Cover Lay Down

By its very nature, the cover celebrates iteration over song. And our Year’s Best Coverfolk Videos collection was originally envisioned as a way to acknowledge that, by celebrating in their “native medium” those performances which truly lose something essential when what we see is separated out from what we hear – an approach which favors live and in-studio performances over produced videographic content, and generally eschews the promotional post-recording “music video”.

How we celebrate this specific source and its coverfolk has come in and out of fashion here at Cover Lay Down, growing from a single category in our Year’s Best Coverfolk Albums features as recently as 2013 to a two-parter, with separate features for our top Coverfolk Video Singles and The best cover sessions, sets, and series, in 2015. This year, any attempt to commodify just “the native ones” is further complicated by the facts that a) we’re much later than usual, and b) despite previous-year concern that stripping the visuals from these multimedia texts potentially undermines their in-the-moment intent, we did it several times this year, most often in service to themed features where the startling-yet-intimate eye-candy atmosphere of a video might interrupt or even overwhelm the tonal focus of the writing itself.

In turn, although we tried to stick to those which stood on their own as audio-only, our trend towards flattening videos into Mp3s seems driven by a prioritization of the personal over the critical here on the blog as life grows ever more complicated, and what was once a twice weekly behemoth has become a less frequent but – we hope – in many ways a more deep ethnographic exploration of the ways in which the folkways influences both artists, and us. But this, too, is not so much a problem as an artifact of what we do, exactly: to live as a coverblogger is, after all, to embody the give-and-take ownership between artist and listener, both on a mass scale and on a very personal one.

Call it an artifact of context over convenience, then. Although a few performances we originally discovered on video (including great cuts from YouTube-to-TV stars Holly Henry and Janet Devlin, frequent-flyer and indie-slash-electrofolk genre-crosser Nataly Dawn, a lovely series of 10 covers of Canadian artists presented in honor of Canada’s 150th anniversary by Bailey Pelkman, and a wonderful Outkast cover from vocal popgroup Pentatonix’ departed bass-man, all of whom will appear in our Best Singles Mix) do in the end stand up just fine as audio-only cuts, we still believe that, in the ideal sense, the very design of at least some subsection of the vast array of ‘tube-sourced recordings that populate the sharing sites beg to be experienced in their native medium. For now, anyway, and for this year.

And so – while we finish curating our Best Coverfolk Singles Mixtape of 2017 (which we intend to release soon!), and wait for the last guests to wake up, eat breakfast, and depart from for our annual early-bird New Years party – Cover Lay Down proudly presents our very subjective favorite videographic performances of 2017, an amalgamated mix of 13 favorite singles and coverset selections. Enjoy, and Happy New Year!

The Year’s Best Coverfolk Videos, 2017

Kina Grannis: When You Come Back Down (orig. Nickel Creek)

Kina Grannis is welcome and well-celebrated here on Cover Lay Down; she was one of the very first YouTube stars, and one of our first YouTube discoveries. But Grannis has been on fire this year, releasing a mix of sparklingly well-produced single-shot video covers that trend towards the polar ends of coverage, the undone and the redone: this year’s gems include stripped-down recasts of rap and pop tracks such as Coolio’s Gangsta’s Paradise, Jimmy Eat World’s In The Middle, and Khalid’s Young Dumb & Broke, and softer folk and indie sources such as Bob Dylan (Blowin’ In The Wind), Etta James (At Last), and Sting (Fields of Gold), which, although closer in tenderness to the originals, nonetheless leave us breathless. Here, in her final cover of the year, she takes on our favorite Nickel Creek song, joyfully and with eyes half-closed, as always – and we’re glad, indeed, that she knows it, and has the chops to do it so well.

Passenger: A Change Is Gonna Come (orig. Sam Cooke)

The thirteen coversongs that comprised Passenger‘s Sunday Night Sessions – a set of video occasionals, with takes on Van Morrison, The Rolling Stones, Tracy Chapman, Bill Withers, Don McLean, Joy Division and more, recorded and filmed on location as the artist and his band toured the world – comprise a would-be hands-down favorite this year in our annual look at the single-artist cover series. The songs have since been recast and released as a ten-track streaming-only covers album, and it was mighty tempting, indeed, to include the album in our Best Coverfolk Albums rundown earlier this week – but the site-specific energy of these covers are so potent an addition to their musicality, in the end, we saved them for fuller feature here.

