If the initial folk revival of the early 60s was all about chronicling the past, and later folk was about using the form’s simplicity to make waves (or just tread water) for social change, our modern L.A. folksters seem to be in it for the sheer joy: the beauty of a soprano warble, the tenderness of an open E chord, the intimacy of a strummed confession, and the audacity to do all these things while wearing Mozart wigs or jutting from out a giant volcano.

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