Best of the Fest

This year’s fest deserves a longer wrap-up, but first, I want to offer my annual list of best-of’s. Please add a comment to add your favorite moments.

Best show, all-around: Mike Mains & the Branches

The crowd on stage with Mike Mains & the Branches. Photo by Steve White for

At least, this was the best show if you were standing and dancing within 5 feet of the stage! (Though, I think the rest of the Gallery crowd liked it, too.) The music was amazing and the band’s energy was contagious. They were polished, tight, and having fun — great to see in a band with just one “real” album under their belts and playing only their second Cornerstone. Definitely one of those bands that, had things gone differently, could be playing a key role in fests for years to come.

Best encores: The Violet Burning

Michael Pritzl of the Violet Burning. Photo by Steve White for

The Violets played as a 4-piece and really brought the rock. I hadn’t seen them in a few years, and feared it might be a morose and almost funereal moment, as this band who has played dozens of festivals looked upon the end. Instead, it was an outright passionate celebration of the work of God around us, rock & roll, Cornerstone, and so much more. The main set, playing through about half of the 3-cd set “Story of Our Lives,” was good, but the encores just blew me away.  Working in fan-favorites from years past and an odd 1:45am call to Mike Row, it somehow added up to a very ephemeral moment of simultaneously having my face melted by rock & roll and wanting to fall on my knees before God.

Best moment from a Gallery-stage band to capture what Cornerstone means: The Choir

I think I was 5 when The Choir played the first Cornerstone. No, I wasn’t there. I didn’t know any of their music until a group of friends played me “Circle Slide” one night at Cornerstone 1998 or 1999 (about a decade too late). Due to the influence of my friends, I’ve come to appreciate their heartfelt lyrics, adapting style, perseverance to keep making music, and simultaneous sense of both humor and emotion. As others have said, it was very fitting for the band who played the first show of the first Cornerstone to give the fest a final eulogy on Saturday night.

Best moments from Underground-stage bands to capture what Cornerstone means: Flatfoot 56

Flatfoot 56. Photo by Shutterblade for

I honestly didn’t make it to a single second of this year’s Flatfoot show. I’m sad about that, but heard reports on it from several friends. I think they, once again, captured something about the essence of Cornerstone. Inviting the crowd to participate, making great music, and honoring God. They printed t-shirts listing all their past fest shows (and the themes of those shows), and you could check off which you survived.

Best souvenier: the fest posters & shirts

It’s not just because these posters look so awesome in our home office! This year’s fest shirts — and posters — were really well done. They’re reportedly the most complicated design that Belly Acres has ever printed for a fest shirt ever. And, what’s better — I’ve heard you’ll be able to buy them post-fest. (Watch the Cornerstone Festival facebook page for info, I’m sure.)

Best Get Your Arms in the Air moment: Da MAC

Nate & Scott watching Da MAC. Photo by Steve White for

Da MAC has an absolute gift for bringing people together and getting them to worship through music. I’m so glad I’ve gotten to see him several times at the fest over the years. Toddlers, teens, adults, punks, athletes, fest directors, engineers and quilters (those last two are my husband & I) — everybody had their hands in the air doing the “dirty bounce” and much more.



Saturday was upon us and it was finally time to say our final goodbyes. Up until today I think many people had been putting it off, enjoying the festival and pretending nothing was going to change. Today however was time to confront reality and it made emotions heightened even more than the normal “last day of Cornerstone” state. We started off the morning going to the church service at the Chelsea Gallery stage. It takes something pretty monumental to get our group stirred and out to the grounds before noon and I’d say this counts. Glenn Kaiser led the crowd in worship and then John Herrin spoke briefly thanking everyone for the years and years of good memories and hard work by everyone at the festival. Current co-organizers Scott Stanhke and Genesis Winter also took a few brief moments to thank the staff and everyone for coming this year when the band list was slashed and the stages reduced. John Thompson shared a little of his many years at the festival and then opened the floor for people to tell their stories about Cornerstone. I’m sure it only scratched the surface of the myriad of stories but people who had been attending the festival for 20-25 years told their stories as well as people who had only come for a year or two. We heard many stories of misfits, people who didn’t feel they fit in feel a sense of belonging at the festival. We heard stories of people meeting their life partners, recovering from loss, and finding Jesus after rejection from mainstream churches. Finally, they closed down the afternoon with a communion service and we all joined together for the last time to break bread and drink together.

