S.G. Goodman Hosts Storytime<\/h2>\n\n\t\t\t![\"S.G.](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250725_newportfolk_sggoodman_077_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\t\u201cI\u2019m a Southerner,\u201d S.G. Goodman told the crowd towards the end of her Friday afternoon set. \u201cI tell stories; that\u2019s what I do.\u201d Goodman said this by way of apologizing for playing \u201cHeaven Song,\u201d the nine-minute song with which she was about to conclude her quietly stunning performance. But there was no need to say sorry: Goodman\u2019s hour-long showcase of her recent album Planting by the Signs<\/em> was a subtle, slow-burning display of songwriting mastery. From \u201cSnapping Turtle\u201d to her dusting off 2020\u2019s \u201cSpace and Time,\u201d Goodman \u2014 fresh off a commanding victory as captain against Kevin Morby\u2019s team in the previous night\u2019s inaugural Newport charity softball game \u2014 hooked the crowd with the vivid specificity of the imagery in her songs. It was a vivid trip through, as she sang in the former, \u201csmall towns where my mind gets stuck.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nRemi Wolf Does It All<\/h2>\n\n\t\t\t![\"Remi](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
![\"Remi](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250726_newportfolk_remiwolf_318_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tFew sets felt as anticipated as Remi Wolf\u2019s Saturday afternoon showcase. Billed as \u201cRemi Wolf and Friends,\u201d it promised to be the type of free-flowing, cover-and-special-guest-heavy Newport performance the festival has made its trademark over the years. Wolf did not disappoint, bringing out everyone from Maren Morris (\u201cAngel From Montgomery\u201d), Saya Gray (Fleetwood Mac\u2019s \u201cDreams\u201d), John C. Reilly (\u201cJust the Two of Us\u201d), and an ensemble finale of the Beatles\u2019 \u201cDon\u2019t Let Me Down.\u201d In between, Wolf delivered impassioned renditions of her alt-pop hits like \u201cSexy Villain,\u201d showed her depth with a beautiful rendition of live rarity \u201cStreet You Live On\u201d with Tiny Habits, proved the enduring cultural significance of Shrek<\/em> with a crowd-pleasing take of \u201cI\u2019m a Believer\u201d with slimdan, and even found time to invite Jeff Tweedy up for a gorgeous duet on Wilco\u2019s 2007 song \u201cEither Way.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nMary Chapin Carpenter Makes Her Triumphant Return<\/h2>\n\n\t\t\t![\"Mary](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250727_newportfolk_mccarpenter_053_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIt had been several decades since Mary Chapin Carpenter appeared at Newport. On Sunday afternoon, she collapsed time, seamlessly bridging her indelible early-Nineties country hits with recent selections from 2025\u2019s Personal History<\/em>. Carpenter brought out that album\u2019s producer, Josh Kaufman, for several moving songs early on (\u201cSaving Things,\u201d \u201cBitter Ender,\u201d) before running through a series of favorites like \u201cHe Thinks He\u2019ll Keep Her,\u201d \u201cThe Hard Way,\u201d and \u201cDown at the Twist and Shout\u201d that had fans in tears. It was a gorgeous display of reverence and relevance that showed Carpenter is an inspiration for a new generation as much as a touchstone for her own.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBig Freedia\u2019s Righteous Gospel-Bounce Sermon<\/h2>\n\n\t\t\t![\"Big](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250725_newporfolk_bigfreedia_056_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe Queen of Bounce delivered a new flavor of her trademark high-energy live show at the folk festival Friday afternoon. The first half of the set found Big Freedia running through a collection of rowdy bounce numbers, from \u201cPlatinum\u201d to her trademark Bill Haley reclamation \u201cRock around Da Clock\u201d to \u201cThrow It Back,\u201d which featured a number of audience members jumping onstage to twerk. Halfway through, she transitioned from Saturday night to Sunday morning. Beginning with a prayer for Gaza, the Resistance Revival Chorus joined Big Freedia onstage as she previewed songs like \u201cHoly Shuffle\u201d from her forthcoming gospel album. In a space where New Orleans music can feel frozen in the 20th century, Freedia\u2019s bounce showcase was a thrilling and overdue presentation of one of the city\u2019s most vital genres, one that\u2019s been around for long enough \u2014 well over 30 years \u2014 to make it perfectly fitting to celebrate at Newport.