I love volunteering at Folk Fest and have done so almost e3very year they have had one since 2016, but most years, at some point, I hit a wall. And after hitting the wall, I have to actually consider if this will be my last year volunteering.
This year it was Friday. Not even a long day! Start at noon, the corral for the tarp lottery at Stage 1 is still up from the day before, no delays in marching the groups of 30 patrons on to the field so they can set up their tarps for main stage (unlike the day before as they scrambled to get more sand and rig mats laid over the soggy ground).
But it was hot. 26 degrees and I was still tired from the extensive standing Glory (my crewmate!) and I had done during the delays of the day before. I also don't think I hydrated enough; by the time the two of us marched off to the dinner line, I was a shambling wreck, cowering from the merciless sun in the shade of teh umbrella I had brought for rain.
But a great dinner (beer braised Alberta beef with garlic, Moroccan spied carrots, potatoes, three different salads) and a little time in the shade left me in a better state to see a couple of the Friday night main stage acts. We couldn't stay for Of Monsters & Men, the big draw that evening, since we had to be back on site at 6:30 the next morning, and since there is no longer a volunteer shuttle, that trip is about an hour now.
But Saturday morning was cool, and Glory and I had already decided that we would only watch a couple of afternoon shows and then head home to nap. We went to bed early and this meant we could see all the main stage acts Sunday, and even stay for the traditional singing of Ian Tyson's "Four Strong Winds" that closes out the festival.
By that point, both sleepy and exhausted, with aching feet and knowledge that my physically demanding teardown shift was a little more than 12 hours away, I was still at a point where I could say: I can't wait for next year.
So what did I like most about Folk Fest this year?
1) The Workshops
I had wanted to see Nova Scotia storyteller Adam Baldwin in his own concert. I'd told Glory how great his stage banter was when he'd opened up for Alan Doyle at the Jube the year before, but the schedule didn't fit our needs.
So we went to a workshop called Tall Tales that included him, a trio called The Pairs and 'cosmic folk' artist Sister Ray, and it was fantastic. From his rejection of the term workshop in favour of "drinking in the kitchen" to the interactions between songs to the incidental accompaniment by the artists to the songs of others (perhaps hearing them for the first time), it was a great hour spent in the shade of Stage 7.
My favourite bit was Baldwin talking about how his tragic crime song "Lighthouse in Little Lorraine" was based on a true story, but because he could figure out neither a Nova Scotia community that rhymed with 'hashish', nor a narcotic name that rhymed with Louisbourg, he was forced to change both. And then the song got made into a movie! Which he says you can now watch on WestJet and "should be on a DVD in Giant Tiger any day now."
Similarly, the If You Could Read My Mind workshop featuring The Milk Carton Kids, Fantastic Cat, and The Brudi Brothers was full of great tunes, good humour and tremendous interaction as well.
2) My Crew
People are probably tired of hearing me quote my own maxim, "It's less about what I do and more about who I do it with," but it is true. And nowhere is is more true than when working with the Greetings East crew.
We run the tarp lottery, a somewhat arcane and counter-intuitive randomization system that allows 1000 or more dedicated patrons to enter the field prior to the public gates opening for optimal tarp placement. For our part, this includes building an enclosure (corral) that can hold 2000+ people out of fast fence, handing out 2000+ colored tags with the names of performing artists on them to the patrons as they enter, trying to keep them moving towards the back of the corral instead of crowding around the entryway, announcing an artist's name and then lining the people with matching tickets along the sidewalks up and down the neighbourhood, sometimes stretching further than three city blocks.
At the appointed time, usually 30 mins to an hour but sometimes two hours or more, some of us serve as human pylons, dividing the line into groups of thirty, then marching them through main gate and handing them off to security so they can race safely up the hill and place their tarps.
After that, we (usually) take down the fast fence and stack it, then place our own tarps. I wouldn't call it easy, and sometimes testy patrons can make things more challenging than they need to be, but it is generally a smooth operation, and our duty is done before the first act hits the stage.
