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American rock band Dawes returned to the Newport Folk Festival to perform their debut album, North Hills, on the 10th anniversary of its release. The performance was an anticipated highlight of the festival and a great representation of what makes Newport Folk Fest special: collegial collaborations with fellow musicians, a sense of collective belonging between the music lovers and the music makers, and the heightened energy and sense of specialness of these only-at-Newport happenings.

Billed as “Dawes and Friends,” the set featured an augmented band. Tom Petty bandmate Benmont Tench was on keyboards, North Hills producer Jonathan Wilson was on guitar, and the set was studded with guest appearances by Jason Isbell, Yola, Lake Street Dive, MC Taylor of Hiss Golden Messenger, the Preservation Hall Jazz Band, Mike Viola and John McCauley of Deer Tick.

Toward the end of the set, leader Taylor Goldsmith told the audience that the embrace of North Hills 10 years ago marked the first time he had a sense of making a life and career out of music. Under a tent filled with people who knew every word of the record, he shared the credit: “These are our songs.”

Taylor Goldsmith, John McCauley of Deer Tick, and North Hills producer Jonathan Wilson connect at the tour bus in the artist parking lot.

Singer and songwriter Yola and Jason Isbell 

Rehearsing with the horn section from the Preservation Hall Jazz Band

The Preservation Hall Jazz Band’s Clint Maedgen on saxophone, Branden Lewis on trumpet, and Ronell Johnson on trombone brought the celebratory energy to a new level.

Jason Isbell greets the band.

Deer Tick leader John McCauley and Benmont Tench

Dawes keyboardist Lee Pardini goes over some last-minute things with Griffin and Taylor Goldsmith immediately before the show.

Go time!

Dawes began their set with an a capella version of “Take Me Out of the City.”

Dawes bassist Wylie Gelber

Yola delivered a blistering rendition of “When You Call My Name.”

Fans in the front row

MC Taylor sang “God Rest His Soul.”

Enter Preservation Hall Jazz Band.

Griffin putting it all into the drum breaks.

John McCauley joins the band to help deliver the anthemic “When My Time Comes” as the closing song of the set.

Benmont Tench

The fellowship between the musicians who have played Newport many times is a special part of the dynamic.

Post-show hugs with MC Taylor

This photo essay is part of On the Road, a series of visual essays that explores the creative lives of notable musicians, onstage and off.

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WHO DOESN’T LOVE A POSITIVE STORY—OR TWO?

“Great journalism really does make a difference in this world: it can even save kids.”

That’s what a civil rights lawyer wrote to Julia Lurie, the day after her major investigation into a psychiatric hospital chain that uses foster children as “cash cows” published, letting her know he was using her findings that same day in a hearing to keep a child out of one of the facilities we investigated.

That’s awesome. As is the fact that Julia, who spent a full year reporting this challenging story, promptly heard from a Senate committee that will use her work in their own investigation of Universal Health Services. There’s no doubt her revelations will continue to have a big impact in the months and years to come.

Like another story about Mother Jones’ real-world impact.

This one, a multiyear investigation, published in 2021, exposed conditions in sugar work camps in the Dominican Republic owned by Central Romana—the conglomerate behind brands like C&H and Domino, whose product ends up in our Hershey bars and other sweets. A year ago, the Biden administration banned sugar imports from Central Romana. And just recently, we learned of a previously undisclosed investigation from the Department of Homeland Security, looking into working conditions at Central Romana. How big of a deal is this?

“This could be the first time a corporation would be held criminally liable for forced labor in their own supply chains,” according to a retired special agent we talked to.

Wow.

And it is only because Mother Jones is funded primarily by donations from readers that we can mount ambitious, yearlong—or more—investigations like these two stories that are making waves.

About that: It’s unfathomably hard in the news business right now, and we came up about $28,000 short during our recent fall fundraising campaign. We simply have to make that up soon to avoid falling further behind than can be made up for, or needing to somehow trim $1 million from our budget, like happened last year.

If you can, please support the reporting you get from Mother Jones—that exists to make a difference, not a profit—with a donation of any amount today. We need more donations than normal to come in from this specific blurb to help close our funding gap before it gets any bigger.

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