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nHurray for the Riff Raff Offers a Prayer For Action<\/h2>\n\n\t\t\t![\"Hurray](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250727_newportfolk_riffraff_062_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe last time Hurray for the Riff Raff performed with a full band at Newport was 2017. That year<\/a>, the singer ended their set with \u201cPa\u2019lante,\u201d their showstopping, tear-jerking call to action. It happened again on Sunday, when singer-songwriter Alynda Segarra wrapped up a tour-de-force album showcase of their 2024 album The Past is Still Alive<\/em> with \u201cPa\u2019lante.\u201d The song has changed shape over the last eight years \u2014 Segarra now includes a spoken-word recitation of the poem \u201cIf I Must Die\u201d by the slain Palestinian poet Refaat Alareer \u2014 but the message remains the same. And it was a message Segarra incorporated throughout their rousing performance, whether on the newly relevant \u201cPrecious Cargo\u201d (\u201cI hate you, ICE\u201d) or the recent masterpiece \u201cSnakeplant.\u201d \u201cThere\u2019s a war on the people,\u201d Segarra sang during the latter. \u201cWhat don\u2019t you understand?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nDan Reeder\u2019s Spellbinding Singalong<\/h2>\n\n\t\t\t![\"Dan](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250726_newportfolk_danreeder_049_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIt wasn\u2019t a foregone conclusion that one of this year\u2019s busiest artists at Newport would be the enigmatic 70-year-old cult singer-songwriter Dan Reeder, who spent the weekend jumping onto other artist\u2019s sets, including the headlining performance from Jack Antonoff, who introduced Reeder as one of his all-time favorite songwriters. This was all before Reeder took the stage himself Saturday afternoon for a spellbinding 15-song showcase with his daughter, Peggy Reeder. Performing as an acoustic duo, they sang his hushed cry-laugh folk songs like \u201cClean Elvis\u201d and his set-closer \u201cStay Down, Man,\u201d a song so haunting in its hushed beauty that boygenius covered<\/a> it a few years back.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPublic Enemy Bring the Spirit of Protest<\/h2>\n\n\t\t\t![\"Public](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250726_newportfolk_publicenemy_086_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tWhat is Newport Folk Festival\u2019s relationship to the current political moment? It\u2019s a valid question to be asking of any space in 2025, and the answer at this year\u2019s festival was answered in some large part by Public Enemy, whose Saturday show provided a necessary injection of the legendary group\u2019s trademark revolutionary hip-hop. Closing on the 40th anniversary of their debut album, Chuck D and Flavor Flav delivered a career-spanning set whose power and potency spoke for itself. Whether it was on newer tunes like 2020\u2019s \u201cState of the Union (STFU)\u201d or their eternal classic \u201cFight the Power\u201d or 1991\u2019s \u201cCan\u2019t Truss It,\u201d Public Enemy\u2019s high-energy performance (complete with a Flavor Flav stage dive) was a much-needed force of righteous spirit. After the latter song, Chuck D called for an end to violence and conflict across the world, from Palestine to the Congo to Ukraine. \u201cWhat the fuck is up with these governments, plural<\/em>?\u201d the legendary rapper asked.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nKen Pomeroy Leaves the Crowd Silent<\/h2>\n\n\t\t\t![\"Ken](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250726_newporfolk_kenpomeroy_056_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tEvery year at Newport there are early daytime showcases for debut up-and-comer singer-songwriters that promise to be the last time festival attendees will see such artists on such a small stage. In 2025, that was the case for Ken Pomeroy, the 22-year-old Oklahoma folk singer who hushed the Saturday morning Harbor stage crowd with a 40-minute, eight-song set accompanied only by guitarist Dakota McDaniel. At a festival that relishes sad songs, Pomeroy\u2019s tales of grief, addiction, and heartland loneliness instantly resonated and connected, as did her banter about flopping while opening for Ricky Scaggs and flailing in her acting debut on Sterlin Harjo\u2019s upcoming FX series The Lowdown<\/em>. But \u201cBound to Rain,\u201d the new small-town dispatch of \u201ccanned food and new tattoos\u201d that she previewed (which will also appear on that show), was a perfect example of her boundless songwriting chops.