernaut of talent that included Webb Wilder, Michael Fracasso, Kristi Rose & Fats Kaplan, Jack Tempchin and Stonehoney among others. From Austin, Texas, Rosie's music blends rockabilly, honky tonk, jazz, and Western swing along with traditional influences from her Tex-Mex heritage.
Rosie is so technically proficient on the guitar she makes things look effortless. Bear in mind she does this while putting 110% into each performance. Additionally, a veritable all-star ensemble accompanied her, and each song in the Rosie Flores canon took on a life of it's own with the interpretative infusion of each of her sidekicks. The highlights of this set included her duet with Webb Wilder and a great cover of "The Weight" with Stonehoney.
I've heard others describe Rosie's set as typically sharp, which to me is far too assimilating and generic, especially when describing a full-frenzied, unbridled performance by a legendary performer. Yes, as reviewers we throw around words like "incendiary" and "incomparable" far too loosely. But this was a superb, firebrand set that was well-deserving of such superlatives.
Mai Bloomfield 7:00 PM
What more can I say about Mai Bloomfield? To start, her single "Eclipse," from her debut EP was voted song of the year on Jivewired Radio in our year-end Listener's Poll. Also, Mai has been wonderful in keeping regular correspondence with me since we first met via e-mail in September 2010. A lot of times entertainers don't take the time to add that personal touch, but Mai has and it says something about her dedication to her fans and her accommodating personality. In fact, seeing Mai's official showcase was the one event I would not have missed if only because she has been so obliging.
Mai Bloomfield is also exceptionally talented. She conquers the contemporary folk format by creating a masterful soundtrack that is both fluid, intricate and beautiful in its simplicity. Her string work (cello, acoustic guitar) is nothing short of fabulous. Additionally, Bloomfield is a talented vocalist. Her live performances augment the work she has done in the studio and on this evening, Mai was outstanding.
Her showcase was considerably more subdued than the previous performance by Rosie Flores, but just as brilliant. Mai's showcase included the aforementioned "Eclipse" and, being that she is an award-winning cellist, it was nice to see her perform a number featuring the cello during her performance. Her 25-minute set was unfortunately cut short by one song because of a slight overrun on the previous showcase. Nonetheless, Mai created a lasting impression for all in attendance with a beautiful soliloquy that was truly spot on.
After the show I met Mai for the first time face-to-face and she thanked me for the support from Jivewired.com and our listeners. A truly wonderful moment. You can read our review of Mai's EP "Eclipse"
right here.
Matt The Electrician 7:30 PM
Following Rosie Flores and Mai Bloomfield, Matt The Electrician played a sublime set that solidified the ASCAP Quiet On The Set Showcase as arguably one of the must-see performances of the entire festival.
Seeing musicians that you love in a dorm-room setting is unquestionably one of the highlights of a festival like Folk Alliance. To see a favorite performer at his passionate and talented best only enhances the experience. The cozy and unpretentious setting of each Folk Alliance Showcase creates a surreal ambiance, almost as if the audience is hearing each performer's songs for the very first time.
This is the type of setting that complements the humbly beautiful experience that Matt the Electrician crafts. Matt's showcase was one of the best live shows I have seen and unfortunately his 25-minute set was grievously limited due to the time constraint - I wanted so much more. I know the principle is to showcase as many artists as possible in a shortened setting, but forgive me if I was hoping that the entire roster of remaining acts failed to show. Matt is indeed an exceptional talent. Likewise, his showcase was similarly remarkable.
Jaime Michaels
Beale Room 9:00 PM
"Crooked" and "Black River" are two songs that captured the essence of Jaime Michaels' showcase at Folk Alliance 2011. As a singer/songwriter in the revivalist mold of Tim Hardin and Tom Rush, Jaime wears his heart and soul on his sleeve and it shows in his performances. As a writer, Jaime radiates in introspective allusions without being overly intricate, a combination of from-the-heart lyrics and soothing chord structures that speak profoundly rather than dispiritedly. His voice is warm and comforting and he has a unique way of seeing inside every line.
This was a particularly moving showcase that grades as outstanding based on Michaels' selected material, his vocal clarity, and his simplistic yet enthusiastic approach to his subject matter. Jaime Michaels is a consummate folk performer, and the quiet setting worked to his advantage. Pure revivalist, this set was rooted in the ambiance of folk's golden age, yet modern enough to play well to those not steeped in its historical reverence.