Tallest Man On Earth: Both Sides Now (orig. Joni Mitchell)

The Light in Demos is a pensive and deeply personal acoustic video project after our own heart, produced, written, directed, recorded, shot and edited entirely by Swedish artist Saras Per Kristian Matsson, also known as The Tallest Man on Earth. Eight songs in, the set includes six reworked and unfinished originals which bring new life and resonance to the growing search and songbook of one of our favorite musical explorers, and two covers: A Nick Drake familiarity, and this, “the best song in the world”, performed barefoot and with ringing reverb that brings a layer of stillness and eternity to both song and setting.

Twisted Pine: Lucy In The Sky With Diamonds (orig. The Beatles)

Announced just last week as recipients of one of Club Passim’s newest Iguana Music Fund grant recipients, Boston-based production-house Red Line Roots’ Old Spruce Sessions are recorded largely in found spaces, in off-stage moments borrowed from touring artists. Unlike their previously-celebrated Locals Cover Locals collections, a Bandcamp-sourced product chock full of predominantly singer-songwriter and small folk duo-and-trio performances, their video series is heavy on the earthy and organic, chock full of bluegrass and old-timey stuff; lo-fi delights worth celebration include a multitude of up-and-coming artists’ originals, Billy Strings’ backstage take on Cocaine Blues, and two Beatles covers: a gentle take on Norwegian Wood filmed in the attic of a rural Vermont town hall, and this tense, terrific wonder from deconstructed bluegrass quartet Twisted Pine, recorded in the fields of this year’s Green River Festival.

Darlingside: 1979 (orig. Smashing Pumpkins)

We’ve shared versions of this cover before. And we’ve loved video of it, too, such as this 2015 Kitchen Sessions performance, which arguably maintains a bit more in-the-moment fast-paced energy. But this one is balanced and pristine – the perfect, grungy-yet-polished final cut we’ve been waiting for since we first heard Darlingside’s arrangement of this Smashing Pumpkins tune raw and barely rehearsed in the fields of Falcon Ridge, where we first discovered the band, perhaps the perfect ambassadors for what well may be the newest branch of folk. Subscribe to Under The Apple Tree for more strong video coverage, too, including a potent full-band posthumous cover of Tom Petty’s Free Fallin’ from Robert Vincent, a slow and gorgeous three-part harmony take on Dolly Parton’s Jolene, and a beautiful live take on Dire Straits tune Brothers In Arms from Xander & the Peace Pirates which almost, almost, took the place of the above.

Walk Off The Earth: Shape Of You (orig. Ed Sheeran)

Though they’re more an acoustic rock band than a folk act, the cheerful, playful work of Hawaiian video project Walk Off The Earth, whose work is almost always designed to be seen as much as heard, has thrilled us before – see, for example, their lovely cardboard video for Malvina Reynolds song Little Boxes, which we raved about five years ago, and last year’s sunny version of The Chainsmokers’ Closer. This year, tightly choreographed, highly percussive and energetic performances continued to be the norm, and along with a campfire tribute to Tom Petty, this Ed Sheeran earworm is one of their best. With over twelve million views on YouTube already, you’ve probably heard it before – but it’s catchy, gleeful, and worth hearing again.

Katie Ferrara: Tangerine (orig. Led Zeppelin)

We featured LA busker and bar-singer Katie Ferrara back in July, celebrating her “convertible-top-down folk-pop powerhouse” EP with “a well-produced, subtly sensational, and eminently summery doozy of a Creedence cover” that matched in-studio recording shots with dreamy images and video from a recent flight from Miami. But there’s something lovely and intimate about Ferrara’s new Lemon Cat cover sessions, appropriately filmed against a yellow background, and all from December. Click through for more, including an electric take on Bob Marley’s Turn Your Lights Down Low, and – as if to justify our late entry into the universe of 2017 – her sultry version of Aerosmith’s Crazy.

Jeffrey Foucault: Senor (Tales of Yankee Power) (orig. Bob Dylan)

Like a few others on this year’s Best Videos list, we shared this cut first via our Facebook page – in this case, way back in February, along with another of Jeffrey Foucault’s political covers, originally by Danny O’Keefe by way of Chris Smither, which seems to exist only on the etherial social space, and thus confounds our ability to embed it here. But these stark, faceless, sepia-toned videos from the current champion of dustbowl despair ache with angst and anger, offering perfect settings for the songs themselves. They still haunt us, and they should.

