In case anyone is thinking about Calgary Folk Festival in 2002, here are some thoughts on the 2001 event, just past.
The festival setting: On an island (public park) in the heart of downtown Calgary, which now has a population approaching a million people and some of the most beautifully designed tower blocks I have ever encountered - making walking a delight.
The island park is spacious enough to easily accomodate the approximately 8,000-10,000 people who attended on each of the four days. The main stage is a bit low, but there is a four-inch high chair rule that almost everyone adheres to, so it is still possible for bums like me to sit in the beer garden at the rear and see the performers.
The sound systems for the main stage, and each of the five workshop stages leave little to be desired. The crews of sound engineers know their stuff. On a few occasions the sound from one workshop would impinge on another during a lull between tunes, but this would be hard to rectify, based on space confines and varying decibel outputs.
The cost of decent beer was extremely reasonable - about $1.65 American for a generous plastic beaker, with pitchers also available for even cheaper per cup. (Compare this to $5 per rotten beer on a recent Irish folk cruise out of Boston harbor.) Wine by the beaker or bottle was also available. Food vendors dished up great platefuls of Indian curry, thick ungreasy unhamburgers, and mountains of kettle corn for bargain prices. So high marks for booze and vittals.
Among the 30 Main Stage attractions were David Byrne, Billy Bragg, Dougie McLean, Cowboy Junkies and Buckwheat Zydeco among others. Byrne and Bragg were particularly enjoyable for me (although all had their legions of fans.) However, it was at the workshops that the festival really excelled.
My favorite was called "I Have The Right To Dissent" and featured, apart from Billy Bragg, a remarkable song writer from Quebec called David Francey (along with two fine musicians.) Francey may be the best modern day folksong writer since Ewan McColl.
And the biggest surprise of the festival was Geoff Berner, a skeptical accordian playing songwriter from Vancouver.
He comes to the fringes of folk, he says, via a Jewish upbringing and punk rock. If you accept that compositions like Porn Star Girlfriend can be enjoyed as 21st century folk songs (great tune, wickedly cynical lyrics) you should keep your eye open for him. He has toured in places like Norway and Germany, and is hopeful of an Arts Council grant to tour Europe again.
Eliza Carthy (with blonde hair that week) and her band also acquitted themselves very well - her accordian player is inspired. Sarah Wheeler, a hot shit from Vancouver - and a friend of Geoff Berner's) - was great too, with her acoustic raunchy/aggressive folk-rock songs.Then, from further afield were Tri-Continental, Australia Calling. Plus Daniel Koulack and the Knappen St. Allstars must win a mention for tunes that incorported what looked like a soprano sax and a frailing banjo.
In short, what a satisfyingly fresh and well organized event. Kudos to the 900 volunteer organizers.
Accomodation was another delight. A 35-story luxury hotel within easy walking distance of the island offered, in a festival deal, suites (bedroom, livingroom and kitchen) for $63 American per night. And handily situated between the hotel and the festival was the fine Fionn MacCool's as recommended by Bardford (see above).