As promised, here’s part two of our Maverick Festival experience.
Prior to coming over for the Maverick Festival, Jerry Joseph had played three shows in 24 hours at the High Sierra Festival in California, before driving eight hours to the airport and making the journey over the Atlantic to Suffolk. When he played his second Maverick set on Sunday 7th July, he told the appreciative crowd that Maverick is, “A phenomenal festival and worth every second to get here.” And that genuinely expressed sentiment and level of dedication sums up the Maverick Festival perfectly. He had played at Maverick in 2021 and was so committed to return that he managed to make it work. That’s also true of the fans – those who have attended once will do so again and again, feeling part of a passionate and inclusive musical and cultural community. Jerry’s desire to return was also driven by the fact that many of his, “…favourite people,” were performing. Indeed, the line-up included a number of brilliant artists, who exceeded expectations, contributing to another memorable weekend for the seventeenth edition of a long-running festival that represents the best of Americana in the UK.
There are various stages to choose from but perhaps The Moonshine stage, tucked away on the other side of The Green, has the best atmosphere; it is so intimate, with artists and audience sharing the space closely. On Friday evening, after erecting my dodgy festival tent and eyeing the gloomy heavens with suspicion, I positioned myself next to the bar in this small venue, watching some great acts, starting with Riley Catherall. He finished with ‘Bark at the Moon’, the opening track from his brand new album “The Light, The Beautiful Liar” which is well-worth checking out. His smooth, pure voice and tuneful songs were a fine way to start the weekend. Next up in The Moonshine was an act I was very much looking forward to seeing. I had seen Ella Spencer a couple of years previously at The Smokehouse in Ipswich and knew she was one to watch as her career continues to develop. On stage, she was supported by supreme violist Chris Murphy, who appeared all over the festival, collaborating with multiple artists. Spencer started with ‘Late Night Train’, a single from 2023, in which a gentle, rhythmic strum on her acoustic guitar and Murphy’s subtle, long notes were the foundation for her voice and its arresting vulnerability. ‘Can I Keep It’ was lighter and brighter with higher notes and a tumbling vocal, supported by Murphy’s staccato rhythms and solo-work. Ella is the daughter of festival founder Paul Spencer and she talked of having, “grown up on this farm: its fields, its sheep, its rain!” By now, the rain was indeed coming down heavily and I already knew I was going to be by The Moonshine bar for the rest of the evening. The slow, moody ‘Warning Signs’ was next and Murphy once again supported well, the long, slow draws of his bow and stomping feet enhancing the song. Spencer showed her vocal range and bluesy strum on ‘Bad at Lying’ before swapping to the banjo for the traditional folk of ‘Dink’s Song’, in which she paused the instrumentation and sang out high over just the sound of her tapping feet. Spencer finished her set on the piano for ‘Oregon’, written last year when she was travelling through. Her weary vocal over the flowing keys was outstanding. She would return to the piano late that night for a rousing rendition of The Eagles’ ‘Desperado’ at the end of Lachlan Bryan’s Drunken Piano showcase – a great singalong. Once again, I was left with the impression that Ella Spencer is one to watch.
Of course, one of the best things about festivals is discovering acts that are new to you. After Ella Spencer, The Moonshine crowd was enthralled by the brilliantly-named Tranquility Beach. The duo’s music was incredibly atmospheric, especially the opener ‘Only One’, a song about humanity’s relationship with the natural world. Over rhythm loops and Ben’s over-driven lap steel guitar, Molly’s voice soared. The sound was different and distinctive, driven by the lap steel – a really beautiful-looking instrument. The next song was ‘Poor Little Rich Girl‘, which had been released as a single in 2023. Ben’s palm banged down on the guitar, playing it like a percussion instrument at times – tapping, plucking and creating powerful, distorted, sustained notes. With just Molly’s rising voice and the lap steel, Tranquility Beach produced a really full sound. An entirely different cover of Ben Harper’s ‘Whipping Boy’ featured looping beats, echoing and quivering steel, and haunting vocals. ‘Ash Banashe (What I’ve Done)’ was introduced as an experiment that they couldn’t get out of their heads. It was again an over-driven, sweeping soundscape – everything they were achieving felt ambitious and complex for a duo on a small stage. For their final song, the lap steel was exchanged for a Gretsch guitar and they delivered a dramatic cover of ‘Feeling Good’.
