Two stages, 14 acts, and 13 hours of music over the course of two days. On a farm. A farm that’s a brewery. In idyllic, let’s-call-it-early-autumn Accord, NY. With food trucks. And vinyl records. And good vibes. And nice people. And lots of merch. Did I mention there was craft beer?
Assisted by two days of perfect weather, the annual Woodsist Festival, curated by the band Woods in partnership with Impact Concerts and Ground Control Touring, was music heaven for Gen X and Millennial music heads.
Here’s a top-ten list of highlights from the event, which took place on Saturday, September 20 and Sunday, September 21.
10. Arrowood Farms: the venue, beer, and food
The Woodsist Festival was founded in Brooklyn in 2009, but Arrowood Farms brewery and distillery in Accord has been the annual venue for the weekend-long event since 2019.
This was my first trip to Woodsist, and Arrowood lived up to its reputation as a relaxing spot in the woods. Parking was a breeze, the security staff (regulars to those of us who frequent Bearsville Theater) were cool, and getting in was no problem.
Draught and canned options of Arrowood’s own brews were easily obtainable and reasonable (these days) at $10 a pop. I stuck with the Accordian Pilsner on draught (I’m over IPAs), which was as crisp as the evening air and as farm-fresh as you’d expect. The canned options featured Edward Gorey-esque sketches of adorable creatures that would be the envy of any beer can museum.
Food options were also plentiful. You could snack on Kerhonkson’s own BjornQorn Sun-Popped Popcorn (who took full advantage of the sunshine on Saturday offer a demonstration), grab a slice of pie from The Pie Lady (maple custard was the recommendation), or pay $14 for a grilled cheese from The Grilled Cheese Guy (which I did –- I’m not very financially responsible). Lines were never too long, and you could get a gyro or a wood-fired pizza in the 10 minutes between bands without too much of a problem. Same goes for the several water-refilling stations which were easily accessible.
The VIP area was ample, but honestly the general admission areas never felt overcrowded, even though the event was well-attended. And, I never had to wait for a portapotty – it was just a comfortable indie festival put on by musicians that know how to do it, and a refreshing experience after a summer where I did hit up a few corporate produced shows that were oversold (those make me anxious).
The mainstage was backed by an iridescent green stand of trees, which was its own kind of natural set design, and the second stage was a rad camper stage provided by Ramblin’ Rose Stage Coach Mobile Stage. This made it feel even more like we were all camping out, even though staying the night wasn’t allowed at Woodsist, and things came to a close relatively early at 9:30 each night (good for aging hipsters and their children, I guess).
Kids, and there were plenty of them at the fest, could play in the bounce house, sword-fight with glow sticks, feed the chickens and roosters, or run like mice through a maze of taller adults who were watching a concert while they were trying to play. I wouldn’t have brought my five year old daughter to this, but plenty of other people brought theirs and there was a generous area for chairs and blankets that never seemed in the way of the standing only section.
9. Record pop up curated by DJ Harlan & Freakout Spot
Hudson Valley DJ Harlan Levine, host of the roving Side x Side Record Fair pop ups, invited several vendors to the festival including Stanfordville’s Not Donuts Records, Livingston Manor’s Jitterbug Sights & Sounds, and Accord’s own Freakout Spot, which opened in January. These are all quality and knowledgeable record peddlers and their wares did not disappoint.
Freakout Spot’s owner Rob Davis prides himself in selling “only good records” and his shop right on 209 in Accord is worth a drive. It’s rare to see original African pressings of Fela Kuti or William Onyeabor in the bins of an upstate shop, but Davis (who sources his records from all over the world) had these in abundance along with an extensive collection of punk 45s. And his prices were more than fair. My favorite part of his shop was that he put low, low prices on some entry level record collector classics like Neil Young’s Decades or The Plasmatics New Hope for the Wretched with tags that read “For 21 and under only”.
For those inclined, there was also vintage clothing and jewelry available at the festival, along with the expected band and festival merch.
8. Bootleg
Festival sponsor Bootleg offered one of the coolest services at Woodsist – a way to take the music home with you in your pocket.
Attendees were given commemorative tickets as soon as they made it through the gates. These tickets, which made for a nice keepsake, included a QR code that linked to the Bootleg app.
The app then allowed attendees an opportunity to purchase high quality, licensed audio of the sets once they are mixed and mastered by Bootleg (usually about 72 hours after the show). The app was easy to use and on Saturday night, I couldn’t resist forking over $14.99 for The Cosmic Tones Research Trio’s set.
