Newport is a hell of a place, buy and along with its insurmountable summer atmosphere comes a bounty of tradition and history. That sense of tradition has carried over into the resort town’s premiere summer event: the Newport Folk Festival. While recent years have reflected a stretch towards other genres, 2013 went back to the Festival’s roots and remained more tethered to the standard perception of folk.
This move seemed to please attendees across the board (with the exception of Father John Misty, who had more than a few critical words to say), but it left me with a number of different opinions on both the festival and the genre that it showcases.
First, the highlights.
Musically, the sets of the weekend went to Jim James and Beck. James’ set-up seemed semi-rebellious, as his acoustic guitar only made its way out for a couple of tunes. His set was mostly dominated by spiritual and futuristic grooves from synths and booming bass. As a frontman, he wowed with diva-like theatrics, but connected on deeper levels with introspective and earnest lyricism. Beck was very much the opposite. While many expected oddball anthems from various points in his career, much of what he delivered were tunes from his latest album (which was released via songbook), and acoustic ballads from the supremely underrated Sea Change. A set-closing “Sunday Sun” as dusk descended upon the crowd was perhaps the most satisfying moment of the weekend.
Other high points throughout the weekend included the vintage R&B of JD McPherson, the inspiring wails of Langhorne Slim, the modest tenderness of Michael Kiwanuka, and a festival kickoff from locals Kingsley Flood, which set the energy bar high and fit in perfectly.
It is really hard to have a bad time at the Newport Folk Festival, and if you do, it’s most likely your fault. Organizers run it like a well-oiled machine, they provide the opportunity to see music in an intimate and unique setting, and they attract some incredible artists in the process. In recent years, local boy John McCauley has done enormous things for the festival, becoming a poster child of sorts, curating charitable after-shows and gathering a tight-knit community of musicians that continues to expand. In one respect, this has created a mutually supportive network of bands and friends throughout the country, which is great. What is less great is the weight of “the scene” itself and how it has fogged the idea of folk music in general.
Don’t get me wrong, fine folk songwriting was represented in full force, and McCauley himself is immensely talented. His set, along with ones by Spirit Family Reunion, Shovels and Rope, and Milk Carton Kids were among the most genuine of the festival. But there seemed to be a clear dividing line between authentic and inauthentic, especially at the highly populated Quad Stage, which housed many of the acoustic-based acts.
While some poured their hearts over plucked chords, others seemed to miss the mark. The combination of acoustic guitars paired with spirited “heys!” and footstomps, sly southern drawls, and vintage Civil War era garb seemed to get the approval of most, but to me didn’t quite punch the “folk” ticket. I understand that many of these acts were big sells, but they seemed to be more about the scene than the sounds. I see this less as a gripe with the festival itself, and more with the muddied idea of folk music on a grander scale. Unfortunately, while many see today’s music scene as a folk revival, those artists who are creating the waves are being burdened by those riding the waves.
By now I’ve successfully backed myself into the troll hole, but this critique of folk is only the slightest grievance on an event and musical niche that only seems to be getting more successful. 2013 marked another monumental year for Newport Folk Festival, and rightfully so. As long as artistry is a priority, and songwriting is at the forefront, this event should continue to shine for years to come, and I will most definitely be there to see it.