Something I'd like to point out about the charitable nature of Mr. Michaels: Proceeds from the purchase of the CD Single "Black River" will be donated to the Greater New Orleans Foundation, an organization dedicated to those recovering from the Deep Horizon BP oil disaster in the Gulf of Mexico. For more information and to purchase a copy of "Black River" please
click here.
Red Molly
Bluegrass Extravaganza, Jackson Room 11:00 PM
Simply intoxicating - Red Molly came highly recommended and didn't disappoint. Based on this specific bluegrass showcase, which Laurie MacAllsiter tried to downplay as "not our forte," I offer this: If Alison Krauss were musical triplets, they would be called Red Molly. What makes the band so amazing is their mastering of the three-part harmony. As I said earlier, their pitch-perfect vocals are remarkable, but when amplified the trio is simply astounding. As instrumentalists, the girls are exceptionally proficient as well.
Based on their sound check, the band is diligent in providing their audience with a sound as close to perfection as possible, and for good measure. Their 25-minute performance in the Jackson Room had a terrific warmth and richness. When you combine the delicate harmonies of Red Molly with the lively tempo of bluegrass the result is musical bliss. Coming across as both guardian angels and impassioned seductresses, Red Molly effectively paints a landscape of searing pain and oozing desire with their music. Theirs was a well-executed and completely enrapturing performance that left me highly impressed.
Red Molly consists of Abbie Gardner on dobro, Laurie MacAllister on acoustic bass and new member Molly Venter on guitar. Spurred onward by an ever-growing and devoted fanbase, and the desire to commit themselves to touring, Red Molly is at the start of a new and exciting musical chapter. I will have a review of their latest CD "James" some time next week.
Webb Wilder
Private Showcase sponsored by Handshake Management, Troubadour Room 1809 11:30 PM
Webb Wilder Wisdom: "Work hard, rock hard, eat hard, sleep hard, grow big and wear glasses if you need them." I call Webb Wilder "Royalty," a title he has definitely earned.
There are roots-rockers and then there's Webb Wilder. The self-proclaimed "Last Of The Full Grown Men" is large enough for the big screen, hip enough to star in cult classic B movies, and tough enough to maintain a devoted worldwide fan base through a relentless never-ending tour schedule.
This was my first private showcase and the event was absolutely hypnotic. Attendees are released to the top three floors of the hotel starting at 11:00 PM (yes there is a HUGE line at the elevator banks) for a chance to see their favorite performers in the most intimate of settings, a private hotel room. So there I was, in an easy chair, two feet from Webb Wilder, the Human Cannonball. I was absolutely breathless.
In concert, Wilder spikes the punch between songs with potent doses of rustic wit and character, transcendent Wilder-isms, incantations, and codes by which to live. If you've never heard Webb Wilder perform, try to imagine an amalgamation of Buddy Holly and Elvis Costello with a little Georgia Satellites added for good measure.
Was his showcase good? I was awestruck. Was it memorable? I don't know, I was too awestruck. I couldn't tell you one song he played because the whole thing was too surreal to be true. Sometimes we regress from reporter and critic to simply being a fan. This was one of those times, and it was all good.
Defining Festival Moment Number Two: I wanted to meet Webb Wilder and get his autograph and succeeded on both counts. I stopped short of asking for a photo opportunity because I wanted the focus of Folk Alliance to be on the artists and not about Jivewired.
You can read part II of the highlights of Folk Alliance International
RIGHT HERE
About Folk Alliance
Since 1989, Folk Alliance® has served as the headquarters for Folk Music and Dance. With over 2000 members worldwide and an annual conference that is one of the five largest music conferences in North America, Folk Alliance continues to grow and mature while providing a unique range of member services to our community.
Over the years, their community has grown to include record companies, publishers, presenters, agents, managers, music support services, manufacturers and artists that work in the folk world. Folk Alliance has six regional affiliates that provide the grass roots efforts in their respective markets.
Folk Alliance International exists to foster and promote traditional, contemporary, and multicultural folk music and dance and related performing arts. The Folk Alliance seeks to strengthen and advance organizational and individual initiatives in folk music and dance through education, networking, advocacy, and professional and field development.
