At The Festival: Wilco’s Solid Sound Festival 2024
Welcome to “At the Festival,” a blog series where I share my personal music festival experiences, with a focus on the performances of women and gender-diverse artists (that means I’ll be there early and might just completely skip the headliners). I’ll also be connecting with fellow festival-goers and sharing their stories, giving a crowd-sourced perspective of what makes each festival special. The goal is twofold: to share and spotlight often-overlooked artists, and to illustrate the power of music festivals in bringing people together and fostering communities.
Next up will be the Newport Folk and Newport Jazz festivals, so be sure to sign up for the newsletter at the bottom of the page if you want to be notified when stories like these are posted!
Solid Sound Festival, the Wilco-curated three-day music and art event, debuted in 2010, and has been held generally every-other year since then. This year, the 8th iteration was held once again in North Adams, Massachusetts at the MASS MoCA campus. The unique venue features a large field stage, two stages situated in courtyards between mill buildings, and tons of indoor events in galleries throughout the museum, both scheduled and pop-up style. The festival is naturally Wilco-centered, with Wilco or Jeff Tweedy headlining every night. The rest of the lineup features side projects of the band members alongside emerging artists and unique names you won’t find playing every other festival. Besides the music, there are comedy sets, interviews, and of course, art around every corner.
FRIDAY, JUNE 28th
This past weekend, I once again made my way to western Massachusetts, traveling through Greenfield where I attended the Green River Festival the week before, and continuing towards the North West corner of the state to North Adams. A former mill town, it is now home to the largest contemporary art museum in the United States: the Massachusetts Museum of Contemporary Art. I’ve only been to Mass MoCA once before: to see Lucius at the indoor Hunter Center venue. The complex will seem familiar to many New Englanders, with its brick buildings connected by elevated walkways and bridges over canals. It’s impressive how MASS MoCA has managed to keep the industrial look and feel of the buildings, while simultaneously housing a world class collection of fine art inside and out. I imagine the whole thing is an artistic statement in itself that I can’t articulate. Regardless, as it turns out, the duality of the environment makes an excellent setting for a music festival.
COURTNEY MARIE ANDREWS — WEBSITE INSTAGRAM SPOTIFY APPLE
The first artist I planned on seeing was Horsegirl, but I forgot it was a summer Friday in Massachusetts, so I arrived later than I meant to. Instead I was welcomed by Courtney Marie Andrews at the Courtyard C stage. Courtney and her three-piece band were a perfect introduction to the festival as well, her voice drawing people in from every direction. The placement of the stage allowed for watching either at ground level or a floor above, which is where I found some space among the packed crowd. With a bar not far behind me, there was occasionally a bit of chatter, but the way Courtney’s voice would rise and silence everyone in an instant was magical. She called Solid Sound “pretty much my dream festival” as it was taking place in an art museum. Playing an acoustic guitar for the majority of the set, the most striking moment for me came when she sat at the electric piano for “Carnival Dream.” The band built to an intense drone as she sang of heartbreak, repeating, powerfully and hauntingly, “I may never let love in again.” Having been writing for nearly two decades already, her songs cover the complete range of emotions, and she left us with a love song — my favorite song of hers — “If I Told” from 2020’s Old Flowers. After just this first set, I couldn’t wait to see what other masterpieces Solid Sound would hold.
Courtney Marie Andrews at Solid Sound 2024
Already evening, I headed over to the Joe’s Field stage for the first time. Housing the largest stage at the festival, the field is bordered by trees on the far-side, through which a railroad runs and cargo trains periodically pass through. The field is also the location of James' Turrell’s C.A.V.U., a massive immersive light installation created from a repurposed concrete water tank. Jason Isbell and the 400 Unit played a set that made the most of the hour and fifteen minute slot, showcasing his songwriting and one of the best overall rock bands I’ve seen, now including new bassist Anna Butterss. Somehow I didn’t cry during either If We Were Vampires or Cover Me Up, which was a first for me. They were as emotional as ever, but the good vibes shared among the crowd all day may have lightened the impact for me this time (he’ll get me next time). At 9:15, Wilco took the stage for a special set of “Deep Cuts.” They kicked off the two hours with the 12 minute “On Sunday Morning,” which they hadn’t played in a decade. The 26 song set was full of songs with similarly long absences and even a few live debuts. Tweedy remarked that Solid Sound was the only place they could possibly do something like that set. The crowd kept the enthusiasm up all night, the fans standing in front singing along to songs they may have expected never to hear live again. Tweedy responded to this with “Wilco fans know a deep cut… Some would argue that’s all they know.” The band was excellent, and though I didn’t know a single song that night (sorry) I was very much looking forward to another day at Solid Sound.
SATURDAY, JUNE 29th
On Saturday, there was rain in the forecast, but as I entered the gates, it didn’t seem like the potential bothered anybody. There were more pants and jackets than the day before, but the same optimistic, eager buzz. My day started similarly to Friday, with ethereal sounds floating out from Courtyard C.
