Report: 2011 Mariposa Folk Festival


Acclaimed music bash
kicks off its second 50 years in style, July 8-10 in Orilla, Ontario.
Pictured above: Emmylou Harris.

By Lee Zimmerman / Photos by Alicia Cherry

In Canada they really do say “Eh” — as in “How’s it going,
eh?” or “They’re pretty good, eh?” The expression pretty much turns every
statement into a question, while also ensuring that no matter what the
declaration, the listener has the final say by voicing either a yay or a nay.


That’s practically the only cliché that can be bandied about
regarding our neighbor to the north, and it also exemplifies the all-round good
vibe that the Canadians exude, both amongst one another and to visitors as
well. And it certainly personifies the genuinely good vibes that accompany an
event like the Mariposa Folk Festival, which just concluded its 51st year of operation this past July 8 – 10. Be assured, there was nothing clichéd
about this line-up.


Held in Tudhope Park in Orilla, Ontario – approximately two
hours north of Toronto and on the shores of beautiful Lake Couchiching — the
festival belies its branding by giving equal credence to both traditional
folkies – with tireless troubadours Peter Yarrow (of Peter, Paul and Mary),
Murray McLauchlan, John McDermott, Stan Rogers and Ron Hynes representing the
old guard – and dynamic young rockers – Josh Ritter, Jim Bryson and the
Weakerthans, the Beauties, and Yukon Blonde, among them – performing on behalf
of the new guard. In between, there were those who bridged the divide –
Saturday night headliner Emmylou Harris and mystery guest Ron Sexsmith in
particular. And there were plenty of newbies as well – Amelia Curran, Brett
Caswell and the Marquee Rose, Katherine Wheatley, David Myles, Del Barber and
Reid Jamieson being among the best.


With the activity spread among more than half a dozen
smaller stages, a massive main stage for the headliners, and a beer tent —
which, not surprisingly, provided the most boisterous venue of all — there was
plenty of diversity and variety to choose from when it came to indulging one’s
musical preferences. But overall, the vibe was generally mellow, fueled not
only by the festival’s family-friendly tradition, but also the idyllic locale,
which was generally hassle-free and easy to navigate.


(Josh Ritter)



Friday night provided an exhilarating intro, given that the
initial offerings generally cater to a younger crowd. A riveting performance by
Toronto-based band The Beauties set the scene, and by the time Jim Bryson and
the Weakerthans took the stage at 9, the crowd was already geared up for an
electric evening. Bryson and the Weakerthans previously made their own
individual music, but drawing songs largely from their recent collaboration, Falcon Lake Incident, the combination
proved potent, with material divvied between bittersweet ballads and hook-heavy
rockers. Still, all was forgotten when Josh Ritter and his Royal City Band
capped the evening’s offerings. Ritter was nothing if not mesmerizing, and his
songs took on an auspicious aura that imbued a powerful sway. The set climbed
from peak to peak, and bathed in the multicolored hues of the spotlight, Ritter
was absolutely riveting, awing the crowd with his powerful presence.
Unfortunately, a horde of bugs and mosquitoes also opted to swarm around the
spotlight, prompting Ritter to lament the fact that “all the insects got in
free,” while vowing to keep playing, “even if we end up as skeletons.”


(David Myles)



(Katherine Wheatley w/the author)




Saturday beckoned with the first full day of entertainment
possibilities, and the choice to begin with some upbeat bluegrass seemed the
logical way to go. David Myles, a tall, lanky, good-natured singer/songwriter,
hosted the genteel Katherine Wheatley and the instrumental ensemble Hard Ryde
on the shady Estelle Klein Stage and got the festivities off to a boisterous
start. Bryson and the Weakerthans followed, repeating their previous night’s
set, but adding an intimacy that eludes most artists on the main stage. This
being Canada, and the fact that the spotlight falls overwhelmingly on natives
sons and daughters, the next showcase set was devoted entirely to
interpretations of Gordon Lightfoot songs from the likes of Katherine Wheatley,
Reid Jameson and John McDermott, a former member of the Canadian Tenors whose
lusty vocals, and the fact he was originally discovered during an impromptu
recital of “Danny Boy,” made him a somewhat obvious additive for a folk festival.
The homage to Lightfoot was only natural, given the fact that he hails from
Orillia and that one of his last major appearances was as last year’s festival
headliner. Reid’s take on “Summer Side of Life” and Wheatley’s “Early Morning
Rain” offered impressive reminders of why Lightfoot is not only a Canadian
institution but a veritable singer/songwriter phenomenon as well.


(Reid Jameson)



Opting for a break in order to stroll through the stalls and
find some nourishment, we found ourselves making hard choices as to which
showcases to check out next. A return to the Estelle Klein Stage in late
afternoon was rewarded with a double set of round-robin performances, the first
featuring Amelia Curran, David Myles, a solo Jim Bryson and a slightly more
subdued Josh Ritter each trading original songs. The second starred Katherine
Wheatley, Reid Jameson, Garnet Rogers and veteran folkie Marie-Lynn Hammond
singing songs they wish they had written, or at least that’s how the session
was billed. Among the highlights: Jamieson’s version of “Everybody’s Talkin'”
and Wheatley’s cover of “Someday Soon” by Ian Tyson, another native son.


