For the FIFTH  year in a row, in what is becoming an annual pilgrimage to Camp Ramblewood over the Indigenous Peoples Day  / Columbus Day Holiday Weekend, we find ourselves again transfixed on The Ramble Festival's lineup in Darlington, Maryland, on October 9-11, 2026.

What was once the ambitious dream of two creative powerhouses to launch a small independent festival in 2022 has become a must-see festival in 2026. 

There is a certain electricity that settles over the fields of Darlington just before the first notes rise. Not a quiet exactly, but a charged pause. You can feel it in your chest, in the way strangers start to smile at one another without explanation, how members of the Vibe Tribe greet you at the festival check-in as buskers set the musical tone for the festival - you have arrived at The Ramble Festival.

And at the center of it all is the ever-evolving creation of Brick and J, those patient but quietly daring architects of the Ramble Festival.

Each year, they make it better. Not in ways that feel forced or overdesigned, but in ways that feel discovered. A new pocket of sound tucked into the woods. A stage that suddenly feels like the center of the universe at the right hour. They move like sonic alchemists, shaping something that feels organic but unmistakably intentional. You start to realize this is not luck. This is vision, sharpened over time.

Now in its fifth year, the secret is no longer a secret. Ramble has become a destination. Bands talk about it on the road with a kind of reverence. Buskers arrive hoping to carve out their own moment. Visual artists come ready to leave a mark. There is a quiet understanding now. Ramble is the place to be. Artists who have played it before reach back out, asking how they can return. Others, hearing the stories secondhand in vans and backstage corners, reach out cold, just hoping to be included.

The 2026 lineup feels alive with that momentum. The Kitchen Dwellers, Ripe, and a mystery headliner that has already sparked speculation in every corner of the grounds. Around them, a vibrant swirl of sound from Clay Street Unit, Diggin Dirt, Bombargo, New Potato Caboose, Squeaky Feet, Bearly Dead, Twin Fin, Boot Juice, Banshee Tree, Big Blitz, and The Young Guns. It reads less like a schedule and more like an invitation.

But the heartbeat of Ramble is in its returns. Once Ramble Family, always Ramble Family. You hear it, and you feel it, and then you see it play out in real time.   You feel it in your soul as the smile emerges from your face, and that indescribable musical glow emanates from your heart. Artists embrace like they never left. Sets that feel like continuations rather than standalone moments. This year brings back Big Something, Sneezy, Armchair Boogie, Kendall Street Company, Caleb Stine, and The Sweet Lillies, each one adding another layer to a story that keeps unfolding.

The artists-at-large bring a different kind of spark. This year, there are three, and you can feel the excitement around them. Bella Rayne, returning artist-at-large Hayley Jane, and Shawn Eckles, who, after stepping into his own lane, made one of his first calls back to The Ramble Festival, wanting to return to this beloved festival.

That says something.

It says Ramble is not just a stop. It is a pull.

Even the buskers feel like stars in waiting. Last year’s winner, Skyler Cumbia, returns with a full set, a moment that feels earned and overdue. Alongside that, the Heady Wax Fiends Vinyl Submission Contest winner steps forward, another new voice entering the fold.

And then there is The Ramble Band, now firmly a tradition. Last year, Cris Jacobs led Ramble Band Plays Dead, with mystery guest Dogs in a Pile providing the pulse. It was the kind of set people still talk about in fragments, like trying to describe a dream. This year, The Ramble Band Goes Interstellar, and there is a collective sense of anticipation that borders on giddy - who will the mystery band be, which other artist, not wanting to miss out on the fun, will jump on stage? Whomever it will be, it will be another performance talked well into the winter of 2026. 

The late nights at the festival feel almost mythical at this point. Time stretches. Songs become journeys. Last year, Jeremy Schon of Pigeons Playing Ping Pong performed until 4:30 in the morning, chasing something just beyond reach and somehow finding it. The question lingers in the air this year. Who is bold enough or crazy enough to try to take that crown?

And then, almost casually, Ramble delivers everything else. The collaborations that happen without rehearsal but feel meant to be. The children’s performances that ground the whole weekend in something joyful and sincere. The New Orleans-style second line that rolls through twice a day, pulling everyone into motion, whether they planned to join or not.

Amazing bands, check. Unexpected sit-ins, check. A place for kids, check. A second line that refuses to be ignored, check, check.  An authentic family-friendly atmosphere, check.   And underneath it all, that rare and genuine sense of community that cannot be manufactured. Check, check, check, check.  

 This year the festival is leanin’ all the way in—into rainbows, cosmic connections, and that far-out magic that only happens when good people and great music come together at the Ramble.  The Ramble Festival is built on the idea that live music and community go together like brown-eyed women and red grenadine — and this year they are turning that feeling all the way up.

Like the best chefs, The Ramble Festival carefully reviews all the best national and regional artists and creates a most delicious music recipe with something for everyone.  Year after year, they continue to deliver beyond anyone's expectations, and this year will prove to be no different!

Ramble does not ask you to believe in it. It simply unfolds around you until you realize you already do.

 See you all at The Ramble Festival in

So why do we think Ramble Festival is one of the most amazing and refreshing of festivals on the calendar?  Let us tell you a little more about the festival.

These are just a FEW of the many reasons to Ramble!  

See their web page dedicated to Reasons To Ramble

At DC Music Review, we value a festival not just by what happens on stage, but also by what happens off stage and the festival's overall vibe.  The Ramble Festival's mantra is "Feel The Vibe and Find Your Tribe," to which we say "Vibe felt.  Tribe found."  

For those who attended any edition of The Ramble Festival, we are sure you left with a radiating heart, gleeful memories, and a content musical soul.  Last year, we highlighted the Top Ten Reasons To Ramble, and to be honest, each year the Ramble Festival proves how very fortunate we are to have this special festival in our community and why we will continue to spend our Indigenous Day Weekend at Camp Ramblewood with our Ramble Family.

If you are looking for an incredible weekend for people to enjoy with unbelievable music and the friendliest atmosphere, you would hope to experience.  In that case, you have found your tribe and your vibe at The Ramble Festival.  

Passes are movin’ fast—grab yours and lock in your spot under the rainbow. We can’t wait to dance, laugh, and ramble alongside each and every one of you.

To learn more about Ramble Festival, please see the following web resources:

• Webpage
• Facebook
• Facebook: Ramble Tribe - The Ramble Family Festival
• Instagram
• Twitter
• YouTube
• Spotify

Fans braved the cold and flurries on Friday, February 6 and got out to see DC locals Marilyn Hucek and MADDIE during the last show of Hucek’s first-ever headline tour. The show was originally scheduled for January 24, but was cancelled due to the snowstorm.

Opening up the show was MADDIE, power pop singer-songwriter with Barbie energy in the best way possible. Joined by Trey Sorrells on the keys, MADDIE performed originals "Horoscope", "Tell Me What To Do", "Breakfast in Bed", and "Flirty Little Fling", as well as a cover of Espresso by Sabrina Carpenter. Flirty Little Fling got the crowd jumping, and MADDIE’s music is definitely best enjoyed while wearing big hoop earrings.