Mark Broussard: Sweet Baby James (orig. James Taylor)

A slow-release February-into-March mostly-covers session with his father Ted playing alongside him converted us, instantly, into fans of the soulful Marc Broussard – and sent us scrambling to collect the entire set, including their takes on Do Right Woman, Do Right Man, Loggins and Messina classic House at Pooh Corner, and a slam-dunk version of Somewhere Over The Rainbow dedicated to a very special lost soul. Simple yet nuanced, this bluesfolk is bare and bare-bones, as it should be….and should Broussard decide, after all, to record a for-charity children’s lullaby album, we’ll be one of the first in line to help push it into the world.

Rus Reppert: Fly Like An Eagle (orig. Steve Miller)

It’s dark, and cavernous – like the deserted warehouse in which it was filmed – and maybe that’s the point. And it’s a loop cover – which, for the uninitiated, means it’s built live from the ground up, just one man and a solo guitar, and a set of pedals to control it all. For all these reasons and more, this December-filmed, February-released Steve Miller cover from West Virginia songwriter Rus Reppert absolutely, positively belongs here on our Best Videos collection; strip the visuals, and you’d lose both the darkness and the intimate immediacy of it all. Follow the threads, too, to Candyrat Records, which is chock full of utterly stunning live acoustic fingerstyle covers and originals, most without lyrics.

Upstate Rubdown: I’m Looking Through You (orig. The Beatles)

We made some wonderful new discoveries and a host of great memories at Falcon Ridge Folk Festival this year, but it was hard not to love Upstate Rubdown, a down-to-earth all-acoustic “big band” from New York’s Hudson Valley region whose music fuses folk, roots, funk, swing, and more, and every performance is a party and a half. We named this video one of our Year’s Best the moment we found it, and we don’t regret the early call one bit.

I’m With Her: Send My Love (To Your New Lover) (orig. Adele)

This bass-and-vox cover from indiefolk supergroup I’m With Her, recorded live on their American Acoustic tour over the summer, was released “on all streaming/downloading apps” as a benefit recording for Thistle Farms, a Nashville-based nonprofit that heals, empowers and employs survivors of trafficking, prostitution and addiction. Switch out the video, though, and you’d miss both the intimacy of the performance, and the way the high, stark contrast of black dresses and blond wood stage reflects this every-note-counts homage to Adele.

The Sea The Sea: I’ll Keep It With Mine (orig. Bob Dylan)

A transformed Dylan tune filmed and recorded live mid-year by way of introduction to old friends (and now married couple) Chuck and Mira’s newly expanded foursome, still playing under the The Sea, The Sea moniker. A tight, controlled percussive sound and lush vocals that nonetheless retain the careful and sparse arrangements typical of their performance. After this fishbowl fantasy – and a lovely tree-side Concert Window session of holiday songs and carols that filled our own living room the night we brought our own tree home – we’re looking to have them back to our Unity House Series as soon as we can find a date.

Always ad-free and artist-centric, Cover Lay Down has been digging deep at the ethnographic intersection of folkways and coversong since 2007 thanks to the support of artists, labels, promoters, and YOU. So do your part: listen, love, like, and above all, purchase the music, the better to keep it alive.

And if, in the end, you’ve got goodwill to spare, and want to help keep the music flowing? Please, consider a year’s end contribution to Cover Lay Down. All gifts go directly to bandwidth and server costs; all donors receive undying praise, and a special blogger-curated gift mixtape of well-loved but otherwise unshared covers from 2016-2017, including exclusive live covers from our very own Unity House Concert series.

We founded our family on the spirits of close community and adventure: it’s in our wedding contract, and one of the main reasons my wife and I both work in education is to ensure that our calendars include time to wander together. But nothing looms as large in our ongoing pursuit of the live and immersive than our annual excursion to the Falcon Ridge Folk Festival, which this year celebrates its 28th anniversary August 4-7 at Dodd’s Farm in Hillsdale, NY, just over the border from Great Barrington, MA, at the foothills of the Berkshires.

