I slept in, and on rousing myself, noted a slight drizzle. That led me to procrastinate a bit. As a result, I hit the trail to the festival too late for the first sessions. The drizzle fizzled.
Stage 2 beckoned with a session called “Reckoning Ball” featuring Leith Ross, Allegra Krieger and Odie Leigh. Ghostwoman were no shows. Leith was solo for this gathering and, once again, I enjoyed her ethereal vocals. Allegra, backed by drums, bass and guitar offered “Impact” with nice vocals. Odie proved to be a strong singer on “Do You” and “No Doubt,” backed by electric guitar, bass and drums.
I passed by Stage 5 where Juliana Riolino was rocking out with very punchy vocals. I was on my way to the Stage 6 tent and the concert by Celeigh Cardinal. Celeigh was resplendent in a multi-coloured dress, backed by a very tight band on electric guitar, keys, drums, bass and a back up vocals. Celeigh is a very strong singer with a punchy delivery and charming presence. She presented a bunch of songs from her recent release including “I’ll Do Anything,” “Just Let Me Lie To You,” a co-write with David Francey, “Wandering River” and “Over and Over Again.”
Back over at Stage 5, I caught part of “Songs In The Key of Life” with Margo Cilker, Meredith Moon, Juliana Riolino and Benj Rowland. Benj presented the amusing chorus, “Can’t You Read The Shirt – Says Don’t Approach The Introvert”. Juliana offered a nice “Blue Kentucky Girl.”
Meeting up with friends, I took a lunch break hitting “Curry In A Hurry” again. Stage 2 beckoned again with a concert by Anna Tivel. Backed with keys, bass and drums, Anna offered soft vocals on introspective lyrics. I went backstage to meet Mama’s Broke who we’ll host in Canmore next weekend. I’m always redundant in seeking performer consultations.
Mama’s Broke were part of “Peripheral Roots” with Luna Li, Maryna Krut and Sara Curruchich, a very eclectic ensemble, which turned out to be one of the highlight sessions of the day. Luna performed on fiddle and electric guitar, Sara on guitar with marimba accompaniment, Maryna played bandura and the Mama’s played banjo and guitar, mandolin and fiddle. The gang took turns leading tunes but, from the start, shared chord changes, and jamming was the rule. It was exotic and totally riveting. Maryna sang a song in Ukrainian, Mama’s offered a middle European instrumental medley, and Sara sang in a Mexican dialect. At the end of the session Sara got the audience to their feet to clap along and follow her arm and hand movements. A standing ovation was assured.
I settled in with friends at the back of the main stage crowd having first secured an iced latte for a wake up jolt. Robert Finley was supposed to be on first but he was a no show. The evening kept the same performer order but added longer time to performances. Y La Bamba from Mexico were first, featuring nice singing with pleasant melodies from three front line women. From where we were, visuals were provided by the big video screens. Lead singer-songwriter Luz Elena Mendoza Ramos closed their set with a solo song.
Evening MC Shakura S’Aida introduced tweener Maryna Krut with bandura for some Ukrainian songs.
KT Tunstall was next, performing solo on guitar with accompaniment from self-generated beats and multiple loops. She offered a selection of originals, interspersed with amusing patter. Covers included “Summertime,” “Baby Please Don’t Go” with kazoo added, “Psycho Killer,” “Walk Like an Egyptian” and “Won’t Back Down” earning a semi-standing ovation.
Anna Tivel got the next tweener spot but her soft vocals were mostly lost in the crowd buzz.
South Africa’s BCUC were next, playing on a huge bass drum, conga and tumba, electric bass and hand percussion. Vocals with beats and energetic dancing got huge numbers of dancers to their feet up front. In the back it got a little repetitive and looking ahead to closer The Roots, I opted to pack it in. BCUC got a huge ovation from the dancers. Margo Cilker got the final tweener spot which I couldn’t really hear. I waited to see what The Roots ensemble looked like – singers, bass, lead guitar, horn section of tuba, sax, trombone and possibly other stuff. The dancers were already on their feet as was the rest of the up front crowd as I slowly made my way out.