Hucek opened the last performance of her debut headline tour with "Rebound" and "I Tried", both songs about trials in love set to catchy melodies. She was joined by Daniel Geiss on the bass, Hays Dowdy on the electric guitar, and Izik Raphael on the drums. Hucek’s music takes on an acoustic pop sound, reminiscent of Taylor Swift’s early-2010s sound with storytelling at the core of her writing. Her debut album, MARILYN, is about celebrating “girlhood, womanhood, and everything in between,” Hucek said during the show.

Two songs in particular stood out to me: "Man of the House" and "Neil Young". Man of the House is just one song in Hucek’s catalog that showcases the intersection of her musical and personal influences. She dedicated the song to “anybody who’s ever had to grow up fast, who’s ever had to take on a lot more responsibility than they’re ready for.”

Neil Young is an homage to Hucek’s father who struggled with early-onset Alzheimer’s before passing away three years ago. Hucek shared with the audience that one significant way she stayed connected with him was through music, even after he couldn’t recall her name. Hucek performed the song and left several in the audience misty-eyed. After leading the audience in the bridge, she announced 5% of all proceeds from her streams and $3 of every vinyl purchase goes to the Alzheimer’s Association.

This show in particular was special for several reasons, Hucek revealed halfway through the show: not only would Hucek celebrate her birthday at midnight, but it also marked the celebration of life for her father. The night itself was marked by bittersweet moments, and yet they only added to the power of Hucek’s performance.

The whole night felt vulnerable yet passionate, especially since it included covers of Pink Pony Club by Chappel Roan and Vivir Mi Vida by Marc Anthony. Hucek is American-Chilean, and she introduced Vivir Mi Vida by promising the crowd that they were going to have some fun with it. Both songs had the crowd singing along and dancing, and it was a fun and heartwarming display of how music can bring people together in both joy and vulnerability.

Hucek also performed her song "Me Salvaste El Alma", a song with lyrics in Spanish that translates to “You Saved My Soul.” She said the song is about someone who comes into your life and saves you in ways you never expected, following the theme of vulnerability and joy in that vulnerability.

The core of each song was rooted in a story or directly related to something bigger than Hucek herself, which is a part of the reason why I feel her music feels so authentic and powerful. Hucek joked during her performance that “we’re gonna get vulnerable, it’s all about healing,” but that’s just what makes her storytelling so raw. Whether you typically enjoy pop or not, you can’t deny that there is true artistry in Hucek’s music and even more so in her performance.

The first track from MARILYN is called "I Made It", and Hucek wrote it on a road trip to Nashville. Hucek told the crowd that she doesn’t listen to music or podcasts when she drives and she quite enjoys silence, but it was getting to her on this trip—she ended up writing I Made It during that roadtrip as she was thinking about how to define success. Hucek’s mother was present in the crowd, and Hucek sang the last chorus directly to her mother at the front of the crowd, which was a powerful triumph, especially on the last night of her debut tour.

Hucek capped off the night with several unreleased songs: "Polar Plunge", "Animal House", and "Self-Destruct". Before performing “Self-Destruct,” Hucek commented that she was convinced she was “sitting on gold” and couldn’t wait to release it. Given the reception by the audience, Hucek is right, and these songs are going to be the next hits from Hucek.

The crowd sang Happy Birthday to Hucek at the end of the show and begged for an encore, but the band swore they didn’t have one prepared. We’ll just have to look out for Hucek’s next live show.  

It was a big night for local music last Friday, January 9th, with Stephen Sol & the 7’s headline show at Union Stage. With support from DMV-based artists Frewt and Hathway, the eight-piece psychedelic folk-rock band brought a fun show with great music to the stage.

One of my favorite parts about going to local DMV bands’ shows is the energy the crowd brings. Friends and family packed in early to greet each act. This truly was a community show; the faces in the crowd weren’t random, but true supporters.

Frewt took to the stage first, performing groovy rock originals "French Café", "Change My Mind", and "Crazy How I Feel About You". The band noted that though they write their music collaboratively, everyone has their own style on their instruments, which makes writing together exciting.

To round out their set, the band gave a shout out “to all the mothers,” and by the opening guitar riff, the crowd knew it was time to sing along to the ever-powerful "Stacy’s Mom" by Fountains of Wayne. 

Hathway’s dreamy indie rock sound changed up the energy for their set. They began by playing two unreleased songs, "Joyburn" and "Start Again", before going into originals "While I Wait" and "Keeper of Time". The band includes siblings Joe, Jude, James, Timmy, and Mary Grace Hathway. Hathway’s music would resonate with fans of Colony House and Blue Rain Boots.

The crowd particularly enjoyed "Keeper of Time," which took on a more edgy sound than the rest of their set and featured Mary Grace as a special guest. Mary Grace has a unique voice that works together with the supporting vocals to maintain their signature dreamy sound. To round out their set, the brothers performed "Money in Her Pocket" and "Altercation," which were quick to win over the crowd and provided an energy spike right before Stephen Sol & the 7 came onstage.

With the energy high from two awesome opening sets, Stephen Sol & the 7 capitalized on it and brought it to an entirely new level with a cover of "Bohemian Like You" by The Dandy Warhols. With Stephen Sol on lead vocals and guitar, Bema Tadey and Yasmin Wamala on backing vocals, Arquel Rivera on drums, Tyler Goldstein on guitar, Leif Christian L. Jomuad on bass, John Rey Tangaran on the keys, Randie Goode on the trumpet, and Jairo Chavez on the saxophone, the band certainly has a robust capacity to bring plenty of variety in their performance and pull off the inter-genre space they live in.  Stephen Sol & the 7 took up the entirety of Union Stage's stage and created a creative wall of song.

The first few minutes of the set was pure chaos in the best way possible. The chaos continued through "Compasión" and "Sacred Energy", especially with the entrance of backup dancers dressed in hot pink and beach balls tossed into the crowd.  

I find the eight pieces’ certainly lean on the rock genre to describe themselves, but their music feels like an indie rock band with a folk problem in the best way possible; balancing high-energy, earworm melodies with the storytelling ability and themes of folk music. The band self describes their music in their Instagram bio as “Bob Dylan backed by Pink Floyd and a gospel choir.” Just behind the energy created in the venue space, the musicians, and the crowd before them is a tendency to package inherent opposites together and explore the unity of these opposites through music, and this begins with their instrumentation.

It was clear throughout the first half of the show just how much fun the band has together, especially when on stage. The band played as Stephen Sol introduced "Fifth Best Singer in the Band", a song which showcases not only their musical but interpersonal chemistry. This song calls out band members by name including their instruments. Sol notes in the introduction that they have added two more members since he wrote the song, and though he currently ranks at number seven, he hopes to make it back to the fifth spot sometime. “I’ve been taking vocal lessons though, we’re getting there,” he assured the crowd.

After an energetic performance of "Short Skirt / Long Jacket" by CAKE, Sol announced a $700 raffle for ticketholders. The raffle was marketed online by Sol’s ‘financial advisor’ Vinny Sorrentino, a man who is said to dabble in the pizza and cannoli industry in New York City and who bears a striking resemblance to guitarist Tyler Goldstein. 

