Nonetheless, there’s still plenty to revel about and be excited for as Forecastle Festival maintains its status as Kentucky’s largest annual gathering of music and art. On the this year’s official lineup of musical artists with Kentucky roots we’ve got 1200, Joan Shelley and Louisville Orchestra Director, Teddy Abrams & Friends, who will likely feature a variety of other Kentucky musicians during his set. In 2015 there were five artists, including My Morning Jacket, who hailed from the Bluegrass State, but this year it’s been reduced to only three, which is another aspect of the festival’s inevitable evolving trend. The Dwindling Local ElementĪs an advocate for all things Kentucky, this writer would be remiss to note how our largest home state music festival seems to play host to fewer and fewer “Kentucky” musicians and artists, as each year passes. Now fully orchestrated by Knoxville’s AC Entertainment (producer of Bonnaroo & Sloss Music Festival), Forecastle Festival will once again take place on Louisville’s Waterfront Park this weekend, from July 15-17th. Drawing a few hundred people nonetheless, festival founder JK McKnight made it all work on a budget of less than $500.įast forward to today, and this little grassroots festival has steadily evolved itself into a corporate-controlled, behemoth midwest tourist attraction, drawing thousands and thousands of festival-goers from 49 states and 12 countries. Located in the heart of the Highlands neighborhood in Louisville, Kentucky, the first Forecastle was comprised primarily of local artists and musicians who all performed for free.
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Once upon a time, in July of 2002, a grassroots-organized neighborhood gathering of music, art and activism took place in a quaint little patch of grass in the Fredrick Olmsted-designed Tyler Park. Eternally Even manifests itself as a progressive experimentation and peek into James’ own unpredictable psyche. The album’s title track triumphantly culminates as the last track, and maintains the album’s avant-garde feel. 2 of the same song fuses James’ alto vocals. 1” provides a gratifying, mid-album transition into the second half of the album, where Pt. The instrumental prowess of “We Ain’t Getting Any Younger Pt. Along with a host of other loathsome politically-charged realities. Is he talking about the presidential election? The fear-mongering media? Most likely. A reality that seems rather glum and bummed out, as “Same Old Lie” spells out with candid reverberation via a swanky chorus. The payoff is a bit more darker and somber in overall resonance than perhaps anything he’s recorded, even with My Morning Jacket.Īs usual with James, these songs are deeply personal, and reflective of his own personal views on life and our reality in the present day. Where Regions of Light & Sound of God was 2013’s melodic, tenor-based, happy trip thru musical serenity, Eternally Even delivers a more rhythmic, synthed-out, acid-jazz sound that’s laced with R&B and soul undertones, and accentuated with James’ unconventional baritone vocs. On his sophomore solo album, a follow-up to 2013’s Regions of Light & Sound of God, James’ delivers a set of tracks that once again proves he’s still in a state of evolution. Not only as the frontman and chief song architect for My Morning Jacket, but as a solo artist, too. It’s constantly evolving to say the least. Jim James has cultivated a reputation for being an experimental musician, not pledging allegiance to any one style of sound.
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