Thursday April 2 – Monday April 6

The 49th National Folk Festival was a bright, cloudy, folky-gypsy-reggae, sunstruck and rainy affair with so much dust that every time you blew your nose the results were like a musical Rorschach test. Between the acts themselves and the pinwheeling exuberance of the unending Session Bar, there was also so little sleep to be had that it’s quite likely by the final day I was hallucinating much of what I saw. Did the Lucy Wise Trio really emerge in the thick of the midnight crowd, clad in bedclothes to perform their Infinite Reggae Competition song, ‘Pyjammin’? Were those young children sitting around a market table really taking turns smoking a hookah? Was that creepy tightrope-walking, nappy-clad clown really juggling kitchen utensils in time to John Lennon’s ‘Imagine’?

We may never know. One thing remains indisputable, though – the ‘Nash’ is a festival unlike any other, and it is little wonder that it has inspired such a devout family. Over four evenings, there was a cavalcade of music to whet the most disparate of tastes. From frenzied dancers rocking out to The Bon Scotts, to the sumptuous songwriting of David Francey, this was honestly a festival that had it all (well, most of it. Next year, though, glam-folk-punk is going to be huge).

Like most festivals, the biggest concern was missing someone you’d later regret. In this regard, I would have loved the chance to catch more of Kim Richey’s set. The American performer has a truly endearing, compelling presence, and seems a lovely lady to boot.

Speaking of endearing, Melbourne quartet Oh Pep! delivered several sets of splendid, quietly engaging songs that demonstrated why this band is on such a rise. Each a superbly accomplished musician, the only fault to their performance was one common to all who performed at the ironically named Majestic tent. The sound at the Majestic went well beyond the odd glitch or temporary unevenness you might expect when changeover times between acts is so swift. Over the course of the festival, entire instruments found themselves silenced, harmonies were excised and muddy sound given reign. This was especially unfortunate given it was one of the larger venues, and many of the notable acts featured here.

Of these, several were particular standouts. All Our Exes Live In Texas quickly established themselves as the darlings of the weekend. Each of their performances saw packed-out venues with crowds pressed against doorways trying to catch glimpses of the stage. Their songs (and teaspoons) oscillate from haunting to raucous, and the improvised banter between (and sometimes during) songs was some of the best dialogue you’re likely to find. Gordie MacKeeman and His Rhythm Boys were an astonishingly vibrant quartet, quick to charm any who witnessed them in action. The entire band is a supremely talented bunch, but MacKeeman’s whirring violin and tap dancing skills must be seen to be believed. Siskin River, who have been touring with the aforementioned Rhythm Boys, came equipped with a strong reputation for festival performances, and it was clear to see why. The enviable ease and energy with which they grab their crowd was a sight to behold, with some of the most captivating songs of the festival (including a seductively dark cover of ‘My Favourite Things’).

Lord, who else! So many acts, so many memories. Stray Hens were outstanding, Gina Williams and Guy Ghouse were able to stun an entire audience into hushed awe, John Bennett and David Hyams gave incredible sets, and The Spooky Men’s Chorale were as beguilingly wondrous as ever. Particular props to The String Contingent for their album launch, and an extra special shout-out to the screeching child who ruined so many precious hours of fleeting sleep.

It’s true; I’m now a National Folk Festival convert. But have no doubt – spend just one evening wandering these brightly festooned paths, and you’ll be spellbound, too.

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