Richmond Folk Festival makes room for music, culture and community
From go-go to a hometown D’Angelo tribute, the riverfront gathering celebrates traditions and the people carrying them forward.
By M. T. Bostic
The Richmond Folk Festival gives people plenty of reasons to gather along the riverfront. Music brings them toward the stages, but the experience extends into spaces for crafts, family activities and time outdoors. This year, even construction on Brown’s Island did little to diminish that appeal.
The festival’s spread-out layout worked in its favor. Busy performance areas gave way to places where attendees could step back from the crowds and enjoy the scenery. Organizers made good use of the available grounds, keeping construction from becoming the defining feature of the weekend.
Across its Oct. 9–11 program, the festival brought together traditions ranging from Tibetan music and dance to Irish music, Puerto Rican bomba, Chicago blues and go-go. That breadth is central to its identity: a gathering where different cultures share space and audiences have opportunities to hear something beyond their usual listening habits.
Saturday’s Chuck Brown Band performance on the Altria Stage captured the enjoyment that makes those encounters worthwhile. The band blended R&B, rock, funk and soul with go-go’s rhythm, getting people excited through a sound that could move between genres while keeping its rhythmic footing.
Led by Wiley Brown, son of the late Chuck Brown, the Washington, D.C., band continues the tradition of the musician known as the “Godfather of Go-Go.” The festival’s artist profile describes a music built around percussion, audience participation and a continuous groove. Saturday’s set offered an enjoyable example of that tradition’s ability to bring people into the performance.
Richmond’s own musical connections came into focus during “Soul of the City: Richmond Celebrates D’Angelo” at Allianz Amphitheater. Organized by Randall Cort and Kia Bennett, the tribute brought together mentors, collaborators and musicians influenced by the Richmond native’s work. Bill McGee served as creative director, with Carl Lester as musical director.
The gathering said something about the city before a song was played. Musicians with their own careers and followings made time to come together around a shared influence. Their participation reflected the unity within Richmond’s musical community and D’Angelo’s continuing place in it.
The tribute itself was clean and straightforward. Performers retained his harmonies while conveying the songs in their own voices. “Chicken Grease,” “Brown Sugar” and “Spanish Joint” were among the selections, with “Spanish Joint” standing out for its danceable feel.
The most beautiful moment came during “Untitled (How Does It Feel).” People danced with joy visible on their faces. The emotional force came from hearing familiar music together and watching others respond to it. D’Angelo’s legacy was present in those reactions as much as in the performance.
Beyond the music, the children’s and cultural areas offered visual arts and crafts, while food vendors added to the choices across the grounds. Friendly people and room to enjoy the outdoors helped make the festival feel welcoming.
That combination explains the Richmond Folk Festival’s place among RVA’s premier annual gatherings. It showcases cultural diversity while making room for local pride, discovery and simple enjoyment. For those who have never attended, it deserves a place on the calendar. The music is a reason to come; the larger experience is a reason to return.
