There’s something distinct about the feeling of being at Nelsonville Music Festival. Compared to, say, the (fun) chaos of Bonnaroo or the fast-paced, influencer-infested nature of Lollapalooza, Nelsonville Music Festival 2024 was noticeably more easygoing, more peaceful, and more welcoming.
Its smaller size and comparatively modest lineup certainly contribute to the festival’s impressive enjoyability-to-stress ratio (NMF hosted about 50 artists over the course of three days, while Lollapalooza boasts over 170 throughout its four-day weekend). And yet, walking around the Snow Fork grounds, you never once think, Man, I really wish there were 120 more sets. In fact, as Consequence has explored throughout this festival season, more curated, niche events might even have an experiential leg up in the modern landscape of live music.
Nelsonville Music Festival certainly seems to prove that thesis. Even as it continues to branch out from its Americana and indie rock roots, bringing an increasing amount of hip-hop and hard rock to the hills of Appalachian Ohio, the event has managed to retain its core appeal — offering the feel of a small, community festival for an international audience.
Mosh Pits and Turntables Take Nelsonville
The good folks of Stuart’s Opera House, the non-profit venue and organization that produces the festival, have never been scared of dipping their toes into the waters of genres outside of country and Americana. Past years have seen their fair share of funk, world-music, and weirdo rock (I’m looking at you Ween and They Might Be Giants). Still, 2024’s lineup felt noticeably bolder than past years, as punk rock took over even more time slots and, for the first time ever, a headlining spot went to a rapper.
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Several of the most talked about sets came from the fastest, heaviest, and most rockin’ artists on the bill. Frankie and the Witch Fingers brought riff-driven psychedelia, Snõõper got theatrical with their Devo-esque egg punk, and Sheer Mag rocked the hell out while frontwomen Christina Halladay’s hair picturesquely blew in the wind (presumably, wind produced by the power of rippin’ guitars). Elsewhere, former Hüsker Dü frontman Bob Mould sounded large and in charge despite performing solo, and Aussie punks Amyl and the Sniffers came through with the most exhilarating main stage performance of the weekend.
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Directly after Amyl and the Sniffers’ Saturday evening set came Killer Mike, a headliner who, admittedly, seemed like a strange choice — at least on paper. As he donned the stage with his choir of gospel singers, however, any doubt that he was in the wrong place immediately dissipated. His MICHEAL-heavy set didn’t feel jarring in the slightest and, as Consequence Editor Ben Kaye wrote in his rundown of Killer Mike’s following performance at Newport Music Festival, proved that “folk music” extends far beyond dudes softly playing guitar.
The crowd showed up and stayed thoroughly engaged, so much so that it surprised even the rapper himself. As his set went on, he admitted he wasn’t sure what he had initially signed up for by taking the gig, but that Southeastern Ohio had officially won him over. Turns out the welcoming nature of Nelsonville Music Festival extends to the artists as well. (To that point, it’s worth noting that two of the three headliners at this rural event were black, and the third was a woman from the queer community. Kudos, NMF.)
