The Philadelphia Folksong Society welcomed home thousands of music fans to the Old Pool Farm for the 61st annual Philadelphia Folk Festival Aug. 15-18.
After a one-year hiatus, a triumphant spirit reverberated throughout the 80-acre farm, from the statue of “The Birth Of Venus” by Italian artist Sandro Botticelli outside the opening gates to Sunday afternoon when Ronald Kushner dedicated “The Mary Ellen Carter” to the festival organizers.
Despite the ever-present construction on I-76 and the occasional downpour, there was a rainbow of hope over the return of the Philadelphia Folk Festival, which saw established artists and rising stars shining throughout a stellar weekend.
I’ve written and spoken extensively about the magic of the Thursday night concert for campers. Just three shows beginning at 7 p.m. begin the weekend.
Miss Emily set the tone for the evening. With the evening’s headliner, Adam Ezra, sitting in the front row, she brought him up on stage for a rousing cover of The Beatles’ “Get Back.”
I got to chat with Shanna in a Dress as she was putting together her setlist for the evening. It was her first time attending the festival, and as soon as she hit the stage, her playful and heartfelt energy resonated with the crowd. Borrowing a guitar from Miss Emily, she delivered a memorable performance, despite a minor hiccup when she lost her pick in the sound hole.
The audience was charmed by her honesty and humor, especially when she shared her biking journey from Seattle to Boston, performing over 60 shows along the way, which we talked about for an upcoming episode of The High Note podcast.
Adam Ezra, who has long wanted to perform at the Philadelphia Folk Festival, finally got his wish, and he didn’t disappoint. It wasn’t long after his group began that the campers began to flood the stage dancing, prompting Ezra to remark, “Where did you all come from?” after the first song.
Although he admittedly was a little confused about the significance of Thursday night spot, he and his band delivered an energetic and engaging set that was and full of surprises, including Miss Emily, Shanna in a Dress for “Cecilia” by Simon and Garfunkle and closing the show by inviting small children on stage from the crowd with their parents’ permission for “I Wanna Dance with Somebody (Who Loves Me)” by Whitney Houston.
There’s a lot of connection to the festival that runs through the generations. Shanna in a Dress even remarked on stage in disbelief at people who cheered when she asked if they had been to the festival for more than 15 years.
Hometown heroes Jackson Pines from Jackson, New Jersey, were on the camp state Friday afternoon when lead singer and guitarist Joe Makoviecki said he had been festival since he was 14 years old.
I also had a chance to catch up with A Day Without Love, who gave me insight into his songwriting process for a future episode of The High Note podcast.
Saturday’s performances were packed with heavy hitters. John Oates, who has deep roots in the area, delivered a set inspired by his father, who is 101 years old.
I saw The Secret Sisters a decade ago at FireFly. They brought their unique brand of folk to the stage, blending traditional sounds with modern sensibilities.
Their cover of Fiona Apple’s “Heavy Balloon” was a highlight, and they shared stories of their journey through the music industry, including their Grammy nomination and tour with Ray Lamontagne.
Sunday’s lineup offered a mix of storytelling and heartfelt performances. Roy Bookbinder’s workshop was a masterclass in musicianship and humor, with stories of his time touring with Rev. Gary Davis. Despite his self-effacing remarks about his guitar skills, the audience was captivated by his smoke and mirrors tricks on the guitar.
Past podcast guest Dave Gunning’s set was full of Canadian charm, including a humorous hockey song dedicated to his favorite team, the Toronto Maple Leafs with J.P. Cormier, performing at the festival for the first time, joined Gunning on stage, making for a memorable collaboration.
Ronald Kushner’s rendition of “The Mary Ellen Carter,” dedicated to the organizers of the Philadelphia Folk Festival, was a fitting end to his set in the Lobby Tent. It highlighted the resilience and spirit of the festival and its community.
The Philadelphia Folk Festival’s return was a celebration of music, community, and enduring traditions. Despite a year pause and the always uncertain weather, festival-goers’ spirits remained unshaken.
Whether it was the soulful performances, the laughter shared under the tents, or the new memories made, the festival once again proved why it’s a must-attend event for folk music lovers.
As the weekend came to a close, attendees left satisfied that the festival, like “The Mary Ellen Carter,” would rise again.
I’ll see you next year on the third weekend in August. Happy Fest!