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nLuke Combs Stays (Mostly) Seated<\/h2>\n\n\t\t\t![\"Luke](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250726_newportfolk_lukecombs_006_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tFor many, stadium-selling country star Luke Combs was an eyebrow-raising choice for this folk festival. Indeed, his Saturday evening show was unconventional and in ways challenging, but not for the reasons most would\u2019ve assumed: Working overtime to prove his stripped-down songwriter bona fides, Combs spent the first two-thirds of the set performing either sitting down or accompanied only by a piano, telling heartfelt stories and singing quiet songs about his children from his recent Fathers & Sons. <\/em>(One of them, \u201cWhoever You Turn Out to Be,\u201d left Combs sobbing mid-song.) It was a rare opportunity to watch a superstar genuinely challenge both himself and his audience, with Combs running through live debuts of Darrell Scott\u2019s ancient-sounding \u201cYou\u2019ll Never Leave Harlan Alive\u201d and covering Keb Mo\u2019s arrangement of \u201cThe Times They Are a-Changin.\u2019\u201d After an hour, Combs announced he was done crying, said, \u201cI know you didn\u2019t think I was gonna sit my ass on a stool the whole<\/em> time,\u201d shotgunned a beer, and ran through a 15-minute, high-octane mini-showcase of his stadium show. By the time he closed the evening with his (Tracy Chapman-less) cover of \u201cFast Car,\u201d it made perfect sense why he was chosen to end the day.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJosh Kaufman Leads an All-Star Ensemble<\/h2>\n\n\t\t\t![\"Songs](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/07\/20250727_newportfolk_songsforpeople_145_sachynmital.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sachyn Mital\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tSpecial guest tribute sets are, by definition, always a mixed bag, and this year\u2019s Newport concluding set was no different. But the highlights of \u201cSongs for the People,\u201d Sunday\u2019s all-star cover showcase, organized by jack-of-all-trades guitarist-producer and musical director Josh Kaufman of Bonny Light Horseman, featured extraordinary moments of power, protest, fellowship, and simple feel-good sing-alongs. The first showstopping moment came when Margo Price and Logan Ledger performed Woody Guthrie\u2019s \u201cDeportee\u201d<\/a> (\u201cI\u2019ve got two words: \u2018Fuck ICE,\u2019\u201d Price announced before singing). One song later, Mavis Staples, the \u201cmother of Newport,\u201d in the words of the set\u2019s emcee, John C. Reilly, was on stage singing her father\u2019s modern standard \u201cFriendship\u201d with Jeff Tweedy. Lukas Nelson upped the energy level for a searing take on Neil Young\u2019s \u201cRockin\u2019 in the Free World\u201d before everyone came out for the traditional Newport farewell of \u201cGoodnight Irene.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\n
\t<\/p>\n
\n\t\u201cI\u2019m a Southerner,\u201d S.G. Goodman told the crowd towards the end of her Friday afternoon set. \u201cI tell stories; that\u2019s what I do.\u201d Goodman said this by way of apologizing for playing \u201cHeaven Song,\u201d the nine-minute song with which she was about to conclude her quietly stunning performance. But there was no need to say sorry: Goodman\u2019s hour-long showcase of her recent album Planting by the Signs<\/em> was a subtle, slow-burning display of songwriting mastery. From \u201cSnapping Turtle\u201d to her dusting off 2020\u2019s \u201cSpace and Time,\u201d Goodman \u2014 fresh off a commanding victory as captain against Kevin Morby\u2019s team in the previous night\u2019s inaugural Newport charity softball game \u2014 hooked the crowd with the vivid specificity of the imagery in her songs. It was a vivid trip through, as she sang in the former, \u201csmall towns where my mind gets stuck.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tFew sets felt as anticipated as Remi Wolf\u2019s Saturday afternoon showcase. Billed as \u201cRemi Wolf and Friends,\u201d it promised to be the type of free-flowing, cover-and-special-guest-heavy Newport performance the festival has made its trademark over the years. Wolf did not disappoint, bringing out everyone from Maren Morris (\u201cAngel From Montgomery\u201d), Saya Gray (Fleetwood Mac\u2019s \u201cDreams\u201d), John C. Reilly (\u201cJust the Two of Us\u201d), and an ensemble finale of the Beatles\u2019 \u201cDon\u2019t Let Me Down.