Bootleg is reminiscent of the old Instant Live CD offerings made back in the late 2000s and 2010s at jam band shows, but the app also combines elements of social media that truly are reminiscent of tape trading and bootleg vinyl culture without a need for all the extra gear. Everyone has a phone and can take part in this process – attendees can even upload photos and videos from each set, which adds a social media element of interactivity that would be impossible in a physical format.
Purchasing a set of music means you also have access to all of the photos and videos in a handy folder so you can remember great moments of one-off improvisation, or gain access to the shows you FOMO’d over. I’m a physical media and analog champion, but even I was won over by this unique idea.
According to Bootleg founder Rod Yancy, an entrepreneur from Tulsa, OK, the company has already established licensing agreements with some major labels and is looking to continue to expand its offerings. Yancy, who said the company has already worked with Woodsist headliner Built to Spill, envisions Bootleg as an opportunity for artists to receive better profit-sharing models than traditional streaming services provide. He also hopes that Bootleg can reach audiences in genres outside of the traditional tape trading jam scene – I could see this service working particularly well in the free improvisation, jazz, or noise scenes where every show is a unique experience and artists are woefully underpaid.
The Medeski Martin Duo (John Medeski on keyboards and Billy Martin on drums) set from Sunday night would be a good Bootleg download.
Their funky free improv set placed two masters in conversation with one another. Martin was a kid in a percussion candy store using pill bottles, shakers and all manners of homemade bang-on-a-can percussion instruments in addition to electronics, loops, and a wooden flute.
Much of the set dipped its toe into the Bitches Brew cauldron. The mood went from free, to funky, to tribal to ambient depending on whether Medeski wanted to go off on the Hammond B-3, the Rhodes, clavinet, or his synthesizer.
I’d love to see Bootleg embraced at a festival like Wilco’s Solid Sound (where I first saw an MMW set years ago), hosted every two years at Mass MOCA. While Wilco is able to provide fans with their Roadcase series, most “undercard” bands can’t afford to do so, and it would add a creative wrinkle to a curated festival that keeps outdoing itself.
My festival buddy Jason was also enthused by the simple idea of providing fans with a physical ticket in an era where our QR code Apple Wallet tickets aren’t exactly something nerds like us can collect.
Bootleg is an exciting startup because it feels like the people running it have the right idea: fans like to own their music and support artists, but not everyone needs the 2000 vinyl LPs that I have in my basement.
7. The Openers: Merce Lemon & Dougie Poole
Merce Lemon’s opening set on Saturday got off to a slow start partially due to some sound mixing issues and her out-of-tune guitar, but that all turned around when the band covered Bonnie “Prince” Billy’s “I See a Darkness” in spectacular fashion. Lead guitarist Reid Magette’s crystalline tone shined in dynamic support and Lemon’s hipster croon was the perfect match for Will Oldham’s timeless psych-folk tune.
Then Pittsburgh’s, Lemon served up two songs that you could put right up there with the best of Will Oldham or any other songwriter: “Backyard Lover” is top-shelf alt-country in the Waxahatchee and MJ Lenderman vein and “Foolish and Fast” is my slow building favorite off of her 2024 album Watch Me Drive Them Dogs Wild (Darling Recording). The song starts quietly with only Merce, her guitar, and her haunting voice before building to crescendo in the memorable chorus with its descending riff.
Sunday’s opener Dougie Poole also keeps the alt-country torch alive, but his recorded output blends a countrypolitan sound, and sharp verbal turns of phrase, with woozy electronics. Gone on Sunday were the electro-pop embellishments though, as Poole was in full electric-Neil Young mode with a couple guitars, bass, drums, and his occasional harmonica necklace.
His straightforward version of “Los Angeles” was a reminder of just how well his baritone voice matches his song stylings. The same could be said for a soulful cover of “Dark End of the Street”. His vocals are reminiscent of Waylon and Sturgill for sure, but Poole’s storytelling reminds me more of early Drive-By Truckers material.
At the merch table, I had to ask Poole if he’d ever considered selling songs to Nashville and he said he gets asked about it sometimes and would be open to it, but it just hasn’t happened. I’m not sure the right people will read this, but with a song in his repertoire like “Heaven Sent an Angel and We Got Stoned” I think it’s safe to say that Poole shares some songwriting DNA with Kristofferson and Cash. Poole mentioned that the cleverly-titled track appears on his live album At Tubby’s, which documents a September 2024 show at the esteemed Kingston hangout.
