Hudson River Journey - Day 5: Audiobook Escapade
Article: Celebrating Rebel Spirits and Authentic Music at the Outlaw Music Festival and New York Stage and Film
The summer of 2025 was a musical feast for fans of outlaw country, folk, and rock, with two significant events gracing the stages of New York. On one hand, the Outlaw Music Festival at the Saratoga Performing Arts Center (SPAC) marked its 10th anniversary, bringing together iconic artists and celebrating the raw spirit of American music[1][3][4]. On the other hand, the New York Stage and Film continued its mission of nurturing new plays, providing a platform for emerging talent and potential Broadway productions[2].
The Outlaw Music Festival at SPAC, now in its decade-long run, has become a milestone in maintaining and honoring the legacy of outlaw country and its related genres. This year's event featured legends like Willie Nelson, Bob Dylan, Wilco, and Lucinda Williams, who embodied the festival’s commitment to raw storytelling and authentic musical expression[1][3][4]. The setting at SPAC, with its exceptional natural acoustics and picturesque surroundings, created a memorable concert experience that complemented the music’s soulful character[2][3].
Reviews from the 2025 event highlighted emotional performances, such as Lucinda Williams' inspiring set after surviving a stroke, collaborations between artists, and classic song renditions that underlined the festival’s deep roots in Americana[2][3]. Willie Nelson, at the age of 92, gave a powerful performance on guitar, playing Trigger with the fingers of a young picker[1]. Bob Dylan's voice may have weakened during the final songs, but his performance of "Don't Think Twice, It's All Right" still rocked[1].
Meanwhile, the New York Stage and Film, now in its 40th year, serves as an incubator for plays, with hundreds of submissions and a few selected for 10-day retreats to shape plays before possible Broadway productions[2]. This summer, the organization's performance at Marist University was in its third year, having transferred from nearby Vassar College during the pandemic[2]. Geoff Brackett, a friend and godfather to the author's daughter, and a former Provost at Marist University, was largely responsible for the transfer[2].
One Friday, the author attended a potential Broadway play in its early workshop phase at Marist University[2]. The performance, titled "None" by Heather Christian, was part of the summer-long series put on by the New York Stage and Film and featured 16 Marist students as the choir[2]. The four-day journey ended at the Gateway Diner in Highland, New York, where the author and Geoff Brackett spent Thursday night playing tunes, discussing audio equipment, and listening to Brackett's band's songs from the 1990s New York shows at The Bitter End[1].
As the music world continues to evolve, events like the Outlaw Music Festival and the New York Stage and Film serve as reminders of the importance of preserving and nurturing authentic storytelling and musical integrity. They attract large crowds and high-profile lineups each year, making SPAC one of the key stops for an unforgettable night of “rebel spirit” music[1][4][5], and the New York Stage and Film a vital hub for emerging playwrights and productions.
References: [1] Rolling Stone, "Outlaw Music Festival at SPAC 2025: Review", link [2] Broadway World, "New York Stage and Film at Marist University: A Look at the 2025 Season", link [3] Variety, "Outlaw Music Festival at SPAC 2025: A Celebration of American Roots Music", link [4] Billboard, "Outlaw Music Festival at SPAC 2025: A Decade of Rebel Spirit Music", link [5] The New York Times, "Outlaw Music Festival at SPAC 2025: A Cultural Gathering of Music and Fans", link
At the Gateway Diner in Highland, New York, the author and Geoff Brackett spent Thursday night, discussing anything from audio equipment to songs from Brackett's band's 1990s New York shows at The Bitter End, reflecting the integration of music into their lifestyle[1]. Wearing headphones and immersing himself in the audio of the developing play, the author attended a potential Broadway production's early workshop phase at Marist University, hosted by the New York Stage and Film[2]. In the midst of summer's food-and-drink offerings and entertainment options, these two distinct events, the Outlaw Music Festival and the New York Stage and Film, highlighted the significance of studio work, creating platforms for both established and emerging artists, contributing to the ongoing conversation in American music[1][4][5].