\u201d In between, Wolf delivered impassioned renditions of her alt-pop hits like \u201cSexy Villain,\u201d showed her depth with a beautiful rendition of live rarity \u201cStreet You Live On\u201d with Tiny Habits, proved the enduring cultural significance of Shrek<\/em> with a crowd-pleasing take of \u201cI\u2019m a Believer\u201d with slimdan, and even found time to invite Jeff Tweedy up for a gorgeous duet on Wilco\u2019s 2007 song \u201cEither Way.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIt had been several decades since Mary Chapin Carpenter appeared at Newport. On Sunday afternoon, she collapsed time, seamlessly bridging her indelible early-Nineties country hits with recent selections from 2025\u2019s Personal History<\/em>. Carpenter brought out that album\u2019s producer, Josh Kaufman, for several moving songs early on (\u201cSaving Things,\u201d \u201cBitter Ender,\u201d) before running through a series of favorites like \u201cHe Thinks He\u2019ll Keep Her,\u201d \u201cThe Hard Way,\u201d and \u201cDown at the Twist and Shout\u201d that had fans in tears. It was a gorgeous display of reverence and relevance that showed Carpenter is an inspiration for a new generation as much as a touchstone for her own.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe Queen of Bounce delivered a new flavor of her trademark high-energy live show at the folk festival Friday afternoon. The first half of the set found Big Freedia running through a collection of rowdy bounce numbers, from \u201cPlatinum\u201d to her trademark Bill Haley reclamation \u201cRock around Da Clock\u201d to \u201cThrow It Back,\u201d which featured a number of audience members jumping onstage to twerk. Halfway through, she transitioned from Saturday night to Sunday morning. Beginning with a prayer for Gaza, the Resistance Revival Chorus joined Big Freedia onstage as she previewed songs like \u201cHoly Shuffle\u201d from her forthcoming gospel album. In a space where New Orleans music can feel frozen in the 20th century, Freedia\u2019s bounce showcase was a thrilling and overdue presentation of one of the city\u2019s most vital genres, one that\u2019s been around for long enough \u2014 well over 30 years \u2014 to make it perfectly fitting to celebrate at Newport.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe last time Hurray for the Riff Raff performed with a full band at Newport was 2017. That year<\/a>, the singer ended their set with \u201cPa\u2019lante,\u201d their showstopping, tear-jerking call to action. It happened again on Sunday, when singer-songwriter Alynda Segarra wrapped up a tour-de-force album showcase of their 2024 album The Past is Still Alive<\/em> with \u201cPa\u2019lante.\u201d The song has changed shape over the last eight years \u2014 Segarra now includes a spoken-word recitation of the poem \u201cIf I Must Die\u201d by the slain Palestinian poet Refaat Alareer \u2014 but the message remains the same. And it was a message Segarra incorporated throughout their rousing performance, whether on the newly relevant \u201cPrecious Cargo\u201d (\u201cI hate you, ICE\u201d) or the recent masterpiece \u201cSnakeplant.\u201d \u201cThere\u2019s a war on the people,\u201d Segarra sang during the latter. \u201cWhat don\u2019t you understand?\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIt wasn\u2019t a foregone conclusion that one of this year\u2019s busiest artists at Newport would be the enigmatic 70-year-old cult singer-songwriter Dan Reeder, who spent the weekend jumping onto other artist\u2019s sets, including the headlining performance from Jack Antonoff, who introduced Reeder as one of his all-time favorite songwriters. This was all before Reeder took the stage himself Saturday afternoon for a spellbinding 15-song showcase with his daughter, Peggy Reeder. Performing as an acoustic duo, they sang his hushed cry-laugh folk songs like \u201cClean Elvis\u201d and his set-closer \u201cStay Down, Man,\u201d a song so haunting in its hushed beauty that boygenius covered<\/a> it a few years back.