Meatless Friday night at CityFolk

Friday night at CityFolk was a study in contrasts. The headliner, the polarizing Morrissey, brought his baggage along with his music, while earlier acts filled the night with joy, discovery, and unexpected highlights that reminded fans why festivals like this matter.

Morrissey, of course, needs little introduction. Best known as the front man of the legendary Manchester band The Smiths, he helped shape alternative rock in the 1980s with timeless hits like There Is a Light That Never Goes Out and How Soon Is Now?. Since going solo in 1988, he has released a string of albums that showcase his melancholic wit and distinctive voice, but in recent years he has become almost as famous for his outspoken and often extreme views as for his music. True to form, Friday night came with rules: food trucks on the grounds were banned from selling meat, and fans were searched at the gates for contraband hot dogs—yes, really. He also denied most photographers access, so you won’t find images of him here, though the internet has plenty if you’re curious. Enough said about him.

The real magic of the night belonged to James. The Manchester band, fronted by the ever-charismatic Tim Booth, proved once again why they have such a loyal cult following. Booth doesn’t just sing to his fans; he immerses himself among them. At one point, he climbed down from the stage, weaving deep into the crowd, greeting people with high-fives, and impromptu dance breaks. Smiles were everywhere, and the audience gave that love right back.

James have been around since the early 1980s, and in April 2024 they released their 18th studio album, Yummy, which debuted at #1 on the UK Albums Chart. They’re not just resting on past success—they’re still at the peak of their creative powers. Of course, the highlight of their set came when they launched into their iconic hit Laid, which instantly turned into one giant sing-along under the Ottawa night sky. Having seen them previously at Bluesfest, it was refreshing to watch them shine in a more intimate festival setting where their warmth and energy could fully connect.

Earlier on the main stage, Mint Simon brought a different kind of intimacy. The Montreal-based artist, who has had their songs featured in Grey’s Anatomy, Maid, and Queer As Folk, offered up a set that was deeply personal and emotionally raw. Fresh off a summer appearance at Osheaga, they continue to build a reputation for weaving vulnerability into melody, connecting with fans who appreciate music that feels both reflective and inclusive.

On the smaller stage, the headliner was The Devil Makes Three, a Santa Cruz trio blending dark folk traditions with ragtime grit and rock ’n’ roll swagger. Front man Pete Bernhard’s storytelling, paired with Cooper McBean’s banjo and guitar work and MorganEve Swain’s stand-up bass, filled the tent with a kind of whiskey-soaked energy that had fans stomping, clapping, and singing along. Clearly, they have a following here—Ottawa fans turned out strong for their long-overdue appearance.

Before them, Grenadian-Canadian songwriter Kaia Kater delivered one of the most striking sets of the night. Drawing influence from Nina Simone, Erykah Badu, and Lauryn Hill, Kater’s voice is at once distinctive and powerful. Her mix of banjo-driven folk and socially conscious lyrics gave her performance depth, holding the tent crowd in rapt attention.

Opening my night was local trio School House, named after the century-old building they once lived in together. Their campfire-born harmonies and easygoing stage presence proved infectious—three friends making music, clearly having fun, and drawing the crowd into that joy. They were a reminder that Ottawa has a deep well of talent, and I expect we’ll be seeing them on much bigger stages before long.

If you thought Friday had its share of surprises, Saturday was gearing up to be a full-blown party, with The Pogues and Dropkick Murphys taking over Lansdowne for what promised to be the most raucous night of the festival.

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