Railbird Hits the Trifecta

Words and photos by Bill Foster

With only a few minor hiccups, the inaugural Railbird Festival held at Keeneland Racing Track in Lexington, KY, was a resounding success. With a mid-sized (15-20 thousand folks) feel, the festival struck a nice balance. The large, enthusiastic crowds made the event feel exciting yet never felt large enough to be overwhelming. The acts skewed towards Americana but there was a wide range from gospel to rock available on the two main stages (which never overlapped sets) and the smaller Burl stage. An interesting addition was a chef’s stage which provided cooking demonstrations (and tasting for those who purchased tickets) and a bourbon area similar to Forecastle, but with a better selection of rare bourbons and more tastings. Physically, the festival has two main stages perhaps a half to three-quarters of a mile apart (a little too far honestly). The large Limestone stage has room for a capacity crowd while the smaller Elkmont Stage sits in a natural amphitheater and feels much more intimate in spite of being able to accommodate just as large a crowd. The reason for the distance is that they are separated by a large expanse of asphalt where all the food and vendors are located. In theory, it’s a good setup but waiting in line on that asphalt and crossing it was tortuous. Despite that small problem, here are some of the highlights of a wonderful weekend:

Devon Gilfillian

I saw a slew of new bands that I had never heard of in this festival but Gilfillian was a standout. With his keening tenor and strong falsetto soul vibe, he’s mining some of the same territory as Gary Clark, Jr., albeit with more of a funk style. He’s an eclectic, noisy guitarist and charismatic performer. I really enjoyed this set and you have the opportunity to catch him again at Second Bell festival in Suttree Landing Park, Saturday, August 17^th.

Low Cut Connie

Low Cut Connie has undergone a complete lineup change since first playing the Preservation Pub five years ago, with only frontman Adam Weiner remaining from the original configuration. But what hasn’t changed is Weiner’s uncompromising demand that audiences get up, dance, and pay attention. A Connie show is a frenzy of dancing, shirt ripping, leaps off pianos, jumps into the crowd and sweaty hugs all set to a strong Jerry Lee Lewis jams with Prince beat and clever, insightful lyrics. Their short, incendiary set drew a giant crowd that left the Elkmont a lot sweatier and happier than when they arrived.

Mandolin Orange

The North Carolina American quintet with strong Knoxville roots keep slowly growing and expanding their base. Playing the Limestone stage, which faces directly into the 98 degree sun at 5:30 PM must have been a daunting task but they showed no signs of sweat, coolly reeling off a strong set of songs based around their most recent record but hitting all four of their most recent albums.

Billy Strings

In one of what seemed to me to be a rare scheduling error, Billy Strings was scheduled on the tiny Burl Stage while America’s Got Talent winner Grace VanderWaal played the Elkmont. Ok, error is maybe a strong word as they can’t schedule a festival around the needs of fifty-something, balding music writers and there were certainly a lot of young ladies who were deliriously happy to see the young VanderWaal. The upshot though was that Billy Strings played in front of a far beyond capacity crowd on the smaller stage. No matter, those who could see were treated to String’s blazing, improvisational leads with an agile, skilled band and songs that are much more introspective and personal than is the norm in the progressive bluegrass world. Strings is a world class picker, but its those strong confessional songs that set him apart and ensure that he is going to continue to grow.

Brandi Carlile.

“How many times have you seen Brandi?” asked a young girl in the pit. “Four, just this year,” I replied. “Does it ever get old?” she asked. And I thought, do I get tired of the way her songs start with a Wilco-like burst of noise and resolve into her strumming acoustic? Do I get tired of the people crying and singing every word? Do I get tired of how at every single show someone yells “I love you” at the first quiet moment? Do I get tired of how much energy she expends on stage and how much fun she appears to be having? No. Her show is everything rock and roll should be and if I ever get tired of it, plant me in the dirt because I am tired of life. As for this show, even by the high standards of the previous shows, she seemed happier and more energetic, highlighted by a hushed cover of Joni Mitchell’s “A Case of You” and a balls to the wall, rocking cover of Led Zeppelin’s “Babe, I’m Gonna Leave You.”

Old Crow Medicine Show

Old Crow is another band that is down to only two, original members and as founder Ketch Secor has become the center of attention, their show has become a bit more focused on theatrics. The line between spontaneity and kitsch can be difficult to tread and Old Crow is still on the right side of it, but they wobble across from time to time, especially with their, thankfully absent at this show, cover of “Old Town Road.” However, they remain a potent and entertaining festival band and just right for sunset on the intimate Elkmont stage. Secor led the band through an up-tempo 13-song set highlighted by “Alabama High Test” and “Methamphetamine” before bringing up Brandi Carlile, still sweating from her set, for a three song finale of “Jolene,” “Wagon Wheel,” and “Will the Circle be Unbroken.”

