Lockn’ Goes Phishing: Friday Funday In Virginia – Photos, Review & Setlists

Words by: Scott Bernstein

Images by: Ian Rawn

Lockn’ Festival :: 8.26.16 :: Oak Ridge Farm :: Arrington, VA

Check out a gallery of Ian’s photos after Scotty’s review.

My big request of festivals is that they learn from previous years to make each installment better. Last year’s Lockn’ Festival at Oak Ridge Farm in Arrington, Virginia was a good time and organizers had a tough hand dealt to them by the weather gods when we all learned what a microburst was. Even with aspects that were uncontrollable, there were a few issues organizers could’ve handled better including the need for more port-o-potties and how much space was given on the main field to VIPs and SuperVIPs. This year is the fourth Lockn’ and organizers were dealt a hand of the brutally hot weather type, but there was plenty of water to be had, a number of shady areas to take a respite from the sun and a bevy of fine musical acts to witness. A number of details seemed well improved from the previous installment of Lockn’ while attending Friday’s first full day of the festival, such as plenty of bathroom options, SuperVIPs and VIPs being relegated to a small section of the field and more food choices than I’ve ever seen at a music festival.

The big story of the day was Phish and Andy went over just what went down in full detail. Let’s just remember that Lockn’ was a festival made for Phish to play. This event takes place a mere 30 miles from where 90 percent of the band’s business is conducted at Red Light Management headquarters in Charlottesville. Lockn’ is marketed in large part to Phish followers and they filled the concert field when the foursome hit the stage. Beyond Phish’s sets, the concert grounds were barren at times and there was plenty of room to move around. Before Trey Anastasio & Co.’s performance there was a diverse program of music for festivalgoers to enjoy.

Following a way too early performance from Donna The Buffalo at the Blue Ridge Bowl, Washington D.C.’s Moogatu played a set that was a year in the making. The youngsters won last year’s Rockin’ To Lockn’ contest and were set to perform on the first day of the 2015 event, you know – the one taken out by the infamous microburst. Well Moogatu finally had their time in the sun on Friday and made their short-but-sweet 30 minutes count. Think Umphrey’s McGee with much more of an emphasis on funk than metal. These guys had catchy originals, played a mighty fine “Hotel California” and won themselves a number of new fans – including myself.

Brooklyn funk outfit Turkuaz were a great choice for the 12:30 – 1:30 p.m. time frame. The band’s energetic, in-your-face style got Lockn’ites moving. There were a few points where everyone on stage was bouncing up and down in unison. which it turn got the crowd responding in kind. Vocalist/saxophonist Josh Schwartz has a powerful voice that fits the band’s music perfectly. Turkuaz’s performance came to a close with a rousing cover of The Band’s “The Shape I’m In.” Just as the nine-piece finished “The Shape I’m In,” Lockn’s rotating stage kicked into gear and Vulfpeck started as soon as Turkuaz played their last note.

Vulfpeck is one of the most buzzed about jam scene bands in recent memory. The question is: Does the live show reach the heights of their recorded output? My answer is, “not quite.” They’ll get there, but they still need to expand their repertoire and rely less on guest vocalist Antwaun Stanley. Lockn’ is a festival rooted in the jam scene, there wasn’t a need for Vulfpeck to play any repeats let alone more than one. Despite all of the above, the quartet provided a good time for the crowd and it’s hard not to be impressed by the ridiculous level of talent each member possesses. Stanley’s time on stage included takes on “Funky Duck” and “1612” as well as kickass covers of Stevie Wonder’s “Boogie On Reggae Woman” and “Tell Me Something Good” by Rufus. Another standout was the afternoon’s second The Band song, “Up On Cripple Creek.”

Besides Turkuaz > Vulfpeck, the other fun rotating stage transition on Friday came when White Denim followed Vulfpeck. Jack Stratton pulled off a handstand as the stage was rotating to bring Austin rockers White Denim into view. Lockn’ was just the sixth gig for White Denim’s new drummer as the band continues to change up its lineup. The new drummer added a sorely needed bombast to the group’s sound. One of the high points of Friday at Lockn’ came when Joe Russo’s Almost Dead/WOLF! guitarist Scott Metzger came out for a portion of White Denim’s set that included their recent single “Ha Ha Ha Ha (Yeah).” Metzger provided the ripping guitar Austin Jenkins used to bring during WD performances before he left the group earlier this year.

Five years after Charles Bradley was discovered, he still seems incredibly thankful for his time in the spotlight. The Screaming Eagle Of Soul’s ace backing band was in fine form as they performed at times without their leader, notably during a wardrobe change. Bradley engaged the crowd throughout his set and mixed in a spot-on cover of Black Sabbath’s “Changes” with such notable originals as “Confusion” and “The World (Is Going Up In Flames).” Charles was followed by another musician who was older than 95 percent of festivalgoers, Peter Wolf.

