We ended up at Pickathon at Mrs. Toad’s behest, would you believe. Yup, the woman who describes almost every band I listen to as ‘moaning minnies’ actually tracked down and booked tickets to this particular festival without so much as a single prompt from my good self. This all happened late last year, after my brother’s wedding. We’d been driving around America afterwards with a limited supply of CDs and the ones she loved the most consistently seemed to come from Portland. At the time it was The Shaky Hands and The Builders & the Butchers. Since then she’s discovered bands like Horsefeathers, the Cave Singers (apparently they’re actually from Seattle) and Alela Diane (again, signed to a Portland label – Holocene – but not actually from the Pacific Northwest). At the time we thought they were all Portland bands, so we booked our tickets and decided to spend a couple of weeks in this part of America, and see if we couldn’t get a bit closer to such an incredible music scene.
Leaving aside Portland itself for a bit – that’s for a later post – the whole festival was truly wonderful. The location was amazing, the bands were superb, the people were incredibly friendly, and we quite simply had an amazing time.
Perched up in the Oregon hills, the setting offered nothing so plain and simple as a campsite. Instead, you had to climb up into the woods and try your luck. We had decided to skip the Friday evening to see The Builders & the Butchers and Eef Barzelay play in Portland (and earn a monumental hangover in the process) so we had to go quite some way to find a suitable spot. The difficulty of finding somewhere to pitch the tent meant that people were spread thinly throughout the woods, with little clusters forming here and there, and none of the sea of identical tents that you see at larger festivals. It was quite magical actually, being perched up in the depths of the woods, and having to clamber down to the trail and walk for about ten minutes to get to the main festival area.
To add to the atmosphere, the Wood Stage was actually perched right up in the depths of the forest as well, creating a tiny amphitheatre surrounded by green, splashed with what dapples of sunlight had managed to actually find their way through the thick canopy. We missed performances by Sam Crain and by Bombadil in this unreal arena and I really regret having done so. But then, we did get to see the Builders & the Butchers. We did, however, catch the superb Langhorne Slim on Saturday afternoon, and we were both smitten – it was a great performance.
Generally we eschewed the main stage and its smaller neighbour, the Fir Meadows Stage, because they lacked a little for the friendly intimacy that seemed to be the beating heart of this festival. The gentle slope that banked towards the main stage, backed by towering cedars, made a gorgeous place to lie in the grass and relax though, and the view across the wooded valley was beautiful. The food was to be found there as well, and as well as finally presenting somewhere in America where the coffee isn’t thin, grey, flavourless dishwater, the edibles were excellent. There was Thai (I even ate a veggie and tofu (tofu!!) rice roll with a bit of sweet chili sauce and liked it so much I had more the next day), some fine calzones and, the pick of the bunch, a phenomenal Mexican stall. Mexican food in Britain has become something like curry – it is little more than generic brown sludge that doesn’t in the slightest resemble the cuisine from which it is descended. The quesadillas at this place were fucking brilliant, and we had loads of them!
The music at Pickathon is quite specific: American roots, be it blues, bluegrass or (new to me) jug. The more traditional of this stuff I can really do without, but the acts booked overlapped with more vaguely defined Americana such that there was almost always something on that I wanted to see. And when there wasn’t, well I may not put pure bluegrass on the stereo myself, but the sawing fiddles and exceptional guitar playing that delivered everything from joyous stomp-alongs to heartbreaking balladry gave the whole place a wonderful atmosphere. If you are just lying in the sun, reading a superficial but largely entertaining book, not really paying attention to anything, what would you rather hear in the background, a mediocre indie four-piece trotting out the same old shit, or some old-time goodness, full of genuine happiness, genuine heartbreak, and not a sniff of cloying celebrity aspiration in sight.
Generally we found ourselves gravitating towards the Galaxy Barn as the day drew to a close. The American’s frankly chidish attitude to alcohol (I am not blaming the organisers here, the state enforcers were sniffing around like randy mongrels so they had to be incredibly careful) was tedious, with only a couple of designated beering pens allocated, but it did mean one thing: you didn’t end the day absolutely wasted. This was a refreshing change for a couple of reasons: firstly, I was able to properly enjoy all the music I went to see, and secondly, finding our way back up to our tent in the middle of the woods was Blair Witch Projecty enough, without adding a bladder-full to the mix to make life even harder. It bloody hard to find a single tent in the middle of the woods in the pitch black with no more than the camera light on the back of your mobile phone to guide you. And then on the Sunday night some bastards moved their tent clear across the path, which made life even more confusing. My phone’s battery was fast disappearing when I was finally able to successfully locate Toad HQ and calm an increasingly fretful Mrs. Toad, who was increasingly certain that we would end up having to sleep rough in the middle of the forest.
The last night, before almost losing the tent, was spent sitting around the bonfire outside the Galaxy Barn, talking to random strangers about their work promoting blues music in Portland, their time spent living in Israel and Jordan, and random band members about how much they loved the festival. I’ve never been anywhere where so many of the musicians hung out (check out the new vocabulary – awesome!) until the end, mixing with punters and chatting and enjoying each other’s performances. We ended up chatting to members of Bombadil and Loch Lomond, given we knew them from the eariler interviews we’d conducted, and they. And at one point Shawn (or Sean) from Langhorne Slim came over to congratulate me on my excellent choice of attire (a Langhorne Slim t-shirt) and chat about things in general. If I have ever met a nicer bloke, I don’t remember it. He was so genuine and sincere and just, well, incredibly nice, that it really served to highlight what a special festival this really was.
All in all, thoughout our stay in the Pacific Northwest, the people we have met have been some of the most incredibly open, friendly and helpful people in my life. American friendliness can be irritatingly claustrophobic when it’s forced or learned by rote, as it often is. But here people just seemed so sincere, with their ‘have a great day’s and their interest in what you were doing and their eagerness to be helpful and to include you in what was going on, that it was impossible to be cynical. Even for me. The two most over-used phrases, by miles, in this part of the world are ‘hang out’ and ‘awesome’, but they are just so true. Instead of being superior and English about it, you end up wanting to just hang out with everyone and wishing you could say ‘awesome’ with such incredibly heartfelt sincerity.
Toad’s Pickathon pictures | Toad Vimeo page | Other Pickathon Features
The Cave Singers – New Monuments
Oz St. Fossils – Tryin’ to Get Home
Jolie Holland – Stubborn Beast
The Gourds – Dying of the Pines
Hello again, Ruth and I are back on air tonight on Fresh Air, Edinburgh’s student radio station. As per usual we’ll be having some live session stuff, this time from The Japanese War Effort. Jamie is a bit of a band-whore actually, and plays in the Occasional Flickers and Conquering Animal Sound as well as ploughing his own solo furrow. It’s this stuff, however, which is my favourite. I haven’t much idea what it will sound like, stripped back to the extent that it will need to be in order to be played in the Fresh Air studio, but I am certain that it will be good.
