Arts editor HELEN MUSA reflects on the thumping success that was the weekend’s National Folk Festival. 

The 60^th National Folk Festival, which wound up on Monday at Exhibition Park in Canberra, was nothing short of a thumping success, leaving punters with a kaleidoscope of memorable images to take home.

With its focus on community participation rather than headliners, the 2026 festival boasted more than 500 events and a variety of workshops, talkfests and kids’ activities.

Artists from every state and territory had come together, though local talent shone brightly, often in small groups like the Ukulele Republic of Canberra and Unison Harp Yoga.

Having been tipped off by co-artistic director Michael Sollis that dance would be emphasised, I made sure to pick up on a Scottish dance workshop, a preparation session for the Bushrangers Ball, Appalachian foot dancing with American expert Phil Jamison, a square dance session, a Hungarian dancing workshop, and the ubiquitous Suara dance company from Sydney performing their dramatic, mostly Sumatran, dances.

Inside the Piazza, I was surprised by the capers of the Hokum Circus where, unconventionally, folk music was mixed with juggling skills normally performed to showbiz or pop tunes. CityNews music writer Cassidy Buxton reported late-night teen headbanging dance to bagpipe music.

The weather played its part. Aside from a brief Monday morning shower, the skies remained clear. Even when rain threatened, the covered spaces filled quickly.

Among the standout performers was CityNews’ choice for the cover this year, American-Canadian musician and storyteller Steve Poltz, whose first afternoon show saw audiences queueing up well outside the doors. Here the instinct of the organisers had been astute.

Canberra’s Fred Smith also drew crowds across no fewer than seven sessions, his understated, laconic songs hit their mark, especially alongside the talents of local virtuosos like fiddler/guitarist Dave O’Neill, himself a former director of the festival.

But the festival was never about stars.

Outside, the Village Green came to life with Duncan Smith and Wiradjuri Echoes, massed Morris dancing, a spoken-word session on the Mahabharata, and community choirs. Upstairs in The Terrace were many conversations, including a panel I caught which entirely featured Gazan musicians sharing their perspectives.

One of the most popular venues of the festival this year was Sam’s Caravan, an intimate space built around a humble caravan and a marquee. Here, stories and songs felt closer as audiences gathered for gigs, open-mic storytelling, puppet shows like Railway Bob, and conversations like the one with folklorist Warren Fahey and award-winning artists Rob and Olya Willis.

One of the enduring events of the National Folk Festival has been the Infinity Song Contest, drawing packed crowds day after day in the Marquee. This year’s theme, Female Singers of the ’60s, culminated in a grand finale at the Budawang where comic ukulele duo The Tuckshop Ladies claimed victory with their take on Piece of My Heart, made famous by Janis Joplin.

With presales up and solid attendances over the weekend, the impressive army of volunteers kept the vast event running seamlessly. Their efforts were visible not only in the smooth organisation but in the pristine grounds, hardly a trace of litter in sight, despite the crowds.

Perhaps most striking of all was the range of ages woven into the festival’s fabric. Children played instruments, painted murals, and danced alongside parents and grandparents.

The organisers should feel pleased that they’ve come very close to making their slogan “five days in a perfect world” come true. It felt like that.