So, in that spirit, here are the sets that made me light up, tear up, or both this year:

Haley Heynderickx & Max García Conover. This duo put out one of my favorite records of 2025, the Woody-Guthrie-inspired-and-yet-completely-contemporary What of Our Nature. The performance was pretty much perfect. Max & Haley’s voices complement each other beautifully, drawing comparisons to another famous Newport duo, Bob Dylan & Joan Baez. Max thoughtfully reflected that 11 days earlier, in his home state of Maine, “on a beautiful day, on a day like this, Johan Sebastián Durán Guerrero, was murdered by ICE.” The songs masterfully weave the urgency of this moment with the joy and love necessary to meet it. I loved Haley’s performance of “In Bulosan’s Words,” a song composed of the Filipino poet and novelist Carlos Bulosan’s work. And the final song, “This Morning I Am Born Again,” was the perfect song to end on, leading the Harbor Stage audience to leap to a standing ovation. 

Gillian Welch & David Rawlings Play the Grateful Dead. From the first words of “Bertha,” the first song they played, I was hooked. The simple set up of two guitars, bass, and snare drum belied the intricacy and magic that was on display. Both Gillian and bassist Paul Kowert took turns on the snare, sometimes while also playing their guitar and bass. Nathaniel Rateliff joined them on the drum and vocals for “Black Peter,” and there was an adorable moment during “Uncle John’s Band,” where the words got confused, and the literal next verse had the line: “Oh, oh, what I want to know is, How does this song go?” It was a great reminder that imperfect moments can be better than flawless ones. 

CMAT and the Very Sexy CMAT Band stole my heart. They had swagger and confidence, “because we’re excellent,” as CMAT said. The band’s choreography added humor to the performance, and CMAT herself is one of the best frontwomen I’ve ever seen. Euro-Country is a brilliant album, and those songs dominated the setlist, but she also brought out Brandi Carlile for a Sapphic love song from her earlier work, “I’d Want U.” Brandi seemed in awe of CMAT, because she’s excellent, because she’s dazzling, and because of her irrepressible energy. I think she spoke for all of us, when she said to CMAT, “You’re amazing.” 

Lauryn Hill. I mean, what more could you ask for than an icon performing iconic songs brilliantly? Her voice is as strong as ever, and her band was so good. It’s a big setup, so there were some technical challenges getting the stage changed over, and her set was delayed by about 45 minutes. But it was worth the wait and then some. 

Snacktime. Speaking of Lauryn Hill, one of the best moments of the set was when Newport-darlings Snacktime joined her on stage. In fact, it’s always the best moment of a set when these guys join in. They might have won the Jim James award this year for most collaborations, and their own set on the Fort stage was a perfect display of their ability to move a crowd from waiting to exuberance in sixty seconds. In 2025, they took a lot of people by surprise, and were many people’s favorite set of the Festival; in 2026, they had a devoted following and I hope they become NFF fixtures for many years to come. 

If Snacktime represents the artists who hype up a crowd, John R. Miller’s set was the best example of how to make people stop and listen. He was the recipient of the John Prine Songwriter’s Fellowship, and it is so well deserved. While his brilliant new record, The Great Unknowing, features a lot of gritty guitar sound, Miller stripped down to an acoustic guitar, with accompaniment from J. Tom Hnatow on lead/slide guitar and Chloe Edmundstone on fiddle. It was the perfect way to highlight his lyricism that is certainly reminiscent of Prine and his beautifully sorrowed voice, which reminds me a lot of Jay Farrar. 

The final set on the Harbor Stage was a bluegrass masterclass, with Peter Rowan joined by a band of stone-cold assassins: Sierra Hull, Sam Grisman, Larry Campbell, Teresa Williams, and Max Wareham. Rowan is 84, but damn that voice is there. His harmonies with Sierra and Teresa were so perfect, and I guess if you’ve been singing bluegrass songs for literally sixty years, you’re going to know how to harmonize. After the first couple of songs, Dave Rawlings and Gillian Welch snuck on stage to join the band, with mischievous smiles on their faces as they crept up behind the band. They played on “Walls of Time,” which Rowan co-wrote with Bill Monroe, and it was a perfect combination of playfulness and mastery that makes bluegrass such a wonderfully creative style of music. 