After a short break, it was back to the music one last time. Lauren Mann and The Fairly Odd Folk started off an incredibly strong lineup on the Chelsea Gallery Stage. After their debut last year the band came back this year with even more confidence and a fuller sound. They didn’t have as much success getting people up and dancing such as at the Mike Mains and The Branches show last night probably due to the stifling heat, but I would think this kind of music would also be fun to dance to. Following them, Timbre had flown out from Russia just to be at Cornerstone for her show. Travelling for 24 hours, she sounded a little slap happy but it didn’t affect her meticulous and beautiful harp playing. She remarked that we were one of the biggest crowds she plays for every year and I couldn’t help but wonder how many other artists would say the same exact thing.

Kye Kye started the evening off with some nice trippy music. Looking at the liner notes in their CD, I was impressed with how much thought they had given to their lyrics. I’ve seen bands have scriptural references for songs before, but they had scripture references for nearly every line of each song. Josh Garrels played next and he has become such a beloved institution at Cornerstone. His song “Ulysses” from his newest album gets me every time. “So tie me to the mast of this old ship and point me home/Before I lose the one I love, before my chance is gone.” I wish I could have stayed for his entire show because it was incredible, but I had to skip out to see the moment of the festival.

Word has started to spread around the festival that there would be a Viking Funeral performed at the beach for Cornerstone Festival. As in old Norse tradition, they would set a longboat out to water and then shoot a flaming arrow at it, lighting it on fire and letting it burn (hopefully, this one without an actual body in it.) Standing on the beach, I waited for a little bit before a procession of motorcycles roared over the hill and behind it a group of kids carrying the boat singing “Amazing Grace.” As they set it out on the lake two older ladies had a conversation behind me. “It doesn’t seem a very Christian thing to do.” “Well, neither are Christmas Trees but we do that, too.” Good point. Once the boat was lit on fire it was a nice, emotional moment. Well, at least until the kids started singing “Na na na na, na na na na, hey, hey, hey, goodbye.” Like all things Cornerstone it was bizarre, only sort-of planned out, but most of all memorable.

I climbed back up the hill to the Gallery tent one last time. Thank goodness the heat was finally starting to break or I probably would have died. If there was the old Main Stage this year would we have made it through the week without heat exhaustion? Probably not. Anyways, I arrived in time to catch most of The Farewell Drifters set and they sounded great. I loved their cover of Paul Simon’s “The Only Living Boy In New York” and they even brought John and Michelle Thompson on the stage for a rollicking little song. After that, while Norma Jean was in the process of destroying the Underground Stage the band that played on the first slot of the first day of the first Cornerstone Festival closed out the last night. The Choir played their entire _Chase The Kangaroo_ album from beginning to end to celebrate the 25th anniversary of the album. There was even someone that was dressed up as a Kangaroo that jumped on stage and danced during the title song forcing the band to keep straight face and finish the song. The four-piece band sounded as good as they ever have debuting a couple new songs and treating us to one last growling, noisy, ambling version of “Circle Slide.”

When the Choir finished approriately with “To Bid Farewell” that was that. Cornerstone Festival was officially finished (at least for now) for good. I probably speak for a lot of people, but I didn’t get very emotional at the end because I was so worn out. I was honestly numb when it all ended. I think the flood of emotions will start pouring out during the next week when I’m at home unpacking and starting to realize there will be no more need to pack again. I’ll be listening to new CD’s and realizing there will be no flood of new CD’s again. That’s when it’s going to hit hard that this era of life is over.

When one era ends, hopefully another springs up and none of us know what’s next but whatever it is I wish the best to Jesus People USA. They are one of the most astonishing groups of people I know with their skill of pulling everything off skillfully while it all somehow appears like it was planned on the back of a napkin. Most of all, they’ve done this festival with the right motives and the right heart towards the artists and those that attend the festival. They get art and faith and I hope that part of Cornerstone continues on even if the festival ends. Thanks to the web team for all of their hard work getting video and photos uploaded and even supporting an infrastructure for a website in the middle of nowhere. Thanks for allowing me to have a voice and a small part in this event that I hope people look back fondly for decades and say, “Man, do you remember at Cornerstone when…..”

Hopefully, we’ll have some more posts to sum up the festival and do a little more review of the week as a whole. And also spill out our guts and tears for a little self-therapy. This is the end, but this is not the end.

Love God, Love others,


Saturday – quick

There are certainly a few wrap-up posts to come. But, for anybody following along at home, I wanted to put out a quick post about what happened on this final Saturday.