As well as playing multiple sets, Walter Salas-Humara, lead singer of The Silos, had his paintings on display in the ‘Company Store’ – the festival’s merch shop. On The Moonshine stage, he was supported by the always-astonishingly talented Chris Murphy. He started with the heavy strum of ‘Counting on You’, notable for Walter’s superbly gritty vocal. Then The Silos’ ‘My Favorite Animal’ was very forcefully performed with fast fiddle and a flying solo from Murphy. Walter would later note that they had just met and the pair had never played together before. Throughout the show, Walter was smiling and enjoying the performance – it was infectious and the crowd responded well. Walter said he felt like he’d been shouting for the last 15 minutes and it was, “…time to go quiet.” He played a subtle, mesmerising ‘Margaret’, a breathtaking song in this intimate environment, especially after two more raucous numbers. Walter’s voice was rasping on a nostalgic rendition of The Silos’ 2004 song ‘Holding On To Life’ with its uplifting chorus and quieter moments. A tremendous violin solo and some great call-and-response audience interaction elevated ‘Satellite’ before Walter finished with the involving narrative of ‘Diner by the Train’, involving much of the audience singing along. The entire set was roots rock at its finest.
Matt Joe Gow took to the stage next. His soulful voice and well-crafted songs continued to engage the crowd, still taking cover from the rain. ‘Sweet Collapse’ from this year’s “The Woodshed Sessions” had a swaying rhythm and an engaging tunefulness. Once again, The ubiquitous Chris Murphy provided instrumental support on the violin, plucking a beat in this opener. Gow noted that Murphy was, “going to be hearing it same time as you,” reminding us that everything Murphy was doing with each performer in turn was improvised. Now, that is seriously talented. ‘Steady Life’ from Gow’s more bluesy 2009 debut album “The Messenge” showcased the gifts of both musicians on stage – it was amazing to see how they fed off one another. He finished up with the strong strum of ‘Shipwreck’ and then the title track from Gow’s 2023 album “Between Tonight & Tomorrow”. By now the Moonshine Bar was absolutely packed, ready for Lachlan Bryan’s Drunken Piano to end the night on a high, with lots of audience participation, guests on stage and a party atmosphere. Unfortunately, the end of the evening meant having to return to a cheap tent that had failed to withstand several hours of heavy rain. Festival founder Paul Spencer told me that, as a summer festival, they had never had to contend with weather like this ever before despite the event’s long history. I managed some sleep amongst the puddles inside the tent, around my sleeping bag and pillow, at least comforted by an evening of outstanding music.
I awoke to more puddles and car trouble. But never mind that because the day also began with a ‘Bronco Breakfast’ in the Willow Barn. Most festivals do not have a sit-down cafe in which to purchase a full English breakfast – just one of the ways the Maverick excels. As an added bonus, the showers were not unpleasant too! Musically, my day started in the Peacock Barn with Steady Habits, led by the clear-voiced singer and guitarist Sean Duggan, originally from Connecticut but now based over here in Oxford. There were powerful drums, strong bass lines and jangling guitars, delivering pop hooks throughout the set. Highlights included the slower-paced ‘Hold in Your Breath’, with a couple of excellent, echoing guitar solos, and ‘Stay’ which will be on the album they’re currently working on. The latter began softly but then burst into life with splashing guitar and bouncing bass. Duggan played harmonica and there was another surging solo adding to the energy of the repeating riff. The bright, upbeat ‘Borrowed Time’ was followed by the driving rhythm of the moodier ‘Garden State’, on which Duggan showed his vocal range. The percussion was outstanding, with a shimmering ride cymbal in the quieter moments and building the tension as the song grew and a drum solo to finish. The final song of the set was ‘Mess of it All’, the instrumentation falling away and leaving just the drums and Duggan’s vocal – an effective end to an absorbing performance.
