the sawtooth valley gathering

        Stanley is a small town surrounded by the vast beauty of central Idaho's wilderness, and this area has been the setting for a rich history of life in the Wild West. Music and storytelling have long since created an understanding of life from those bygone times, and for the last ten years, this tradition has been revitalized in this small town by hosting the Sawtooth Valley Gathering. With as many stages as dirt roads in Stanley (about seven), the Sawtooth Valley Gathering offers grand views of the Sawtooth Range no matter which area you find yourself. At an elevation of 6,290 feet and nestled at the confluence of Valley Creek and the Salmon River, for four days this valley is alive with music and laughter.

SVG is a four-day, family-friendly event that offers a unique glimpse into country and folk music, featuring a variety of workshops, including songwriting classes, yoga, disc golf, and more. Sure, it's an opportunity to see over 40 bands, camp in one of the most beautiful places in the Rocky Mountains, and spend the day fishing, rafting, and relaxing in some of Idaho’s famous hot springs. And 2025 was a true celebration of the accumulation of a decade’s worth of hard work, dedication, and the beauty of the Sawtooth Basin.

It was my third year back at SVG, and it's safe to say that my favorite thing about this place is the people I see year after year. From dedicated crew and volunteers to river rats and Karen the Dancing Lady, it is a fun crowd of music lovers and outdoor enthusiasts. This is an all-ages event, and many attendees enjoy the camping options that the festival and Stanley have to offer. Stanley has many amenities for a town of its size, so if camping isn’t something you can handle after a full day of music (my on-site camping experiences have not necessarily been quiet), you want to book your stay quickly because this event and this town are one-of-a-kind.

        For the little ones, there are plenty of kids' activities, as well as various workshops, and intimate morning acoustic/conversational performances called “In The Round.” These are very family-friendly events. Yet, with late-night performances underway, beer flowing as wild as the whitewater around it, and the excitable energy— leaving the kids at home may be appealing for some, as well. I have watched my niece fall in love with live music at this event, and both the festival and the surrounding areas offer excellent opportunities to build core memories for your children. The choice is yours.

SVG often hosts a roster of Americana and folk-forward acts, jam bands, and blues/jazz-tinted rock, but that seemed to be the overarching genre of this year’s event. Regional folky artists help boost the bill and can always be seen fortifying the positive energy backstage or working behind the scenes. As always, this collective energy among various bands and crew translates beautifully to the audience.

There is a unique symbiosis between the artist and the crowd at the Sawtooth Valley Gathering, creating a special energy that makes even the mainstage events feel like an intimate club show at times. The storytelling nature of folk music heightens this connection even more. So, even if one doesn’t necessarily engage with every moment of the music or those genres, it is impossible not to find the fun or the joy of the moment. Even if you are known to be a bit of a music snob (I am projecting here), you cannot deny that impressive musicianship was on display at nearly every moment.

       Even with 2025 bringing the worst weather the festival has seen, the Sawtooth Valley Gathering remained a charming event. With more recycling signs than corporate sponsorship slogans, the festival truly embodies the escape that music, or a beautiful mountain view, can offer someone seeking to escape the world's troubles. If that is something that you want, be prepared for a heartfelt celebration of folk tradition and the simple joy of gathering with like-minded individuals to listen to well-made music. As a self-proclaimed music critic, I am excited to share some of my highlights from this year’s gathering.

        One of my favorite elements of SVG this year was the accompanists, the ‘artists-at-large,’ and the handful of musicians you can trace from performance to performance —artists who are reliable and talented enough to join a singer-songwriter as part of their backing band. The artists-at-large and recurring musicians on stage open the door even more for conversational storytelling to be part of their sets and performances, which is an integral part of why this festival feels so ‘folky’. I find this the heart of the festival, the family-oriented part of the gathering, a sensation that one comes to expect at this event. Witnessing these new connections, improved interactions, and jams— provides insight into the creative process. This reflects what you may hear at “In The Round” and the intimate songwriting workshops. Although this isn’t a songwriting camp, it's an excellent opportunity for aspiring folk and country artists to expand their connections and build upon their talents. It is also a wonderful opportunity for fans who want to engage more deeply with the artists and their music.