Founded in 1988 to celebrate and sustain the nascent singer-songwriter revival, Falcon Ridge has come to embody the ideals of the modern folkworld, in which fans, artists, concert and radio hosts, and others who live their lives grounded in the diverse ideals and soundscapes of folk come together to celebrate the breadth of the movement, the music, and the community they engender. As ethnomusicologist and regular FRFF attendee Liz Carlisle wrote in her 2006 undergrad thesis on the fest,

As a well developed “state” into which “citizens” opt in, FRFF is not just summer camp for a bunch of delusional, idealistic folk music enthusiasts (folkies)…Indeed, the real-ness of FRFF is at the crux of its symbolic power. The common goal of those who attend is to make the folk music ideal – a vision of shared power and creation, uninhibited personal expression, and general acceptance and love – real through a successful music festival.

Reaching this goal every year can be a challenge, especially in a world where smaller music festivals are falling apart around us – both Clearwater and Gathering of the Vibes have been cancelled for this year, due to a combination of factors that inevitably include financial concerns. But thanks to that efficiency, and a core cohort of volunteers and organizers who work tirelessly year-round to maintain and sustain the place they love, Falcon Ridge Folk Fest continues to offer the best of both the world of intentional community, and the world of folk.

This year’s Falcon Ridge Folk Fest mainstage and workshop stage performers include the usual mix of well known names from three generations of American folk, representing a broad tent, from solo singer-songwriters like Tom Rush, Patty Larkin, Vance Gilbert, Matt Nakoa, Heather Maloney, Eric Schwartz and Peter Mulvey to folk rock, world music, psychedelic, country rock, Americana, and other genre-busting bands and folk supergroups like The Felice Brothers, The Gaslight Tinkers, Brother Sun, Scott Wolfson and Other Heroes, and The Slambovian Circus of Dreams. Well-populated contra dance and children’s stages run throughout the festival, too, and up-and-coming performers play regularly alongside colorful tye-dye, jewelry, henna tattoo parlors, and African drumset sellers in the vendor area, and stalls selling everything from Caribbean goat stew to ice cream, sweet and savory crepes.

Camping at Falcon Ridge isn’t mandatory; only about a third of the attendees each year choose to stay overnight in the fields, and my parents – neither of whom camp – have always found themselves both fully welcome and fully sated by their own experience. But if you can do it, living on site is highly recommended. The sense of community on the farm is palpable and sweet; I have yet to meet a camper who did not discover their own site “family” in their first few hours on the farm, and wandering camp-to-camp brings an evening’s delight, full of laughter and food-sharing. Those who play and sing are always welcome to join in. And, as a bonus for nightowls, the music at Falcon Ridge continues into the wee hours in the campgrounds, where a half-dozen regular formal songcircles and stages like The Budgiedome and Pirate Camp bring together mainstage performers and up-and-coming name-brand performers from the coffeehouse circuit.

Although officially Falcon Ridge doesn’t start until Friday, August 5, Thursday offers its own special pre-fest charm, with a shaded farmer’s market and tasting day on-site that offers the best of local breweries and wineries, dairies and farms. And there’s music, too: some of the best music I’ve seen at Falcon Ridge in the past 4 or 5 years has been presented or previewed on The Lounge Stage, a one-time campsite stage that found it’s way into the main festival grounds to avoid a thunderstorm two years ago, and has since become an officially sanctioned festival-within-a-festival housed under the Dance Tent. Performers for this year’s Lounge Stage have not yet been released, but their ability to select and combine mainstage players and rising stars together for intimate sessions in the round makes the Lounge Stage a must-see; past performers include Jean Rohe, Matt Nakoa, We’re About Nine, John Gorka, Irish Mythen, Pat Wictor, Pesky J. Nixon, Caitlin Canty, Buskin & Batteau, hosts Pesky J. Nixon, and more.

One last note before we get to the music: while Falcon Ridge needs paying patrons to survive, as alluded to in Carlisle’s thesis, it also needs volunteers, and this year’s volunteer pool is currently thin, far below the needed thousand it takes to run the place efficiently. Volunteers get two solid meals a day, free access to campgrounds and the festival itself, and the warm satisfaction of helping build and maintain a crucial cultural locus of love and music, all for the price of a staff t-shirt and a few four-hour shifts throughout the long weekend; if you’re interested in joining up, head over to the volunteer website, and stake your claim for a spot on one of our crews.

Either way, we’d love to have you – and we’re sure you’ll love it, too. So click through below for a 21-track collection of coverfolk from a set of artists who together represent the breadth of modern folk music and the promise of an intentional nation. And then, if you can make it happen, save the date, and register now – as a volunteer or a paying patron – for the very best fest around. We’ll see you there.