After an excellent lunch from the Suffolk Smoke Company while East Creek Union played The Moonshine in the background, Matt Joe Gow was playing in The Barn, effectively the festival’s main stage. His set was quite different from the previous night, starting with the forceful ‘Come to Mama She Say’ from his 2009 debut. He noted that he hadn’t played the song in a long time and that, “playing several sets gives the chance to play different material.” This was clearly refreshing for the artists and this was transmitted to the audience. ‘Down River’ was a song of friendship, inspired by a letter written by Johnny Cash for Tom Petty. ‘I Let You Be’ had a hushed vocal with a repeated finger-picking and strumming pattern that had the feel of Gothic country. For ‘Between Tonight & Tomorrow’, there was a grittier vocal and a greater sense of urgency – it was one of only a couple of repeats from the previous show but it was well-worth hearing again and, with a fast fiddle accompaniment, was one of the highlights. ‘Break, Rattle and Roll’ was another well-crafted song that hadn’t been played in years – Matt said the audience was, “so lovely it makes you feel free to do whatever you want.” Such is the feel of the Maverick Festival, genuine comments like this from artists are often heard and this connection clearly changes what is performed and how. His easy vocal melodies had a touch of grit and were captivating. He finished with ‘Whirlwind’, a powerful song about breaking the cycle of generational family violence with tough lyrics delivered with a gnarled voice. It was stirring as it built up and it was no surprise to hear that it had won a country music award over in New Zealand.
Electric Blue Yonder were supported by the indomitable Chris Murphy in what was his ninth performance of the festival so far. They opened with the gorgeous ‘Lonely Child’ followed by ‘Mourning Sounds’, the title track from one of two pandemic albums. The voices of Beth and Johnny Veres combine beautifully in sweet and unexpected harmonies. As Beth tapped her guitar body for percussion, the song grew into ambitious, cosmic folk, amongst one of the most distinctive sounds from the weekend. ‘Schtick Shift’ was about living in multiple dimensions at the same time. Johnny delivered a strong, well-projected vocal with a lovely acoustic guitar solo while Beth’s backing vocal was ethereal, hitting some incredible, high notes. ‘Perfect’, part of a suite of songs, was performed partly without instruments, just the pair’s voices in an uplifting song. Before playing ‘Rising Tides’, which had a gorgeous violin intro’ from Chris Murphy, Electric Blue Yonder noted that, “Communities like this lift each other up and we appreciate you all.” It was another example of the genuine bond between the visiting artists and the Maverick crowd. They closed with ‘You Are Beautiful’, relentlessly positive with bright guitars and more lovely harmonies.
Seeing the Dimpker Brothers in The Barn was an exciting prospect – their debut album “Deathless” is absolutely superb – and they did not disappoint. They were competing with an England match in the European Championships, which was broadcast on a TV behind the bar. However, they still drew a strong crowd that was warmly appreciative of their musicianship and blend of Americana and catchy pop hooks. Their opener, ‘Thief in the Night’ was mellow and tuneful. Martin was on the acoustic and Adam on lead guitar, their voices smooth and captivating, delivering harmonies that, perhaps, only siblings can. Next up was ‘Motivation’, a new song about being lazy – something that the brothers surely cannot relate to given their technical abilities and the level of practice that must have been required. A lovely, well-paced solo grew out of the song, which also benefited from a bass drum behind Martin operated by his heel. They also had a kick drum and tambourine and explained that their original band-mates had quit after school, “to get real jobs,” leaving the brothers to cover all the instrumentation – something they manage to do with grace and talent. ‘Only Bad People Sleep Well’ was apparently written to spite their father who hates country music and they noted that he does sleep well. When talking between the songs, The Dimpker Brothers had an easy charm and warm humour; their introduction to ‘Luddites in Love’ prompted a chat about their foot synth and midi cables and replacing their band-mates with machinery. The upbeat ‘Faster Gun’ featured an excellent slide solo, quivering high up on the frets.before they introduced “something special,” for the end of their UK tour, which was the appearance of Chris Murphy on stage to provide sweeping violin in ‘Deathless‘. It was magical, one of the best moments of the festival, and the trio turned the album title track into a real epic of a song. By the end, electric guitar and violin solos merged in a glorious crescendo. Just to remind you, Chris Murphy was improvising with each act he supported. We shall return to Chris later. They finished with ‘Before it Starts to Rain‘, written the day after their band-mates quit – it has a special place in their hearts because this song made the brothers decide to continue playing music. Murphy’s violin riffing gave a sense of urgency alongside a rhythmic guitar solo. Like many of the acts, it was delightful to see that they appeared to be enjoying themselves just as much as the assembled crowd.