Set closer “Vaping on the Job” should be on every dive bar jukebox in the country and it’s a novel in a song. Just stop reading and listen to it now.
6. Bands of the 2000s: Woods, White Fence, Vivian Girls, & Panda Bear
Full disclosure – I’m 40. This means that for a chunk of the weekend, I felt pangs of nostalgia for my days as a college radio DJ. That was when the music of Woods, White Fence, and Vivian Girls was happening and I was discovering their material on promo CDs.
That Jeremy Earl, the leader of Woods and one of the prime curators of the festival, brought some of his friends along to Woodsist came as no surprise, but it also made me proud of my late Gen-X, early Millennial roots. Sure there were boy bands and Britney, but the 2000s also boasted a bevy of bands who bore the 60s sound of The Velvet Underground, the dreamy 80s sound of Galaxie 500, and the psychedelic drone of Spacemen 3.
Woods’ Saturday set of cheerful, retro psych-pop leaned heavily on material from 2016’s City Sun Eater in the River of Light. “Morning Light” boasted a country lilt that paired well with Earl’s willowy falsetto. The darker “Sun City Creeps”, with its sinewy, African-inspired guitar part was darkly soulful, and “Hollow Home” boasted an effect’s heavy guitar riff reminiscent of Dinosaur Jr.’s cover of “Just Like Heaven”.
But for me their tune “Where Do You Go When You Dream?” was the most appropriate considering Earl and company have turned Woodsist into a yearly oasis where music fans can forget the serious problems of the world and come to a beautiful setting surrounded by like-minded people. To say the vibe and people at Woodsist are chill is maybe an understatement. The frictionless, polite crowd was there to listen and even though the event was at a brewery, I legitimately only saw a single drunkard who haplessly kept annoying everyone for a lighter (but even he was harmless and was eventually corralled by his embarrassed partner).
Former Woodsist label-mates White Fence and Vivian Girls also brought their “retro” 2000s sounds to Sunday’s lineup.
Tim Presley’s White Fence (sans frequent collaborator, and garage punk darling Ty Segall) played his jangly Rickenbacker guitar to the mid-afternoon main stage that recalled The Byrds, The Velvets, and Spiritualized.
And despite Vivian Girls’ blend of 60s girl group sounds and Ramonesy garage punk, they were the band that brought me back to the late aughts the most, when they were the buzzed-about band in Williamsburgh. In fact, Vivian Girls played the very first Woodsist Fest which was held in Brooklyn. Bassist Katy Goodman, now a mom, mentioned that Sunday’s gig was the first time her child would have a chance to see her play live. And you know what? That kid got quite a show as Goodman and company crushed “Sixteen Ways”, “Never See Me Again”, and “I Have No Fun”, all songs that bring me back to carefree college days. This was evidence that Woodsist is as much of a nostalgic reunion as it is a music festival.
Saturday’s headliner Panda Bear might be the most currently relevant artist that I’ve lumped into the “2000s bands” category, if only because he released the excellent LP Sinister Grip (Domino) back in February. Panda Bear (born Noah Benjamin Lennox) cut his teeth with Baltimore’s experimental psych-pop outfit Animal Collective, who released one of the biggest albums of the late aughts with 2009’s Merriweather Post Pavillion.
Panda Bear did sprinkle in Animal Collective tunes like “Guys Eyes” as well as some of his remix work. A rad video display was an entertaining backdrop for the band. The visuals were at their most intoxicating when Panda Bear played the Brian Wilson-esque “Take Pills” (side effects warnings and capsules swirled in screensaver beauty on the screen).
The songs from his new record came across best in what I felt was otherwise a lackluster set where Panda Bear’s vocals were often buried in the mix and mired by sound issues. At times, the midtempo songs merged into a samey stew of guitar strumming.
However, new songs “Ends Meet”, “Virginia Tech” and especially the 60s-pop of “Praise” had me head to the parking lot and fire up Sinister Grip on Spotify for my ride home. That album is a beautiful piece of art rock (hear the song “Defense” for evidence of that).
5. W.I.T.C.H
Seventies Zamrock legends W.I.T.C.H. (an acronym for We Intend To Cause Havoc) played an energetic and danceable mid-afternoon set on Saturday.