The Choir, the band who opened the first day of the very first Cornerstone, wrapped it up on the Gallery to a passionate crowd. Customizing “Everybody in the band” to express thanks to JPUSA and their Cornerstone family was a nice touch. They very appropriately closed with “To Bid Farewell.” (update 7/9: find Derri Daugherty’s introduction to the song and the performance of “To Bid Farewell” here on youtube. I can’t yet get myself to re-watch it. Beautiful & emotional.)

Earlier in the day at the Gallery Kye Kye, The Farewell Drifters, Timbre and Josh Garrells played to great young crowds, including quite a few people (shown by raise of hands) attending their first — and last — festival. I don’t know if it was just my brain looking for themes, or if it were chosen by the bands, but I noticed many lyrics today that were appropriate in saying goodbye. Among those is this line from the Farewell Drifters: “Everything comes to an end, my friend.” As much as people may have joked today about “Occupy Cornerstone,” it is true that even good things come to an end.

Norma Jean reportedly brought the fest to a good close on the Underground stage (though I wasn’t there, admittedly). They started about the time that many people were walking back from the beach after being part of a crowd giving Cornerstone a send-off with flames and a few fireworks. Just wait until you see pictures of that!

The highlight of the day for me (in terms of scheduled events) was the morning memorial/church service. Honest worship (led by Glenn Kaiser, his daughter Ami, and Hilde from The Crossing) combined with poignant stories from fest-goers, and a very emotional and appropriate sharing of the Lord’s Supper.

Safe travels to everyone as we head home from Bushnell for the last time.




I’ve been doing a good job of being adventurous and checkng out all of the stages up to this point, but today I finally succumbed to the heat. Whatever was on the Chelsea Gallery stage was good enough and that’s not a terrible thing. The day started out at the Bushnell Locker for their infamous ribeye sammiches. These are the kind of traditions I will truly miss. There may be other festivals, and Lord willing there will be some festival like Cornerstone again some day, but I have my doubts I’ll ever have a ribeye sammich again. I almost assuredly will not enjoy it with friends in a butcher shop’s break room again, for sure.

Before we bury Cornerstone though there are still two days of music left and we started the day out with Relentless Flood at the Underground Stage which had some nice shreddy guitar and a drummer on vocals. After that I caught a second performance by Doug Mains and the City Folk. They seemed an odd fit on the normally metal Sancrosanct Stage, but they drew a nice crowd and delivered a nice set of folk music.

Maron Gaffron shared a scrapbook of pictures from her Cornerstone experiences all the way back to 1985. It was a lot of fun to see pictures of her as a child (weren’t we all?) at the early festivals all the way up to last year’s festival. The Maron of today played a nice soulful set and then joined Jeff Elbel for his show. Elbel pulled out all of the stops for his last show at Cornerstone even throwing in an enthusasitic cover of Adam Again’s “Deep.” Thanks for the bag of one hundred glow-in-the-dark bouncy balls, Jeff. My children will very likely set off some epic mischief with them. Of all the shows at Cornerstone, these are the ones I am saddest to see end. Many bands I will be able to catch on tour but it’s not likely I’ll see these bands again.

I tried to go over to see Don’t Wake Aislin on the Underground Stage, but after about two songs I reached the point where I was losing my will to live due to the heat. Nothing wrong with Don’t Wake Aislin, I had heard this would be their last show but was relieved to find out it’s because they are renaming and restyling themselves a little bit. Nonetheless, I couldn’t endure it and decided I would spend the rest of the evening under the shade of the Chelsea Gallery tent. Going to the Gallery stage proved fortuitous as I was able to see Trace Bundy on acoustic guitar. Bundy kept the crowd entertained with his multitude of capos even shifting them around the guitar in middle of songs. He also played “Superstition” by Stevie Wonder entirely using guitar and drum apps on his iPhone which was a lot of fun.

The highlight of the night next was Mike Mains and The Branches. The chairs at the front of the Gallery stage were pushed away as people danced in front of the stage. The show was straight up rock with some heartfelt lyrics. When the band beckoned the crowd to come up on stage I really felt like we had a genuine Cornerstone Moment. Neal Morse followed with progressive rock and it was overindulgent, ponderous, and complicated. I’m not gonna lie, the Yes fan in me loved every moment of it.

