Edmonton Folk Fest’s 46th Edition Hits Every Note
Aysanabee at Edmonton Folk Music Festival. Photo credit: Stephan Boissonneault.
Sometimes after the bustle of daily life, it’s nice to wind down and let someone’s art take you to a place of calm—or in this case, groove. That was exactly my thought, crouched in front of the Main Stage at Gallagher Park as Oji-Cree Juno Award-winning singer-songwriter Aysanabee opened the 46th annual Edmonton Folk Music Festival (EFF).
In a black fringe leather jacket, orange scarf, and Fender Stratocaster, with his band—backup singer Lala Noel beaming in blood orange earrings—Aysanabee laid down soulful Indigenous rock. He moved between memories of his grandfather and his new LP, Edge Of The Earth. His voice was pure and powerful, the band keeping the heartbeat.
Serena Ryder, a Folk Fest regular, followed solo, strumming a dulcimer for Joni Mitchell’s “All I Want”—the closest I’ll get to seeing Mitchell, who played here in ’94. Then came her band for “Got Your Number,” “It’s No Mistake,” and the crowd-shaking “Stompa.”
For the Thursday closer, Rainbow Kitten Surprise transformed the stage into a rainbow LED staircase. Ela Melo’s raspy voice floated over jumpy indie pop rock. My highlight was the irresistible “Dang,” under a wicked green light that maybe kept the rain away.
Wesli at Edmonton Folk Music Festival. Photo credit: Stephan Boissonneault.
Friday, Aug 8: Haitian Afrobeats and the Mark of a Father
Friday’s heat led me to Stage 3 for Victoria’s Current Swell—indie blues that had everyone moving. Soon after, Australian Steph Strings returned to EFF with finger-tapped acoustic folk, before I headed to Stage 1 for Wesli and his Haitian street reggae.
Wesli and his Wesli Band were jamming a poppy Haitian street reggae as I arrived. If the theme of this festival were hats, Wesli wins for his crushed red velvet wide hat and Kurt Cobain white shades combo. His band are all multi-instrumentalists or wild dancers, jumping between the saxophone, trumpet, and African shekere (a gourd shaker), as Wesli strums bright chords and takes the occasional afrobeatrific guitar solo.
The night was darker but still balmy as a man in glasses and a Virgin Mary trucker hat, wielding a beat-up acoustic guitar (with the Virgin Mary lodged in the sound hole), jumped on the Main Stage mic. “My name is Stephen Wilson Jr. and I am my father’s son,” he said to a crowd lighting candles on the hill. His set was a mix of raucous alt-country, grunge, and stories about small-town life. Steve Earle meets Pearl Jam.
The spirits were out once when Allison Russell, in a striking emerald dress, brought colossal jazz-soul energy as The Returner, occasionally hopping on banjo. Fatigue set in; time to call it a night.
Goldie Boutilier at Edmonton Folk Music Festival. Photo credit: Stephan Boissonneault.
Saturday, Aug 9: Chicano Folk Rock and Witnessing Legends
I felt groggy during the mid-afternoon from lack of sleep, but was brought back to life by Las Cafeteras, a fiery six-piece from East Los Angeles that mixes Mexican folk rock, Cumbia punk, ska, and Zapateado (Mexican tap dancing). Their lyrics tackle real issues—immigration, civil rights, labour justice, and they will not stand for a non-moving crowd.
Next was a workshop on Stage 6 with the Albertan/BC swing blues duo, Blue Moon Marquee, Hill country blues player, Cedric Burnside, half of the psychedelic soulful eight-piece, Monophonics, and a living blues legend—Taj Mahal. Each ensemble had a chance to play one or two songs, and you can bet Taj was playing a fantastic lead slide guitar the whole time. The next few hours had me sprinting between stages to see the calming folk of Haley Heynderickx, fiddle folk of Mama’s Broke, and some more Hill country blues courtesy of Cedric Burnside.
Later, as it darkened, on the Main Stage, Taj Mahal (83) walked slowly to his seat and jumped into “Fishin’ Blues.” He had no setlist and jumped into whatever song he felt with his band following. His music is more folky blues in his old age, which makes sense, but he’s still a blues legend and made that known on his “g-itar.”
We then were witness to some disco glam-pop from Goldie Boutilier, who strutted on stage in blue chaps with beaming confidence. I loved Goldie. Her too-cool attitude, her looks, her dance moves with her Santana/Slash-looking guitar player. Safe to say I was converted. Then we had an absolute powerhouse with Danielle Ponder, who brought some gospel soul rock. Her voice is gargantuan, channelling someone like Nina Simone or Beyoncé.
Then we got another slew of legends—The Roots. It’s hard to describe what was going on, non-stop soul funk, virtuosic hip-hop from vocal leader Black Thought, 30-second covers of Zep’s “Immigrant Song,” The White Stripes “Seven-Nation Army,” Curtis Mayfield’s “Move On Up,” a 10-minute drum solo from Questlove all in one “song”—just pure musical bliss. It’s impossible to follow that up, and I was mentally and physically exhausted after dancing my ass off.
John Butler at Edmonton Folk Music Festival. Photo credit: Stephan Boissonneault.
Sunday, Aug 10: Psychedelic soul, Political Folk Country, and the Farewell
I still had The Roots’ midnight set on my mind, but it was time for more music. BALTHVS, the latest chill psych funk vibes group, was playing Stage 1. I danced my little heart out while sitting, almost front row, for the Monophonics Stage 3 set. This is a group that brings back that old soul of the ‘60s and ‘70s and does it too well. The leader is the keyboard master and singer, Kelly Finnigan, who has the range to mimic any soul singer with equal parts raw grit and honey—and the warm grooves wrap around you like a velvet curtain, with punchy horns, rich keys, and guitar tones that shimmer and bite.
After some much-needed food, it was time for Ken Pomeroy, which was kind of a letdown, through no fault of her own. Ken Pomeroy plays light folk country that touches on her Indigenous heritage, but it was impossible to get lost in from the constant, obnoxious rock and roll echoing next door from the Main Stage soundcheck. I’ll have to see her again for the full experience.
Next was more sprinting between the Kentucky dark country of Ian Noe and the political folk social media sensation, Jesse Welles. I hoped to hear some older Ian Noe tunes, and though I wished he played the dirty “Methhead,” I did in the form of 2019's “Irene.”
I can’t name one Jesse Welles tune, but I’ve seen his newsy folk songs blowing up my phone. His set was with a full band, and I caught a great rendition of CCR’s “Who’ll Stop The Rain.” I was hoping for more of the folkier one-man acoustic stuff, and I got this up close and personal during his “tweener” set on Main Stage. Wearing a vintage Ford jacket, I understood why he’s been called this generation's Townes Van Zandt.
The Aussie John Butler came out playing every stringed instrument known to man, but the highlight was, of course, his atmospheric 12-minute, 11-sringed 11-instrumental “Ocean,” which he dedicated to “Free Palestine.” I can’t help but think he should have ended the whole festival, instead of Mt. Joy. Their set was kind of a blur, and while they are very good and skilled, their poppy indie felt a bit too young for me to really get lost in the nostalgia. So I’ll say that my true end was John Butler.