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.