A Wilco Family Reunion

To experience Wilco is to sit at the table with rock ‘n roll’s warmest, most welcoming blended family.  Children grow up and join their parents at the grown ups table, frequent collaborators stop by often, and old friendships are rekindled after years apart. The door is always open, there’s plenty of room at the table and everyone has a turn to sing their song.

Most families have their big reunion, whether it be a summer cookout or a holiday feast straight out of a Rockwell or National Lampoons. Wilco’s great family get together is of course the legendary Solid Sound Festival. This biannual meeting of artists, curated by Wilco, reflects the eclecticism and openness synonymous with the band’s ethos. After the ninth edition of the fest wrapped up on Sunday, fans and performers alike knew that the weekend would go down in Wilco history as a highlight of their storied career. 

On Friday afternoon, North Adams was abuzz with anticipation, for this Solid Sound was to showcase a historic reunion. For the traditional Friday night thematic Wilco set, British songwriter Billy Bragg would join the band for the first ever live presentation of songs from the Mermaid Avenue collections. In 1995, Woody Guthrie’s daughter Nora reached out to Bragg to put music to some of her late father’s unpublished lyrics. A few years later, Bragg approached Wilco to collaborate on the project and add their own unique musical perspective. The first Mermaid Avenue album was released in 1998 to universal acclaim, followed by a second volume in 2000 and a box set of the sessions in 2012. A handful of songs remained a part of Wilco’s live repertoire for the ensuing twenty-eight years, but most of the material would make its live debut by the band on this pleasant summer evening.

By most accounts, the Friday performance has the largest attendance of any single day in Solid Sound’s history. As fans wandered through the gates into the Mass MOCA campus, speculation on song selection, special guests and stage setup, circulated through the crowd. Spectators braved a small shower to catch Billy Bragg’s stellar solo set in courtyard c. His inspiring, socially conscious alt-folk style has captivated listeners for over forty years and received a rousing reception from the Solid Sound faithful. He expressed enthusiasm for finally making it to the festival stating that he had wanted to participate for many years, but this year was the first time that it did not fall on the same weekend as Glastonbury which is in a fallow year. Excitement was at a fever pitch as Bragg finished his set with a call to activism. Some lucky fans made it over to the record vendor to secure one of the few original copies of Bragg’s debut album available for sale. As the rain stopped and the clouds parted, thousands of fans made their way to Joe’s Field to secure a prime viewing spot for the Mermaid Avenue set. A performance decades in the making was only a few short hours away.

At 7:30, legendary British punk rockers Gang of Four fired up the crowd with a blazing, hour-long set. Politically charged anthems such as “To Hell with Poverty” and “No Kings” fit the evenings theme of protest, resistance, and catharsis in a world gone wrong. Both Jeff Tweedy and British singer-songwriter and Mekons lead vocalist Sally Timms joined the band for a few songs, acknowledging their influence over the past fifty years.

Just before 9:30 a large banner displaying Woody Guthrie’s handwritten lyrics was unfurled on stage as equipment was put into place. The intermission playlist faded out as Wilco, Billy Bragg and members of Jeff Tweedy’s family band took their places on stage. “Airline to Heaven” from Mermaid Avenue Volume II kicked off the set with some help from Tweedy’s son Spencer on drums and backing vocalists Macie Stewart and Sima Cunningham. Friends and family together onstage celebrating an American legend, and their own shared musical history. That is the magic of Solid Sound.

Bragg took the lead vocals for “Walt Whitman’s Niece” with Wilco and friends completing the infectious call and response pattern. The tight arrangement of “I Guess I Planted” came to life perfectly, an example of the classic Wilco recipe of energy and precision. Bragg and Wilco bassist John Stiratt’s impassioned delivery of “She Came Along to Me” had the audience singing along and erupting at the timely lyrics. “Same color, same size, working together/and maybe we’ll have all of the fascists out of the way by then” he proposes, noting the timelessness of these words. Guthrie’s lyrics, Bragg’s vocals and Wilco’s instrumentation meet the moment and speak to the hopes of those who take solace in songs.

Throughout the set, Bragg and Tweedy divided lead vocal duties, adding years of emotion and wisdom to the already flawless recorded versions. Bragg’s solo version of “Ingrid Bergman”, Guthrie’s paen to the 1940’s Hollywood legend and Casablanca star conjured ghosts of a black and white America. Tweedy’s melodic gift was on full display for the poignant “When the Roses Bloom Again” and the rolling and romantic “Hesitating Beauty”.