FENNE LILY — WEBSITE INSTAGRAM SPOTIFY APPLE
Fenne Lily kicked off her set by wishing us a good morning: “what is it, 7am?” It was 12:04 pm, but I understood the sentiment. Fenne and her band played almost exclusively from her newest album, last year’s Big Picture. She sings softly, but her lyrics can hit hard, introducing one song with “this is a song about extreme discomfort… [pause] They all are.” Fenne had us all laughing between songs, but her delivery within them was deeply emotional, as if she was genuinely reliving the moments she sang about. The band was excellent, guitars and bass intertwining for a beautifully lush sound, especially on the more upbeat songs. Overcoming the early morning start time and a mid-set distraction of a pair of dinosaurs heading towards Joe’s Field, Fenne and band were pitch perfect and had a contagious energy. She complimented us on our enthusiasm for clapping (I’m not sure if she meant Solid Sound or Americans in general), but it was well-deserved adoration from the crowd. Towards the end of the set she confirmed her own love for Wilco and told us “it’s nice to know you have something in common with everybody in a place.”
Fenne Lily at Solid Sound 2024
I’m going to be honest, I’m a super introverted person and really have to psyche myself up to talk to people. I wasn’t sure how talking to fellow festival fans out of the blue was going to work for this project. But what Fenne said is why these conversations have been a little less of a struggle than I expected. At a festival like Solid Sound, we are all there for the music and art. We are all there in the same place to experience the same things. And at Solid Sound, everyone is in a good mood. So the first fans I talked to on Saturday were Joe and Jenny, right after the Fenne Lily set. Joe is a sound engineer and was back for his second Solid Sound. Jenny is a musician and was there for her first. Joe said that even after just one time here, he trusts the curating completely. When listening to the official festival playlist this year, he noticed the presence of more female vocalists on it, which made him excited to dig into those artists. In particular, Fenne Lily was an artist who stuck out to both of them, so they made sure to show up early to her set. Seeing the band live, Jenny loved the dreamy sound of the drums and Joe was struck by Fenne’s on stage personality. They agreed with no hesitation when I asked if they would see her again next time she came around.
RATBOYS — WEBSITE INSTAGRAM SPOTIFY APPLE
As we wrapped up our conversation, it was evident that Ratboys had already started playing on the next stage over in Courtyard D. While the stages aren’t particularly far apart, their big indie-rock sound was calling everybody over. The Chicago four-piece band is fronted by vocalist/songwriter/guitarist Julia Steiner, who played a Flying-V guitar. Much of the set came from 2023’s The Window, which exhibited a bigger sound from the band without abandoning the twangy-twist they have become known for. The courtyard was full and the band had everyone locked in on their performance. The event as a whole attracted a lot of families with small children, but I was especially emotional seeing the amount of little girls on their dad’s shoulders during the Ratboys set.
Ratboys at Solid Sound 2024
Waiting in the auxiliary coffee house line, I talked to Dana about her Solid Sound experience. This year was her fourth. Her family comes from California for the festival, making it a tradition and making it the centerpiece of a larger trip to the NYC area. Though it is a long, expensive trip, the family are all huge Wilco fans, so they keep finding a way to make it back. Her son was seven years old when they first attended, and he now looked to be taller than me. This year, the family enjoyed discovering together both Horsegirl and Horselords on Day 1 of the festival. With my 3rd or 4th coffee in hand, I turned back around to Courtyard C to see yet another much anticipated set.
JOANNA STERNBERG — WEBSITE INSTAGRAM SPOTIFY APPLE
Joanna Sternberg is a virtuosic multi-disciplinary artist. Their musicianship was stunning to see live for the first time and their songwriting might at times seem deceptively simple, but hearing them delivered live will disarm you. Playing solo, mostly with an acoustic guitar and a few on keys, I first heard of Joanna through the Pitchfork review for their 2023 album I’ve Got Me, in which the author described Joanna’s writing as “pain and joy without a punchline.” As much as I love dry-wit, sarcasm, and self-deprecation, Joanna’s honest, poignant songs were just what I needed at that time. Between these moments of total sincerity, their banter had us all laughing together. Hearing these songs live at Solid Sound for the first time was a gift, the crowd was attentive, quiet, responsive, and probably feeling just as emotional as me. This was one of the moments where hearing a song live gives you a total new appreciation for it. I have a feeling I’m going to be on a Joanna Sternberg kick for a while.
Joanna Sternberg at Solid Sound 2024
When the drizzle became a bit of a downpour, I was luckily inside between sets walking through some of the galleries. I am not going to attempt any art criticism, so I’ll just say it is a great museum and well-worth the visit at any time. Inside, I overheard a conversation that piqued my interest. I spoke to Sasha and Jacqui, who were at their fourth and first Solid Sounds respectfully. What had interested me is that the two women came all the way from Australia solely for Solid Sound. Given how seldom Wilco has been to Australia to tour, Sasha decided the trip was worth it back in 2011, her first Solid Sound. She told me about an unforgettable moment that year during Wilco’s headlining set: it was pouring rain and the stage power went out for several seconds mid-song, cutting the sound and lights. But the crowd continued to sing the song in time so that when the power returned, the band picked it up as if nothing had gone wrong. This year she convinced Jacqui to come with her, hoping for more once in a lifetime moments. The rain stopped and the second Wilco headlining set provided one of those moments. A more typical set than the night before, the band played a couple live debuts and their fifth studio album A Ghost Is Born in its entirety. They wrapped up a massive day of music with “A Shot in the Arm,” with seemingly nobody having left early.