The second half of the set kept up the energy while leaning on the storytelling characteristic of folk tunes. Sol described Toxic as a song about how “life’s not always through rosy glasses,” and Spring as about surviving winter. They brought the warmth back quickly with Sunshine Wine, a bright song that exudes summer. As the band played, Goode and Chavez ran backstage to retrieve hot dogs just in time for Sol to sing the lyric ‘hot dog in the sun.’ Waving them around and dancing a bit, Goode eventually ran to the front of the stage and gave the hot dogs away to two audience members in the front row.

“I wouldn’t eat those,” Goldstein advised the two women. They opted to store them for later in their purses.

At the end of the show, just before the raffle, Sol announced a headline show at the iconic DC venue Black Cat on July 10 (keep an eye on the venue's show page for tickets). Then, Vinny Sorrentino came onto the stage to pull the winning raffle ticket. With much ado, the lucky winner received their prize and concluded a great night.

If you’re wishing you could’ve caught the show, you’re in luck: Stephen Sol & the 7’s latest release is a live album, Live at Manor Time, that includes some selections featured in their set. Check it out on all streaming platforms.

The DC music scene is alive and flourishing, and so are its local homegrown bands.  Don't sleep on Stephen Sol & the 7 and be sure to catch them where they shine brightly - live!  Be sure to keep Hathway on your radar - they continue to release stunning songs, and don't sleep on Frewt, who continue evolve and grow.

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Couch sure made the District feel at home on Saturday, November 15th, 2025. Their sold-out show at the 9:30 Club had lines wrapped around the building and fans eagerly awaiting the hype, jazz sound that they know and love of the band’s repertoire.

Creating this comfy, welcoming atmosphere was largely in part due to Stephen Day’s opening act. Day performed true to his signature southern-inspired pop-folk sound that was as smooth as honey and set just the right tone for the evening. With selections from his latest single release “Moonshine” and his 2024 album “Gold Mine,” the crowd easily leaned into the chord Day struck as he leaned into his ‘modern crooner’ sound.

With a hum in the air, Couch launched into their set with a warm welcome: their first track release of three ahead of the Big Talk album’s release, “What Were You Thinking.” The audience immediately matched the energy the seven-piece band brought to the stage. Just like Couch’s sound, there was always something new to focus on, whether it was an element of the music or an element of their stage presence.

Couch had an explosive energy that is true to their sound in the studio. To see it translated onto the stage was truly an amazing experience. Not only did they put on a good show, but they allowed every member of the band to have their moment. Whether it was a moment for the horn section, Eric Tarlin on the saxophone and Jeffrey Pinsker-Smith on the trumpet, Jared Gozinsky on the drums, Will Griffin on the bass, Zach Blankstein on guitar, or Danny Silverston on the keys, each member of the band had a moment to shine in between shining as a stunning group on stage.

Blankstein and Gozinsky have a special connection to Washington DC, and highlighted it during their set. “This is really special for all of us, but especially Jared and me,” Blankstein told the crowd during their set. “We met at GW [Editor: George Washington University], we went to college here. We would come to concerts like, every weekend here. We saw a bunch of our favorite bands, and we always talked about how fun it would be to get to do it ourselves. And here we are tonight, so thank you.”

The hour and a half long set mainly featured selections from their newest album Big Talk. They opened their set with “What Were You Thinking,” threw it back to their early days with “Saturday,” and jumped between some of their newer numbers while maintaining that connection to their roots.

One unique aspect of the show was a tradition the band calls “Couch family photos.” Tossing disposable cameras into the audience, the band explained that they have done this for every show they’ve played since they first started touring. They expressed how it is a way to feel connected to each and every member of the audience and to encourage that connection between audience members. Fans took photos with the cameras, and the photos were then uploaded onto Setlist.fm, where fans could view and even purchase physical copies of their photos and have them signed. Lead singer Tema Siegel explained that the proceeds from the photos would go to an organization called Rosie’s Place, a women’s shelter in the band’s hometown Boston that is the first women-only shelter in the United States providing wide-ranging support services to more than 13,000 women a year.

Before a rendition of “Window” off of the Big Talk album, Siegel talked about what the song meant to her as she wrote it. Siegel described a habit of being jealous of the lives that her neighbors might be leading and how it was really detrimental to her own wellbeing. “This song is about interrogating that habit and looking at all the wonderful things I have, if I could just reframe it for myself and romanticize my own life,” she said.

The performance also featured an extended version of “Static and Noise” with a major bass feature that led to an intense drum feature, bathing Gozinsky and the stage in white light as the other band members exited and reemerged to perform “Still Feeling You” from their self-titled EP released in 2021.

Siegel slowed the room down a bit to speak to the audience about “Lucky To Be Stuck With You.” She gave a shout out to her father on the balcony, describing how the song was inspired by a conversation she had with her family during a road trip to New Hampshire this summer. Her father blew kisses down to her on stage and beamed, clearly proud of his daughter. The song expresses the feeling of content and nostalgia that come with being surrounded by the same people from childhood to adulthood, and Siegel’s shout out to her father was a touching way to introduce the song’s meaning.

Not only was the song emotionally touching, but musically touching. Silverston led the audience in a three-part harmony for the song’s vocal ending, dividing the room and balconies into sections and teaching each a different harmony. It left a resonance in the room that was immaterial.

As the band rounded out their show, they invited opener Stephen Day to return to the stage to sing Couch’s “Autumn.” Siegel and Day’s voices were strikingly complementary, especially since the studio version of the song features R&B jazz singer-songwriter Jackson Lundy. Nevertheless, it was a refreshing feature on the song and was no less Couch.

The band wrapped up their set with a two-song encore of “Easy to Love” and “Middle Man.” With confetti in the air, it was clear how far the band has come since they last performed in DC as an opener for American funk band Ripe in 2023. Now that we have seen them headline an iconic venue such as the 9:30 Club, and based on the reception they’ve received online and in person, they seem destined for even more. Couch is truly a band no one should sleep on, as they have consistently made a name for themselves in city after city.

Greg Ormont, frontman of Pigeons Playing Ping Pong, is widely recognized for his vibrant stage presence and magnetic connection with audiences. Known for his signature sound, thrashing ringlets, infectious grin, and unmistakable sense of humor, Ormont has become a central figure in the modern jam scene. His leadership continues to define Pigeons Playing Ping Pong’s spirited blend of funk, rock, and improvisation, inspiring both devoted fans and a new generation of live music enthusiasts. Hailing from Baltimore, Pigeons Playing Ping Pong, or 'Pigeons' for short, consists of Greg Ormont and Jeremy Schon on guitar, Ben Carrey on bass, and Alex "Gator" Petropulos on drums. Though Ormont leads lyrically and vocally, the band functions as a true vocal ensemble, with every member adding their own voice in the mix. Their dedicated and extensive fanbase dubbed "The Flock" is known to travel alongside as they tour the country, filling venues and festival lawns with the same pure joy and positive vibes that the Pigeons themselves embody.

Despite the jam-packed weekend at Ramble Festival 2025—with Schon appearing as Artist at Large, Gator performing with Infinity Tribe, and Ormont leading his Scrambled Greg kids’ set—we were able to sit down with Ormont, ahead of that evening’s double-headlining show.  He opened up about the band’s ongoing evolution, their deep connection to the jam-band community, and the release of their latest album, Feed The Fire.