Opening with the motorik beat of “Devon Cole”, singer Emanyeo “Jagari” Chandra quickly established himself as my favorite frontman at the festival. His soulful lead vocals and use of audience participation got the crowd moving as the winding wah-wah guitar leads and big keyboard sound of Patrick Mwondela met the rhythm section to create polyrhythms.
In other words, that’s the Zamrock sound – a sound that blends African pop with psychedelia and funk.
“Living in the Past”, the singalong “Nazingwa”, “Evil Woman”, and “Lazy Bones” are all stone cold W.I.T.C.H. classics from way, which appeared in the set, but the band also has a solid new record that blends Zamrock with electronics. The album, entitled SOGOLO just came out in June on Partisan Records.
4. Joanna Sternberg
At a festival as curated as Woodsist, you encounter more than a few people who look to be engaging in music festival Halloween. Ironic hats and t-shirts abound (I’m guilty too) and more than a few of the artists have an air of detached cool. Perhaps that’s why Joanna Sternberg’s direct, emotional, and real set was so refreshing on Sunday. Sternberg is an American original and my favorite of the songwriters I encountered at Woodsist.
With just their D-15 and their voice, the Manhattan-based Sternberg opened the set with “I’ve Got Me”, the title and opening track off of the 2023 record of the same name (complete with incredible cover art by Sternberg that brings the music and visual work of Michael Hurley to mind). “I’ve Got Me” is indicative of Sternberg’s style: they take distinctly familiar folk and gospel melodies and pair them with honest, introspective, and sometimes depressing or self-deprecating lyrics.
Sternberg’s banter was the most endearing of the festival. Over the course of the 50 minute set we learned about the confusion Sternberg faces living in an artist’s high rise around other temperamental musicians (“Neighbors). We also learned that Sternberg, who often toils at their music in the bedroom of their apartment, doesn’t like to go outside much, which they said explained their complexion and the pure fantasy of the nature lyrics in “Country Dance”.
While people are quick to make Daniel Johnston comparisons when Sternberg comes up in discussion (and there’s certainly some merit to those), Sternberg is an accomplished and trained musician who is mining a gospel tradition as evidenced in her soulful piano playing (see “Mountains High”). People may scoff, but to me, Sternberg is an outsider art version of Carole King – a songwriter who also turned simple gospel chords and direct lyrics into Brill Building hits, Motown singles, and later made Tapestry, a staple in the record collection of my mom and everyone else’s.
When Sternberg, who played the majority of their set with their eyes closed, stood up to play piano, they bonked their head on the microphone, and they were visibly embarrassed. They also complained about their singing throughout the set since they hadn’t played a live show in a while and they were just getting over COVID. These apologies weren’t necessary as Sternberg was in supportive company — the crowd loved Joanna. You could hear a pin drop when Sternberg began crying while playing “My Angel” about a friend they lost in 2025, which Sternberg categorized as “a horrible year”.
But Sternberg has not totally lost their sense of humor – the crowd delighted in a jazzy take on “Old MacDonald Had a Farm” that referenced the ever-present Arrowood chickens and the farm beer too!
Things are looking up as Sternberg recently had “Country Dance” featured in the end-credits of the film Between the Temples. Sternberg also mentioned they are working on recording a new album for Fat Possum Records.
Sternberg rightly asserted that music is medicine and that audiences are “the muses”. Certainly Sternberg’s set, which closed with a tribute medley for The Pogues’ recently departed Shane MacGowan (“I Will Be With You”/Without You”), was medicine the audience was looking for at Woodsist.
3. Dean Wareham plays Galaxie 500
Dean Wareham and Britta Phillips are cool. They look cool, they sound cool, and they are even cooler when they decide to play a set full of Galaxie 500 songs.
The sound issues of Saturday were so improved on Sunday and Wareham’s Gibson ES-335 semi-hollowbody sounded incredible, particularly in its conversation with locked-in rhythm guitarist Skylar Kaplan who can strum with the best of them.
Sure Galaxie 500 gets lumped into the dream pop genre, but Wareham’s projects have always been indebted to both New Zealand bands like The Chills and The Velvet Underground. I’ve long said that after Lou Reed passed, The Feelies, Jonathan Richman, and Dean Wareham are the three acts most in the VU lineage. So, if you liked strumming guitar music, this set was for you. Wareham, who’s been on a small tour of upstate NY with stops in Buffalo and Rochester, joked that when he was making this music back in the late 80s, he never thought he would ever play this music at a farm brewery.