Angel Snow was another fine performer in the barn. She built a reputation writing songs for the likes of Alison Krauss and has now delivered several of her own albums with style. ‘Let You Down’ was moody and soulful, showcasing her striking voice and melodies. A slow, atmospheric cover of Tom Waits’ ‘Hold On’, beautifully done, was followed by ‘Window Seat’ from Snow’s 2018 EP “Arrows”, a mellow, understated song with resonant finger-picking on her electric guitar. ‘I Need You’, which had appeared on a TV show, was competing with England taking part in a penalty shoot-out and cheers of joy and relief in the background. Let’s just say the atmosphere around the festival remained positive. Then, another highlight in The Barn was the appearance of Our Man in the Field, now with full band accompaniment. Previous OMitF shows have been great but the huge, full sound created by the band for ‘How Long’ was truly outstanding. Henry Senior’s shimmering, quivering pedal steel was high in the mix. Then we had a gorgeous rendition of ‘L’Etranger’, the resonant combination of bass guitar, electric cello and thumping bass drum adding real depth, while Alex Ellis’s repeated lines, “Oh I, I believe // there’s nothing up there looking down on me // Oh I, I believe // there’s no one out there waiting for me,” were like a beautifully weary broken-hearted hymn. ‘Go Easy’ began with heavenly notes on the pedal steel and tuneful bass guitar. After a flawless vocal performance, Ellis introduced the band as the song played out, each band member being well-received by the audience, many of whom knew the songs well. Henry Senior was once again at the heart of ‘The Road’, this time busy on the Dobro as a change from the pedal steel, the sound more metallic and splashing as the song built from a subtle beginning; this recent single was one of the high points of their set. Brushed drums, a lighter strum and swooning pedal steel were a change of pace in the delicate ‘Glad to See You’ before the band launched into an upbeat version of ‘Feel Good’. A really controlled vocal with echoing backing over fast fingers on the bass received a great response. The bass was again central to ‘Silver Linings’, particularly the funky opening – it was the perfect foundation for Ellis’s soulful voice. They closed with an upbeat, triumphant ‘Last Dance’ at the end of a memorable set.
