Folk Alliance International isn’t your typical music conference. Held this year in New Orleans, days include industry panels, seminars, and public showcases in hotel ballrooms, but the real magic happens late at night when up to 100 hotel rooms transform into intimate “private showcases”—artists who normally fill 500-seat theaters performing for 20 people at a time, running from 10:30 p.m. until 2 or 3 a.m., often followed by late-night jam sessions that stretch until sunrise. It’s an overwhelming amount of music happening simultaneously, where you can bounce between rooms and catch dozens of performances in a single night.
Alex Wong was another artist I had to catch twice—first at a late-night private showcase, then his early evening official showcase. Both sets leaned heavily on songs from his most recent albums, most notably last year’s outstanding Permission. Wong has a way with both words and music, crafting incredible pop-folk with impactful, uplifting messages.
I caught Bragg twice, both sets highlighting songs from a forthcoming but not-yet-announced new album. The songs were moving and powerful. A testament to the respect she commands among her peers: several joined her to provide harmony vocals.
Sav Madigan from the Accidentals left me torn: what’s more impressive—the sounds she coaxes from her guitar or the intellectual depth and impact of her lyrics? Put them together and she becomes one of folk music’s brightest rising stars.
Ramsey and Broemel are exquisite acoustic guitarists who were, along with Sav Madigan, among the most talented instrumentalists I saw. Layer on top some wonderful brooding folk songs and rich harmonies, and their performance was something special.
Nashville’s Kyshona—a big, powerful voice with the songs to match. Uplifting yet unflinching, her songs are rich with social commentary, shining a light on and through the darkness. She turned several into communal sing-alongs.
I only caught a few songs from the UK’s Morganway around 2 a.m., but they damn sure provided a late-night jolt of energy. Reminiscent of Fleetwood Mac in all the best ways. The set was stripped down, but if this is what their acoustic set sounds like at that hour, I can only imagine what their full electric show delivers. I mean, how many artists other than Prince get asked to do an encore at 2:30 a.m.?
Nini Camps—a folkie who became a rocker as a member of Antigone Rising—previewed her return to folk roots with a selection of compelling songs from a forthcoming solo album. The folk foundation is back, but with a rock edge she’s not ready to leave behind.
Austin’s Matt the Electrician is a songwriter’s songwriter capable of jumping from jaw-dropping emotion to chin-on-the-floor humor in a split second, always rich with melody and meaning.
Paisley Fields mixed songs from a forthcoming new album with older favorites, all infused with tremendous pop sensibility and infectious personality.
Jacob Furr sings about both good times and bad with lyrical directness and gentle musical warmth—no extremes, just honest folk songwriting done right. He also has a wicked sense of humor, demonstrated perfectly with “I Kept Hoping It Would Get Better But It Just Got Worse,” a song inspired by a favorite review of one of his earlier albums.
The Irish duo DUG proved worthy of their buzz with gritty songs, stellar harmonies, and a tart sense of humor.
While I was primarily there for the conference, it’s hard to pass up the chance to experience New Orleans music firsthand. A few highlights:
Duhon kicked off his “Living Room Sessions” residency at Chickie Wah Wah, literally bringing living room furniture onto the stage. He played several short sets highlighting the richness and depth of his own songs while also sitting in with several featured guests, including Rainbow Girls.
Hoge and D’Amato shared a bill at Chickie Wah Wah, both playing acoustic—a fine setting for the stories in their songs. Incredible songwriters with lots to say and tremendous talent for melody.
Ruffins, a longtime fixture of New Orleans music as both trumpet player and singer, performed at the legendary Mother-in-Law Lounge. His set was wonderfully eclectic, including the themes from “Charlie Brown” and “Sanford and Son”.
About the author: Mild-mannered corporate executive by day, excitable Twangville denizen by night.