At the end of the night, The Violet Burning gave us what I like to call a “real Cornerstone Encore.” Years ago, the midnight encore shows used to run two or three hours late into the night, but the last few years the setlists have gotten shorter. Not so with The Violet Burning. After blazing straight through one-and-a-half of the three CD’s of The Story Of Our Lives. Micheal Pritzl took the band through an extended encore through some crowd favorites and even took a little time to call Mike Roe and leave a voicemail. I missed the Flatfoot 56 show where even our intrepid festival co-supervisor took a slide down the waterslide into the pool party, but I’m pretty it had it’s share of “Cornerstone moments” as well. For whatever reason, it always seems like the night before the last night has the big Cornerstone Moments and I’m glad that tradition continued to the end.

Friday night – the presence of God

It didn’t matter where you were on the Cornerstone grounds on Friday night. Cornerstone truly rocked, and it was obvious that it wasn’t just about the music. There was dancing at the Underground with Children 18:3 followed by yet another legendary Flatfoot 56 show, complete with a slide (yes, really!) and their always-beloved version of Amazing Grace.

At the Gallery, Neal Morse & band brought the power of prog-rock and were followed by a 2 + hour set by the Violet Burning. The Violets, playing as a 4-piece, absolutely brought the rock, making for what may be their best-ever Cornerstone show (which says a lot considering how often they’e played). Playing through parts of their newest 3-disc release, then moving into old favorites, they reminded me that you can simultaneously have your fave melted off by rock and roll and want to cry out deeply to your God.

In the distance, I could hear the sounds of DaMac backed up by The Corners on the Impact Stage, getting the crowd to raise their hands and dance for Jesus. I hear there was a Glenn Kaiser special worship set at the beach. It was just an amazing night There was music, and more importantly, the presence of God, all around.



This is starting to feel like the journal of a foreign legion soldier in the Sahara. “The sun beat down upon me as I trudged along the path….” Yes, it’s still hot. Nonetheless, the show must go on. Ravenhill brought no less than seven members on the band for their performance on the Underground Stage and they pulled in the crowd with some tight jamming rock that reminded me just a little bit of The Black Keys with soul and rock.

Later in the afternoon we swung by the press tent to hear Jeff Elbel and Mike Roe talk about their experiences at Cornerstone and their future works. With the end fast approaching, people are trying to grapple with putting words to what it will mean to not come back here next year. It almost feels as if people are going to show up on this farm next year with their guitars whether or not there are any speakers, amps, stages, or chairs.

Closing out the afternoon on the Chelsea Gallery stage, The Wayside played their last show here. John and Michelle Thompson introduced new music from Michelle’s new ep and even brought their daughter up on stage to sing with them. If anyone is surely profoundly impacted by the end of Cornerstone, it’s the Thompsons as they shift to a new paradigm and platform to share their music, just as many artists here at the festival will have to do.

I passed by Da MAC doing hip-hop on the Underground Stage on my way to see Golden Sun on the Michigan Stage, but alas, no Golden Sun. Since I now had some open time I wandered over to the Arkansas Stage where Sean Michel was well under way. Michel’s delta blues were so effective that he conjured up the very humidity of the Delta and soon the grounds felt like a swamp. Drenched in sweat, I spent the rest of the early evening at the New Band Stage. The New Band Stage this year was hosted on the Impact Stage, a generator stage that was pretty professional. Two piece band The Bends played and were joined by the violinist from Doug Mains and the City Folk before they played their own show of laid-back music on violin, accordian, and cello.

Finally the sun went down and Icon for hire took over the Underground stage. The band has grown in leaps and bounds since their days on the generator stages years ago and it was clearly evident that they are well in swing of touring as they had the crowd eating out of their hands. Some trampolines, super soakers, and covering House of Pain’s “Jump Around” helps, too. I thought about walking over to the Gallery stage to catch the end of Iona’s show but at that point in the day I had used up all my energy for day. I’m sorry I didn’t as it turns out Iona stretched out their show since the following band Aradhna arrived late. For the last show of the evening, Squad Five-0 entertained the crowd at the Underground Stage as the lead singer crowd-surfed, sprayed water into the crowd and kept us entertained with jokes about my hometown Georgia.

Starting today, we start to get into the hometown stretch with some of my favorite bands, The Violet Burning and The Choir closing out the evenings. Up to this point, I don’t think the reality of the finality of the festival has set in on me yet but I expect it to start becoming something I will have to seriously contemplate soon.