There were so many wonderful moments at this Festival, and you’ve probably heard about the big ones, like Dave Matthews as the surprise guest in the last set, or Hayley Williams bringing out guest after guest in her headlining set. But the magic, to me, of this Festival happens on the small stages. Tim Bernardes singing a Portuguese version of “It’s All Over Now, Baby Blue,” to close his achingly gorgeous set. Community Chapstick creating a real community feeling by giving out CC bracelets to eager fans following their debut on the Foundation stage. Sally Rose being supported by fellow Virginians Illiterate Light and Sasha Landon (Palmyra) as they lit up the Bike stage. Chris Pierce bringing his “Songs for the Heavy Hearted” to us on Sunday morning and making us all feel a little less heavy for a little while. Oakland Rising, a group of teenagers from California who had come in as part of the Sea to Shining Sea Project, learned they were playing the Bike stage about two hours before their set, and they made lifelong fans before the end of their first song with their beautiful harmonies and lyrics that are wise beyond their years. And, of course, seeing The Lumineers return to their roots of house concerts by playing the Bike Stage was so fun. For me, when in doubt at Newport, go to the smallest stage available, and you will be rewarded. 

When I sat down to write this review, I had just learned of Glen Hansard’s death. Glen performed on some of the biggest stages in the world, but he was always a busker at heart, playing on the smallest stage there is, with no venue, no tickets, no audience assured, just a belief that a song can reach someone who may not even know they need it. 

I saw Glen twice at Newport, and both times he used his position on the stage to make space for others. In 2016, he invited his friend and photographer Anthony Mulcahy to come out of the photo pit to sing “The Auld Triangle.” Last year, he stepped aside for an up-and-coming Irish songwriter, Josh O’Keefe, to sing his amazing song, “Build a Wall,” to the crowd. Glen embodied the best of Newport–the generosity, spontaneity, and kindness that make this Festival different. I hope there are massive busking tributes to him next year. But I also hope that we can all take lessons from how he lived: be humble, be generous, and, if you’ve only got one song to sing, fuckin go for it. 

Until next time, Newport. 

I was totally unprepared for Josh Moore, the opening act. There’s an acronym: IYKYK, If You Know, You Know. Well, I didn’t know. Josh Moore doesn’t have a website that I could find, has two albums on Spotify, and according to one person at the show, “sometimes plays around Chapel Hill and Carrboro, when he feels like it.” His voice is as soulful as I have ever heard. He’s not a belter, but the timing and inflection as he sang reflected a depth of connection to the lyrics that can sometimes be overshadowed when someone sings with too much volume. Halfway through his set, he was joined by Maria Quiles on percussion and harmony vocals, and their voices blended together so naturally. As soon as I got into the car after the show, I was looking up Josh Moore’s music (and videos of him playing with Andrew & Josh over 10 years ago), and I encourage you to check out his albums.

Andrew and Josh played an amazing set, a perfect mix of instrumentals, covers, and originals. I loved hearing Josh’s original songs, “Part of Life,” and “It Ain’t Over Til It’s Over.” Many of the instrumentals came from Andrew’s extensive catalogue with his string band. One of the things I appreciate about how they sing together is that the harmony isn’t obvious, kind of like Gillian Welch and David Rawlings, resulting in a deeply rich sound. And, man, they’re just having so much fun playing, and that infectious energy is so special to be around. 

It’s also amazing when some of your favorite musicians introduce you to new songs and artists. Josh sang lead on a cover of Ian Thomas’s “I Ain’t Lonesome.” With due respect to the original, Josh’s truly lonesome voice delivered the lyrics in a way that Thomas’s more polished vocal doesn’t reach. They also played an amazing version of “Who Carried You,” a song by Malcolm Holcombe. I am now utterly obsessed with that song. 

Emily Frantz joined them for a few songs at the end of the set, and both Emily, Josh Moore, and Maria Quiles were on for the last two songs of the encore. It was the perfect ending to a perfect show. 

This was the last show on Andrew & Josh’s duo run, but you can catch Watchhouse on the road this summer. 

Check out our full gallery of photos on the Red Line Roots facebook page!

The show featured a wonderful balance of songs from their fantastic latest record, Rituals, and some longtime favorites, like “Gospel Shoes,” “Old Ties and Companions,” and, of course, “Wildfire.” I really loved how they encouraged the audience to hum along with “Wildfire”–it felt communal in the best way and there was a ripple of energy through the crowd as we provided a low backdrop to that haunting song. 

One of my favorite moments of the show was when there was a sound malfunction, just because of the band’s reaction. They just kept playing and after the song, Andrew said something like, “You might have noticed that Emily’s guitar stopped going through the system midway through the song. And I thought, well I can either get distracted by that or remember that I’m playing music with my best friends here and it’s gonna be OK.” What a wonderful perspective, and it’s funny how sometimes those things that go “wrong” are what make a show feel right. 