There were 19 of us this year (then team was less than a dozen when I started!), mostly ladies, all but a handful are much, much younger than me, and all of them are great.
Different people are going to be great at different things, but there are no shirkers. Everyone understands and appreciates what we are doing and why, and we get on fabulously with all but a handful of the patrons. And even those ones should get the benefit of the doubt - who hasn't had a bad day outdoors in a crowd?
Having Glory as a crewmate in 2023 and this year has been an extra delight, and out leadership is smart, funny (like most everyone on this crew!), open minded and attentive. And they even bring cinnamon rolls and rice krispie treats for the early weekend shifts!
My crew are a big part of why I will come back next year.
3) The Music
I have been a fan of Corb Lund since 2007's Horse Soldier, Horse Soldier!, and Thursday night I finally got to see him live for the first time. He was sandwiched between two soul music acts, The Womack Sisters and Thee Sacred Souls, both of whom sounded amazing.
Friday night we saw Irish trio Amble and enjoyed them immensely. Wonderful voices, great musicianship and tremendous stage presence from their frontman (but charm from all). Apparently when the lead singer told his family he was quitting his job as a teacher to play music full time, his father told him, "throw out the trout to catch the salmon," which is maybe the most Irish thing I have ever heard, and you can apparently see it written on a bunch of their merch. I expect to be hearing more about them in the months to come.
Trousdale is a country/rock flavoured trio from California with a great sense of humour and absolutely heart-stopping harmonies. I am disappointed the studio version of their cover of Neil Young's "Old Man" sounds so tame compared to the version we heard on the hillside of Stage 5 that raised the gooseflesh on me.
St. Paul & The Broken Bones are hard to describe, but soul ensemble with the energy of a Gospel revival service probably comes close. Paul Janeway was perhaps the most dynamic frontman we saw all weekend. At one point he guided both the band and the audience through a 1-2-3 rhythm game ("That was good. Real good! But we did not come all the way to Edmonton to be good. We came here to be great. And doo you know what separates the good from the great? No? FRACTIONS."), and at another, he clised ski hill on his belly. I will never miss a chance to see this group if I can help it.
At any rate, a week later the exhaustion and foot pain are forgotten and great memories of music, people and food (the volunteer kitchen still puts out simply amazing meals 3000 plates at a time!) are what remain.
I can't wait for next year! Hope to see you on the hill.
BONUS REFLECTION: THE TEEPEE TEARDOWN
At about the midway point of my teardown shift, as we used a rickshaw/wheelbarrow to move a heavy pile of fence posts and post-puller from one spot to another, someone told my crew boss Ross that the Nikawomin crew needed help taking down the 30' teepee from their cultural area.
"These three fellows would be only too happy to help," he said, before wandering off to supervise another group back of mainstage.
One of the Site Crew and a Nikamowin volunteer explained that it was not difficult work but it required multiple, steady hands and a respect for protocol. For instance, stepping over the supporting poles once they were laid down was considered disrespectful.
So began by folding the covering material onto itself, one team on each side of the opening, until it was all gathered at the back, then lowered it folded it some more and placed in on a bench someone carried over to keep it off the ground.
Then we worked as teasm to lower the various poles leaning against the tripod of lashed poles at the center. Working carefully from both a safety and respect perspective, two fellows steadied the pole while lowering it, and others like me moved to catch it once with in reach and then walk to the end until it was carryable.
At one point the volunteer showed us a "cheat" wherein you could use a still standing pole to slow the descent of one being lowered, which worked pretty well.
Finally we steadied the legs of the tripod, lashed together at the top with a long cord, brought the three poles together one at a time, and then slowly lowered the bundle and caught it like one enormous pole.
"And that's it!" grinned the Nikamowin volunteer. "It's not hard, it just helps to have more hands."
The Site Crew worker nodded. "And you are all teepee certified now, so we'll see you next year, eh?"
And the volunteer grinned and nodded when I asked if I could put "Indigenous housing experience" on my resume.







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