Peter Wolf seemed an odd fit on the lineup, but his set was a revelation as he threw in material from throughout his illustrious career including his many years fronting J. Geils Band such as “Cry One More Time” and “The Usual Place.” Wolf, like Bradley, did a nice job engaging the crowd throughout. Phish bassist Mike Gordon was seen both side stage and in front of the stage watching Wolf run through his 12-song performance. Peter Wolf’s combo toward the end of the set was the high point, a cover of Bill Monroe’s “When My Blue Moon Turns To Gold Again” followed by a bluegrass-tinged “Love Stinks.”

Ween showed off a vastly different side of their musicality on Friday, their second of two Lockn’ performances. If Thursday was a particularly “brown” and at times disarmingly weird set of music, the band went the more accessible route on Friday right from the get go by opening with the early classic “Pork Roll, Egg & Cheese.” The five-piece played a “greatest hits” set on what was keyboardist Glenn McClelland’s birthday. Guitarists Dean Ween and Gene Ween made numerous mentions of Glenn’s birthday and the crowd responded with a few stanzas of “Happy Birthday To You.” I was hoping Ween and Phish would celebrate their connection during “Roses Are Free,” but the quintet’s performance of the tune the Vermonters like to cover was straight-forward. Lockn’ has been known for its thrilling collaborations, but despite organizers best efforts to put together the ideal setting for such sit-ins they just didn’t happen after Metzger added to White Denim’s set.

Dean, Gene & Co.’s 90-minute, 17-song performance was heavy on Chocolate & Cheese material including the aforementioned “Roses” and a well-jammed take on “Voodoo Lady” as well as “Spinal Meningitis (Got Me Down),” “Take Me Away” and “The H.I.V. Song.” Apparently I didn’t do a good enough job of looking at the schedule as I was very surprised that there was an hour-long break between the Ween and Phish performances. Another Lockn’ hallmark is interlocking sets and it was weird that the only music on-site between 7:30 and 8:30 p.m. – a prime hour – was an Anders Osborne performance for SuperVIPs.

Head here for our complete Phish coverage, but I’ll add I went into the festival expecting “Vanilla Phish,” the type of “average-great” sets that were found in abundance during the group’s Summer Tour. I was blown away by the second set, particularly the “Blaze On” > “Fuego” -> “Ghost” > “Bathtub Gin” sequence. This was far from “Vanilla Phish” and it was great to see the foursome thrown down at Lockn’. I was also happy to see Trey Anastasio play a “real” guitar solo in “You Enjoy Myself” instead of heading over to Fish’s Marimba Lumina.

To start my late night activities, I took a $5 golf cart ride to the Woods Stage which is on the complete opposite side of the site. It was five of the best dollars I spent as I was thoroughly impressed by Circles Around The Sun. For those unfamiliar, this was the first live performance from the group guitarist Neal Casal put together to compose setbreak music from last year’s Fare Thee Well concerts. The tunes sounded even better live as they mixed the best of the Dead, Phish and J.J. Cale’s sounds into an original package. Let’s hope Lockn’ is just the start for this band.

Over at the Blue Ridge Bowl, a beautiful natural amphitheater, Grateful Dead tribute act Joe Russo’s Almost Dead played their second and last set of Lockn’ 16. The band took the stage 30 minutes late, but wasted no time getting into the jams. Scott Metzger has his Bobby vocals down as displayed during the “Good Lovin'” opener. “Shakedown Street” featured some of the best improv of the night and the five-piece brought out vocalist Nicole Atkins for a series of songs that included “Dancing In The Street” and “The Music Never Stopped.” JRAD was a perfect late night option for Lockn’ attendees and a great way to end two fantastic days of music.

Lockn’ continues on Saturday with sets from My Morning Jacket, the Tedeschi Trucks Band, Twiddle, Hard Working Americans, Galactic and more. Head here for a run down of couch tour options.

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Phish

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Joe Russo’s Almost Dead

“Early Comers” Soundcheck #

Ruben & Cherise (TH), Uncle John’s Band (All)

One Set: Jam -> Good Lovin’ (SM) -> Shakedown Street $ (TH) -> China Cat Sunflower (TH) -> I Know You Rider (All) > Dancin In The Street %, (SM & NA) Music Never Stopped (SM & NA), Turn On Your Lovelight * (NA) -> Slipknot! -> Franklin’s Tower (TH) > Throwing Stones (SM), Not Fade Away & (All)

• NA indicates Nicole Atkins on Lead or Background Vocals
• # – There was a small crowd assembled at the stage for soundcheck, so Joe decided to play some songs that they weren’t “Going to play later tonight” for them.
• $ – With two “Bathtub Gin” (Phish) teases/jams (Band & JR)
• % – With a “Fat Mama” (Herbie Hancock) Tease (MB); with a Dave Dreiwitz Bass Solo & a “Shortnin’ Bread” (James Whitcomb Riley) tease from DD during said solo; with a “Good Lovin” Jam (Band) & call & response “Woo”s from the crowd; with a Duo Jam.
• * – Not played since 12.27.13 at the Capitol Theatre, 79 shows
• & – With an unknown (but very familiar) tease (MB)