All the planning leading up the MerleFest brings a balance of new artists and regular favorites to the four-day festival in Wilkesboro, NC, established 37 years ago by Doc Watson in memory of his son Merle. Now held on a dozen stages across the Wilkes Community College campus, the festival first began with a flatbed trailer as stage. Each year, a set of MerleFest veterans, many who have played every year, gather on the Watson Stage to remember Doc. Sets by those same artists can be seen through the festival. Sam Bush Band not only played Saturday night, but Bush also let the late-night jam on Saturday night.
Peter Rowan also brought his iconic sound to the festival back by the Walls of Time Band with David Grier on guitar, Mike Bub on bass, Chris Henry on mandolin, Larry Atamanuik on drums, and Max Wareham on banjo. Rowan’s son Michael played rhythm guitar and sang one of his originals during their set on the Traditional Stage.
Sam Bush Band also filled their usual slot on the Watson Stage. Bush is among the handful of performers who been a part of the festival since the first year, and his joy at playing is always infectious. The band opened with a couple of John Hartford numbers, beginning with “Back in the Goodle Days,” and went on to play songs of Bob Dylan, Buck Owens, and J.D. Crowe, as well as New Grass Revival numbers and “Circles Around Me,” a SBB favorite. They closed with “Mercury Boogie.”
Early on Saturday, regular MerleFesters know to stake out a spot–ideally one of the few shady areas–at the Hillside Stage in anticipation of the Hillside Album Hour, hosted each year by the Waybacks with numerous guest performers. This year the Waybacks performed The Rolling Stones’ Let It Bleed album from 1969. The Wayback, led by James Nash on guitar, also includes Warren Hood on fiddle, a Joe Kyle Jr. on bass, and Chuck Hamilton on drums. Sarah Dugas was back again this year, carrying the lead on several songs. Jens Kruger also returned on banjo, and Jim Lauderdale sang on several songs as well. They were also joined by Mattie Schell on a couple of numbers, including a powerful “Paint It Black.”
As usually, they opened with some teasers–bits of “Satisfaction,” “Fortunate Son,” “Money,” and even “America (My Country ‘Tis of Thee).” They played “Sunday Morning Comin’ Down” and “The Silver-Tongued Devil and I” in tribute to the late Kris Kristofferson and “Killing Me Softly” in remembrance of Black Mountain, NC, native Roberta Flack. Nash took time to make a tactfully worded plea for people to move away from the darkness and to act with empathy and kindness. They followed with the timeless Youngbloods’ hit “Get Together,” which had the crowd all singing along. The album hour closed with an extended rocking version of “You Can’t Always Get What You Want.” The final cheer of the crowd was audible all the way to the Creekside Stage.
Among the other MerleFest regulars, Scythian, Donna the Buffalo, and the Kruger Brothers consistently draw huge crowds whether playing the Watson Stage, the Dance Tent, or any of the venues on campus. The Banknotes and the Jeff Little Trio also returned.
Since they first appeared at MerleFest ten years ago, fans have watched the Avett Brothers’ rise to stardom. Before they took the stage to close out Saturday night, they were introduced by NC governor Josh Stein, who had made an earlier appearance seated on stage at the Hillside Album Hour. He recognized their role in Concert for Carolina that raised $24.5 million for victims of Hurricane Helene. Seth and Scott Avett brought their high-energy show to loyal fans and new MerleFest attendees.
They paid homage to Doc Watson and his influence on them. “We learned so much from Doc Watson. He always brought us in,” they said, adding, “we couldn’t help but learn a lot and try to make it pristine and rich.” They covered Doc and Family’s “Groundhog” and “Black Mountain Rag.” Their set list ran from some of their best known songs, “I Wish I Was,” “Swept Away,” and the rousing “Ain’t No Man.” They also covered Toby Keith’s “As Good as I Once Was,” relating getting to plat at Tom T. Hall’s celebration with Keith and Justin Townes Earle. After they played, they said, “Toby got on stage and reminded us whose room it was.”
Through their set, they mixed it up, with murder ballads and “Divorce Separation Blues,” a song they said bore Doc’s influence on them. The late night crowd stayed around through their three-song encore, most on their feet dancing.