Another superb addition to Saturday’s line-up was the wonderful story-telling Diana Jones. Her songs were mesmerising and time seemed to disappear as she played the narrative ‘Willow Tree’ from 2006’s “My Remembrance of You”, the a cappella ‘Cold Grey Ground’ and the more forceful and dark ‘If I had a Gun’, which she introduced as a song, “that makes the men nervous and the women laugh.” Her warm, sonorous singing voice is so distinctive, so recognisable – it was a joy to hear her perform these songs live. Next, she played ‘Cracked and Broken’, another song from the recently re-imagined “Better Times Will Come”. Her introduction to this was amusing – she talked of following up the harder lyrics of the last song with a love song, noting that in the Appalachian tradition, songs rarely finish with all the characters still alive but in this one everyone survives. The finger-picking was more gentle and her voice ranged up and down a lovely melodic line. Quite simply, this was beautiful. When Jones spoke of her recently re-imagined album, she reflected on hope – there had been plenty of that around in the UK the week before the festival. At the time the album was originally released, she was playing 200 shows in a year and was, “in a haze,” but she hoped that the sentiment of the album worked for some. Then she played ‘Call Me Daddy’ which hadn’t made it onto the original album but appears on the re-release. Jones switched to a guitar that was over a hundred years old and, “doesn’t like the weather.” She talked of Janis Joplin’s advice about writing happy songs: “No – just speed up the sad ones,” before playing ‘Poverty’. Jones also spoke of murder ballads having travelled over from here to Appalachia where they were more isolated and got even darker. She wanted to write a song where the woman character comes out better: “It was a low bar – she just had to live!” Jones was able to find the humour, even in songs like ‘Evangelina’; on this, her voice was particularly effective, with changes in volume and sustained notes. ‘Henry Russell’s Last Words’ was incredibly emotional. Jones explained that Henry had moved to the USA and started writing letters to Mary, his love back home. There was a coal-mining disaster and 111 men, including Henry, lost their lives. While he was trapped underground, he wrote his final words to Mary and these are the words of the song. Over a slow strum, Jones’s vocal was mournful and heartbreaking. This was followed by the delicate and beautiful ‘Pony’ – the words were transporting and the music was the very sound of nostalgia. Jones noted that today would have been Nanci Griffith’s 71st birthday, describing her as a great friend before playing ‘Better Times Will Come’. She said this was, “…more true for your country than mine at the moment. I’m accepting marriage proposals after November!” Jones’s songs often have darker themes but the experience of her show is actually uplifting and it was appropriate that she finished with a beautiful song, introduced with humour.
Walter Salas-Humara played another set in The Moonshine, supported again by the outstanding Chris Murphy. The Dimpker Brothers made an appearance too – artists appearing in one another’s sets was a real and welcome feature of the festival. The highlights of the set included ‘Come in a Singer’, a lyrically-brilliant song about legacy and what we leave behind: “You come in a singer // And leave a song.” Also, the fiddle was gorgeous on a dramatic version of ‘Diner by the Train’. Then, the evening finished in The Moonshine with an intense performance from Jerry Joseph, one of the most enthralling live-performers I’ve witnessed. Joseph really commanded the stage for his opener ‘Beautiful Child of God’; there was singing away from the mic and bursts of vocal volume, power and feeling surging through him: “Her guardian angels, live in her dreams // Cloak her in comfort…She’s a beautiful child of God.” Jerry has led a colourful life that has influenced many of his songs; he told a story about heroin addiction and a trip to Costa Rica where someone jumped from a roof into a pool, not caring if there was water in it or not, then launched into a powerful strum, legs wide, for ‘The Jump’ from 1997 EP “Cotton”. At times, his singing was almost talking, the lyrics full of narrative detail, and then the song segued seamlessly into U2’s ‘Until End of the World’, made very much his own and authentic in the context. It was an extended song, delivered with aggression and energy and life. Jerry was constantly shifting and moving around the stage, head nodding and lost in the music in one of the performances of the festival.
A gaggle of favourite musicians and friends joined him on stage; they would be playing together again on Sunday and were trying not to play the same songs. They went through ‘Radio Cab’ from “Happy Book” with Adam Dimpker providing lovely guitar accompaniment, his fast fingers up and down the frets for a solo on his acoustic guitar. The song was bright and bustling with Jerry’s gruff vocals echoed effectively by his collaborators on stage. ‘Both of You’ from 2000’s “Everything was Beautiful”, was, indeed, beautiful – Dimpker’s picked notes and solo high on the frets were lovely. Joseph talked of wondering whether he was going to die many times during his life, times when he was treated for addiction, a time when a gun was held to his head, before he played ‘Am I OK’ off last year’s brilliant album. The melody and almost jaunty tone contrasted with the words: “If I’m supposed to die here // On this blue Ikea rug // I’d implore you gentlemen // To rustle up some harder drugs // I didn’t come here to battle monsters // I came here for a hug…I’m down here in the darkness // Throw some fucking light my way.” By the end of the intimate, emotive set, Jerry Joseph was joined on stage by Casey Neill, Chris Murphy and Adam Dimpker, forming a mighty super-band and they played a glorious ‘Loving Kindness’ to end the evening. As was said at the end of the show, “There are bigger stages. There are louder stages. But if you want pure fucking magic, it’s here on The Moonshine.” I couldn’t agree more. If you find yourself at Maverick, I do recommend finishing your night in this setting. So, Saturday night was over. I did not return to the flooded tent, which was left abandoned in the field. Instead I returned home, luckily not too far away.