DC Music Review:  How does it feel to be headlining Ramble Festival? Are you guys excited for your double set tonight?

Greg Ormont:  We are stoked. We love the people who throw this (Brick and Jay), and to be in the home state playing two sets it's awesome. We're gonna let her rip!

Have you (Pigeons Playing Ping Pong) played Ramble? I know you've done the kids set.

The band has not, but we actually met these guys when they were helping us with our festival Domefest and they were in the early days of talking about this music festival... they saw how we do things (at Domefest) and it's really incredible to see these seeds of ideas blossom into this whole community that's bigger than the festival itself. I mean people love Ramble and we're included. I'm super proud of them and they should be proud too.

Tell me about the new album.

We're thrilled with the new album! It's called Feed the Fire... just released! I love this new album; we wouldn't put it out if we didn't love it and and this one feels really great. It's a big mix of our different styles and it's a bunch of new things too. For instance, our bassist (Ben Carrey) sings on the record for the first time as lead. and he did a great job on a song called Hit the Ground Running. And we've had new collaborations like Wes Bailey from Moon Taxi on the title track and some familiar collaborations like Chalk Dinosaur on a couple tracks and our friends West End Blend and Here Come the Mummies on horns. It was kind of like taking our touring sound and bottling it up into a nice neat package. And with that comes our touring friends... it was very collaborative and fun and hopefully what we sound like now and the next one will continue to evolve.

 I feel like that's the Pigeon way: jamming with other musicians. Any Pigeons show I've shot you've always had people coming up sitting in.

Well, we play shows all the time, and they're always so fun, but it's always extra exciting when you have a new element on stage or in anything in life... that new is what we're chasing and to have such talented friends around all the time, we'd be fools not to invite them up. In fact, I'd be curious to see if anyone up comes up tonight, because we know a lot of people on this lineup!

Hint, hint, hint!? I know every Pigeons set is going to be different; you're never gonna get the same one especially with different people sitting in. I know and follow a lot of your fans too, The Flock, (which is) such a robust, passionate following because they're putting out set lists like, "oh, yeah, and then they did this!" You don't get that with a lot of bands because the sets will be the same or similar, and they play the songs the way they are on the album, which is great, but I know with Pigeons, you're gonna funk it up and you're not gonna play it exactly how you would lay it down in studio.

I appreciate what you said. We work hard to make every show super different. The reality is you had to be there. And it's like that because one night this other band was on the lineup, they sat in and there was this epic jam or the vibe in the crowd was inspiring us to push certain songs and jams in new directions... into unchartered territory. That's why we all like jam music to begin with. It really is like this choose your own adventure, hang on and go along for the ride kind of genre. So it's hopefully just as much fun for the crowd as it is for us to see where the music takes us.

I think that's why you guys (Pigeons) are such a good fit for Ramble because that is the essence: you just had to be there! Being open to the vibe and bringing whoever up... it's always mystery, but that's the Ramble spirit. Pigeons is a perfect fit.

For sure! I love being here. The vibe is incredible. It's really laid back, but well oiled... there's lots of different genres going on. We we all brought our whole families! All six band kids are here running around, having fun, and it is such an amazing break from reality and at the same time, in our weird profession and world, it is our reality. To be able to coexist with everything that happens outside of the the music scene in today's society... to also be reminded of the pure camaraderie and togetherness that you experience at a festival. It's a really great reminder that we're not as divided as it sometimes seems.

And I think the fact that you can bring the family and have this be a family weekend... making memories together, I think that's great because I know you tour a lot and the kids and wives can't come with you everywhere, and that's gotta be hard!

It's very challenging to balance parenthood and and touring as a musician because you can't be in two places at once. But it's my job to give one thousand percent to all of life's pursuits, whether it's being a present father or an adventurous musician, or doing anything; you give it your all and hope for the best. If you do that and you're mindful of others' feelings and trying to balance it as best you can, you can sleep at night. Allegedly. Not when I'm home. My kids won't let me sleep at night! And then there's these beautiful moments like today, I had both my kids on stage with me for my kids' set. My daughter Goldie got to sing on stage for the first time with me.

I've talked a lot about what got me to this point in life where I'm a touring musician, and one of the things I look back on is the first time I was on stage was the Kindergarten Circus. I was the doggy in the window and I remember barking and people being like, "aww" and laughing. and I remember liking that feeling. And today, my daughter is now in Kindergarten, and got to be on stage and got cheers and it's like incredibly full circle and while it's very challenging sometimes to be gone all the time, moments like today where I get to share the stage with my daughter is something I wouldn't trade for the world.

I love that so much. So do you think she's got the performer personality?

I think she has that personality, but I am not pushing it on her at all. I think when you see your parents do things, you want to do that too, but it was her idea to come on stage. Every time I'm on stage and she's there, she wants to be on stage too. It was her idea to sing on stage and what songs to do and to play more than one song. So if she wants to, I'm happy to do it with her, but I want to make sure that I'm not guiding her natural instincts and what she is passionate about. If it happens to work out that way, then it won't be our last daddy-daughter song. I'm kind of following her lead and she did a great job. We practiced in my house, but once we got on stage at sound check and there's a big microphone and there's people, it was totally different and I could tell she was getting a little nervous. I wasn't sure when the showtime came if she'd be up for it, but she got up there, she shook the nerves off and owned it. It was amazing. I was so impressed. And then my two year old came up and got down too. He did a great baby shark-but it was like a modern baby shark.

What did your daughter (Goldie) sing with you?

Two originals that we wrote together. We had one song called "I Love You So Much" and another song called "Unicorns." Unicorns actually became a Pigeon song, but the band requested that I change the lyrics "unicorns like bubbles" and "unicorns like flowers," so now that song's called "Blue Light" and it's about our reliance on technology and it's not at all a kid song. When we debuted "Blue Light" for the first time, Goldie was in the crowd and was very upset that it was not about unicorns anymore. I warned her, she knew it was going to happen, but apparently she was not impressed with my version. So today was Redemption Day for Dad; we played the proper, original version of "Unicorns" that is not all of a sudden about androids. She did not sign off on that!

What were the lyric changes from unicorns, like bubbles and unicorns to what?

Well, it's like, 'androids are computers and androids are the problem' that's essentially about a not being a slave to your phone. 'Androids are the limit. Androids are the problem.' They're limiting us in our communication with each other. They're the problem in terms of us having a harder time, you know, being in society or connecting with each other, not being anxious. It went from this super cute kiddie idea to this way more adult thing.

I will say I had an absolute blast playing the original lyrics today. Goldie's favorite lyric was "unicorn fart glitter" and she crushed it. There was crowd participation—we asked the other kids in the crowd what else unicorns like and one of them was marshmallows, which was very unexpected, but probably true. I don't think that's wrong! So it was a big day for the fam.

That's awesome. Such a such a fun memory to share with your daughter. How do you think your sound has changed? How does parenthood and touring and just being a band together for so long (17 years!)—How has that changed songwriting and recording albums?