        I was happy to see Noble Holt (vox, guitar/Captain Snafu), Honey Bear (very incredible multi-instrumentalist saw, washboard, and more), Reckless Rooster (insanely good Wyoming artist, guitar, violin/ fiddle), Mike Apodaca (percussionist in support of several acts) and Neal Goldberg (guitar, vox/ late night Neal Goldberg and Friends). These faces were some of these ‘supporting roles’ throughout the fest. But rest assured, these aren’t run-of-the-mill artists who somehow squeezed in on the bill, but a well-rounded roster of very talented musicians who make this festival possible. It was these collaborations that truly brought out the beauty and joy of what they— and, of course, the main acts had to offer.

        I would regret not talking about Arkansas-based force to be reckoned with, Anna Moss, who was a clear standout as one of the artists-at-large at SVG 2025. She truly brought out the best in her counterparts on stage and still managed to shine brightest in what were already very bright moments. Moss was especially good at fostering a connection with the crowd, quickly becoming my family’s favorite artist of the week. There was something larger than life about her, to the point where I was taken aback by how small her stature was backstage. The way she played her sax and clarinet made her shapeshift into each performance, bringing the perfect ‘big band’ energy to any larger group, like alongside the funky California outfit Object Heavy, and the ideal balance to any intimate duet, like that with Portland artist Jay Cobb Anderson. Which, in no small part due to Moss, were two delightful musical surprises at the festival.

day one

        Through the four days of the main lineup, Thursday of the festival was the warmest day, and coincidentally, one of my favorites. Though a Wednesday pre-party is not one to miss, it didn’t feel like Sawtooth Valley Gathering until Boise-based bluegrass band High Pine Whiskey Yell took the stage. They are tongue-in-cheek in a way that makes them more clever than irreverent, and come across as equal parts talent and playfulness. This group embodies the overall energy of this festival, the same energy that makes SVG so appealing.

         Portland-based musician Brad Parsons has always felt like an integral part of the Sawtooth Family Gathering. A humble yet massive talent in the Americana world, Parsons displays some indie sensibilities that make his music stand apart. He makes intelligent songwriting decisions, and he exhibits great range and diverse influences in his music. Each time I have seen him play, it has been with such soul, it is easy to tell how much music means to him, how much it seems to be a part of who he is today. There is power behind his voice, but Parsons tends to invite you into his performances with a sense of vulnerability and approachability. I have always enjoyed being in the presence of Parsons, both on and off stage. Though he is from the coast, he is undoubtedly a crucial thread of the rich fabric of music and storytelling in Stanley, Idaho.

         Even during these opening acts of the festival, everyone was talking about how the band that ‘had to be seen’ was the Australian group The Cat Empire. They blend various sounds from the worlds of jazz, blues, rock, and cumbia, often mixing them with catchy, pop-esque lyrics, making for a very colorful and engaging set. It is very polished music, but they know how to cut loose and bring a good time to the crowd. As night-one headliners, they set a high bar for what the SVG audience had to look forward to for the rest of the festival. The crowd loved it, and the excitement at that moment was contagious.

Day two

        Friday would come too soon, and with it would be some intense mountain weather. Neither rain nor wind would stop the show from going on. Despite the dismal weather forecasts and black skies on the horizon, nothing would stop Boise-based David Henry from going on either. Henry brings his Mississippi roots to the heart of each of his live performances. Henry had an untethered, raw spirit during his set, even with the severe wind pummeling against his back.

I could think of no better person to rock that set as well as he did. Being a former Stanley local himself, he powered through his set with a smile on his face. The imagery of sideways rain and fast-moving clouds against the Sawtooths suited the grit I typically anticipate from Henry at his shows. In addition to running the stage at the Kasino Club that week and being a musician at the heart of Boise's blues and Americana scene, this iconic moment only adds to Henry's legacy and his importance to the history of this festival and the region.

I admired the quick thinking and effort put in by the festival organizers as canopies flew over and gear got wet, as well as their overall “show must go on” attitude. When speaking with SVG organizer James Fowler, he said, “This is the perfect type of crowd who will just go put on another layer and keep having some fun.” As the mainstage acts were switched from the hilltop to the valley floor, the crowd would find their places to dry off, warm up, and enjoy more of what SVG had to offer. Yet, as soon as we heard that Steve Poltz would be switching his set for Friday, the party I was at suddenly began drying off much quicker.