Live music still surprises me

Like I’ve mentioned in past years, my friends & I spend the months leading up to the fest previewing every single band playing Cornerstone. I, personally, listened to way more than half of this year’s bands. I thought I knew what to expect. Even so, there are still moments when live music surprises me. I had two such moments on Wednesday:

Oh Sister, Oh Brother

With apologies to the band, I must admit that when I previewed them online, I honestly thought that the music just wasn’t quite working. I thought it was a little too simple and stripped down and that the vocals didn’t work. Maybe I was having a bad day, or maybe I just didn’t see the real beauty. But, I most certainly saw it yesterday afternoon a the Gallery. The lead singer’s vocals are ephemeral & beautiful, the band is tight, their melodies are strong (the overall effect is Eisley-ish, as a rough comparison). I actually found myself thinking that this is a band we’d see on the Gallery at night in a year or two, before remembering that’s not to be. The live show captured something special, making this a band I’ll definitely be seeking out again.

David Curtis

David Curtis (and band) earned several new fans yesterday by filling the Gallery with Jesus-focused, musically-vibrant, solid rock & roll. He started & closed with the crowd wanting to sing along to an old Gaither line (“Jesus, Jesus, Jesus… there’s just something about that name), which morphed into a style all his own. I think the EP I picked up from this side-project of the lead singer of Run Kid Run will easily fit into my favorite playlists. Don’t discount this as just some side-project; David’s worshipful lyrics and solid musicianship are worth seeking out in many different forms.

Do you remember moments when live music surprised you at Cornerstone?



This is probably the last 4th of July that I will spend in Illinois. I’ve missed grilling burgers and watching fireworks with my family, but instead I get to drive through Macomb with its hundreds of American flags and listen to music. I’ll think about all of those flags and fireworks over the lake next year when I celebrate 4th of July with my family.

The heat is still here but I’m not jumping from stage to stage today. Since I’ve more or less settled into the Chelsea Gallery stage, I’m not having hallucinations and such in the middle of the afternoon and that’s probably a good thing. The first band I see today is David Curtis doing a solo show apart from his band, Run Kid Run. It’s not just a solo person on a guitar though, he has a nice sounding band behind him and do es some really nice music putting the crowd in the mood for worship. Oh Sister, Oh Brother plays next and they sound even better than I remember when I saw them at Cornerstone a couple years ago. They now remind me a little bit of Eisley with some nicely-structured songs.

The next show in the afternoon is not a concert but a celebration. Resurrection Band celebrates their 40th birthday with an open mike where people could come forward tell stories about how the band impacted their lives. Each of the band members milled about the crowd as a giant cake was cut up for the crowd. The celebration was a nice way to tie a bow on this part of Cornerstone. I’ve seen Resurrection Band in bits and pieces over my years here and I couldn’t help but think it’s probably the last time I’ll see them.

On into the evening it’s time for fun again. The Hollands (no relation to yours truly) start their show off with a cover of Over The Rhine’s “Poughkeepsie” which naturally has me hooked but then move into some original songs and some gospel spirituals performed on mandolin, banjo, guitar, and accordion. During one song, the band threw shakers, tambourines, and other noise makers into the crowd so they could participate. Pretty sure that’s the first time I’ve ever been pelted by something while taking photos at a show.

Taking a little break from the Chelsea Gallery Stage, I walked over to the Underground Stage where Ilia was cranking out some pretty strong rock. These three ladies worked extra hard to deliver as much music as twice as many men. Run Kid Run was the highlight of the night on the Underground Stage for me. A decent-sized crowd showed up and the band played a fun set of music that was a little more pop than what’s normally on the Underground Stage, but nonetheless really enjoyable.

Jerry posted a nice review of the 77’s show that closed down the Chelsea Gallery Stage for the evening. There was definitely a feeling of “let’s do this just one last time” that I think will get stronger as the week goes along. As John J Thompson noted from the stage, just because this festival is ending doesn’t mean these bands won’t continue working. We’ll have to work harder than ever to keep track of these bands and discover new ones without Cornerstone.

Do It For Love

All the bands that are playing Cornerstone this year are doing so for free (or even paying to play on a generator stage).  That’s pretty amazing, especially in the current economy – these bands, many of which struggle to make food and gas money in the best of times, are donating their time and talents to come way the heck out into rural Illinois to pay their respects and play on the farm one last time.

Temperatures are expected to reach triple digits today – the weather in the Midwest is brutal right now.  And yet thousands of gloriously peculiar people have willingly converged on this dusty, sun-baked plot of land, in defiance of all logic, to spend a week huddling together under a few scattered islands of shade listening to everything from bluegrass to hardcore.