Wilco, always known for their complex and detailed instrumentation, brought that quality to these beautifully accessible folksy tunes in ways that surprised even the most dialed in fans. Multi-instrumentalist Pat Sansone added banjo to “Christ for President” as Spencer Tweedy rejoined the band on percussion. Guitar virtuoso Nels Cline played a great deal of pedal steel guitar and mandolin on “At My Window Sad and Lonely” When he donned his double neck twelve string electric guitar for “Secrets of the Sea” Tweedy, without missing a beat, announced “That’s Woody’s guitar!”. The twelve string jangle, hooky melody and steady drumming by Glenn Kotche suggested a world where The Byrds covered Guthrie as they did Dylan and Seeger circa 1965. A raging version of “All You Fascists” featuring guest vocals by Sally Timms and Jon Langford proved that folk and punk are cut from the same cloth.

In the days leading up to the performance, conversations on social media forums centered around possible special guests for the set. Names were thrown around and predictions were made, but there are always surprises at Solid Sound. Toward the end of the main set, Bragg introduced iconic singer-songwriter Natalie Merchant, who performed on the Mermaid Avenue albums and has carried on the tradition of masterful American songcraft for over four decades. She joined the band on “Way Over Yonder in a Minor Key” and reprised her moving solo version of “Birds and Ships” to an enthralled audience. A moment that will surely be etched in American music history. When the band struck up the rollicking “Hoodoo Voodoo”, Merchant came back on stage to dance and groove, recalling her days as frontwoman of 10,000 Maniacs. Everyone on stage was clearly enjoying the thrill of the occasion just as much as the audience.

Before the touching “Another Man’s Done Gone” Jeff Tweedy took a moment to recognize Jay Bennett, Wilco’s multi-instrumentalist and composer from 1996-2001 who played a huge part in developing the Mermaid Avenue songs. Bennett passed away in 2009. Tweedy told the respectful crowd that he thinks of his fallen bandmate often and wished he could be there to take part in the historic show. The song which Guthrie composed while wondering if and how he would be remembered, was an affecting tribute to Bennett performed by Tweedy and keyboardist Mikael Jorgensen.

The encore set emphasized the family theme of the performance with Macie Stewart contributing violin to “The Unwelcome Guest” and fellow Tweedy band member Liam Kazar taking a verse of “The Jolly Banker”. The project’s most famous and beloved song “California Stars” saw Merchant return to the stage along with a crew of fellow festival performers and members of the Guthrie family. For the last song of the evening Tweedy stated that if they ever do another Mermaid Avenue concert, the following song will have to be included. The all-star ensemble then led the crowd in a sing along of “This Land is Your Land” featuring Woody’s great-granddaughter Sarah, Bragg, Merchant, Tweedy and finally Nora Guthrie who initiated the project. After the last chorus, she reminded the crowd to keep on working and fighting justice and equality. As ten thousand spectators exited Joes Field, they all knew that this concert would be talked about for generations. A show that will be studied by those who will carry on the tradition of song and activism from Bragg, Tweedy, Merchant and Guthrie.

An important aspect of Wilco’s broad appeal to a wide audience is their natural ability to create artistic gems with multiple facades. The alt-country of their early years led to the folk rock of the Mermaid Avenue sessions, followed by over two decades of experimental rock sounds, power pop and lengthy jams, with plenty of returns to their earthy, Americana roots. Their second Solid Sound set on Saturday night leaned heavily into the band’s electrifying jams, deep cuts and art rock excursions. Wilco fans were lucky to experience both sides of their favorite band’s musical makeup in one weekend. Friday night on Earth and Saturday night in the ether.

Before the full band took the stage, composer Bob James, accompanied by Mikael Jorgensen performed a flawless rendition of “Angela”, the theme from the hit 1970’s sitcom Taxi, on electric piano. A timely tribute to famed sitcom director James Burrows who passed away the week before the festival. After James left the stage, comedian John Hodgeman stepped up to the mic for an announcement. “Thank you to the festival audience in beautiful North Adams, MA. Please stay tuned for your local news.” Instead of a news report, a sign off and a test pattern, two hours of Wilco at their most sonically daring was next on the schedule.

The band set the tone for the evening when they opened with the jubilant “Candyfloss” from Summerteeth, recorded a year after the Mermaid Avenue material. This rarely played track exhibits Wilco’s love of sixties inspired power pop with its’ infectious melody and pure rock ‘n roll energy. “Annihilation” from 2024’s Hot Sun Cool Shroud EP and “You Satellite” from Star Wars were next in the queue keeping the dedicated and delighted crowd on its’ toes. Three songs in and everyone knew this was to be a classic Solid Sound fan favorites set. Throughout the evening, the band performed at least one track from each of their thirteen studio albums, plus the aforementioned EP.

