The McCourys Mark 10 Years: DelFest 2017 – Review & Photos

Words by: Carly Shields of Red Underground

Images by: Nick Price

DelFest :: 05.25-28.17 :: Allegany County Fairgrounds :: Cumberland, MD

View Nick’s gallery after Carly’s review.

Family. Community. Inspirational. Loving. Open-minded. Lit. Fantasmagorical. These are just some of the words used by DelFest artists to describe the annual festival curated by bluegrass legend Del McCoury and his family. Fans and musicians agree: there’s no other festival like it. From the warm and welcoming atmosphere that trickles down from Del and his musical brothers and sisters, to the impressive lineup and perfectly timed sets, to the stunning, sloping cliffside setting, to the fireside jams among tent neighbors, word seeps further and further every year through the live music community that Cumberland is the place to be every Memorial Day Weekend. For the 10th installment, Del and his team pulled out all the stops to make this “one of the best years ever,” as countless musicians and attendees were heard saying.

As they have done annually, and as was specifically requested by their fans after the announcement of the later Del set, the opening set of the festival on Thursday was the Del McCoury Band crowd-request-powered soundcheck. For the first formal set, Dead Man Winter featuring Dave Simonett (of Trampled by Turtles) kicked things off on the Grandstand Stage. River Whyless took the stage next, with wildly impressive harmonies and compositions they accurately call “baroque folk.” Steep Canyon Rangers played an energetic set of traditional bluegrass tunes and original material before handing the reigns over to the Godfather and his special guests.

Del McCoury and his band, made up of his sons, Ronnie and Robbie, as well as Jason Carter and Alan Bartram, started the set with Phish drummer Jon Fishman. In street-wear and a non-descript hat, Fish hung in back, while offering a supportive and tactful underbelly for some of the most loved bluegrass songs of the past 100+ years. Del recognized the drummer’s unique contributions to the sound and reminisced about playing with Fish in times past. Then they invited another special guest, guitarist Dan Auerbach of The Black Keys, to play some of his new material as they backed him. His lyrics were touching and the music seemed to speak right to Del and the band in an authentic way that allowed Auerbach to really let loose. It didn’t stop there though,as the Preservation Hall Jazz Band horns came on stage for an exquisite collision of strings and horns. This was a DelFest-style collaboration of genres from opposite sides of the spectrum, rooted in the same vision: love through music. The fans overflowed with love for the music, the players overflowed with love for Del, and Del himself was beaming, his big genuine smile stretching from mountainside to late night hall. Later on, Cabinet and Fruition could be found in that very hall, battling bluegrass licks on “After Midnight” and keeping the late night crowds dancing fast enough to stay awake until morning.

Friday was overcast, threatening storms that all DelFestivarians come to expect every year, but eventually the sun conquered the clouds and the fields did their best to dry out under stompin’ feet. The Kitchen Dwellers opened the side-facing Potomac Stage with their personally coined “galaxy grass,” a stellar infusion of strings and psychedelic sounds that opened morning eyes to the possibilities of modern bluegrass. The emcee of the event, Joe Craven, kicked off the Grandstand with his multi-instrumentalist trio of Sometimers before banjo player Noam Pikelny of the Punch Brothers had his solo debut at the festival, introducing listeners to his soothing baritone vocals accompanying his newest songs. Fruition played the smaller stage to a packed audience of long time fans and new folks who had only heard of the band’s enthusiasm and style from the previous year. The belle of DelFest, prodigy mandolin player Sierra Hull, played her first set of the weekend, inviting many guests to join her including Del, Pikelny, and the 9-year-old winner of the DelFest Academy, a little girl who kept right up with her idol on the same instrument. Pennsylvania pickers Cabinet played next, inevitably drawing out their dedicated fans in droves. The band cut their chops picking at DelFest when they were just campers, staying up all night and playing for as many people as possible, and they’ve quickly become a staple of the event. The Del McCoury Band’s second set of the weekend was more traditional than Thursday’s, featuring his standard lineup and an impressive array of songs selected from the entirety of his career. Del’s signature high vocals rang throughout the grounds and between each song, friendly banter and funny stories were shared from his history playing with some of the country’s greatest musicians.