Raconteurs

The headliner for Saturday night, the Raconteurs hit the stage in the only true nighttime show of the day with a fury. Opening with “Bored and Razed” and “Level,” White and Benson were on fire, animated and fierce, trading spitfire leads and frequently jumping on the drum riser. In fact, the band spent much of the night facing each other during the instrumental portions, locked in on powerhouse grooves. Benson’s voice was spectacular (seriously, go listen to his three pre-Raconteurs solo records if you haven’t) and White was electric. “Broken Boy Soldier,” “Sunday Driver” and, of course, “Steady as She Goes” were highlights while “Blue Veins” and, especially, “Consoler of the Lonely” were much missed. This may be the best live band in rock and roll right now.

Yola

It would be easy to look at Yola and think, “OK. I’m in for some American Idol, soul diva stuff here” and nothing could be further from the truth. Yola, who is playing Thursday at Live on the Green in Nashville and has been all over Lightning 100, plays a sort of blend of country, cosmopolitan pop with some rock edges. Her new record was produced by Dan Auerbach and has writing contributions from Dan Penn (and it’s excellent). Live, the Nashville resident from Bristol in the UK is funny and charming and delivers her songs as they sound on the record with perhaps a bit more pep. She’s going to be on bigger stages soon so check her out while you can.

Futurebirds etc.

After Yola, Railbird presented me with a plethora of bands I’d never heard live. It started with Futurebirds who put on my favorite show of the festival. With three lead singers who are all frontmen, the band is fantastic on stage. Their songs are witty and erudite without losing their edge. This is a band to watch. Susto then put on an excellent show on the main stage, taking their songs in a little more direct, song-orientated direction live. Ona, from West Virginia, are an excellent up and coming indie-rock band and Nashville’s Kelsey Waldon sounded – and drew a crowd – like the next Margo Price. She is my discovery of the festival, although I am arriving late after John Prine, who recently signed her to his record label and brought her onstage at Bonnaroo. Finally, Johnny Conqueroo, a local Lexington band who drew a nice crowd, play straight up rock and roll, mixing psychedelic and rockabilly. I loved them.

St Paul & the Broken Bones

After pleasant sets from I’m With Her, Drew Holcombe and the Neighbors and a bit of the Fruit Bats, it was time for St Paul & the Broken Bones on the Limestone Stage. Dressed in a sparkly purple cape and a black suit, Paul came out strong with “All I Ever Wonder” and “Flow With it.” His seven-piece band has been the same for a few years now and they have nailed his Motown-Muscle Shoals hybrid sound perfectly. Horns blared, and organs swelled over Knoxvillian Browan Lollar’s steady guitar. Paul was perhaps not as demonstrative as in the past, something I’d attribute to the incredible heat and the high stage, but musically they sounded perfect and “Broken Bones and Pocket Change” was a clear high point.

Lucinda Williams

Ah … what to say? If you’ve seen her, you know. She showed up on time and played the songs you expected her to play. “Changed the Locks” and “Drunken Angel” were highlights in spite of some flubbed lyrics. She also stared at her music stand, gazed puzzledly at the audience and didn’t seem to have a lot of awareness of where she was. Loved her guitar sound and band though.

Gary Clark Jr.

After catching Lexington Next Big Thing the Wooks (great show) and some Blackfoot Gypsies (down to a powerful, energetic three-piece) on the Burl Stage, I caught Gary Clark Jr on the main stage. Backed by a solid four-piece band, Clark has become a festival staple. With his clear falsetto, political lyrics and ringing guitar, he’s mining more of the Curtis Mayfield sound nowadays than the gritty blues he began with (although plenty of that remains when he cranks up the volume on his Wide Sky guitar). Clark didn’t talk a lot preferring to let the songs, mostly from his new record “This Land,” do his speaking, although his version of “Come Together” was smoking.

Tyler Childers

Kentucky native Tyler Childers took to the smaller Elkmont stage at 7:45 in front of the largest crowd of the festival at that stage and perhaps of the festival (The Raconteurs crowd was huge but as it was nighttime and on the larger stage where you can’t get the same view, I can’t say for sure which was larger). He received the key to the city beforehand in what was a delightfully awkward and endearing moment as the city representative handed him the key and he just looked at it and kept both hands on his guitar until she kind of wandered away. Once the formalities were over, Childers turned in a fine set, a little more ferocious and focused than past efforts this year. The openers “House Fire,” “Whitehouse Road,” and “Redneck Romeo” were blazing. “Feathered Indians” was left off but we got all three of the covers he has performed this year, by Kenny Rodgers and the First Edition, Great Speckled Bird, and the Charlie Daniels Band. His show concluded after sixteen songs with “Shake the Frost.”

After Tyler, my night concluded. I passed on festival closer Hozier because of the one huge negative of the festival: Parking. Parking is all behind the festival with only one gravel road leading in. This means that when leaving, every row of parked cars had to simultaneously merge into the one little road. It took me 93 minutes to move about 150 yards onto the road on Saturday night and I wasn’t willing to risk it on Sunday so I parked further away and left earlier. I am sure that solutions are available, and this is something they will have to address next year. Given how well organized the festival was in general, I am sure it will be fixed. That caveat aside, Railbird was a tremendous experience and I cannot wait to see how they improve it next year.