Folk art and music are often colored with interesting characters in tales, both tall and true. Poltz embodies and embraces the essence of these folk characters. To say the least, his reputation precedes him. He is most certainly a storyteller, and his approach to folk music straddles the folk-punk line but is much more comedic and playful than that. Poltz has been at the forefront of SVG and festivals like it, while collaborating and co-writing alongside artists such as Jewel, Billy Strings, Sierra Hull, and more. He is funny and a bit chaotic, consistently entertaining his SVG audience. I like the balance of his energy alongside Laurie Shook (the Shook Twins) and Anna Moss. Their equilibria made the folk legend that Poltz’s stories and aura exist in, into a place that felt much more grounded and individual to those moments in time. He is always welcomed warmly at the Sawtooth Valley Gathering, and he left many people in agreement that each of his two sets and multiple appearances throughout the fest were ‘his best show ever.’

        Friday’s main lineup closed with Leftover Salmon, delivering exactly what you’d hope for from a legendary jamgrass band—especially after a cold, wet evening. By the time their 10:00 to midnight set began, the crowd was recharged and the energy was electric. With over thirty years of music under their belts, founding members Drew Emmitt and Vince Herman led a set that was both joyful and skillful.

The band seamlessly weaves together their own melodies with clever medleys of familiar tunes, embracing the artist-at-large spirit of SVG and reinforcing the festival’s family vibe. Honestly, few bands are better suited for entertaining a mountain crowd in the rain—this is Leftover Salmon’s element. As icons of Americana, especially in the Rockies, their genre-blending sound and deep well of talent make it clear why they’re so respected. By the end of their set, the cold and gloom felt like a distant memory.

Day 3

It was a cold Friday night in the artist camp. I couldn’t warm up until Ontario, Canada-based artist Cat Clyde graced the main stage, because her approach to music is very enticing. Her guitar playing had all the right blues and folk sensibilities, but her voice also has the control and tone that makes it feel a bit more indie. She was one of my favorite acts throughout the entire festival. She set herself apart from the jam-forward acts at SVG with her intentional and emotive approaches to her songwriting. She maintained a certain depth that made her perspective very clear. Her songwriting sounds sweet at times, but I found her music to be very powerful. She creates music that feels both familiar and fresh, all while honoring the music that came before it. She also brought tremendous energy onto that stage, warming it up for the band that was my most highly anticipated set of the weekend.

Shovels & Rope hardly need praise or introduction from someone like me. This husband-and-wife duo has been part of the soundtrack of my life since my early twenties—not long after they began performing under this moniker. Their set, initially slated for Friday but swapped with Steve Poltz due to the weather, perfectly captured the DIY spirit and emotional sincerity I had hoped to experience from them. Both are immensely talented musicians, but what sets them apart isn’t technical virtuosity—it’s the raw honesty, the emotional depth, and the message woven into their songs.

Their music may not be the most complex on a structural level, but their multi-instrumental, role-switching performances brim with heart and integrity. As they played, I felt a wave of nostalgia—relief, even—that a band of their caliber and influence has remained so grounded and authentic. There is a tenderness in their delivery and a warmth in their connection with the crowd that makes their shows feel less like performances and more like shared experiences. They pour love into their music and reflect it to their audience in a way that is profoundly moving. Since the festival, Shovels & Rope have found their way back into my regular listening rotation. I am ensured that there’s something quietly powerful about the energy and ethos they bring into the world—something that feels rare and well worth holding onto.

            Scott Pemberton O Theory (SPOT) from Portland, Oregon, got the bodies moving that Saturday afternoon. They were also joined on stage by the talented Asher Fulero (a gifted pianist who had just wooed the audience himself) and Mike Apodaca. What set SPOT apart from others who also utilized supporting artists during their set, is how they engaged with Fulero and Apodaca. They were uplifting and highlighting the guests’ skills and compounding upon them with their own. It offers a glimpse into the songwriting process, and including the audience in these moments created a great dynamic between SPOT and the crowd. Watching this process reminded me why I love making new music with people, and being able to harness these improvised moments is why I think the project includes ‘theory’ in its name. The audience is welcomed into the songwriting process, and the uniqueness and joy of that moment in time are celebrated. It was spontaneous but well-orchestrated, and with a crowd eager to have fun, get warm, and power through the storm, SPOT was the perfect project to remind us all why we wanted to stay. It embodied why Fowler was so correct when he said, “This is the perfect type of crowd,” and SPOT was the perfect type of band.