The band wasted no time breaking into “Flowers”, the first track off of their 1988 debut record Today. On “Flowers” Britta Phillips’ beautiful bass tone underpinned Wareham’s ghostly-detached vocal. They followed up the opener with another early song “Temperature’s Rising”. The group also played my personal favorite “Tugboat” from that most excellent debut LP.
The guitar interactions between Wareham and Kaplan continued in set highlights, “Blue Thunder”, Snowstorm”, and “Fourth of July,” which Wareham remembered as “a song off the difficult third album” that he could have an entire “therapy session” about. The guitar playing was all the therapy anyone needed though.
The group’s set closed with their cover of the Joy Division/New Order song “Ceremony” which Galaxie 500 recorded for their second record. And then drummer Roger Brogan launched into the Mo Tucker beat for the classic Luna track “23 minutes in Brussels.” As great as it was to hear the Galaxie 500 catalogue, it was cool of Dean, Britta, and the gang to play one Luna song for fans like me.
2. Cosmic Tones Research Trio/Rose City
Two Portland, Oregon bands were among my most anticipated sets of the festival and they did not disappoint in their performances on the smaller stage, Saturday.
First up was Cosmic Tones Research Trio. The band (Roman Norfleet on sax, percussion, and vocalizations; Harlan Silverman on cello and percussion; and Kennedy Verrett on electric keys) takes the cosmic music of Sun Ra and Pharoah Sanders and mixes it with new age ambient (think Eno) and the minimal classical music of Philip Glass to create something very much its own.
Norfleet, a prolific musician with a number of jazz projects in Portland, was a wonder, speaking in tongues, giving thanks to the ancestors, reciting poetry, and playing his alto sax sweet, gospel-soulful, and late-era-Coltrane free. He also dealt in repetitive ostinatos that recalled Glass’ soundtrack work on Koyaanisqatsi.
Silverman’s cello gives a chamber sound to the group when he bows it, but when he plays in a pizzicato style, he transforms the instrument into the funky low end like a bass. He was the foundation of the group, keeping them rooted to Earth while Norfleet was doing his cosmic thing.
Verrett splashes Fender Rhodes inspired chords that are as much new age as they are funky gospel and he’s not afraid to wander into free percussive territory either. Verrett and company also look like they like what they are doing. I won’t forget his smile as he appreciated what his bandmates improvised – this is music as healing that feels good. As Norfleet said, for Saturday’s set, they had a plan but they were also going to “let the spirit move us the rest of the way”.
“Ba Hi Ya”, off the group’s second soon-to-be released self-titled album on Mississippi Records found Norfleet splitting his time between soulful vocals, breathy alto sax, dancing, and hand percussion. At other times in the set, Norfleet was a man possessed by the spirit, and his vocal utterances rang out like an Albert Ayler blast of unleashed sound.
The set closed with “Sleeping Planet” off last year’s All is Sound, one of my most-listened to records of 2024. Norfleet implored the crowd that the planet was “taking a rest from war, from hate”. He went on to say that the planet needed to “sleep well, rest well, be well” and that we all needed to breath: “[This is the] human experience. You could have been anything. You could have been a flea. Shout out to the fleas. To have consciousness is something special…why waste it on hate?”
Fellow Portlanders Rose City Band, led by Ripley Johnson, brought their laid back, country-fried psychedelic sound to the second stage a bit later in the afternoon on Saturday.
Effortlessly cool, Johnson boasts an incredible mustache, and he uses his equally robust pedal board to give his Strat an atmospheric sound. Paul Hasenberg’s Korg Prologue synth and Nord Hammond clone provided for several inspired solos, but the group’s touring pedal steel player (sitting in for usual picker Barry Walker) was the star of the show. On “Rolling Gold”, Johnson turned to the sound man and asked him to turn up the pedal steel, for good reason – as my photographer told me, he sounded (and even looked) like a young, beardless Jerry Garcia in his NRPS days. His solo on “In the Rain” was one of the finest instrumental moments on Saturday.
“Wildflowers” recalled wide open, hazy desert spaces and the Bo Diddley beat of “Moonlight Highway” continued the conversation between the envelope-filtered guitar, keys, and pedal steel.
