“C’est le temps.” This is the beautiful motto of La Kermesse Franco-Americaine Festival in Biddeford, Maine. I just finished the school year yesterday and it feels appropriate. I’ll be playing outside with a lighter-hearted set to celebrate, mostly recognizable songs but a few of mine too. George Harrison, Leonard Cohen, Simon & Garfunkel. I’m especially happy to be learning “Le temps de vivre” by Georges Moustaki, a song I’ve loved for a while but really my first in French. Feels good to sing in a language I speak.
2:30-4:00pm, Outdoor Stage. Tickets are $8 for a day pass, or $13 for a weekend festival button. Historical souvenirs don’t make themselves… probably worth it!
I’m thinking there might be real value in discussing the merits and flaws I see in a song diary entry. This one, for instance, doesn’t seem to me “ready” in any sense, but it was the final try after nine others—and it took the furthest curve off the trail I’d followed. In other words, I find it interesting.
I think it’s definitely too “busy” and the slide guitar is full of emotion but also excessive and unfocused. That makes sense, given that it was the first attempt at involving slide, or even another voice, in the recording.
But one thing that I especially like in this is the vocal. I appreciate its presence. I’m still well at the beginning of developing skill at evoking distances, either through playing or recording. But distance perennially becomes a focal point for me, because I get a lot of feeling from what might be called “spatial emotionality;” really, I suppose, spatial relationships—the sense of how things interact within a scene affects us/me.
I want things to pop and recede, as if they were entering my mind strongly then moving back into the background to wait. This is an element of perception that excites me. The play of foreground and background, how we can’t look at two planes at one time. I think a vocal “treatment” like this could support work with distance.
This recording lacks a body. There are a few moments that pull me, but it’s difficult to pay attention to discrete moments because of my general disorientation. A better version would give more “reason” to the body, to the structure, just a little bit more sense of footing. Of how to run one’s hand along the contours of the thing.
Photo from the Portland Press Herald: “A parade through downtown Biddeford kicks off the 36th annual La Kermesse Franco-Americaine Festival. The La Kermesse float passes on Jefferson Street as riders wave to spectators.” (Photo by Derek Davis/Staff Photographer)
Two new performance dates in June to share, and both are in the spirit of intimacy, “plein-air,” perception, and local community. I’m especially honored to play at La Kermesse Franco-Americaine Festival this year. The festival has served to preserve French Canadian heritage in Biddeford-Saco, Maine for over 40 years. A lot of my middle school students and their families know it simply as their local fair. I’ll be playing for 90 minutes, with a mix of my own stuff and covers, perhaps some in French! I’m thinking especially of “Le temps de vivre” by Georges Moustaki—one because it’s the summer solstice; and two, because the festival’s motto is “C’est le temps.” “It’s time.“
La Kermesse Franco-Americaine Festival is June 21, 2025 at 2:30pm. The fairgrounds are at St. Louis Field, 284 Hill Street in Biddeford, Maine.
The second date is at the Skowhegan Farmer’s Market. There’s a friendly community of people in that area that I know through my partner’s family. This year’s organizer of the music often plays at the East Madison Grange Hall open mic when I’m there—and she’s wonderful. I played a few years ago and left with a lot of gorgeous complimentary produce.
Skowhegan Farmer’s Market is June 28, 2025 from 10am to 1pm. The market is at 42 Court St in Skowhegan, Maine.
I’m excited to share that Chico States will be playing with a great lineup on June 8th at The Apohadion Theater in Portland. It also happens to be the birthday of our bandleader Joe Barresi. We’ve played with The Clearwater Swimmers before, at Oxbow. And we’ve also played with Lily Seabird, in a way…
Last winter we traveled to Burlington, VT for a house show with Greg Freeman, Jes, and Vega. Little did I know that the two friends Greg asked to join him were Francie Medosch, of Florry, and Lily Seabird. Each played some of their own songs and they were so good! When Medosch played, I thought, “This person definitely has something and could do a lot if she feels like it.” I found out later from Joe that she definitely does do a lot, in this great band Florry. It was a naive way to see them all for the first time, only realizing later that they’re hustling so hard out in the world.
My favorite thing was sitting in a big recliner with a few beers and listening to an hour of Beatles songs, perfectly played on a piano, by a group of partygoers with inordinate grace. Lily kind of ran the piano and I’ve since learned that she also does her own songs very damn well. She put on Trash Mountain on Lame-O Records in April. Joe also informed me that the house itself was called Trash Mountain, so I feel lucky to have participated. Anyway, we’re very grateful to play in this show! It’s at 7pm and the cover is $10. Would love to see you there.