It’s that attitude that makes Watchhouse such a fun band to see–you can feel their genuine connection to each other, the joy they have making music together, and the confidence they feel that it’s going to work out. It helps, of course, that they play beautifully and have a catalogue of songs that are incredible examples of the craft of songwriting; but I think they attained those things because of how they seem to have approached music from their beginning–that it is about community, about sharing melodies and building them together. In some ways, I think they’d still be happy playing at a pig picking, as long as they got to play. 

The show at The Pyrle was near the end of this leg of their tour. But Andrew & Josh are playing a few duo shows together in May, and Watchhouse is back on the road for most of the summer, including their annual trip to the Green Mountain Bluegrass Festival. Find tour dates here and get out to see this amazing group. 

Check out our full gallery of images on the Red Line Roots facebook page. 

He requested that people in the audience keep their phones away, and, to my surprise, people did. What a refreshing experience to really be able to listen without that mediated view of dozens of small screens. And it’s not just a curmudgeonly annoyance at other people–I am sometimes tempted to record part of a song that is really affecting me, and, in that process, I step out of the experience. So, it was really a beautiful thing that people just kept their phones away simply because the artist asked. 

I expected the set list to be heavy on Jason’s latest record, Foxes in the Snow, because that album is just him and a guitar. However, he started with “Dreamsicle,” followed by “24 Frames,” and “Songs That She Sang in the Shower,” and he played up and down his catalogue, including songs from his time in The Drive-By Truckers, without really favoring the new album. In total, he played four songs from Foxes, and they all felt like songs that fit right in with the rich collection he has built. “Eileen” was gorgeous, and he ended the show with “True Believer.” 

I was especially excited to hear songs like “Middle of the Morning,” and “King of Oklahoma,” which are big, electric numbers; hearing them in this setting underscored the intimacy of the stories in those songs. The acoustic renditions highlighted the vulnerable, searching lyrics of those songs in a way that can be overshadowed by a blistering guitar riff. Equally, he was able to explore some songs on the acoustic guitar with interesting chord shapes and runs that came through clear as a bell in the pin-drop quiet room. “Elephant,” was one with some added touches that only amplified the grief and helplessness, and humor in spite of the grief and helplessness, at the core of that song.

Jason’s cover of “Sunshine,” by the late Todd Snider was very special. Todd’s version is self-deprecating, but Jason’s approach was more earnest, and it was a really beautiful way to pay tribute to Todd, a songwriter’s songwriter. After the song, Jason said that Todd’s songs have the ability to make him feel so many different emotions at the exact same time. It was a touching moment of tribute to a songwriter I think many people in the audience will be discovering, thanks to Jason introducing them to his music so beautifully. 

The solo set gave Jason a little more space to tell stories too, and he explained where he was when he wrote certain songs, or the intricacies involved in starting the car that inspired “White Beretta.” He was funny and the banter between songs drew the audience in more. 

I loved this show so much I actually looked up tickets to see him again in Charlotte two nights later. Reason took hold, and I decided against the two hour drive. But I know I wouldn’t have regretted it. It was one of the best nights of music I’ve had in a while, and if you can catch this tour, it’s worth whatever drive you have to make to be there. 

Check out our facebook page for more photos from the show! 

I’m With Her is on tour this summer, both at festivals and with Iron & Wine, and they are all over the country in September and October too. Hope you enjoy this conversation, and be sure to listen to the end for Sarah’s contribution to our BEST SONG EVER playlist! 

One of the things I love about Twisted Pine is how unbound by genre the band is. It means that they can stretch us as listeners to hear things that we wouldn’t otherwise hear. In this rendition of “Peaches En Regalia,” I love the fact that there are little duo interactions within the band as a whole. Anh Phung (flute) and Kathleen Parks (fiddle) trade melodies, then Anh does with Dan Bui (mandolin); later, Dan and Kathleen explore the song in a different way, and Kathleen and Chris Sartori (bass) do as well. It makes the song so dynamic and seems to tell little stories within the larger melodic picture. 

But what I love most about this video is the palpable sense of joy in the band: joy in playing together, joy and exploring new music (or old music in new ways), and joy in bringing that to a live audience. 

Twisted Pine is heading out on the road beginning Friday, June 20th and one look at this video should send you straight to their tour dates to see if you can catch them in your town.

If it’s possible to fall head over heels for a band (and I believe that is possible), then Palmyra is a band that people fall for. Like so many things in life, it appears to come down to authenticity, to that sense that what you’re hearing and seeing and experiencing is genuine. On their new record, Restless, which will be out everywhere on March 28, the band wrestles with questions of time, of speeding up or slowing down, and the accompanying control, or lack thereof. It’s a beautiful record, full of gorgeous harmony. It is also a masterclass in tension and release: songs build to a breaking point, and I caught myself holding my breath, then exhaling along with the songs. 

