Arts

CLASSIC GRAND OLE OPRY SOUND AND SOME CROWD WALKING ENERGIZES THIRD DAY OF CITYFOLK

CityFolk night three was bound to be busy, the crowd even early on into the event seemed to only be swelling in numbers – an unfortunate thing if you hadn’t already bought your ticket!

Before walking to the lawn to see acts at TD and Fasken Stage, you’d be delighted to know that Sam Stone puts on a few good numbers – one particularly jazzy – for those still waiting to get their tickets by the entrance gate.

SCHOOL HOUSE

As bluegrass as it gets, School House certainly knew the way to the crowd’s heart (and stomach) by performing a drinking song near the start of the night. The audience was invited to shout along a cheery “hey!” and a big gulp of cold beer before thumping their foot along to the rhythm of a bouncy folk tune.

Taking a moment to slow down and thank the audience, the members of School House said the venue was “special” and a “good way to cap-off the moment.”

Running towards a contemporary country-pop sound, the band brought out the electric guitar to help channel a nostalgic sensibility. The ever-faithful guide of harmonica and drums certainly helped to bring the song in line.

MINT SIMON

As a contrast to the previous night’s rock and big country performances on TD Stage, Mint Simon brought out hits obsessed with the production of ’80s synthwave.

Though tracks like “Gargoyles” and “Saturday” were fun and often provided a contrast between the dance tracks of yore and today, the overwhelming bass often diminished the sound of the keys and guitar. 

At times, tracks like “2007” gave the crowd an interesting plucked synth-organ sound that worked quite well with the vocal harmonies being shown off. Other tracks brought in new instrumentation, though sometimes to mixed success – such as the highly processed and underwhelming sax featured on some choruses. 

Despite the mixed experience, Mint Simon provided some fun to the crowd and, at the very least, took us back to a time of funkier grooves.

KAIA KATER

Jumping from the grooves of the ’80s back to traditional country twang, Kaia Kater featured just a single double bass and a banjo on stage. Though minimal, this arrangement seemed to encourage listeners to get closer to the stage – for a brief moment.

Unfortunately, Kater’s set was occasionally combating a portion of the crowd to be heard. Constant talking and laughing smothered the finer timbre of the double bass and made the vocal effects later used difficult to hear. 

Though this didn’t stop Kater from bringing the rest of the crowd together to join along, singing some tunes before telling the crowd of an unfortunate incident where their MacBook was fried by a spilled cup. That incident then inspired the next song, “The Internet.”

Charming, though a bit mismatched between subject matter and sound, Kaia Kater leaned into a great southern sound that holds potential for a revival of Louisiana grit. 

JAMES

If either of the previous sets had proven to test the crowd’s mood, James (the band, not the name) was a master at taming it. From the very first number, the nine-piece band rolled out with a synth, two drummers, a violin, and a variety of guitars to blast the lawn with some of the best alternative rock in recent memory.

It seemed the band pulled out every stop to bring spirits up – passionate solos, bandmates playing together side by side, fun graphics projected on stage, and the band’s lead, Tim Booth, walking off stage into the crowd. While security seemed a tad concerned for his safety, Booth danced and sang with members of the audience, forming a ring wherever he went that seemed to mesmerize and dazzle. 

After finally making his way back to the stage, the band pulled out a selection of interesting numbers that moved from a percussion-centric intro to drum pads and string – before exploding into a vibrant song that gripped CityFolk.

THE DEVIL MAKES THREE

Coming back to Fasken Stage and leaving James behind, The Devil Makes Three provided a fun little detour before the night’s biggest attraction.

If the Grand Ole Opry had been left to wander, the band certainly had found it and brought it to the stage. Remarking in a self-deprecating tone, the band joked “that last song wasn’t about trucks but this one is!”

Flashy orange and blue lights kept their faces in the dark while a dancing tune came on that had people bumping their legs along.

A bit of Americana and a lot of twang, with a touch of double bass too!

MORRISSEY

Perhaps the most immediately recognizable and controversial name to the younger crowd of CityFolk, Morrissey commanded numbers similar to last year’s crowd for Greta Van Fleet, despite local protest.

Before starting, a white light followed Morrissey to centre stage with him holding some fake roses in hand. He then jumped right into some classic hits from The Smiths with There Is A Light That Never Goes Out, which was as sad and charming as the studio release.

After finishing the track, Morrissey turned to the crowd and asked, “is this a festival for the folk of the city or a folk festival for the city?” The crowd, with its mixed response, led him to answer himself, “nobody seems to know!”

Flinging the cord of the microphone around, he sang “Alma Matters” and “Lost” which quickly sobered the crowd into a sombre but enjoyable mood.

As the evening went on, Morrissey guaranteed “you’re likely to enjoy two songs but don’t expect more than that,” which seemed to be proven wrong by the sheer number of cheers each song got all the way to the end of the night.