Eaux Claires Festival @ Carson Park - Eau Claire, WI
July 24th-25th 2026: Eaux Claires @ Carson Park - Eau Claire, WI
BON - Photos Courtesy of: Lesley Keller
Day 1 - July 24th, 2026
I remember the first thought that popped into my head when Eaux Claires announced its return after a long 8-year hiatus: Michael Perry’s booming voice from 2015 echoing with “For what are we but a confluence – a confluence that lives and breathes, a confluence of dream and song, a confluence of 22,000 beating hearts.” While this year’s fest has moved into its new digs at Carson Park - a smaller venue with baseball fields and a football field donning the rigging of stages and flooring for the weekend - some of those 22,000 beating hearts that held out hope all these years that Eaux Claires wasn’t officially over made their return to the river, myself included. Fueled by the promise of what might unfold and resting on the backs of the past year’s magic and the trust in what would be another magical experience.
Friday’s festivities began around noon with Bizhiki - a trio consisting of Ojibwe powwow singers Dylan Bizhikiins Jennings and Joe Rainey, and singer/songwriter/multi-instrumentalist S. Carey on drums/vocals, plus additional guitar duties held down by Jeremy Ylvisaker, keys from Ben Lester, bass from Steve Garrington and saxophone from Mike Lewis. The core trio initially caught my attention during a quick trip up to Grand Marais, MN. During that performance, they debuted a song called “Nashke!” that I vividly remember messaging them about afterwards because I was dying to hear it again. At the time, the song didn’t have any firm plans for public release, but the thoughtfulness of that collaboration stuck in my mind, and I knew I needed to hear more as soon as I could. I have since followed their upward trajectory, including an incredible performance from Joe in NYC that I was lucky enough to attend. Here at Eaux Claires, they brought that same spirit of collaboration and positivity to open this year’s fest. Complete with a festival blessing from Dylan and traditional powwow dancers onstage, the three traded off on vocal duties throughout the performance and ended with a traditional Friendship Dance, which saw all of the crowd-goers becoming fast friends by joining hands and dancing together.
That spirit of collaboration, positivity, exploration, discovery and life-altering friendship runs through every blade of grass and grain of soil that makes up the Eaux Claires fest. Having Michael Perry appear now and again and reinforce the home-sewn nature of this festival reminded us again and again how lucky we are to get the chance to gather together. A large part of the experience is, of course, finding out about artists and writers whom you may not have heard of before, and that is exactly what happened when I caught Hotline TNT’s set at the Football Stage. The grunge band, led by Will Andrerson, took every opportunity to thank the crowd for their attention and proceeded to rock out heavily under the midday sun. The transition between these two acts was exhilarating, and it promised a lot more surprises were in store.
Phil Cook and The Union took the Baseball Stage next, and if you know anything about Eaux Claires, if Phil Cook is involved, you can guarantee there are going to be some soulful moments happening that will live on in your memory for years to come. Singers Leslie Gardner and Simone Appleby make up The Union, and oh what a union it was! The gospel-rooted performance uplifted everyone within earshot and made me wish there was a Sunday post-fest event to round out the weekend.
Back at the Football stage, another gear shift came with Black Sabbath Cover Band Rehearsal. Yes, you read the name correctly, and it’s exactly how it sounds. Black Sabbath covers, but done extremely well and without an ounce of pretentiousness. Their popularity would earn them one of the few slots to have an extremely limited capacity aftershow at the venue at the back of the local pizza place, The Plus. No, I’m not joking. From all accounts, it was just as ripping as their festival performance. Make plans to catch them if you can.
Heading back to the baseball stage, I was met with Jon Cleary and the Absolute Monster Gentlemen. The name is quite a mouthful, but I had no words to spare when they launched into their performance. I also wasn’t familiar with their music, as I wanted to head into this weekend unknowingly open to anything, and I was so surprised at how soulfully beautiful their music was.
And then it was time for Aimee Mann’s performance of Bachelor No. 2 in its entirety. If I'm being honest, I hadn’t heard that album before, but my curiosity was piqued, judging by how everyone else seemed to be gathered in front of the stage in rapt anticipation, anxiously looking forward to her set. Seemingly, many found a connection to this album from the inclusion of several of Mann’s tracks on the soundtrack for the 1999 film Magnolia. Transporting the crowd back to those angsty days, certainly there were more than a handful of people who found this set resonated with them deeply. I was also an angsty girl back then transitioning from high school to college, so I have to add both the movie and the album to my upcoming listening schedule to relive those days myself.