JPUSA, the Chicago-based organization who have put on Cornerstone for the past 28 years, don’t make a lot of money from the fest.  Some years, they don’t make any at all, and finances reached a breaking point this year, to the extent where JPUSA had to decide between continuing to do this fantastic festival every year and using the resources for the homeless shelter they operate.  To the eternal gratitude of all of us who love this place, and in defiance of all common sense, they did decide to put on one final Cornerstone to give us all, bands and fans, a chance to say goodbye.

The 77s played the first Cornerstone and many others besides, so it was fitting for them to spend an evening at the final fest revisiting their history.  The band, mostly down to Mike Roe and an occasional assortment of friends and guests (including some drum tracks on an iPod), is in some ways symbolic of the festival itself – somewhat diminished in its later years, but still beloved by those who have been lucky enough to experience it.

For most of their two hour set, Mike and guitarist David Leonhardt played as a duo (with occasional help from the aforementioned tracks), focusing primarily on songs from Sticks and Stones, a disc of b-sides and rarities from the late 80s that has become many fans’ favorite release from the band.  Roe’s vocals sounded great on favorites like “This Is the Way Love Is,” “God Sends Quails,” “MT,” and “Don’t, This Way,” and his guitar playing was a joy to watch.

Mike Roe of the 77s

For the encore, Roe and Leonhardt were joined by Jeff Elbel (bass) and Dave Dampier (percussion) of Ping to fill out their sound for the grand finale.  They got the over-40, after-1 AM crowd going as they ripped through “Dave’s Blues,” “UUUU,” “Ba Ba Ba Ba,” and “Nowhere Else” (with a great backstory introduction from Roe to explain why he needed the crowd to help out with the “hey na na” part).

To top it all off, after some encouragement from MC John Thompson, the rabid crowd, and even Elbel, the band came back out for a second encore to send us all off into the mercifully cool morning with a song on our lips.  The song they played was one of their best, one that inspired some legendary Cornerstone moments, and one that sums up why all these bands came out to play for free, why all these fans are here suffering in the heat to watch them, and why JPUSA decided to put on this year’s fest at all: “Do It For Love.”



Maybe I’m just in denial (I wonder if I will go through the other stages of grieving during the week, I’ll make sure to unleash anger at a hardcore show), but Cornerstone is off and running and it sort of feels like normal. There is a smaller crowd than normal, but many of the regulars are here. It’s funny how I see some of the same people year after year. I don’t know them very well but I can count on seeing wandering around the grounds almost as much a part of the festival as the tents. The tents are here too and if anything they look better than ever. The photographer in me loves the nice white tents. Maybe all of my concert photos this year won’t have that familiar red tint to them.

There aren’t as many bands that I want to see on Tuesday, most of the bands I want to see come later in the week. There are only two “official” stages, the Underground and the combined Chelsea and Gallery stage. Kiros starts off the day on the Underground stage and they are actually a lot of fun, much better than expected. Fun rock with a guitarist leaping across the stage, even hitting the light rack (oops). Little Brother has been forced to change their name so they are now Like Brothers. A little lighter but still a little bit of rock, they are pretty good also.

Triple Stitch started their show off with the doxology and then broke into some quality punk music. Loads of fun even in the heat. From there I walked over to the generator stages. The Generator stages this year are a little more “professional” and there are only about half of year’s present, but the do-it-yourself vibe is still there. Fight the Fade played some nice rock and we stayed to see She Said, but they never showed up. That’s generator stages for you.

The highlight of the afternoon shows so far was the return of Noah Reimer to the Gallery Stage. Some ten years ago he performed quite a few shows with his band Ticklepenny Corner. This year he was back with Duke Otherwise, his children’s band. His folk inspired fun songs about lions, monkeys, butterflies, and other animals had kids and their parents dancing, shouting, and having fun.

The late afternoon is for the generator stages for me today. We’re checking out a couple of bands and started with Carielle on the Michigan Stage and then Vice on Victory on the Impact Stage. The best band of the late afternoon for me was La De Les on the Gallery Stage. They were more of an abstract band, sort of like a more electronica Ester Drang for older Cornerstone days.

The heat has been unrelenting and I was swooning, so I laid low for a little while until the sun went down. I watch Ember Days, but I was still feeling pretty bad and then finally started to feel better during Good Luck Varsity. Of all the bands I saw on the first day, I think I enjoyed Good Luck Varsity the most. They were really active and were genuinely surprised when the crowd called them out for an encore. Rapper Da MAC joined them for their last song of the evening.

It doesn’t look like the heat is going away soon so hopefully we will acclimate to it. There’s only four days of Cornerstone left so fight through it!