Throughout the day festival artists spoke highly of Del and his music and the event that he curated, but almost every time, when asked who they were most excited to see on the lineup, these Americana and bluegrass players said Phish guitarist Trey Anastasio. This spoke so heavily to the genre-fluid nature of a festival that may, on the surface, seem purely genre-specific. Anastasio’s parents, Ernie and Geneva, who are longtime fans and DelFest attendees, expressed that part of the reason they love coming back every year is because of how diverse the lineup is. It was no wonder that when the Trey Anastasio Band took to the stage, every DelFest attendee, even those who “weren’t fans of Phish,” seemed to be enjoying the music.

They opened with a funky trio of “Cayman Review,” “Mozambique,” and “Sand” before a humble Anastasio invited his idol Del McCoury and his two sons to join him on stage for “I’m Blue, I’m Lonesome” and “Beauty Of My Dreams.” The rest of the set was equally as moving, intensely fiery jams reaching fascinating levels of interplay between the band members. Notably, the “Gotta Jibboo” second set closer, the “It Makes No Difference” cover, and “Night Speaks To A Woman” were all memorable and dripping with love and light. The cover of “Clint Eastwood,” was well received, but without question the song that stole the show was a cover of “Dazed & Confused” featuring a stand-out performance by Jennifer Hartswick and an intense battle between her vocals and Anastasio’s guitar.

On the Potomac Stage Saturday morning, festival favorites and Cumberland locals Grand Ole’ Ditch kicked it off for the 10th year in a row. Sara Watkins, formerly of folk-pop sensation Nickel Creek, was in the spotlight with her solo material on display as just she on violin, a drummer and a bassist opened the giant Grandstand. Her vocals and powerful songs filled the space easily before Donna The Buffalo came out for their only daytime set. The night before, they had rocked out the late night stage and within 10 hours were back at it again, in true DelFest double-set fashion. Cris Jacobs performed his second set with his band on the Potomac stage, bringing out his enthusiastic Baltimore fanbase and many more who were excited to catch the buzz of this exciting player. Previously of the jam band The Bridge, he has embraced his flannel and boot wearing side, playing a few songs from the old days and several new cuts from his new album “Dust to Gold” with his amazing four-piece.

When the supergroup Hot Rize finished their set on the Grandstand stage, the normally jubilant Joe Craven came on stage solemnly to announce the passing of Gregg Allman. Silence overcame the raucous crowd as the weight of this news settled in. People could be seen sharing hugs with strangers and wiping tears from the corners of their eyes. But the music would help them through and the show had to go on, so shortly after, Jeff Austin came out with his new band and played an uplifting set of newgrass songs to lighten the mood. Bela Fleck & Chris Thile were up next for one of the most anticipated sets of the weekend. Seeing the banjo and mandolin virtuosos together is a rare opportunity, and admirers of their previous and current projects waited with baited breath to hear what they wanted us to hear. As serious as their skills are, the stage banter was lovingly, opposingly light, with jokes and teases being thrown back and forth between the two, and plenty of crowd interaction to encourage them. The first artists to pay homage to the late Allman brother, they opened with “Midnight Rider” and then played several unnamed tunes they wrote together, a handful of classical reinventions, and a few that they had each written individually, including one brilliant selection entitled “Comey’s Last Waltz.”

Railroad Earth took the stage next and having played nine of the 10 DelFests, the band was as thrilled to be on that stage as ever. They burst out with energy on every single one of their tunes, from the “Mighty River” -> “Like a Buddha” opener to the “Dandelion Wine” featuring a standout player from the weekend, Billy Strings. They closed the set with a sandwich of their song “Head” -> “Hot’lanta” (by the Allman Brothers) -> “Head” as a tribute to Gregg..