I think all people evolve in life no matter what your job is or what your role in a family is. When you're in a band, it's interesting because you have four different people in our case, evolving at different rates in different ways and therefore the communal soup of our existence tends to change with all these different ingredients, but in ways that won't knock you over the head. So some of us became dads and I don't think that's really affected the music. As the primary lyricist, it has affected the way I approach things sometimes, but not all the times. We have a song on this new album (Feed The Fire), "Donkey Hotel" that is as silly and off the wall as one of our earliest songs from college. With an evolution, you kind of just let it flow and see where it takes you. As a musician, you're chasing something new; once you've made a song, you want to write the next one... this is kind of the nature of the beast.

So one thing we're aware of is letting the evolution happen as it does naturally, not overthinking it. If it sounds good to your ear, then make that music. Another thing that we balance with that is not forgetting where you came from and what got you to this point... what the earliest inspiration was, how that felt at the time and and hearkening back to that. As I grow as a lyricist and I have kids now and I'm talking about different things than I did in college, I also stop myself and remember those earliest days when we were young and touring the country, sleeping on people's couches... really roughing it and having so much fun; everything was new. Calling back those memories to inject in today's lyrics, because those are the those are the vibes that got us to this point to begin with. I think it's important for evolution to embrace the future, but don't leave the past behind. That mixture is what makes us all human and what makes the music interesting, because it's not just a snapshot of today; It's where you are and how you got there. And when when time elapses, you'll look back on this song and it can mean something completely different than it did before. There are so many lyrics I've written or songs we've written that at the time meant something to me in in one way and now mean almost the polar opposite. I find it so interesting because you end up singing these songs over and over, sporadically, because the set lists do change, but when they do come back up, you're singing it with a different intention, energy, and mindset; it's really fascinating to revisit the old while embracing the new.

It's funny because people still talk about the "Early Pigeons Days" When I am out in the jam scene, not even at a Pigeons show, I'll hear  "oh, man, I'm an original, I used to see them at the 8x10 way back when they were just getting started," they talk about seeing you from the ground up.

The last person I spoke to before sitting down with you told me that she saw us in Salisbury, Maryland at a pizza place, Vinny's La Roma... we would show up anywhere that someone would let us play music, clear out the tables, bring our own little sound system, flip the place upside down for a night, then meet people and crash on their floors. And that was like THE DREAM. We were living the dream and we still are! It's just we're playing at a festival and we don't have to provide our own sound.

And the lights!! (Thanks to Pigeons LD, Manny Newman)

I really love talking to people who were there from the earliest days, because it does feel like we got here together... the fact that they are still following us, they've probably told friends about it, and that helps us keep the dream alive. I know just as a fan of bands, I love watching their success. Like Goose, who opened for us in 2019. 2020, right before the pandemic, and fast forward five years and they're selling out Madison Square Garden... they're amazing guys and I love them so much and I'm so proud of them. And I feel how some of our fans do from the early years like "I remember when you guys (Goose) were the support band; look how incredible this growth is in this community you've built." The songwriting is incredible, and they've just earned every bit of success they have. I feel part of that ride... there's something about the longevity of the support that makes the successes all the more meaningful.

Of course. What do they say, 'a rising tide lifts all boats?'

Totally. That has been by mantra.... I came from a sports culture childhood and that is not the case: It's a zero sum game. If one team wins, the other team loses, and it took me a while to put my finger on it, but once I switched into this music-based lifestyle, the fact that someone's success doesn't mean it's negative for you, was such a relief. It's hard to explain how relaxed that made me about everything. The fact that we're all in this together... it really is a special thing, and that's why the jam community amongst many other music communities are just... it's hard to put into words how special it is.

And I don't think everyone sees it until they see it, when you realize "oh, wait, wait, you care about my success and I care about you!"

Greg: And that ties right back into places like Ramble; it's a really great reminder that we're all rooting for each other, especially in PERSON. You get sucked into these digital worlds where the point is to make a point—as opposed to the point being to support and lift each other up. And it's so great to see. Ramble is a perfect place to cleanse your soul of the the day to day and remind yourself about the importance of human connection and and how fleeting it all can be.

Last question, what is your favorite song to play live?

Feed The Fire. Well, in actuality, I would say my favorite song to play live is the one (iteration of Feed The Fire) that we're currently playing because like many people, I'm sure, I have a hard time like not getting stuck in the past or anxious about the future, but when you're on stage and you're focusing on the chords you're playing, the words you're singing, what the other musicians are doing, it's the best way for me to like turn off my brain and be in the now. What I appreciate the most about playing live is just you know, staying in the moment, feeling the energy and because of that, it doesn't even matter what we're playing. I'm probably more grounded than usual when I'm when I'm playing it.

I feel like it bleeds into other areas of life, too, when you have those moments, it helps you be present when you're not on stage. That's what happens to me when I'm in the crowd.

Well, especially when you're improvising. If you let your mind wander, you're gonna miss the train. and it's just a really good metaphor for our everyday existence; if you keep looking behind you or looking ahead of you, you're gonna miss what's in front of you.

It’s hard to believe that there were only three Wombats band members on The Anthem’s stage Tuesday, November 11th, when their sound was so full and alive. Hailing from Liverpool, England, The Wombats are currently touring the world for their newest album Oh! The Ocean (link to full album below).

It’s also hard to believe that The Wombats sound exactly the same live as they do on record, but it’s absolutely true. Known for their alternative pop and techno-inspired jams, the British band played a collection of their classics from previous albums as well as new hits from their sixth album that came out in February of this year. Even when they sang their songs from their early 2010s albums, they still sound exactly the same.

Lead singer Matthew Murphy, drummer Dan Haggis, and bassist Tord Øverland Knudsen feel like your cool uncles. Armed with jokes and deadpan British humor, they made the crowd laugh in between songs. Even things that weren’t meant to be funny were amusing, like when they said, “This next song is our new song, ‘Kate Moss.’ Wait, is it? Yeah…”

Two bands opened for The Wombats: Red Rum Club and Only The Poets. Red Rum Club, from Bootle, England, did a great job of warming up the crowd, playing some of their own original songs and some crowd-pleasers.  Only The Poets, from Reading, England,  incorporated fun grooves and keyboards that sounded like something straight out of the ‘80s.

Only The Poets said they were so grateful to be playing on this stage, and they announced that they will be back in the U.S. next year for their own tour.   We, for one, really loved their music and stage presence and hope that they return to the DMV next year.

The crowd was pretty hefty for a cold Tuesday night – the worst night of the week, as The Wombats said. Haggis commented on the large carpet that was hanging behind them, joking that it can get “pretty chilly traveling around on tour on a flying carpet,” so he very much appreciated the fans who came out to see them.

Everyone in the crowd danced and swayed their arms in the air throughout the night. But if there was one person that seemed to be having more fun than anyone, it would probably be Knudsen. He was skipping and jumping all over the stage, energizing the audience right from the start. The band was so in sync, though – at the end of “Lemon to a Knife Fight,” Knudsen and Murphy ended in the same pose, facing each other, but it didn’t even seem to be on purpose. When a band is so in sync, the energy is palpable.

