You don’t have to stay at Golden Fest until two in the morning. But pretty much everybody does. And an awful lot of those people are still dancing, eight hours after the festivities started. In terms of raw thrills, year after year, there is no other New York concert that can match this blissfully entertaining annual weekend festival of Balkan, Mediterranean, Middle Eastern and Slavic music and food. Golden Fest 2019 is this January 18 and 19 at the magnificent, old world Grand Prospect Hall on the south side of Park Slope, Brooklyn, just up the hill from the Prospect Ave. R station.
If doesn’t take much effort to discover a dozen or more acts you’ve never heard before, especially if you spend time in the smaller upstairs rooms rather than the big ballroom where most of the big brass bands play. You can also catch just as many of the best New York Balkan bands, or mix it up. At any moment, there’s always something worth seeing on at least four or five different stages spaced throughout all four floors of the mansion.
If the festival has one defining qualtiy, it’s that the earliest acts on the bill are just as good as the headliners, even if they tend to be little quieter. For this blog, the game plan for last year’s big Saturday night Golden Fest blowout as well as the year before was to see as many new acts as possible. Both times, the lure of some of this city’s most explosive bands proved too much to resist.
In their own quiet way, the Slaveya Women’s Choir – whose muted, otherworldly close harmonies spanned from Bulgaria to the Caucasus – were every bit as captivating as New York’s own Romashka. It was frontwoman Inna Barmash’s birthday, and she put on a party for the ages, with strings and guitar and tuba blasting behind her blissfully edgy wail, through one minor-key romp after another. That group had a great run back in the zeros; fifteen years or so later, they sill kick out the jams. Happily, their set was recorded; you can download it for free, and read a more detailed review here.
Where the Slaveya Women’s Choir had migrated so enigmatically between notes, the Istanbul Trio – fretless guitarist Ertugrul Erkisi, singer/percussionist Aslihan Erkisi and oudist Fatih Bayram – did the same, with even more edgy intensity and a classical Turkish focus. They would play an even more haunting show a couple of days later at Barbes under a different name.
The rest of the night was a crisscross between intended destinations and diversions. So many good bands, so little time. Here was where the hardcore triage set in. Kavala – a livewire Macedonian/Greek spinoff of Zlatne Uste, the festival’s founding icons – or Loza, a relatively rare meeting between the haunting oud of Adam Good and the similarly poignant vocals of Corinna Snyder? In this case, Loza won out.
How do you choose between the slinky, epic Dolunay and a rare New York appearance by the more cinematic Wind of Anatolia? In this case, the latter, a no less intense Turkish band won out. As the night went on, Egyptian film music revivalists Zikrayat wove plaintively undulating, trickily syncopated melodies, oudist Scott Wilson and Efendi put a twisted psychedelic rock spin on many of those same sounds and the nine-piece Novi Hitovi Brass Band made crazed jams out of searing minor-key Serbian riffs for the better part of an hour.
The loudest band to arguably ever play the festival was psychedelic rembetiko band Greek Judas, who reinvent the Middle Eastern-flavored sounds of the Greek gangster underworld and antifascist resistance movements in the 20s and 30s. The twin guitars of Adam Good and Wade Ripka (who doubled searingly on lapsteel) pummeled the crowd in one of the smaller side rooms, frontman Quince Marcum channeling a mad Dionysis in front of the band.
After midnight, the option to simmer down just a little with the elegant jazz of Tavcha Gravche – guitarist Dan Nadel, clarinetist Vasko Dukovski and bassist Daniel Ori – was a welcome chance to sit down and get lost in their improvisations, the night’s closest approximation of an American idiom. Zurli Drustvo -Tamberlaine and Drew Harris with percussionist Jerry Kisslinger – and Slavic Soul Party spinoff the Mountain Lions provided a surreal blast of fresh air with their microtonal zurla oboes
By the way, this is not how most people do Golden Fest. The big crowd hangs out by the big stage and gets down with a ferocious brass band lineup (clarinet wizard Michael Winograd’s titanic klezmer orchestra seemed to be the biggest hit – and largest ensemble – at this past year’s festival). And here’s a secret about the food: wait til midnight, you’ll be shocked by the quality and the quantity of what’s left over after the lines and lines of hungry dancers have finally satiated themselves. Although there are a lot of talented people circling the room and cutting a rug, there are no judgments if you’re a first-timer. Golden Fest 2019, here we come!