Although the turbo charged, electric side of Wilco was front and center for much of the evening, their acoustic sounds still popped up throughout the set. “Forget the Flowers from the 1996 double album Being There was featured as a duet starring Tweedy and singer-songwriter Elizabeth Moen. The song benefitted from a slightly updated arrangement featuring an inspired Nels Cline solo. Tweedy revealed that he wrote “Forget the Flowers” with a duet in mind.  At Solid Sound, there is never a shortage of special appearances and surprise duets. When Natalie Merchant returned to the stage for a simply beautiful version of “You and I”, not a sound was heard from the audience after the initial thunderous applause. With the moon as their lighting rig, Tweedy and Merchant once again commandeered heartstrings and brainwaves with their mellifluous vocal expression

The surprises kept pouring in when Wilco debuted two new songs for the dedicated congregation. The reflective, mid-tempo “Flawed Men “, described by Tweedy as a work in progress, evoked pensive introspection with chord-driven groove. “Losing Traction” featured pedal steel courtesy of Cline and driving bass by Stirratt. A jauntier number, with a snappier arrangement that emphasizes the uncertainty in the lyrics. “I won’t ever get used to living this way” Tweedy sings with a self-assuredness in humanity’s mercurial nature. The acknowledgement of peaks and valleys coexisting had always been a hallmark of Tweedy’s songwriting. A necessary realization for a fulfilling life and relationship with art.

On “Bird Without a Tail/Base of My Skull”, “Art of Almost” and “Impossible Germany”, Wilco’s improvisational jam skills came out to shine. Tweedy, Sansone and Cline each had their turn showcasing their unique guitar stylings and feeding off each other’s ideas. “Bird Without a Tail” has become a centerpiece of the modern Wilco concert since it’s debut at Solid Sound in 2022. Sansone’s clear tone guided listeners through the open-ended missile section toward the minor key breakdown and back home to the final verse. Cline’s solo on “Impossible Germany” had a different feel from past versions as his notes rang out with increased sustain and hung in the air over Joe’s Field. Like any great jazz player, he recognized where the solo called for negative space. Each version of this solo is different, but each is executed perfectly for the moment. “Art of Almost”, the opening track from The Whole Love is the best example of Wilco as noise rock mad scientists. This particular version, accompanied by spellbinding stage lights, mixed delightful distortion, keyboard loops and explosive drums into an exhilarating sonic potion. A cure for any preconceived notions of Wilco’s style.

The band rolled toward their exit off the highway with a version of “Jesus Etc” featuring Macie Stewart on violin. Her contribution added new emotional dimension to an iconically well-orchestrated song. A double play from Sky Blue Sky consisting of “Hate it Here” and “Walken” preceded a roughly ten-minute version of “Kingpin”. The renowned Being There deep cut turned into an intense guitar workout with Tweedy, Cline and Sansone once again answering each other’s musical questions with joyous shouts of six string zeal. By the time the band left for an encore break, the only album not represented in the set was A Ghost is Born, famously played in full at last year’s solid sound.

As the band returned to the stage, another old friend joined the sextet. LeRoy Bach, the multi-instrumentalist who played with Wilco from 1997-2004 joined the band on keyboards for “Handshake Drugs” from Ghost. This was Bach’s first appearance with Wilco since his amicable departure over two decades ago. The evening concluded with “Spiders (Kidsmoke)” another contender for Wilco’s greatest jam vehicle. Nick Sanborn from Sylvan Esso joined in on keys for this last explosion of perfectly harnessed kinetic energy. The entire evening presented a thrilling narrative of the band’s past, present and future.

Per Solid Sound tradition, the weekend wrapped up with a heartfelt Jeff Tweedy and Friends set late Sunday afternoon. Tweedy, his two sons Spencer and Sammy, Macie Stewart, Sima Cunningham and Liam Kazar brought songs from last year’s Twilight Override to life to help send the crowd home with a collective smile. Tweedy joked with his family band and the crowd about Sammy’s finnicky korg keyboards eliciting laughter from all involved.

After the main set, Tweedy introduced the band, each of whom he had known since they were children “two of them even before that” he remarked, looking toward his sons. He summed up the mission statement of Solid Sound by telling the crowd to “go out and make shit with your friends!” and that “joy is defiant”. Inspiring words for anyone who has ever wondered if art can make a difference in their personal life, their community, or the world.

A touching cover of Pop’s Staples “Friendship” had Sima, Spencer, Sammy and Jeff all sharing vocals with reassuring familial unity. Guitarist Ella Feingold sat in for the show's wholesome home stretch. The rest of Wilco, joined by Hannah Cohen and Sylvan Esso’s Amelia Meath, joined the band for a joyous cover of Donna Summer’s “Hot Stuff” which Tweedy dedicated to his wife Susie. The ensemble, not yet ready to end the celebration, struck up John Denver’s “Country Roads (Take Me Home)” a request from a Mass MOCA official named Crystal who is instrumental in organizing the festival every two years. To close out the weekend, which may go down as the greatest Solid Sound of all thus far, the family of artists chose Bob Dylan’s “You Aint Goin Nowhere”, famously covered by The Byrds, to wish their loyal listeners safe travels until the next time. Members of this large, wonderful musical family will surely see each other over the next two years, but starting today, we are all counting down the days until the next reunion in North Adams in 2028.