I thought there were a lot of things to complain about, but it was still a terrific way to spend a few days.

Fred Smith gave maybe the most powerful set I've ever experienced. For anyone reading this who isn't familiar with Fred Smith, he is a singer-songwriter, and also a diplomat who has been sent by the Australian government to serve in Afghanistan. He gave a history of the country from the Russian invasion to the present day, interspersed with his songs about events there, and analysis of those events. Being in the audience was like being put through a wringer, but in a good way.

Some other acts I enjoyed were Chaika, Balkanski Bus, Black Mountain String Band, Bob & Margaret Fagan (Kate was meant to be there, too, but, Covid), 40 Degrees South, Ruth Hazleton, The Transylvaniacs (not on the bill, but they played for the Kengugro dancers), the Spooky Men's Chorale, Judy Small, George Butrumlis, and Mzaza.

The one thing I kept hearing over and over from the performers was how good it was to be back on stage after two years of little to no work or contact with in person audiences. I think most of us were so happy just to be there that we were willing to overlook a lot of defects and just have a good time.

And then there were the people who weren't able to be there, whether due to Covid or other medical issues. I mentioned Kate Fagan above. Other casualties included Fay White, Gina Williams and Guy Ghouse, Lucy Wise, Robyn Archer, and Greg Sheehan.

The weather was fantastic. The prohibition of umbrellas turned out to be a non-issue.

The food stalls weren't spread out over the grounds as they have been, most of them were in one small area. I think there were fewer of them than usual. I was sad to see the fudge people weren't there.

There were no acts from overseas, because Covid. A shame, as they are often highlights of the festival. It did open the festival to more Australian acts, and to a greater variety of Australian acts. The rusted-on folkies, like me, didn't find this greater variety much to our liking, but maybe it drew in some customers who wouldn't have come otherwise.

I thought there was going to be a $10 per day charge for parking, but that didn't happen. The shuttle vans taking people from the parking lot to the venues were smaller than in previous years, seating seven where the old vans carried ten, but they ran with enough frequency that I don't think this created any major problems. Some of the drivers didn't get much training, and only learned on-the-job how to open the doors, and how to move the seats forward to let passengers climb into the back seats.

More than once, I only learned some performer wouldn't be there when I showed up to see them perform. There were no signs at the venues, no sign at the Festival Office, and the staff at the Festival Office didn't have complete lists.

There were venues in the program that weren't on the map in the program. "Old Troc" turned out to be the Trocadero, "The Terrace: was just called "Sessions" on the map. I put it down to the turnover in administrative and volunteer personnel, and the effects of going three years between festivals.