I had previously seen Boulder, Colorado’s Banshee Tree before, but I fell in love with them at SVG 2025. They delivered two unique sets on the intimate Nothing But Love stage, showcasing their talents and distinct perspectives on Americana and jam music. They are an exceptional quartet that blends eclectic genres to create a vision and sound that would be difficult for another project to replicate. Yes, they have their stand-up bass, typical of these genres, plus the tautness of a well-rehearsed jamming machine, but they also possess the energy and cleanliness of any well-versed indie project. Vocalist and guitarist Thom Lafond is an excellent frontman. Still, the whole band feels like an incredibly tight unit —a thriving ecosystem of creative energy that depends on each of these bandmates to contribute to.

Typically, when reviewing a festival, this is the type of energy I look for in a band. Is it innovative or refreshing? Is it thought-provoking or inspiring? Can you think of any bands like them doing the same thing? Although Banshee Tree is becoming more commonplace on the festival and touring circuits that many of these acts are on, they bring a new energy and distinct perspective that I think is also more palpable to those who wouldn’t normally attend a jam-based festival, such as SVG. They are capable musicians with shapeshifting energy that allows them to fit onto many different types of bills or cater to a more critical or subjective audience. From ragtime forward songs to even sometimes a heavier, rock-tinted hook, they deliver a variety of sounds throughout their set and have provided a unique performance each time I have seen them without lacking consistency or emotion. This is why they were one of my more highly anticipated acts of the weekend, but also what makes them one of my favorites of the weekend.

            The weather had begun to turn from rain to snow, and there were no more random rays of sun to hide from the cold. At those Saturday evening mainstage sets, every instrument and power cord, every musician and audience member, were all feeling the effects of what had now been 48 hours of inclement weather.  It didn’t impact the ‘show must go on’ attitude, but it did begin to feel like a ‘should or even can this show go on’ type of night. It did feel like the rain had impacted Neal Francis’ set more than it did most. This energy seemed to influence the first part of the set, but it was easy to see the effort and moving parts that make this band as popular as they are.

            Daniel Donato’s Cosmic Country, a Nashville-based honky-tonk and psych-infused jam-forward set, was cut a little bit short due to the blizzard that had begun rolling in. Before their set, throughout the three days of the festival, they were one of the more anticipated acts among the audience, and those diehard fans were still able to enjoy a great show. I was expecting the Grateful Dead's cosmic inspirations to blend with the traditional country sounds that I had been hearing so much about. I am reminded of Leftover Salmon, but with a more youthful and perhaps edgier perspective. Though that was certainly on display, I think I was too cold to appreciate what sets them apart from other bands at the festival, who I felt offered more unique perspectives on these same influences.

Day four

We were grateful that Sunday’s weather had eased up considerably. However, we appreciated the sweet sounds of The Coffis Brothers and Shaina Shepherd from camp. I’ll admit I was desperate for a nap. I want to emphasize that you should be prepared to camp in any weather and book your stay accordingly. The weather was an unfortunate burden that was very well handled by the SVG staff. And I couldn’t stress any more how tough it seems to keep the fun-loving spirit of this crowd subdued.

It felt that Montana-based Madeline Hawthorne harkened to the sun with her charming set. This acclaimed artist stays true to her country roots; at times, I was even reminded of Reba McEntire or Emmylou Harris. Hawthorne's translation of classic country allowed me to see her as an individual still, and she had the crowd moving and dancing again. Finally, it felt like both my guard and my physical layers were finally being shed once more. She displays a great sense of control in her voice, and she is an artist who seems to mold effortlessly into her guitar. Of the more traditional country or bluegrass acts, she was one who I could see going very far in her career. 

I had previously seen California folk band The Brothers Comatose at SVG, and they have also accumulated a loyal fan base of SVG followers. I love their take on this genre because they bring the California sunshine and sensibility to this music. They are very entertaining, a bit goofy at times, but they embrace the SVG ethos of community gathering and togetherness. I find them very beguiling, and one of the more straightforward bluegrass bands that evokes a bit of the rock and roll energy I typically enjoy. When I met them at the 2023 SVG, they seemed very open and easy to talk to. On stage, what I admire most is the synergy among this band that is hard for other bands to replicate. 