Falcon Ridge Folk Festival Preview, 2016
[now available in mixtape format!]

• Tom Rush: Urge For Going (orig. Joni Mitchell) [1968]

• Peter Mulvey: The Fly (orig. U2) [2006]
• Peter Mulvey: Ghost Repeater (orig. Jeffrey Foucault) [2006]
• Peter Mulvey: Old Fashioned Morphine (orig. Jolie Holland) [2012]

• Mike and Ruthy: My New York City (orig. Woody Guthrie) [2012]
• Mike and Ruthy: I’ll Keep It With Mine (orig. Nico)[2007]

• Patty Larkin: Have A Little Faith In Me (orig. John Hiatt) [2000]

• Annika Bennett: I Want You Back (orig. Jackson 5) [2015]

• Heather Maloney: And I Love Her (orig. The Beatles) [2014]
• Heather Maloney w/ Darlingside: Woodstock (orig. Joni Mitchell) [2014]

• Brother Sun: When I’m Gone (orig. Phil Ochs) [2013]

• The Gaslight Tinkers: I Ain’t Got No Home (orig. Woody Guthrie)
• The Gaslight Tinkers: Quite Early Morning (orig. Pete Seeger) [2014]

• The Felice Brothers: Cumberland Gap (trad.)
• The Felice Brothers: Sail Away Ladies (orig. Uncle Dave Macon) [2012]

• Vance Gilbert and Ellis Paul: May I Suggest (orig. Susan Werner) [2003]

• Nerissa & Katryna Nields: Red Red Robin (orig. Al Jolson et al.) [2007]

• Matt Nakoa, Eric Schwartz, Jared Salvatore: Dancing In The Dark (orig. Bruce Springsteen) [2014]
• Matt Nakoa & Eric Schwartz: I’m Only Sleeping (orig. The Beatles) [2015]

• The Slambovian Circus of Dreams: Starman (orig. David Bowie)
• The Slambovian Circus of Dreams: Ghost Riders In The Sky Medley (orig. Stan Jones / Merle Haggard / Johnny Cash) [2010]

Artist-centered and ad-free since 2007, Cover Lay Down shares coverfolk features and ethnographic musings throughout the year thanks to patrons like you. Coming soon: new and newly discovered tributes and cover collections take on Dylan, Blind Willie Johnson, Jimi Hendrix, American tradfolk and more, plus our usual plethora of artist and songbook features as the summer kicks in!

This year marks our twentieth consecutive year at Falcon Ridge Folk Festival, and although we go as much for the community as the music these days, it is a sign of the festival’s continued success in presenting a stellar, diverse line-up that even as my wife works on airing out the camper, I find myself eagerly compiling a list of don’t-miss acts – and finding plenty of fodder for it.

But every year is something special at Falcon Ridge, and this year promises to be a gold mine. Today, then, a short set of updates from some past favorites coming to Dodd’s Farm for summer 2014; if we’ve done our job well, you’ll be itching to join us in the fields on Hillsdale, NY the first weekend in August to see these don’t-miss artists plus John Gorka, Cheryl Wheeler, Christine Lavin, Brother Sun, Spuyten Duyvil, Tom Paxton, The Boxcar Lillies, Connor Garvey, Tracey Grammer and more.

We tracked Crooked Still carefully throughout the long life of this blog, and noted their move towards solo and other projects recently as this 2011 feature on the band’s first decade – but bookmarking such gems as the utterly beautiful 2011 solo take on a Richard Thompson classic below left an ache for founder, bandleader, and driving force Aoife O’Donovan, and we’re thrilled to find her on the performer’s list.

Indeed, even as her sweet, airy voice finds itself in collaboration with the likes of Chris Thile, Noam Pikelny, Kate Rusby, Elizabeth Mitchell, Sam Amidon, and other favorite artists over the past few years, I’ve been dying to see Aoife live and solo, and probably longer than most; her long-awaited debut album Fossils, which dropped this past year, has been duly feted as a tour de force, but we’ve been fans of that breathy voice since our inception. If her appearance on Prairie Home Companion back in January is any indication, this it-girl of the neo-traditional movement is going to be the belle of the fest; I’ll see you in the front row.

Aoife O’Donovan: The Lakes Of Ponchartrain (trad.)

