Take Root Festival 2023
De Oosterport,
Groningen,
The Netherlands
Saturday 4th November 2023
It’s Always One to Buy a Ticket or, Even Without Knowing the Line-Up!
Originally located in nearby Assen and moving to Groningen after nine years, The Netherlands’ esteemed Take Root Festival was this year celebrating its 25th anniversary in its now regular location of De Oosterport – a multi- function arts and conference centre in the city, on the banks of a canal.
Inside the main venue are several rooms, of varying sizes – the festival runs from 4pm to midnight and there are no gaps in the programme – which leads to having to make choices on quite a few occasions, painfully so when two acts that you want to see, overlap, or perform at the same time, in different rooms within the main building.
Add to that the logistical issues of actually getting into some of the venue rooms when popular acts are playing and it means that most spectators are happy going to only see perhaps 2-3 full performances and then dipping in and out of others when they can.
How frustrating that can be depends on individual taste, but as the line-up is usually stellar, it can be quite annoying as there are always clashes … and so it was this year.
This reviewer had made a rough plan of who he wanted to see, but had to be pragmatic and logistically prepared to go with the audience flow to catch most on his wish list.
Starting the day, Jerry Leger and the Situation kicked things off in fine style in the foyer playing a lot of new material – but was up against Willi Carlisle in the 300-ish capacity Binnenzaal, which quickly packed out and meant that I couldn’t get in to check on him myself – those who did, said that he delivered a fast-paced set tailored for the festival, with perhaps fewer longer contextual anecdotes than usual.
Part way through Jerry Leger’s set I had to leave to get front of the queue to get a good photo spot for Kassi Valazza who was playing in The Attic room – which is seated and holds maybe a couple of hundred. Having seen her twice already on the current tour, it was fantastic to see and hear her and her band mates, Lewi Longmire on guitar and lap steel and Tobias Berblinger on synth/keys, with a top notch sound and light setup.
You could hear a pin drop throughout – a mesmerising performance of melodic Cosmic Folk that’s a fabulous mix of English, Irish and West Coast US influences.
One of the highlights of the day for me and as one audience member near to me said “worth the entrance fee on its own”.
Next it was an unsuccessful dash to try and get into the Kleine Zaal room to see Fantastic Cat – the 500+ space, with lecture theatre type racked seating, was packed to the gills.
Obviously word had gotten round from their European performances earlier in the year of their entertaining live act, reminiscent of the 90’s act Jellyfish in sound, but with added energy and harmony. My spies told me that it was another well-received performance.
First swerve from the cunning plan of the day meant that I dipped into the Grote Zaal room – the biggest room in De Oosterport, holding over 1000 – to catch Josh Ritter who was continuing his “Hello Starling” 20th anniversary tour in the festival setting.
Ritter’s preppy enthusiasm was well in evidence, as ever.
Then it was back out to the foyer to catch the return of Sarah Shook – last time she played on the same stage in 2018, was the commencement of a lifestyle change to one of sobriety according to Ms Shook – the result – she and her band are one of the tightest and punchiest outfits on the road today and even though her voice was a little low in the mix, it was enough to convince me to see her again on her imminent *UK visit.
I also had to leave this performance part way through too, as I wanted to make sure of a spot back in the Kleine Zaal for the much-anticipated Ian Noe.
As soon as I spotted that the audience were making their way out from Fantastic Cat, that was my cue to get moving.
Arriving early, meant that I was in place for Noe’s soundcheck and got treated to a snippet of John Prine’s “That’s the way the world goes round” – which was a telling choice, as Prine’s former bass player Dave Jacques was in Noe’s band, a connection presumably made when Noe toured with Prine.
For me, this was again a highlight – Noe’s mix of songs from “Between the Country” and “River Fools and Mountain Saints” as well as a couple of new tunes, played with the band – and unexpectedly solo when an acoustic guitar string broke and he had to revert to solo electric with some bass textures from Jacques – were riveting in both their rough-hewn delivery and literary veracity.
There’s a John Prine sized hole on the live circuit – and Ian Noe is ready to fill it.
Leaving the Kleine Zaal, I caught The Pink Stones on the Foyer Stage – I’d seen them the night before supporting Garrett T. Capps in the Vera club, in the city centre and they again delivered an enthusiastic dose of Southern Country Soul and Boogie.
Friends who’d seen them in Nashville at Americana Fest lamented the fact that they didn’t have their Stateside line-up which included a keyboard player and extra guitarist, which meant that the sound didn’t quite match the dynamics of their recent album “You Know Who” – but satisfying and crowd-pleasing nonetheless.
A quick dip back into the Grote Zaal allowed me to catch the first part of Tami Neilson’s set – her rambunctious rockabilly might have been better suited to the sweatier confines of one of the smaller rooms, but she still gave it her all in the cavernous main room.
Final act of the day, as it transpired for me was the rare chance to see the Old 97s up close on this side of the pond.
There were several hardcore fans in attendance who lapped up their melodic energy, which in turn spread through an appreciative crowd – a good example of the right act on the right stage.
… and that was my Take Root 2023 – it would have been equally as satisfying to someone else not to have seen any of the acts I saw – apologies to Lisa O’Neill, Robert Finley, Jim White, Leyla McCalla, Dylan LeBlanc, William Prince, The Brother Brothers and Fantastic Cat who I was simply unable to see due to my inability to clone myself!
Discussion in the pub(s) afterwards once again focused on everyone’s highlights – and how the logistics and clashes might be alleviated – maybe costs preclude this being a two day festival, or maybe even a midday start to create some food, drink and merch purchase breaks – for the fifth year in a row I didn’t have time to get any food for fear of missing out on what I wanted to see… but will I come again?
Try and stop me. The organisers of Take
Take Root have immaculate musical taste and it’s always a Festival to buy a ticket for, without even knowing the line-up – and there aren’t many Festivals you can trust in that way.
*Editor’s note – I saw Sarah Shook last year in 2022 and can attest to how good she is live and well worth going out of your way to see her!
Review by Nick Barber
Photos by Nick Barber – https://flic.kr/s/aHBqjB2osH
The Rocking Magpie 