As Rose City Band’s set came to a close, a fan yelled out “one more hour”, and I had to concur. Heck, I would have been okay listening to Johnson and company all day – hazy, sunny day music on a perfect day for it.
1. Indie Rock Royalty: Sebadoh & Built to Spill
Sebadoh’s set started with an incredible sequence of songs: “Magnet’s Coil” into “License to Confuse” into “Rebound” into “Skull”. Does it get any better than that if you like Lou Barlow?
But Barlow, who joked that his band peaked in 1996, but is still being invited to play places, was plagued by the sound man for the duration of its punk rock set and the amusing conflict became perhaps the best subplot of a festival that was otherwise drama-free.
After “Magnet’s Coil,” Barlow walked up to some parents who had their kids in the front row and told them that they should move their kids out of harm’s way of their loud volume. This moment displayed Barlow as a caring parent (and one that seemingly cared more than the parents who refused to move).
Then Barlow tried to appease the crowd when people started complaining that they couldn’t hear his vocals Lou solved that problem by just propping his vocal monitor on its side and pointing it at the audience.
The real drama started when the affable Jason Loewenstein moved to guitar and Barlow moved over to bass just as the sun went down. Because the mobile stage did not have any light rigging, an LED spotlight was pointed right in Barlow’s face. He asked the sound guy to do something about it, to no avail. At times, Barlow turned his back to the audience like in his early, shy Dinosaur Jr. days. Other times he bent to his knees, hiding behind his epic mane. For other tunes, Lou hid in the corner, knocked over Jason’s beer, and pulled the lead out of his bass (much to the chagrin of fans on the side of the stage who couldn’t even see him). When he finally moved the light, he got scolded by the sound guy who said it was a rental. It was honestly all pretty hilarious.
All the while, Jason fronted the band, leading them through “Careful”, “Stunned” from the band’s reunion era, “Happily Divided” and audience favorite “Not Too Amused” (which fit how Barlow was probably feeling for most of the set). Though the woeful mix did no favors to their vocal sound, Bob D’Amico’s powerful drumming, and Barlow’s bass chords were a jolt of energy that broke up the default midtempo sounds that were otherwise omnipresent on Saturday. Loewenstein was a kind of unlikely hero, launching one distorted guitar riff after another that made me want to go back to the 90s and try skateboarding again.
Barlow returned to guitar to close out the set with his “Soul & Fire”, “Two Years Two Days”, and “Beauty of the Ride”. It was a blast to hear the band essentially perform a greatest hits set.
Built to Spill’s headlining set on Sunday’s mainstage also drew heavily from 90s material. Much like the Sebadoh set, Built to Spill busted out of the gates with two stone cold classics in “The Plan” and “Reasons”, which featured my favorite Martsch plaintive vocal performance.
I hadn’t seen Dough Martsch in about a decade, and I’d forgotten that his once larger touring outfit with multiple guitarists has been cut down to an indie power trio since 2019. Bassist Melanie Redford had as many cool bass moves as Lou Barlow, and was in lock step all night with studio-perfect drummer Teresa Esguerra, who was my favorite human metronome of the weekend.
Of course, Martsch’s effects-heavy strat was the real draw here, and I could listen to his inventive soloing all day. Martsch is on the indie guitar hero short list for me (with J Mascis and Stephen Malkmus, of course). Martsch unleashed one of his best solos on “Gonna Lose” off of 2022’s When The Wind Forgets Your Name, with the band making the biggest sound of the entire festival, despite there being only three members on the stage.
Woodsist 2026 closed down with the great “Carry the Zero” from 1999’s Keep it Like a Secret, perhaps the group’s most popular song and a true guitar workout for Martsch.
Ever humble and always a man of few words on stage, Doug Martsch (who was frequently spotted early in the day watching sets from the VIP area and backstage), offered a succinct review that could probably take the place of this lengthy article I’ve compiled here: “I saw every act and this was a good festival. I mean, a “great” festival.”
Built to Spill – Woodsist Festival – Arrowood Farms, Accord, NY
Setlist: “The Plan”, “Reasons”, “Trimmed and Burning”, “On the Way”, “Bad Light”, “I Would Hurt a Fly”, “Gonna Lose”, “Get a Life”, “Fire to Dust”, “Randy Describes Eternity”, “Virginia Reel Around the Fountain”, Wherever You Go”, “Stab”, “Big Dipper”, “Else”, “Strange”, “Carry the Zero”
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