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhat is Newport Folk Festival\u2019s relationship to the current political moment? It\u2019s a valid question to be asking of any space in 2025, and the answer at this year\u2019s festival was answered in some large part by Public Enemy, whose Saturday show provided a necessary injection of the legendary group\u2019s trademark revolutionary hip-hop. Closing on the 40th anniversary of their debut album, Chuck D and Flavor Flav delivered a career-spanning set whose power and potency spoke for itself. Whether it was on newer tunes like 2020\u2019s \u201cState of the Union (STFU)\u201d or their eternal classic \u201cFight the Power\u201d or 1991\u2019s \u201cCan\u2019t Truss It,\u201d Public Enemy\u2019s high-energy performance (complete with a Flavor Flav stage dive) was a much-needed force of righteous spirit. After the latter song, Chuck D called for an end to violence and conflict across the world, from Palestine to the Congo to Ukraine. \u201cWhat the fuck is up with these governments, plural<\/em>?\u201d the legendary rapper asked.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tEvery year at Newport there are early daytime showcases for debut up-and-comer singer-songwriters that promise to be the last time festival attendees will see such artists on such a small stage. In 2025, that was the case for Ken Pomeroy, the 22-year-old Oklahoma folk singer who hushed the Saturday morning Harbor stage crowd with a 40-minute, eight-song set accompanied only by guitarist Dakota McDaniel. At a festival that relishes sad songs, Pomeroy\u2019s tales of grief, addiction, and heartland loneliness instantly resonated and connected, as did her banter about flopping while opening for Ricky Scaggs and flailing in her acting debut on Sterlin Harjo\u2019s upcoming FX series The Lowdown<\/em>. But \u201cBound to Rain,\u201d the new small-town dispatch of \u201ccanned food and new tattoos\u201d that she previewed (which will also appear on that show), was a perfect example of her boundless songwriting chops.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tFor many, stadium-selling country star Luke Combs was an eyebrow-raising choice for this folk festival. Indeed, his Saturday evening show was unconventional and in ways challenging, but not for the reasons most would\u2019ve assumed: Working overtime to prove his stripped-down songwriter bona fides, Combs spent the first two-thirds of the set performing either sitting down or accompanied only by a piano, telling heartfelt stories and singing quiet songs about his children from his recent Fathers & Sons. <\/em>(One of them, \u201cWhoever You Turn Out to Be,\u201d left Combs sobbing mid-song.) It was a rare opportunity to watch a superstar genuinely challenge both himself and his audience, with Combs running through live debuts of Darrell Scott\u2019s ancient-sounding \u201cYou\u2019ll Never Leave Harlan Alive\u201d and covering Keb Mo\u2019s arrangement of \u201cThe Times They Are a-Changin.\u2019\u201d After an hour, Combs announced he was done crying, said, \u201cI know you didn\u2019t think I was gonna sit my ass on a stool the whole<\/em> time,\u201d shotgunned a beer, and ran through a 15-minute, high-octane mini-showcase of his stadium show. By the time he closed the evening with his (Tracy Chapman-less) cover of \u201cFast Car,\u201d it made perfect sense why he was chosen to end the day.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tSpecial guest tribute sets are, by definition, always a mixed bag, and this year\u2019s Newport concluding set was no different. But the highlights of \u201cSongs for the People,\u201d Sunday\u2019s all-star cover showcase, organized by jack-of-all-trades guitarist-producer and musical director Josh Kaufman of Bonny Light Horseman, featured extraordinary moments of power, protest, fellowship, and simple feel-good sing-alongs. The first showstopping moment came when Margo Price and Logan Ledger performed Woody Guthrie\u2019s \u201cDeportee\u201d<\/a> (\u201cI\u2019ve got two words: \u2018Fuck ICE,\u2019\u201d Price announced before singing). One song later, Mavis Staples, the \u201cmother of Newport,\u201d in the words of the set\u2019s emcee, John C. Reilly, was on stage singing her father\u2019s modern standard \u201cFriendship\u201d with Jeff Tweedy. Lukas Nelson upped the energy level for a searing take on Neil Young\u2019s \u201cRockin\u2019 in the Free World\u201d before everyone came out for the traditional Newport farewell of \u201cGoodnight Irene.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\nRemi Wolf Does It All<\/h2>\n
Mary Chapin Carpenter Makes Her Triumphant Return<\/h2>\n
Big Freedia\u2019s Righteous Gospel-Bounce Sermon<\/h2>\n
Hurray for the Riff Raff Offers a Prayer For Action<\/h2>\n
Dan Reeder\u2019s Spellbinding Singalong<\/h2>\n
Public Enemy Bring the Spirit of Protest<\/h2>\n
Ken Pomeroy Leaves the Crowd Silent<\/h2>\n
Luke Combs Stays (Mostly) Seated<\/h2>\n
Josh Kaufman Leads an All-Star Ensemble<\/h2>\n