Lately though, my wife Alisa and I have become quite fond of the festival experience and we've made it a point to attend at least a couple a year. Alisa hit Woodstock as a teenager, although when we recently visited the former festival site, she claimed not to remember a thing. Which, I suspect, means that she had a really, really good time.
Nevertheless, my festival treks started in earnest with our visit to the Telluride Bluegrass Festival in 2006, which proved truly awesome in terms of the beauty of the surroundings. After three Cayamo cruises, a visit to the Mariposa Folk Festival in Canada, the debut of Orlando Calling, and Bonnaroo -- one of the coolest festivals of the past decade -- we finally made it to the grandaddy of them all: the Newport Folk Festival.
An annual institution that began in 1959, Newport set the stage for every festival that's followed. Early on, it was a beckoning call for those at the vanguard of America's folk and roots revival, including Pete Seeger, Peter, Paul, and Mary, Joan Baez, Muddy Waters, Howlin' Wolf, and Johnny Cash. And as time went on, it also helped spawn the new rock reality by providing the stage for Dylan to go electric, testing the fervor of the faithful. Much has changed over the decades -- a switch to a new venue at Newport's historic Fort Adams and economic changes that nearly forced the festival's demise in the late '60s -- but today, Newport remains at the center of America's musical map, and is a beacon for both indelible icons and future stars.
We caught an array of incredible acts, from headliner Jackson Browne to such worthy up-and-coming contenders as Sara Watkins, Deep Dark Woods, Jonathan Wilson, and the Head and the Heart, among them. First up was Sleepy Man Banjo Boys, a bluegrass band from New Jersey whose front line was made up of three siblings, ages 10, 13, and 15. Sara Watkins followed, accompanied, at least part of the time, by Jackson Browne, who as it turned out, would be a constant presence throughout the day in his and other sets.