Speaking of lemons, Murphy explained to people who haven’t seen one of their shows that they sing about lemons "roughly 48 times” between their songs “Pink Lemonade” and “Lemon to a Knife Fight.”

There was one creature who may have been having as much fun as Knudsen, and that was the Wombat himself. For one song, the band brought out a person in a wombat costume to play trombone. It was a treat for the audience and for the band, too. 

Over the past two years, the band has released music videos to go along with some of the singles and other tracks from Oh! The Ocean. The music videos are eclectic and fun, but they also show the deeper meanings in their lyricism. As the years go by, The Wombats’ lyrics have become more direct and poignant.

However, they never forget their roots. They sang the first song off of their 2007 debut album A Guide to Love, Loss, & Separation, “Tales of Girls, Boys and Marsupials” and acknowledged its silliness. 

Since 2007, The Wombats have struck a balance between that silliness and the deeper, sometimes darker parts of life to create music that makes you feel great even when you’re not doing so great. That’s what I love most about this band. They’re not afraid to tackle tough topics in their lyrics, and they acknowledge that those issues are not the end of the world.

 There is still so much beauty and joy in the world. That’s what Oh! The Ocean is all about, and that’s what The Wombats were in D.C. to show. 

Tucked away in the quiet rolling hills of Darlington, Maryland, between rows of soy and corn readying up for harvest, The Ramble Festival has become one of the East Coast's most beloved independent gatherings — a three-day blend of music, art, and family that feels less like an event and more like a homecoming. In our years, the festival has grown from a COVID-19 lockdown-inspired project into a can't-miss stop for touring musicians and fans alike.

Each October, as the air turns cool and the leaves catch fire, hundreds upon hundreds of fans roll into Camp Ramblewood to celebrate the season and the scene.  The lineup mixes national headliners with rising talent, and the atmosphere is all heart — food trucks serving local favorites, pop-up art installations scattered through the trees, and that unmistakable Ramble energy where everyone feels like part of the same big, joyful family.

At the Ramble, spontaneity is part of the design. The mighty Naptown Brass Band leads a parade through the campground to the opening act at The Moon Stage and through the fields after a headliner's encore. A secret acoustic set could break out by the pond under the moon. Kids dance beside parents, artists join each other's sets, and everyone seems to know the lyrics by the second chorus.  The Ramble campground is filled with buskers and is alive with art and a kaleidoscope of kinetic art.   It's a place that thrives on connection — between people, between sounds, and between the moment and the music.

As much as we may try to highlight what happened on-stage at The Ramble Festival, the true magic of The Ramble Festival is the vibe, the sense of community, the sense of Ramble Family, and having something for everyone - from wee infants to those who have worn their knees out from decades of music.  To go to The Ramble Festival is to find your home away from home, your community, and connect with everyone from a Vibe Tribe volunteer to an artist, a vendor, or a busker.  This connection and community are built into the very fabric of The Ramble Festival and will endure, no matter how large the festival grows.

Now in its fourth year, The Ramble continues to evolve, finding new ways to bring people together while maintaining its small-festival soul.  The 2025 edition proved once again why fans return year after year: the music was world-class, the community was strong, and even a looming Nor'easter couldn't break the spirit that makes this weekend special.

Part I: The Calm Before the Ramble

After months of anticipation and the buzz of a growing storm, Ramble Festival 2025 finally arrived in Darlington, Maryland. A Nor'easter was climbing the East Coast, kicking up anxiety from Maine to the Chesapeake, and no one knew if it would hit Camp Ramblewood. In true Ramble fashion, though, no one let it stop them. The vibe was clear: stay cool, trust the weekend, let the music and vibe instilled in the heart of the festival handle the rest.

By Thursday, the storm still hadn't landed. Instead, Ramblewood woke to blue skies and air so crisp it almost hummed. The fields stretched open and golden, the tree line bending just enough to catch the wind. It felt like a good omen.

This year, the Ramble crew introduced something new: the PreAmble to the Ramble, a soft opening just fifteen minutes down the road at Hopkins Farm Brewery. Fans arrived with broad smiles and cold beers, kicking off the weekend with Uncle Kunkle's One Gram Band and The Dirty Grass Players. The grass was green, the sunset spectacular, and the energy had that familiar mix of anticipation and ease that always comes before something special. The sound of music rolled across the field as people danced barefoot, bundled in flannels, and toasted to fall.

By Friday morning, Camp Ramblewood was in full motion. RVs lined the roads, tents bloomed in clusters, and the smell of camp coffee mingled with woodsmoke. The festival had officially outgrown its parking lots, and most guests parked offsite and rode in on shuttle buses. Waiting in line, they were serenaded by buskers who played to smiling faces and tapping feet.

When the buses arrived, Brick and Jay, the Ramble founders and soul of the operation, were right there greeting everyone.  They handed out high-fives and shouted "Welcome home!" to every new arrival. It wasn't marketing — it was genuine. The kind of small touch and heartfelt personalized authenticity that sets Ramble apart from bigger festivals.

The storm still hovered somewhere out to sea, but no one seemed to care. There was too much light, too much laughter, too much sound. The festival had begun, and Ramblewood was alive again.

Part II: Day 1 — The Honeydrops and the Baptism of Joy

Friday arrived bright and clean, with a sky so wide and blue it felt like the festival had willed it into being. The Nor'easter that everyone had been worried about was still spinning somewhere out at sea, and the only wind in Darlington was the kind that carried music.

By midmorning, Camp Ramblewood was fully awake. On the Ramble Stage, The Moran Tripp Band, presented by Heady Wax Fiends, opened the weekend with an easy confidence that set the tone. Their set drew the very first of those to arrive at Ramble from tents, cabins, and RVs, shaking off their arrival at the festival to head over to the Moon Stage.  

Baltimore's own Caleb Stine brought a quieter warmth—his songs rolling out like conversation among old friends.  Stine, a stalwart of the Baltimore music community, showed why he is ever-present in the community - he is a tremendous human and a tremendous musician.

Inside the Beer Hall, Dizgo launched into their first set at Ramble, and it was clear why festival co-founder Brick had booked them.  Their groove was deep and hypnotic, a mix of jam and dance that filled the hall and left people buzzing.  The Ramble creatives once again found lightning in a bottle before the rest of the world knew what was about to hit them.

Later, TreeSap, a stripped-down trio from Cabinet, delivered a tight, acoustic performance that let every note breathe.

Outside the Beer Hall, the first of the now-infamous and cherished Ramble secret set popped when Sneezy cranked the Ramble dial to 11. Their mix of funk and soul spilled across the campground, attracting Ramblers like moths to a flame.

Then came Cris Jacobs, another Baltimore legend, playing with the ease of someone who knows the crowd is on his side. Midway through his set, members of The California Honeydrops drifted onstage, smiling and unannounced, turning Jacobs's show into a spontaneous collaboration. The brass section gleamed in the late-afternoon sun, and the field roared in approval.

By sunset, Ramblewood had settled into that golden-hour calm—the short pause before the main event. When The Wilson Springs Hotel finished their set, the crowd shifted toward the Moon Stage, ready for the first of the weekend's headliners.