(John McDermott)



(Ron Sexsmith)




Our introduction to Saturday night’s main stage line-up
began with 3 Gars su’l Sofa, a good-natured French Canadian combo whose jaunty
Cajun-flavored tunes helped spur the evening’s energy. John McDermott followed
next, and his stoic presence loaned a certain austerity to the proceedings just
as his renditions of “Loch Loman” (“I’ll take the high road, while you’ll take
the low road…”), “My Bonnie” and, of course, “Danny Boy” drew a hush from the
crowd, which was clearly swayed by McDermott’s reverential readings. When the
so-called surprise special guest was announced afterward, few in the audience were
actually surprised when Ron Sexsmith ambled on stage to play a solo set.
Appearing boyish and shy, despite his prolific 25-year career, Sexsmith
admitted he was amazed by all the anticipation. “I didn’t think it would be
much of a surprise,” he said meekly. “You might have thought it was Bob Dylan
or something.” His set was typically low-key and low gazed, leaving it to
headliner Emmylou Harris, to pull out the firepower.


(Emmylou Harris)




“Sorry, I don’t speak Canadian,” Harris joked on taking the
stage, “But I once married a Canadian.” She then proceeded to entice the
audience with a supple set of songs that highlighted her exquisite new album, Hard Bargain. Like the night before, the
bugs swarmed as she defiantly carried on, even though she noted that several
seemed to be attracted to her tea. “Good nutrition,” she joked as she marveled
at the infestation. Nevertheless, there was a certain solemnity to her set,
particularly when she sang the album’s two mournful centerpieces, “New
Orleans,” an ode to that devastated city, and “My Name is Emmett Till,” the
tragic tale of a young black boy murdered in Mississippi by merciless white
mob. Not surprisingly, Sexsmith was brought back onstage to duet on “Hard
Bargain,” the track he contributed to Harris’ current effort, and a beguiling
version of Lucinda Williams’ “Sweet Old World,” a song that easily accommodated
both artists’ appreciation for tender sentiment. Harris’ rousing take on the
rugged gospel number “John the Baptist” and “Born To Run” wrapped the set up in


(Brett Caswell & the Marquee Rose)



(The Rucksack Willies)




Sunday proved equally daunting in terms of choices,
particularly since we had already decided that we’d leave prematurely due to
our hosts’ determination to avoid the final evening’s rush. Consequently, we
began our day early in the beer tent, which found the ever-energetic Brett
Caswell & the Marquee Rose trading their rowdier numbers with the Rucksack
Willies, a fiddle-fueled bluegrass outfit whose two female singers looked like
half the front line from the Mamas and Papas. We then made our way to the
outlying Ruth’s Stage to enjoy a folksy solo set by David Myles, resplendent
once again in a white suit and broad rimmed fedora. Prefacing a cover of an
Anne Murray song, he told a story about being in China and chancing into a bar
with a wall of photos saluting their take on Rock ‘n’ Roll royalty. There were
the usual suspects – John Lennon and Jimi Hendrix, and somewhat surprisingly,
Anne Murray. “I must have missed that,” he remarked.


(Peter Yarrow)


(Garnet Rogers)



Still, the highlight of the afternoon proved to be a
showcase set featuring Peter Yarrow, Murray McLauchlan and Garnet Rogers.
McLauchlan began with a pithy take on his own “Sweeping the Spotlight Away,”
the title track from one of his early albums, followed by a raucous rap/rant
from Rodgers that was charged with political venom. “Oscar Wilde once said that
an artist has to suffer for his art,” Rogers observed. “Now it’s your turn.” It
was then left to the exceptionally earnest Peter Yarrow to put the performance
back to the rails, or at least induce some solemnity. Deadpanned and
determined, he seemed unable – or unwilling – to respond in kind to Roger’s
cynical sense of humor. Instead, he reminisced about Peter, Paul and Mary,
recasting a version of “Stewball,” one of the trio’s early standards. The next
round of traded tunes took a sadder turn however, and Rogers’ song about two
estranged brothers found most of the crowd reduced to tears. Yarrow coaxed the crowd
into a sing-along of “If I Had a Hammer” and afterwards idled over to the side
of the stage where he and McLauchlan greeted fans and admirers, Yarrow happily
embracing each devotee like a benevolent grandfather who’s been reunited with
his flock.


(Murray McLauchlan w/the author)



After taking a break from the proceedings, mainly to regain
our composure, finish our shopping at the merch tent and get something to eat,
we decided to end our day at the beer tent for a final set by Brett Caswell and
crew. It was an excellent opportunity to see the band in their own element and
there again they excelled. They’re a rollicking and talented young outfit,
adept at swapping instruments and upping the energy with songs drawn from their
impressive self-titled debut. It was a high note on which to end our festival
stay and one of many exceptional moments that made Mariposa 2011 an exceptional
showcase for Canada’s musical craft and creativity.


Damn impressive, eh?


(Ukulele Workshop: David Newland, Reid Jamieson, David
Cella, Magoo)





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