Aoife O’Donovan: Vincent Black Lightning 1952 (orig. Richard Thompson)

We fell in love with Roosevelt Dime‘s acoustic jug band steamboat soul way back in 2009, thanks to a beautiful Americana-style single-shot Radiohead cover on their debut album Crooked Roots. Since then, we’ve followed their progress closely, and become close; we were thrilled to host the band overnight for a campsite jam last summer on site at Falcon Ridge, and honored to have the chance to present the very first public performance for Goodnight Moonshine, string-player and singer Eben Pariser’s side project with Red Molly member Molly Ventner.

The new year brings some changes to Roosevelt Dime – a slight shift in line-up, a featured Most Wanted set at the upcoming Falcon Ridge Folk Festival after winning last year’s Emerging Artist Showcase, and a fuller, more polished sound courtesy of Full Head of Steam, a jazzy, toe-tapping March release that sticks in the feet and the ears. Boston area folks interested in a week-before-the-fest teaser should snag tickets now for the band’s Club Passim show July 25th in support of Full Head of Steam; attendees will receive a free copy of the album, which is a serious bonus. Three traditional tracks from the album bring the funk for now.

Like Roosevelt Dime, Darlingside will be all over Falcon Ridge this year; Most Wanted artists are scheduled for multiple song workshops in collaboration with other artists; some of the very best collaborations I have ever seen take place at the open-air workshop tent. Regular readers may remember that this band wowed us at the Lounge Stage, the all-day Thursday artist-run festival-within-a-festival that Falcon Ridge has taken under its wing, with an amazing acoustic take on Smashing Pumpkins hit 1979; since then, their recent cover of Joni Mitchell-slash-CSNY Woodstock, with local darling Heather Maloney, made the New York Times, bringing fame and hopefully some modicum of momentum to the eclectic folkpop band.

Of course, Darlingside has been around for a while yet, and as with many new favorites, a dig into the archives can be fruitful, indeed. I found this older video cover searching for coverage from this year’s emerging artists; Caitlin Canty, who also tours with Jefferey Foucault and will be one of the 20 acts in this year’s Friday afternoon showcase, is the real deal.

Darlingside ft. Caitlin Canty: Volcano (orig. Damien Rice)

Darlingside ft. Heather Maloney: Woodstock (orig. Joni Mitchell)

Darlingside: 1979 (orig. Smashing Pumpkins)

Wherever psychedelic jamband meets mythological folk rock, The Grand Slambovians (aka The Slambovian Circus of Dreams) hold sway, and for good reason: their late night Falcon Ridge mainstage sets are the world’s best summer party under the stars; their dance tent sets are legendary roof-raisers, their at-bats under the summer sun each year at the Beatles cover workshop are always a sing-along treat; their 2007 cover of Peace Train with Dar Williams and John Gorka remains one of our favorite Falcon Ridge moments. The music video for crowd favorite Alice in Space they made on-site last year, released this March to much fanfare, offers a glimpse into the madness; if you look closely, you can catch me in the crowd shots, bouncing around with abandon. This gentle, languid electro-folk Leonard Cohen cover comes from the same set, but even their tender side is part of the ride: don’t bother bringing a chair to your own trip to Slambovia – just a glowstick suit, plenty of water, and all the energy you can muster.

The Grand Slambovians: Suzanne (orig. Leonard Cohen)

I actually blogged about The Duhks before this blog was born, listing their cover of Tracy Chapman’s Mountains of Things as one of my favorite songs of 2006 here in the waning days of the prep school existence, and returning for a comprehensive look at their first half decade in a 2008 feature (The Duhks cover Sting, Tracey Chapman, Gillian Welch et. al). Now, several line-up changes and 13 years since their inception, the eclectic acadian-creole folkrock collective from Winnipeg emerges from a two-year recording hiatus still at the top of their game, hitting “the Ridge” on the strength of a crisp, bright, and totally rockin’ new album produced by CLD faves Mike & Ruthy, with title cut and a traditional number below. Bring on the joyful noise.

• The Duhks: Beyond The Blue (orig. Beth Nielsen Chapman)
• The Duhks: Lazy John (trad.)
  (from Beyond The Blue, 2014)

The Duhks: Mountains of Things (orig. Tracy Chapman)

Ready to join us August 1-3 at the Falcon Ridge Folk Festival? Head over to their website for more, including tickets, a complete line-up, vendor list and site map!