It was such a pleasure to talk with Sasha, Teddy, and Mānoa for the Red Line Roots podcast. Be sure to listen to the end for their contributions to our “Best Song Ever” playlist, and check back soon for my review of their show at Cat’s Cradle on March 29! 

If you have never seen Palmyra live, make it a priority–tour dates are here.

Alisa’s approach to performance has everything to do with this, of course. After the first or second song, she invited us into a guided meditation, breathing deeply, scanning our bodies, welcoming in the good, and breathing out the bad. She invited us to love ourselves just as we are. The entire show had a thread of care, of empathy, and humor that you just can’t get anywhere else.

I got to interview Alisa for the Red Line Roots podcast a couple of years ago, in 2021, just after her EP, Narratives, came out. It remains one of my favorite interviews from the podcast, because Alisa was so unguarded and thoughtful. I remember driving to pick someone up at the airport 6 or 7 months later, listening to NPR and hearing the news that Alisa had won the Tiny Desk Contest. My eyes welled up with tears of joy for this incredible musician, singer, and storyteller. I knew that winning the contest was not a golden ticket by any means; making a life in music is so improbable that it does take more than the good graces of NPR to ensure success. And, at the same time, it was an affirmation of someone whose songs deeply matter and whose voice is needed.

While I got to see Alisa perform at the Newport Folk Festival this summer, it was so enjoyable to see her headlining her own show with the incredible Eliza Edens supporting her. These are two women deeply committed to songcraft and the audience of the Cat’s Cradle showed up ready to listen. One of the things I particularly loved about Alisa’s performance was her translation of some of her songs in Spanish before she performed them. It wasn’t just that the lyrics are beautiful and gave me access to their beauty, but it also highlighted the melodic and chord considerations for the songs in a new way. For example, in one song Alisa talked about the narrator’s doubt and she said, “So it goes into this minor section,” and you could really hear the minor chords underscoring doubt and uncertainty. It is a really wonderful thing when you go into a concert loving songs and walk away from the concert understanding them in a new light.

I had circled December 14th on my calendar ever since the tour announcement was made. And even though Alisa’s current tour is over now, I encourage you to seek out her music and make sure that you capture the next time she’s in your town. That was my last show of 2024, and it will linger well into the new year. 

Check out more photos at @kentempleton_photos

If you don’t fall in love with Larry and Joe at one of their concerts, there’s something dead inside that you need to sort out right away.

Joe Troop and Larry Bellorín are not only virtuosic musicians, they are community builders, stand-up comedians, and generous performers who create a shared experience about as well as anyone I’ve ever seen. Their kindness, empathy, humor, and deep friendship come through while they play, while they banter, and in the smiles they exchange with each other throughout the show. 

Last Thursday at The Fruit, in Durham, Larry and Joe released their newest album, Manos Panamericanos, and it is nothing short of fantastic. It follows up their debut album, Nuevo South Train, with a beautiful confluence of cultures and musical styles that create a truly new and original sound while maintaining a deep reverence for the traditions that have informed their music.

One of my favorite moments of the show was when Larry and Joe played the tango, “Adiós Muchachos,” which is Joe’s grandmother’s favorite. He told an amazing story of his grandmother working at the RJ Reynolds cigarette factory while she was growing up, and coming into town early for her night shift to take tango lessons in Winston-Salem. They learned the song specifically to play for Joe’s grandmother. She approved of their efforts, and it made it on to the record.

Larry and Joe are touring extensively throughout the next year and if you need an evening of joy and beauty you should make it a point to see one of their shows. Joe is debuting a new quartet at The Fruit next Thursday, December 19, closing out his December residency. You can get tickets here. 

Check out more photos from the show at @kentempleton_photos

The song has wry lyrics reflecting on the simple things that make our ephemeral existence tolerable, and you’ll be singing along by the end. Frontman Sam Margolis sings with timing that is sometimes just behind or ahead of the beat, perfectly underscoring the song’s tone. And you can tell they had a great time making this video, as Sam dons a huge variety of outfits, playing an equally broad array of instruments, in locations as varied as a graveyard and the middle of a river. In essence, if we’re only here for a little while, we might as well have some laughs.

“The Other Side” is the title song from the band’s forthcoming EP, and, with this lineup, they will surely be able to explore a vast array of sounds. Follow Ghost Creator for tour dates and news. We’re already looking forward to more! 

Check out a solo version of “The Other Side,” that Sam recorded with Brian for the Old Spruce Sessions.