The California Honeydrops came out swinging. Their frontman, Lech Wierzynski, led the band through a groove-heavy opening set that felt more like a celebration than a performance. The Honeydrops don't just play shows—they throw parties, and this one hit full stride right away. Lech announced that the second set would be all fan requests, and the band rolled effortlessly through deep cuts, crowd favorites, and spontaneous jams.

Down at the front rail, a member of The NapTown Brass Band stood with a washboard, playing along from the crowd with an ear-to-ear smile. Lech spotted him, laughed, and waved him on. During one of his many onstage laughs, he must have thought to himself, "Guess we don't need ours tonight." The California Honeydrops showed why they were the headliners - they shine best in concert. At a music festival, that is where their legendary performances are created, and Ramblers will be talking about this set for years to come.

When the Honeydrops closed their second set, the music didn't end. Instead, the NapTown Brass Band fired up their horns and led a parade through the crowd, marching everyone from the Moon Stage down to the barn. It was pure joy—trumpets, trombones, and drums turning the night into a moving street party under the stars.

In the barn, the celebration only grew louder. "Noodles at the Dizgo", a mashup of Natalie Brooke's Band and Dizgo, picked up the energy and ran with it. Natalie, celebrating the release of her new double vinyl "Measured In Moments", was unstoppable on the keys. The Honeydrop infusion was not over yet, just a few minutes from getting off-stage, Oliver Tuttle from the Honeydrops joined in on trombone, and suddenly there were three horns blasting through the walls of the fabled Ramble Barn. When The Naptown Brass band tore into "I Miss You Baby," the room erupted in euphoria. The NapTown Brass Band capped it off with "When the Saints Go Marching In," turning the barn into a full-on brass revival.

Meanwhile, outside by the firepit, an acoustic jam formed around the flames—buskers, friends, and strangers sharing songs deep into the night.

Back near the main field, the Honeydrops were spotted again, laughing with fans at Steph's Cereal Bar, bowls in hand as old cartoons flickered on a sheet behind the bar. It was that kind of night—music everywhere, joy around every corner.

And still, it wasn't over. Around 1 a.m., Joe Marcinek and an ever-changing lineup of guests kicked off the Late-Night Super Jam, an improvisational marathon that stretched well past 4 a.m. Rumor had it Joe wanted to play until sunrise, but even Ramble has to sleep eventually.

Part III: Day 2 — The Flock Comes Home

Saturday morning arrived with a soft, silvery light that crept through the trees and across the dew-soaked fields of Camp Ramblewood. The crowd was moving a little slower, heads fuzzy from the Honeydrops' marathon of funk and joy the night before, but smiles were everywhere. Coffee cups clinked, and the sound of a distant guitar eased the campsite awake.

The first thing on the schedule was quickly becoming a Ramble tradition: Greg Ormont's Scrambled Greg Kids Show in the barn. The Pigeons Playing Ping Pong frontman, known for his boundless energy, swapped the stage lights for the glow of morning and an audience half his usual height. Parents packed in with their kids as Greg strummed through classics like "If You're Happy and You Know It," only to flip it into an interactive, laugh-filled workout. "If you're happy and you know it, jump up twenty times!" he shouted, counting along as kids bounced and giggled. Midway through, his daughter joined him onstage, smiling shyly as she sang along. For a moment, it felt less like a performance and more like a family singalong — which, in the Ramble world, is exactly the point.

Outside, the sun climbed higher.  Underground Springhouse, visiting from Georgia, hit the Ramble Stage with a punchy, confident set. Their blend of funk and southern jam carried a swagger that fit the mood perfectly.  Underground Springhouse really brought the crowd alive and we really cannot wait for them to travel up to the DMV again - once again, the Ramble creatives find magical acts we have never heard of.

Children who once frolicked in the barn had moved onto the dedicated kids section of the Ramble Festival and were now painting and engrossed in dedicated activities.  With the children gone, Nester brought the festival's heavier edge, all low-end growl and grit. In the Beer Hall, The Deer Creek Sharpshooters returned to Ramble after two years, greeted by a crowd that welcomed them like old friends.

The buzz of the day built steadily toward one of Ramble's biggest breakout stories: Sneezy. After their surprise late-night set on Friday, their Moon Stage debut was one of the weekend's must-see shows. They delivered a tight, electrifying set full of horns, harmonies, and raw joy. Near the end, frontman Brett O'Connor called festival co-founder Brick onto the stage to thank him for building a place where a band like theirs could thrive. The crowd roared its approval.

Meanwhile, out in the quiet of the labyrinth, TreeSap performed a secret acoustic set under the trees. There were no lights, no amplification — just strings, harmonies, and the faint rustle of wind through the leaves. A small group of wanderers stumbled upon it and stood in silence, taking it in like a secret they'd never share.

The afternoon rolled on with more stellar performances.  The Plate Scrapers brought their bluegrass finesse to the Ramble Stage, drawing an enthusiastic crowd of dancers and pickers. Then came Infinity Tribe, a collaboration between Natalie Brooke and Alex "Gator" Petropulos of Pigeons. The Beer Hall shook as they tore through a blistering set that blurred the lines between jam, rock, and dance music.

The Brothers Comatose arrived, decked out in silver NASA-style jumpsuits, joined by their newest "sister," Addie Levy. They tore into their set with playful energy, and Addie's soaring rendition of Fleetwood Mac's "Rhiannon" sent shivers through the crowd.

Then came the moment everyone had been waiting for. As the sky turned purple, Pigeons Playing Ping Pong took the stage. For Baltimore's hometown heroes, fresh off the release of their eighth studio album "Feed The Fire", this felt like a victory lap, just a stone's throw from where it all began. From the first burst of color and sound, the Flock was in full flight. The first set was tight and funky, full of favorites, but the second was pure magic. The Ramble creative team strutted in front of the stage dressed in full pigeon onesies, pulling out paddles and a ping pong table to rally glowing balls back and forth in front of the stage. The crowd howled with laughter as the band fed off the chaos and eventually launched into a spectacular cover of the Pixies' "Where Is My Mind."

Midway through, Natalie Brooke reappeared on keys, adding her signature swirl of funky synths to the mix. It was the kind of moment Ramble specializes in — spontaneous, joyful, completely unrepeatable.

When the set finally ended, the crowd was still buzzing when they heard it: the blare of horns cutting through the night. The NapTown Brass Band was back, leading a late-night parade from the main field to the barn. Inside, Underground Sneezhaus — a hybrid of Sneezy and Underground Springhouse — kept the energy burning. The jams were loose, wild, and fearless, spilling past midnight without ever losing steam.

But even that wasn't the end. In the wee hours of the morning, for the super-late night set, Jeremy Schon, Pigeons' guitarist and one of the weekend's Artists at Large, appeared in the barn for his own late-night session, joined by Luke Walker from the Natalie Brooke Band and Uncle Kunkle's One Gram Band, decided to burn their magical match at Ramble a little longer than anyone might have expected as they played until 4:30 in the morning, running through a mix of deep jams and crowd-pleasers that blurred into sunrise.

By dawn, Camp Ramblewood felt timeless — a place outside ordinary life where sleep and time had lost their meaning.

