It all started when a much younger Jackie dove into her parents’ record collection, grabbed that trippy Magical Mystery Tour album, and played “Strawberry Fields” over and over again until it was engrained into her soul. She grew up on the dreams and stories of Simon and Garfunkel, “Bleeker Street” being one of her favorites, the seduction of The Doors, Van Morrison, because “Brown Eyed Girl” is definitely her song, and the likes of Jefferson Airplane, The Who, Jimi Hendrix…you get the picture. It may not show on the outside, but Jackie has a hippie heart, and that reflects in her musical tastes today. While some of her favorites may or may not be jam bands, her taste in music feeds into many genres. From alternative, Brit, and indie rock - OK, maybe all rock - to pop, to rap, to electronic, she loves it all. As a northerner, she thought she would never understand country until she found herself on a Georgia farm in cowboy boots watching Luke Bryan shake it for her- yeah, she got that. She is a chronic wanderluster, she doesn't believe in guilty pleasures, enjoys a great Moscow Mule, and is an absolute music festival fanatic- you’ll find her wherever the music takes her.
It was another beautiful day at Lockn’ and day three opened with a fusion of ‘80s and bluegrass. Yes you read that correctly. The Charlottesville band Love Canon, comprised of Jesse Harper (Guitarist/singer), Adam Larrabee (Banjo), Andy Thacker (Mandolin), and Darrell Muller (Bass/Backing Vocals), got this music going with covers like Peter Gabriel’s “Sledgehammer,” ZZ Top’s “Legs,” and Olivia Newton-John’s “Physical.” Comical, yet genius. The afternoon turned funky and Black Keys-esq with The London Souls followed by The Punch Brothers taking us straight back to traditional bluegrass roots.
By the time the Black Crows took the stage the sun was starting it’s slow decent into the earth. Their impassioned set was filled with soul and good old rock and roll. Many classics and favorites were played including “Jealous Again” and a “She Talks to Angels” that got the entire audience singing a long. Admist beautiful segues and seamless transitions, The Crows slipped covers of the Rolling Stones’ “Jumpin’ Jack Flash,” and their own version of Otis Reddings’ “Hard to Handle” into Billy Joe Royal’s “Hush.” The Black Crows would take the stage the following day for their second set of the weekend.
Days after Neil Young’s cancellation, it seemed that Lockn’ made the right replacement choice with the Trey Anastasio Band. Although it has been speculated that Anastasio was never a replacement choice, that Lockn’ had previously planned to add him to the lineup anyway, either way his set was a highlight for festival attendees alike. You didn’t have to be a Phish fan to enjoy TAB that evening. The set opened with a lively “Cayman Review” and included some Phish staples “Ocelot” and “Sand.” This set was also an opportunity for Anastasio to play some of his solo songs like “Valentine.” The absolute high point of TAB’s set was the cover of Gorillaz’ “Clint Eastwood,” that got the entire audience singing and dancing. In addition to the songs, the horns, the band, and Anastasio himself, it cannot go unmentioned how songstress and trumpet player Jennifer Hartswick captivated the entire Lockn’ crowd with her incredible vocals, both on “Clint Eastwood” and Led Zeppelin’s “Black Dog.” This was TAB’s only set of the weekend and the performance that was put on that evening left the Lockn’ audience wanting more.
As soon as TAB was done ramping up the crowd, Widespread Panic took the stage a few minutes later for their first of two highly anticipated sets of the weekend. For two hours not only did we get a full serving of classic Panic, but for the last thirty minutes of the set legendary American rocker and former Creedence Clearwater Revival frontman John Fogerty took the stage with those Georgia boys. There was a “Henry Parsons Died” opener with “Pigeons” following. “Pilgrims” into “Ribs And Whiskey” got the whole crowd stomping up a dusty storm and elevated the excitement for what was yet to be delivered. After an appropriate “Ain’t Life Grand,” Fogerty joined Panic on stage and immediately delivered those time-honored CCR classics the crowd was just waiting to sing-a-long to. Those classics included “Born on the Bayou,” “Bad Moon Rising,” “Suzy Q,” “Keep on Chooglin,” and of course “Fortunate Son.” After thanking “The Panics” for having him on stage Fogerty plugged and played his new song “Mystic Highway.”
The entire Widespread Panic set with John Fogerty: Henry Parsons Died, Pigeons, Travelin’ Light, Pilgrims >Ribs And Whiskey, Holden Oversoul, Dyin’ Man, Taildragger, Bust It Big > Surprise Valley > Drum Solo > Surprise Valley > Blue Indian, Ain’ Life Grand, Born On The Bayou (with John Fogerty), Bad Moon Rising (with John Fogerty), Mystic Highway (with John Fogerty), Suzy Q (with John Fogerty), Old Man Down The Road (with John Fogerty), Keep on Chooglin (with John Fogerty), Fortunate Son (with John Fogerty)
Taking the Lockn’ stage for the third time that weekend, Furthur played a complete set featuring the Grateful Dead album Workingman’s Dead. It seemed that the crowd that Saturday night was the largest it had been all weekend and there was an overall sense that the culmination of Lockn’ was about to be heard and seen. You couldn’t help but sing a long to “Uncle John’s Band” and “Dire Wolf.” Anastasio joined on stage for the last song of the album “Casey Jones,” and remained on stage for the remainder of the set. “Bertha,” “Scarlet Begonias,” and “Fire on the Mountain,” among other Grateful Dead staples, closed out the memorable festival day; a day that could never and will never be duplicated.