SUNDAY, JUNE 30th
When a push notification on early Saturday afternoon let me know Finom was starting a “secret” set in Gallery B5 at 12:30, I immediately headed that way. Gallery B5 is a massive room, currently the home of a piece called The Coast of Industry by illustrator Chris Doyle. The animation slowly scrolls across 300 feet of wall as the creatures work together as a large system like organs of a body or workers in a factory. There are bean-bag like beds scattered throughout the dark room, with people lying down watching the work. The components were sometimes perplexing, off-putting, or funny. I’m going to quit while I’m ahead and stick to music before I bring up a Cartoon Network show in the context of a fine art piece.
FINOM — WEBSITE INSTAGRAM SPOTIFY APPLE
Finom is the duo of Sima Cunningham and Macie Stewart, formerly known as OHMME. Recently needing to change their name due to legal reasons gave them the opportunity to refresh their sound and their new record, Not God, their first as Finom, was released in May. Their music is a bit experimental with unique intertwining vocals and guitars, and watching them play in front of the Chris Doyle piece was mesmerizing, but it was a perfect fit. There’s both tension and urgency in their new songs that seemed to match the unease the animation sometimes provoked. The sound was impressive considering the small set-up and massive room and their harmonies had the entire place captivated. I missed most of the “pop-up” performances for a variety of reasons, but I’m glad I didn’t miss Finom.
FINOM at Solid Sound 2024 in front of The Coast of Industry by Chris Doyle
The AirBnB I was staying at was a bit of a distance away due to my non-committal and general lack of properties in the area. When I arrived for the first time on Friday, a pair of guys staying in the other suite arrived at the exact same time. We met our excellent hosts, and I learned my fellow guests names were Jean-Philip and Olivier. This was their third time to Solid Sound. For the last three iterations, Jean-Philip has travelled from Québec and Olivier from Paris specifically to attend the festival. Later, when I ran into them again, we talked more about music festivals we’ve attended and the two of them agreed that this is the friendliest one they had been to. Regardless of where they came from and the accents they spoke with, they have always been treated as part of the Wilco community first and foremost when at Solid Sound.
IRIS DEMENT — WEBSITE INSTAGRAM SPOTIFY APPLE
Back outside at the Joe’s Field stage, I sat in the grass and listened to the beautiful songs of Iris Dement. She played as a trio with guitarist Ana Egge and bassist Liz Draper. Many of the songs they played came from Iris’s newest album, 2023’s Workin’ on a World, which included the piano-driven title track about appreciating those who did the work to get us where we are today, and about doing the work ourselves to pass on a better world for the future. Iris spoke about her friendship with John Prine and the inspiration she has drawn from him, including her song “Easy’s Getting Harder Every Day.” She told us “she visits with him everytime I play this song.”
Iris Dement at Solid Sound 2024
Just after she wrapped up her set, I talked with a group of fans who were thrilled to share their passion for Iris: Debbie, Andy, and Rick. For each of them, this was their first time at Solid Sound. They were collectively drawn by the combination of Wilco, Iris Dement, and the museum itself. Having agreed they had been listening to Iris for close to 30 years, they had all seen her live many times before. When I asked what had drawn them to her originally and kept them fans for so long, they had a long list to offer, including her unique voice, melodies, and songwriting. They mentioned her work with John Prine as a classic moment in her career, and compared the timelessness in her music and writing to that of Gillian Welch.
In the middle of this conversation, we were informed from the stage that the festival would be shutting down temporarily due to incoming inclement weather. On my way out of the grounds, I walked by the shop selling “It Always Rains at Solid Sound” bumper stickers and hoped this wasn’t going to become a tradition for me too, now happening two weeks in a row. It was about an hour delay and unfortunately the last band I planned to cover, Wednesday, had their set cut due to the time lost. The final headlining set, Jeff Tweedy + Friends, began shortly and featured the Wilco frontman backed by his sons and Finom. The set was loaded with new Jeff Tweedy songs, and early during the set he brought out Wednesday vocalist Karly Hartzman to join him on a song, making up a bit for the cancelled set. The last several songs of the festival were covers, including Friendship by Pops Staples, which was produced posthumously by Tweedy and has become a classic sing along in modern folk circles: “‘Cause we got friendship, The kind that lasts a lifetime, Through all of the hardship, You know you’re a friend of mine.” It was a perfect ending for the weekend, one where I felt completely welcomed by a community I was joining for the first time, but surely not the last.
Thank you to Solid Sound Festival, the volunteers and staff, and all the fans who were gracious enough to share their stories with me!
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