I had done some research before SVG, listening to many of the artists and gaining a sense of what to expect from the gathering. Even after conducting extensive research and attending the first three days, I must admit that I still wasn't prepared for The Sam Chase & The Untraditional. They had the grit of a band playing in the background of a bar fight in some biker roadhouse, and the talent to perform what was my favorite set of the week. This is a seven-piece band with lots of moving parts working in perfect unison. There was a narrative lyrical style with a Tom Waits-esque delivery from Chase himself, and The Untraditional created music that struck the perfect balance of rock and blues. They transcend the folk genre; I would not be surprised if at least half of this band had been in some amazing metal band at some point in their musical careers. They were able to utilize and explore the deep and heavy end of rock and roll genres, whereas other bands who used ‘shreddy guitars’ or ‘stoner-rock riffs ' just alluded to heavy rock and roll standards — but in the middle of a jam-grass set. A live show by The Sam Chase and the Untraditional is one I would not want to miss if given the chance to see them again. 

My SVG musical experience ended with another familiar face of the festival, John Craigie (his set featured Laurie Shook and The Coffis Brothers). Though he always makes the women in my party swoon, what tickles my fancy is the seriousness he brings to his music and the softness he conveys while on stage. When I opened this article with the tradition of storytelling, it was artists like Craigie who I specifically had in mind. He is especially capable of pulling in the audience with his words, both sung and unsung. The California-born artist is another face that defines this festival in my eyes, in part because he best represents what you can expect from the Americana and folk artists that frequent here. His voice is also amazing, and when he isn’t playing charming renditions of covers, his lyrics are often profound, catchy, and sincere. I can see why he has had such a distinguished career, and his talents as a guitarist also contribute to what feels like a very special gravitational pull that is John Craigie.

Reflection

Sustaining an event of this scale and spirit year after year is no small feat. I have deep admiration for the unwavering dedication and resilience demonstrated by the Sawtooth Valley Gathering staff and crew, who navigated every twist and turn of the week with grace. Even during the coldest, most wind-swept moments of the festival, one could always find smiling faces and helping hands—an enduring testament to the community’s heart and effort.

It’s no easy task to transform a music festival into something that feels equally like a family reunion, a summer camp, and—at times—a lively bar crawl. As a lifelong fan of punk and rock 'n' roll, I find the festival's spirited, at times anarchic energy, deeply resonant. And yet, what defined the tenth Sawtooth Valley Gathering for me wasn’t just the music or the atmosphere—it was the genuine celebration of family, connection, and shared experience.

I’ll also be candid: perhaps the lineup this year didn’t quite align with the full range of my personal musical preferences, but I know year-to-year, the lineup changes. That said, the 2025 SVG featured no shortage of opportunities to witness exceptional musicianship. If I didn’t write about a specific act, it’s not a reflection of its quality. Rather, I chose to highlight the performances and artists that, in my view, most vividly shaped the identity of this year’s gathering, but also the last decade. I also had every intention of attending more sets, but a combination of cold weather, limited sleep, and the realities of aging conspired to slow me down.

Still, my admiration remains constant—for the organizers, the artists, and the welcoming community of Stanley. The atmosphere they've cultivated in this stunning corner of Idaho is truly one-of-a-kind. Folk music offers many reasons for appreciation, but for me, it’s especially about honoring those who keep its traditions alive. Much like the hardworking crew and passionate attendees, the people of Stanley display a resilience and pride that is impossible not to admire. These are folks who, I imagine, share a profound reverence for the land and a sincere desire to celebrate and protect the natural world around them—those who recognize the deep, quiet beauty of the Sawtooth Basin.

On a personal note, I want to extend my heartfelt thanks to Jim Slanetz and Karin Reichow of the Kasino Club, the Mountain Village Resort, and the Knosp family, whose generosity made this stay possible. I’m especially grateful to James Fowler for his warmth and hospitality in welcoming me to observe this incredible event.

Ultimately, if you value community, music, joy, and the great outdoors, I think it’s safe to say—I’ll see you in the Sawtooths.

Ali O’Malley is an award-winning essayist and poet. She has been a musician for over twenty years and a music journalist for a significantly shorter time. She is the host of Uncle Stepmom on ElectroMagnetic Radio, a radio show dedicated to embracing music that is weird and underappreciated.