The Gamble Rogers Folk Festival: a roots music tradition
The 31st Annual Gamble Rogers Folk Festival was a great tribute to the enduring spirit of American folk music—a place where storytelling, musicianship, and community intertwine under the Florida sky. Named after Florida folk icon Gamble Rogers and featuring many of his friends who performed with him, the weekend is a great tribute to a master troubadour and storyteller whose songs captured the spirit, humor, and history of the American south, especially Florida. Rogers lost his life trying to save a drowning man in 1991, a defining part of his legacy.
Held over three days at the spacious St. Johns County Fairgrounds, the festival brought together more than 25 artists across multiple stages, blending nationally recognized performers with rising regional talent. The atmosphere was relaxed but deeply engaged, with audiences drifting between workshops, jam tents, and mainstage performances, creating a sense that the music never really stops—just shifts locations.
Dom Flemons and The Traveling Wildfires delivered one of the weekend’s most dynamic sets. Flemons—often called “The American Songster”—moved effortlessly between banjo, guitar, and percussion, showcasing a repertoire that spans blues, old-time, and early country traditions. His performances aren’t just musical; they are educational and deeply narrative, echoing the historical depth of his work. Flemons, a Grammy-winning artist and a founding member of The Carolina Chocolate Drops, demonstrates multiple guitar and banjo styles going back to the 1800s. The Traveling Wildfires, his new band, added a modern energy, giving the set both humor and spontaneity. This version of the group included Brian “B” Farrow, former member of Gangstagrass, and Dante Pope, former member of Old Crow Medicine Show. Together, they provided a great set that felt perfectly aligned with the festival’s mission.
Verlon Thompson offered a contrasting but equally compelling experience. Where Flemons was expansive and multi-instrumental, Thompson was intimate and laser-focused. I’ve been fortunate enough to see Thompson many times over the last decade, and he never fails to grab an audience and not let go. His set leaned into quiet storytelling, humor, and virtuosic guitar work, holding the audience in near silence at times—a testament to his ability to command attention without spectacle. Known for his collaborations with legends like Guy Clark, who he played with for decades, Thompson brought a sense of authenticity and lived-in storytelling that resonated deeply. His two sets included some of my favorite songs: “He Left the Road,” a chill-inducing song that gets you in the feels; “Gimme a Ride to Heaven,” a dark humor-infused hilarious romp; the wonderful “Indian Head Penny,” and the ghostly “The Guitar,” featuring his world-class guitar skills. If you’ve never seen Verlon Thompson, you’re missing one of America’s finest singer/songwriters.
There were multiple workshops, including songwriting (one session by Verlon Thompson), mandolin (Red and Chris Henry), banjo (Frank Lindamood), and guitar (Jonathan Dotson and Trey Brewer).
The YoungFolk Stage was a highlight, spotlighting emerging artists and reinforcing the festival’s role in nurturing the next generation of songwriters.
Several sets that really made an impression were the Starlight Trio, featuring Florida legends Lis and Lon Williamson and Rick Kuncicky; a fine bluegrass band, Angel Chantel and Underbrush; and the great singer/songwriter Larry Mangum.
What makes the Gamble Rogers Folk Festival special isn’t just its lineup—it’s its ethos. This is a festival where music is honored not by production value but by connection: between musician and listener, tradition and innovation, past and future.
The 2026 festival reaffirmed its place as one of Florida’s most meaningful folk gatherings—an event that honors its roots while continuing to grow in spirit and scope.