Sunday morning at a festival is always a slightly sad and unusual time, involving packing away a wet tent and trying to commit all that great music to memory. Luckily, there was still some great music to look forward to, beginning with Chris Murphy playing his own songs in The Moonshine bar. Now, Murphy has already been mentioned a number of times because he took to the stage to collaborate with other artists on at least 14 different occasions across the festival. Let’s really applaud him here: each of those sets was done without rehearsal and was entirely improvised. Often he had never heard the songs or even met the artists before appearing on stage and playing flawless fiddle. Whether he was plucking like percussion, playing long, sweeping notes as musical undercurrents or producing fast, flying fiddle solos, it always sounded as if the songs had been written to be played this way. I can say with absolute certainty that he truly enhanced every song he played on. Indeed, I would go so far as to say that, much as I love the likes of Jerry Joseph and Diana Jones, Chris Murphy owned this festival. So, to his own show. I was there early and caught the soundcheck and, frankly, that was ethereal and outstanding. He started with ‘Worn Thin’ a recent single off his 2024 EP “The Red Road”. Foundations of violin and rhythms were on loops and the song was moodily hypnotic. Then, he played ‘Never Learned to Drive’, described as, “an anthem for the people of Los Angeles who don’t drive.” He had the audience clapping and singing along, plucking on a loop, before embarking on a stirring solo. Murphy talked of spending a lot of time in an Irish pub as a child, immersed in Irish music while his dad got loaded at the bar. Clearly, it was a musical education. He then played a medley of three songs across an epic 12 minutes, including the wondrous ambience of ‘Caves of Killala’. The sun had finally come out and was bursting through the wide entrance onto the stage. In pauses and quieter moments, birds could be heard singing in the nearby trees. A breeze swept into the room as the notes dipped lower. This was a magical moment. Utterly spellbinding. While playing, Murphy stepped off the stage and wandered outside, continuing to play for those sitting at the picnic tables outside. In the end, his bow was surging back and forth, the fiddle fast as the song grew over thumping beats on a loop. Murphy said, “If you’re here this morning at The Moonshine bar, you’ve made a positive life choice.” Indeed. Next up was, “a song about relationships,” in ‘Early Grave’ – foot-stomping and fun. Murphy talked about having gone on vacation in Hawaii for a month but there was a recording studio next to the hotel and he ended up spending all his time inside writing and recording the new EP. Then he completed his set with ‘The Complete Works of Edgar Alan Poe’.
A special mention must go to Smithy, the compere of The Moonshine stage, where I spent much of my time. His introductions were amazingly creative and fun and on Sunday morning he even sang a rendition of Janis Joplin’s ‘Mercedes Benz’.
Prior to the finale – Jerry Joseph’s ‘All Star Band’ – there were a couple more acts to catch in The Barn: Angel Snow doing another set and Over the Moon. Highlights of Snow’s show included the smoothly atmospheric and tuneful ‘Secret’, which was perfect for her pure, clear voice, and the delicate ‘Arrows’. On the latter, her vocal was soft and low as she repeated, “Had you in my arms, threw it away,” and other similar lines as the song became like a prayer or a plea. It was really intimate and one of the moments of the festival. Over the Moon had come over from Alberta, Canada, performing with a banjo and stand-up bass. The song ‘Over the Moon’ was fun, good-humoured and unselfconsciously romantic and full of love, much like the duo themselves. They were full of stories, such as contrasting going through immigration in Ireland compared to the United States, their confusion over the word ‘jumper’ and life in Alberta’s first black cowboy and ranch owner. The song ‘Moondancer’ was another romantic song, performed beautifully. Another notable song was a cover of The Beatles’ ‘Nowhere Man’. The couple like to play covers of well-known songs translated into their own country style. As they said, “It’s meant to sound ridiculous but it works.” During their show, torrential rain began to fall outside, literally bouncing, and their delightfully jaunty sounds and positive attitude was a real contrast to the weather outside.