After this set, I wandered off to find something to eat and to take a minute to check out what was going on in the Literary area. Pizza from Dolce Ragazzi provided the sustenance, but sadly, I’d arrived too late to enter the schoolhouse where Amanda Petrusich was having a conversation with Petrycja Humienik, Gabrielle Calvocoressi, Michael Perry and Sean Thor Conroe. Thoughtfully, there was a speaker setup right outside available for anyone who wanted to listen in. It oddly reminded me of the days when I’d ride in my father’s rickety truck while we listened to talk radio on a random AM station. I chuckled when I turned to my right to see a similar truck fitted with a snowplough on the front with a sign that read “The Snowplow In American Literature.” Yet another Midwest-centric detail that I found amusing as a NYC girl. The first one that made me chuckle was the giant banner of a hand holding a glass of milk that furled in the wind over the festival grounds. They take pride in what they’re known for here.
Heading back to the Baseball Stage, the crowd was packed in tight waiting for the mysterious BON set to begin. By now, everyone knows of Justin Vernon’s reluctance to play Bon Iver music after the release of his last album, SABLE,fABLE, but touting the BON name, the natural assumption amongst the crowd was that some of those tunes would occupy some time here. My prediction was that it would be Justin and a guitar, and I was 100% right. Starting with a cover of Kevin Morby’s “Die Young” as a tribute to what would have been Morby’s EXC debut that got cancelled at the last minute due to the arrival of his first child. Honoring Morby in this way was a tactful gesture, and similarly, Vernon took another opportunity to honor another, John Prine. Michael Perry, continuing his duties as “The Voice of EXC,” related that since Prine’s inclusion in EXC back in 2017 before his untimely passing, he imparted a lot of wisdom to him and Justin. “Room To Spare,” an unreleased Vernon song, was a touching reminder to keep love at the forefront. What struck me most about this set was Vernon’s decision to sing primarily in his lower register. Perhaps it was just him preserving his voice for the Bon Dylan set later that day, but even if it wasn’t intentional, I felt like it was a good decision to make considering his current feelings on the Bon Iver material. Hearing “Beach Baby,” “Flume,” and “re: Stacks” without an ounce of falsetto was deeply moving and set those songs into a brand new light. For years I had mentioned to several people asking my thoughts on why this festival is so special and “magic” was the word I’d often use to describe it. Behind Vernon, I took note of the flag with those very words waving gently behind him and smiled as that magic was happening yet again.
Moving back over to the Football stage, another set that was high on the anticipation list was the collaboration between two powerhouses: Aaron Dessner and Fred Again. If I had to judge solely from their past musical contributions, this set would be a can’t-miss- and I would be correct. Aaron, bringing his vast musical touchpoints into play with flourishes from The National and signature guitar riffs, several compositions made specifically for the fest debuted to an enraptured crowd. With steady rhythms and beats that reverberated through your entire body, everyone seemed to be in awe at how perfect this collaboration was, which was largely created due to Lil’ Yachty’s dropout from the lineup. There will be other opportunities to see Lil’ Yachty, but this Aaron & Fred collaboration was a once-in-a-lifetime.
Another once in a lifetime is Bon Dylan, a Justin Vernon-fronted ensemble of 12 world-class musicians covering Bob Dylan songs. As someone who isn’t the biggest Bob Dylan fan, nothing about this was outwardly exciting, but I have been following Justin Vernon’s many contributions in various groups and with other artists across genres, so I knew I would have to give it a chance. This was a prime example of how a voice can change the impact of a song. While Vernon did slip into Dylan’s cadence and texture, certain parts of Vernon’s voice were evident and strengthened the depth of Dylan’s songwriting. Sean Carey, who was fittingly on drum duties, also took over lead vocals on “Tonight I’ll Be Staying Here with You” and “Lay, Lady, Lay.” Illustrious songbird Monica Martin also joined Vernon, trading vocals on “Boots of Spanish Leather” which was one of the many highlights of this set that included Phil Cook lending a blistering harmonica solo on “Tangled Up In Blue.”