Headlining on Saturday night were Del’s sons and friends in The Travelin’ McCourys, joined later by country performer Dierks Bentley. Bentley told stories of seeing the McCourys playing around Nashville and hoping to play with them someday and said that standing on that stage with them was a great honor and privilege after he had already been through one career that didn’t quite align with their music. They played several of his new songs, as well as great covers that inspired him to change course and tunes that keep the McCourys going everyday. Toward the end of the set, the band drew inspiration from their young children and played a chill-inducing cover of the popular radio hit “Let Her Go” by Passenger.

Late night on Saturday was a highly buzzed about night, featuring a set under the moniker Red Knuckles & The Trailblazers, which fans came to learn was essentially Hot Rize with Chris Thile. All that talent on stage and the jokes they constantly tossed around made for such an amazing set few could have predicted. Leftover Salmon took the late late set, bringing the house down with their cajun-slamgrass festival anthems.

Sunday morning at DelFest always starts with Dre’s Gospel Collective led by Swedish singer Dre Anders and featuring members of the Royal Family of Bluegrass as well as their brothers and sisters in musical arms. Del, his boys, his grandkids, Sierra Hull and many others joined Dre for a set of feeling the spirit of the Allegany mountains. Billy Strings had his Grandstand stage performance next (not that there was any shortage of his playing throughout weekend, he sat-in with countless other acts), and he truly blew people away with his impossibly fast and precise playing. Faces always melt with bluegrass, but for Billy Strings, who plays like he comes from a metal background, they absolutely do. He plays his acoustic guitar without any fear or anticipation, he throws every lick to the wind and allows the guitar to lead him instead. Strings said being welcomed into the DelFest family was natural and comfortable, they were the people he knew he should be playing with all along, and it showed.

The Ballroom Thieves on the Potomac stage brought the rock edge of folk and bluegrass a little harder than other bands on the lineup and as just a trio, their sound was pleasantly dense. Marty Stuart & His Fabulous Superlatives took the Grandstand next, opening with a straight ahead country version of “Rider” and bringing the self-described “hillbillies out for a romp.” Del said he was most excited to have Stuart on the lineup this year, as they are long time contemporaries that came up in different but similar circles in an almost parallel manner. Like Del, Stuart was also very young when he was recruited to play with Lester Flatt and has gone on to play with Johnny Cash and many other legends. His set was high-energy, jovial, and a little saucy. Some of Stuart’s lyrical content wasn’t exactly traditional, but it was the perfect push on a Sunday afternoon for fans to loosen up and hang a little longer.

The Infamous Stringdusters played an almost tributary set, largely made up of Grateful Dead, The Allman Brothers BAnd and other always welcome covers. Over at the side stage, the third generation of McCoury players were showcasing their youthful Nashville funk, no band member likely 21, but playing with the gut and gusto of any other seasoned musician there. The Del McCoury band played one final set of the weekend before Leftover Salmon took the stage for their performance of Neil Young’s Harvest, which they played in full, diving deeper and deeper into Young’s energy as the set went on. They also celebrated three of their birthdays mid-set and threw cobs of corn to the crowd in honor of the album. They brought out Warren Haynes on a stirring rendition of “Down By The River,” which was dedicated to the mighty Potomac that flows right alongside the grounds. Haynes had his own set with Gov’t Mule to follow, one that was understandably emotional and dusted with numerous Allmans covers and recollections. Haynes was noticeably solemn during the set but played with the impressive strength he could muster after a long weekend and the loss of a dear friend.

To round out the weekend and shut it down until next year, DelFest enlisted the popular Billy Strings and his band to open for The Travelin McCoury’s Grateful Ball featuring Jeff Austin. It was electric in the late night hall on Sunday, people still buzzing with energy and excitement for what had transpired and what was to come. Friends new and old were already making plans for next year, swearing to come back without even hearing the lineup – which isn’t unusual for DelFest fanatics who often buy their tickets as soon as they can and trust that Del will bring the right people together. As the musicians say, it is the most “accepting,” “lovely,” “family,” “community,” “badass” and “best” festival on the East Coast.

[Best_Wordpress_Gallery id=”554″ gal_title=”20170527 Delfest Price”]