Part IV: Day 3 — The Ramble Ascends

Sunday morning at Camp Ramblewood was a picture of calm. After two long nights of nonstop music, laughter, and motion, the festival grounds exhaled. Mist hung low over the grass, and sunlight began to filter through the trees in soft, gold patches. You could feel that the weekend had already become something special, but the Ramble still had one more day to give.

The morning kicked off on the Ramble Stage with Pappy, who turned the early hours into something gentle and warm. His kid-friendly set drew a big crowd of families. Parents sat on blankets with coffee in hand while their kids clapped and danced along to his bluegrass tunes. The songs felt like sunshine — easy, familiar, full of love.

Not long after, the distant rumble of brass began to build. The NapTown Brass Band was on the move again, their sound winding through the grounds like a joyful summons. They led a parade of festivalgoers past food trucks, art installations, and the now-famous Ramble See-Saw, which had already needed repairs twice thanks to nonstop use. The scene was pure happiness: people spinning in circles, kids perched on shoulders, everyone smiling.

Then it was Natalie Brooke's turn to take over the Ramble Stage. If Saturday night had crowned her one of the festival's brightest stars, Sunday confirmed it. With her keytar slung low, she tore into her set with total confidence, blending funk, synth rock, and prog with fearless energy. Towards the end of the performance, Jeremy Schon arrived as he always did as artist-at-large, joined her, and together they delivered one of the festival's standout jams. The crowd loved every second of it.

Inside the Beer Hall, Muscle Tough kept things tight and experimental, their rhythmic precision a sharp contrast to the looser outdoor sets. Back outside, Cisco, last year's busking competition winner, showed exactly why he'd earned his spot on the official lineup. His soulful voice carried over the crowd like it belonged there all along.

Then came High Fade, a trio from Edinburgh, Scotland, who stunned everyone with their sheer force of sound. The band looked like three regular guys but played with the intensity of twenty. Their set was fast, fierce, and overflowing with energy. When they finished, the applause was deafening.

Over at the Beer Hall, Yarn followed with a honky-tonk set that got people two-stepping. Their mix of country grit and jam-band looseness hit perfectly on a Sunday afternoon.

In the barn, the 2025 Busking Competition took over next. The festival's best street performers faced off under glowing string lights, playing for a chance to earn a real set next year. It wasn't about prizes so much as heart — each musician leaving it all out there in front of a roaring, appreciative crowd.

Then came one of the weekend's biggest surprises: The Ramble Band Plays Dead, featuring Cris Jacobs. Nobody knew what to expect until the band walked out and the secret was revealed. Backing him was none other than Dogs in a Pile, alumni of earlier Rambles and fan favorites. The pairing made perfect sense. From the first notes of "Scarlet Begonias," the chemistry was obvious.

A few drops of rain started to fall, but no one moved. After three days at Ramble, the crowd had learned to trust the weather, to let the music carry them through anything. The drizzle became part of the show — just enough to cool everyone down as Cris and Jimmy Law traded guitar lines like old friends. For a few minutes, the whole field seemed to hang in balance between the music and the rain. When it ended, applause rolled like thunder.

Out by the pond, away from the noise, The Deer Creek Sharpshooters played one last secret set — just acoustic instruments, quiet voices, and the reflection of moonlight on the water. It was simple, peaceful, and the perfect way to close three days of chaos and beauty.

The night carried on inside the Beer Hall with The Tan & Sober Gentlemen, who brought a rowdy blend of Celtic folk and Southern grit. Midway through the set, their bassist stood balanced on top of his upright bass, beer in hand, playing without missing a note. It was ridiculous, hilarious, and perfect for Ramble.

Finally, the Moon Stage lights came up one last time for The Infamous Stringdusters, who were celebrating twenty years as a band. They spoke about how they'd heard stories of this little Maryland festival from fans across the country, and how now they understood the hype. Their set was equal parts technical mastery and soul, closing with a brand-new song from their upcoming anniversary record.

But Ramble doesn't end quietly.  While many festivals start to wind down on their last day, The Ramble Festival keeps the vibe, music, and spirit alive to the very last minute.  When the vibe is this strong in a festival, why not keep it Ramblin' all festival long! 

When the Stringdusters finished, the NapTown Brass Band appeared once more to lead the crowd toward the barn for the grand finale: The Ramble Fam-Jam. Practically every musician still on site joined in — Natalie Brooke, Jeremy Schon, the Dogs, Sneezy, Underground Springhouse, The Fitzgee Brothers, and more — all packed onto the small stage, swapping solos, laughing, shouting, and playing like they never wanted it to stop.

The jams stretched late into the night, until the air inside the barn was thick with heat and the rhythm of the music.

Epilogue: After the Music Fades

By Monday morning, the fields of Camp Ramblewood were quiet again. The sky was clear, the air smelled like wet grass and woodsmoke, and the only sounds were zippers, laughter, and the thud of tent poles coming down. After three days of music, it was hard to believe it was over.

The Nor'easter that had threatened all week barely brushed past. The storm came and went like an afterthought, leaving only a few sprinkles and some dramatic clouds. What stayed behind was something much bigger: the feeling that the Ramble Family had built something that couldn't be shaken.

Everywhere you looked were small reminders of the weekend's energy. The Ramble See-Saw stood at rest, scuffed from nonstop use. The stages were quiet now, but you could still picture the lights and the crowds. The barn smelled faintly of beer and brass, and the path to the pond was stamped with footprints from those who'd found the Deer Creek Sharpshooters' secret set.

The 2025 Ramble had pulled off the impossible again — three days of near-perfect weather, stacked music, and the kind of community that most festivals only dream of.

The vibe leaving camp was pure afterglow. No one seemed quite ready to let it go. The conversations were already about next year — the lineup, the art, the possibilities. Ramble had set a new bar for itself, and everyone knew it.  

For those who were there, it was more than just another festival. It was proof that good music, good people, and a focus on vibe and community will turn a weekend in rural Maryland into something unforgettable.

The Ramble family will return October 9-11, 2026. Get the cheapest tickets for the 2026 edition right now with your 2026 Ramblin' & Gamblin' Pass.  Based on the trajectory of the festival and the continued rise in energy and lineups, there is no doubt that the Ramble creatives will strive to surpass the 2025 edition, making it the must-attend festival of fall 2026.  One can only imagine what new treats, additions, and Rambling Shenanigans await us next year.

A Slight Post-Script, with the spirit of helping our music community and others:  

As many of you know, The Ramble Festival is deeply committed to making the world a better place - especially off the stage.  We, too, embrace making the world a better place and would point out some of the organizations who worked tirelessly at The Ramble Festival this year.

• For those who ate at Stefs Cereal Bar, this was not just a refuge serving hungry festival goers 24/7, but also one that is deeply committed to feeding at-risk youths.
• Please also consider giving back to 5 Points Music Sanctuary, who provide music therapy, hearing loss advocacy, and hearing accessibility to those attending live music events.
• Did you win any raffles by Positive Legacy at The Ramble Festival?  They integrate music and service to benefit people and the planet, providing grants to environmental and humanitarian service projects.  They fund these endeavors through raising money at live music events around the world.