All too soon, Day 1 came to a close, but we were treated to a rousing rendition of “Take Me Out To The Ballgame” on the stadium organ as we all headed to our destinations. For those in attendance, it felt like the fest truly accomplished what they set out to do: providing a space for people from all walks of life to gather. Community and fellowship; common goals for the open-minded and curious to be handsomely rewarded. Michael Perry once said, “where the people become the place.” We couldn’t be luckier to have Eau Claire be that place.
Day 2 - July 25th, 2026
Returning to the grounds for Day 2 of the festival, we were met with a new “friend” - unbearable humidity. The blanket of damp air settled over everything, but that gave me far too many opportunities to visit the rainbow umbrellas around the grounds for a teeth-shatteringly cold popsicle from Pete’s Pops. Ask me about all the flavors if you’d like; my favorite was the Thai Tea. If you didn’t happen to attend Day 1, then arriving at the grounds on Day 2, you’d be met with a plethora of things to take in - tons of music from multiple genres, more literary and artwork offerings, and eclectic exhibitions from magicians, jugglers, lumberjacks, and Drew Kaiser from Kaiserson Honey, who gave a lovely presentation about honeybees. Plus I finally found the beloved MOMS Booth - a holdover from EXC years past with real moms giving out snacks, sunscreen and helpful motherly advice.
On the music front, things kicked off with local indie-band Gash. Was it loud? Yes. Was it exactly what we all needed to get the blood pumping? Absolutely! Lead singer Breckelle Bathke’s screams were probably heard all the way to downtown, but the crowd was loving every second of their set.
In a similar vein, Minnesota grunge-pop band Gully Boys launched into their own frenzied offering with a set of screams to rival the former. Fittingly, they took ample time to denounce the efforts of ICE in their hometown, admonishing their efforts to terrorize their community. The outspoken group was one of the day’s highlights, with a well-earned buzz that preceded their set.
Bringing the energy down several notches, Larry Goldings Trio performed next and transported us into a dimly lit lounge bar in the backroom of a swanky club. Their set was surprising considering how we began the day with uber-loud grunge, but keeping with the ethos of the fest, there’s always “more something, for more everyone.” The inclusiveness of this festival should really be studied as an example of what you should do when you want to include multiple genres that technically shouldn’t make sense on paper. Eaux Claires excels at taking you out of your comfort zone, but in the most friendly, “welcome neighbor” sort of way. As a lover of instrumental music, Larry Goldings Trio was a welcome moment to reflect and recharge for the events of the day ahead. The sole vocal assistance came from none other than Monica Martin, who again embraced multiple opportunities to lend her smoky voice to the instrumentation of “You Don’t Know Me” that made absolute magic.
Continuing with the chill Sunday vibes, ambient artist Juliana Barwick and harpist Mary Lattimore lulled the crowd into a trance. Their collaboration, which I’m listening to as I write this very article, found its place in the festival as the unrelenting heat of the day soldiered on. I’m sure everyone lying on top of blankets strewn across the football field with eyes closed conjured up images of mid-17th century maidens frockling in fields of gold as Barwick’s haunting vocals echoed across the grounds.
But don’t be fooled by this back-to-back respite, because Monica Martin swiftly reminded us why her set was one of the can’t-miss sets of the entire weekend. The Wisconsin native, warmly welcomed home by an increasingly expanding audience, kicked off her set by bringing her adorable service dog out, complete with the legendary Monica Martin humor and stage banter. I would argue that Martin’s humor is a draw in itself, as I found myself chuckling loudly at her deadpan deliveries in between songs. My heart leapt out of my chest when Martin slid into the PHOX crowd favorite, “Slow Motion,” and ended the set with the apt “Go Easy, Kid,” as Martin is one to always own her missteps in life, taking those life lessons and becoming all the better for it. Relatable.
Ramping up the energy at the Football stage to the Nth degree was Nathan and Zydeco Cha Chas. Zydeco, I would learn during this performance, is a downright jubilant form of dance music originating in southwest Louisiana. The accordion played by Nathan Williams is what I would identify as the signature sound of Louisiana. No heavy lifting was required to get the crowd dancing; it was endlessly fun.
