Review of Bluesfest Day Eight: Folk, fellowship and community

“Fellowship.” The word was plastered on the screens beside the RBC Stage during Tyler Childers’ set at Ottawa Bluesfest, perfectly encapsulating the day.

The sun beat down on LeBreton Flats for the festival’s eighth day, ringing in buzzing crowds. There was something in the air to usher in the aura of indie-folk music and a strong dose of country. 

DJs DJMC and Eazy El Dee cranked up the energy from their respective corners of the festival. Lineups quickly formed for lemonade, with showgoers in their jean-clad cowboy hat uniforms. 

Wild Remedy gave it a go in the cool refuge of the Barney Danson Theatre. The talented local trio exchanged guitars, cajon and stunning vocals to draw in the crowd. They said they hoped a sense of community could be found in their song “Little Me,” with overlapping harmonies and mesmerizing a capella sections. 

Summersets, the first band on the River Stage, started with “fake flowers” from their newest record, small town story. 

Steadily garnering a crowd, frontman Kalle Mattson joked, “You’re going to watch all of us 30-something year old white guys sweat like crazy up here,” before introducing his creative partner, Andrew Sowka, who matched Mattson’s vocals in perfect harmony. 

The crowd was not without its loyal fans, friends, family and even Mattson’s music students. There was a strong sense of community: one woman came to see her brother-in-law drum in Summersets, explaining to the Charlatan that the band were all old friends from Sault Ste. Marie, Ont.

With “anywhere you go,” the music got groovier and more dynamic, introducing a shaker and twang guitar in a precise and minimalistic way. 

Their set also featured an unreleased tune, “move back home,” which they said was about “not being able to afford a house in Ottawa and intergenerational wealth transfer.”

The band finalized the set with “never love another,” leaving behind the musical inspiration of storytellers and the retained coolness of 2000s and 2010s indie bands. 

Next at the River Stage, Oddeline flaunted her range, swaying the audience with groovy alt-pop, including her hit, “Eden.” 

Most notable were sweeping high notes, bluesy soloing and time-signature changes, all enhanced by moody lighting and the ambient setting sun.

A musical acquaintance in the crowd noted it was “really nice to see friends doing well,” showing the role of dedicated music fans and the interconnectivity of the community. 

On the RBC Stage, Brittany Kennel brought classic yet modern girl-country vibes, before TALK delivered catchy pop with a tinge of country roughness. 

Finally, Tyler Childers made his electrifying entrance at 9:30 p.m. The audience hurried over muddy wood chips with corn dogs and poutine, and youngsters crowded at the front, excitedly listing off favourite songs. 

The stage was decked out like a country estate, with long grass and other foliage lit by living room lamps. 

Happy cheers broke out for “Lady May” and by “Shake the Frost,” stage lights showed a multitude of instruments: keys, strings and drums. “Country Squire” brought grit, energy and funky guitar lines.

Finally, the intro to “All Your’n” began to play, the sincerity of Childers’ words tangible as he sang to the crowd, “I’m all yours.”

“We’ve only got a few more,” the singer added, by which he meant a generous five. “We’ve got younguns’ back home getting bigger and people wondering where the hell we are.” 

“Heart You’ve Been Tendin’” was an apt grand finale to the night. After a roaring applause, the crowd made their way through crumpled cans and water bottles, left starry-eyed by the night’s folky sensations.

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Featured image by Sean Sisk.