A superb weekend of entertainment finished with Jerry Joseph’s ‘All Star Band’ in The Barn. Jerry Joseph thanked the rain for making everyone come inside and, with swirling guitars from the Dimpker Brothers, he delivered a rousing ‘Days of Heaven’. It was a triumphant moment. There was a lot of amusing interaction between Jerry and the brothers; they’ve supported him on tour in Europe and the USA and there’s clearly a real fondness between them. Adam Dimpker provided a superb guitar solo in ‘Bone Towers’ while Martin used foot pedals to play the tambourine and bass drum while playing his acoustic. The three together produced a full and rocking sound. Those two songs, the opening tracks from Joseph’s critically-acclaimed 2020 album “The Beautiful Madness”, are wonderful, dramatic events live, especially with this additional instrumental backing. The Dimpkers had suggested, “playing something pretty,” so ’20 20 Moons’ was next – the bass drum was like a heartbeat and there were quieter moments and then the song burst into life. Joseph talked about a new project with the Dimpker Brothers – they have been writing music together as a trio and he described it as, “…some of the most beautiful music made in my life.” That’s certainly something to look forward to.
Joseph introduced ‘White Dirt’ with an explanation of the clay-like antacid product that can be purchased in gas stations in the American South, that can be used to fill up the bellies of hungry children: “You don’t get that in white gas stations.” The intro’ was sublime – bright acoustic guitar notes and chords merged with sustained electric guitar notes and an almost-spoken vocal. This extended song grew steadily into something huge and powerful, another memorable festival moment. Alongside the Dimpkers, Joseph was joined by Ella Spencer, Walter Salas-Humara, Casey Neill and, of course, Chris Murphy. Joseph and Murphy have been playing together for many years, since Murphy, who ran a pub at the time, was one of the only people to give Joseph’s band The Jackmormons a chance. Joseph talked about Walter Salas-Humara’s “Cuba” album, recorded with The Silos in 1987 changing the way he wrote music. He spoke of his friendship and of touring Japan with Casey Neill and he spoke of Ella Spencer spending time with his family while recording in Portland: “My daughter adores her!” There was a lot of love and respect between the musicians on stage, which transferred to those fans in The Barn who had stayed until the very end. The huge full-band sound turned ‘San Acacia’ into an extraordinary highlight, benefiting from powerful drums, violin, acoustic and electric solos and lots of smiles and joy. For a total change of pace, they next played Gillian Welch’s classic ‘The Revelator’, “…because Ella’s so good at it.” This was an extended epic and then Walter exploded on the drums and they transitioned into ‘Carmen Miranda’. Walter Salas-Humara was smiling widely while Joseph was an intense figure, his voice gritty against the angelic backing vocals. Everyone on stage was lost in the music in their own way. It was a terrific end to a festival that Jerry Joseph described as phenomenal.
The Maverick Festival has been running ever since 2008 but it still feels like a group of friends getting together – a sense reinforced by the way artists keep popping up in one-another’s sets, offering support and camaraderie. There’s also the fact that many acts who have played previously have stayed in touch and often return. The venues are intimate spaces and the distance between the musicians and the fans is small, literally, small and artists can often be found in the Company Store or at the bar. The music is always of a high standard, a mix of acts that are well-known to Americana fans and new discoveries and, above all, the atmosphere is genuine and communal. A weekend at Maverick Festival comes highly recommended.