As if Day 1’s performance from Phil Cook wasn’t enough church for your soul on a Friday, Known MPLS’ performance was the whole sermon on a Saturday. This youth-based choir, led by Courtland Pickens, was one of the most inspiring things I’ve seen in a while. Composed of middle school teens and college-aged young adults, tackling the beloved “Lift Every Voice And Sing” to kick off their set was a bold choice. I found myself singing along immediately, remembering how many assemblies during my school years I had to sing that song. Making easy work of Miss Lauryn Hill’s “Doo Wop (That Thing),” Michael Jackson’s “Human Nature,” and an incredible rendition of Beyoncé’s “Freedom,” they had everyone’s attention from start to finish. On my left, my friend Atom and I bounced and sang along, while behind me, Dijon took in the show with his son on his shoulders. It was one of the performances I’m still thinking about days after.
Now, as a self-professed Prince lover, and I mean I loved Prince way more than Michael Jackson growing up (when I probably shouldn’t have been listening to Prince at that age), I was looking forward to Revelation: A Retrospective of the MPLS Sound. Led by multi-award winning instrumentalist and musical director, Michael Bland, members of NPG, the Time, Mint Condition, Mazarati, and Sounds of Blackness whipped up a set of roughly 22 songs, including “She’s Always In My Hair,” “Beautiful Ones” and my personal favorite, which again, I probably shouldn’t have been listening to at the tender age I was, “Darling Nikki.” Other non-Prince selections included Janet Jackson’s “Black Cat” and “Nasty Girl” from Vanity 6. As I sang along, I noticed I wasn’t the only one fully enjoying the depth of this performance. A large Prince puppet bobbed along in the crowd as well, and I can only hope the real Prince is enjoying this tribute performance from his heavenly throne as much as we were.
The final act to grace the Football stage was singer/songwriter Samia, whom I was just introduced to earlier this year. One thing’s certain: Samia fans are the very definition of passionate. There were 2 girls right at the barricade I thought would surely explode that were brimming with tears & overflowing with excitement as Samia sang “Triptych.” Samia took several moments to dance across the stage and feel the music, and also surprised many of us with a Wilco cover of “Heavy Metal Drummer” in her set, which again crossed genres flawlessly.
Heading into the last act of the evening, lots of hustling and bustling of stagehands furiously setting up for Dijon’s set on the Baseball stage. But when the familiar face of Francis Starlite, aka Francis and The Lights, picked up a microphone to test, the chatter amongst the crowd reached a frenzy. Not everyone noticed Francis mulling about onstage, as he had on his signature all-black and impressively donned a jacket in the 90+ degree heat, but I immediately noticed and prepared for something truly special. If you haven’t been to past fests, Francis has been a mainstay at all of them, before taking an unceremonious hiatus. Fans have been waiting to hear from him since his last album release, so when the familiar beats of his hit song, “Friends” boomed over the speakers, crowdgoers who may have been on their way to get their last drink or stop off at the restroom immediately forgot those plans and sprinted to the stage. “I’m Francis!” he sang and stepped onstage to thunderous cheers and applause. Doing the Friends dance, sans Justin, and performing “See Her Out,” he looked overwhelmed with the warm and enthusiastic welcome. To say that Francis has been missed by many, especially me, would be a gigantic understatement. So many core EXC memories have involved Francis in some shape or form, whether he was climbing a wooden stage or teaching us all how to dance, so to see him return this year was heartwarming and really made it feel like Eaux Claires is fully back for good. Singing an unreleased song called “Spirit Comes” that reminded us to leave the past behind and live in the moment, and seeing director Jake Schreier onstage filming the entire thing, I’m certain we’ll be hearing and seeing more of Francis in the very near future.
With everyone still buzzing from Francis’ set, Dijon took the stage and gave one of the most emotional and impassioned performances I have ever seen. Dijon is pretty notorious for changing song arrangements on the fly, and with a band as super tight as his, improvisation like this feels like second nature. When they got to “Higher,” that song lived up to its namesake as I felt like my soul exited my body. Vocal effects layered on top of Dijon’s vocals, backing vocals that elevated everything to the next level while Dijon performed like it was his last night on Earth made this a truly memorable way to close out this year’s Eaux Claires and a beyond worthy representation of a festival headlining act. Seeing someone like Dijon who is so in tune with who he is as an artist and what he wants his music to sound like and how it should be interpreted is so refreshing in a world that is leaning more and more toward AI generated slop. Ending a weekend seeing all of the artistry on display, it’s impossible to think that AI will ever be able to generate the kind of pride and care I witnessed during this performance, and I doubt it ever will. As long as Eaux Claires is around to provide the time and space to allow artists to collaborate together and experiment freely. As that famous baseball themed movie goes, “if you build it, they will come.”