Ian Rowe

Ian Rowe recalls first encountering Folk on the Green (FOTG) in the mid-1980s, long before he became involved. He’d been drawn to Stony Stratford through playing folk sessions at the Vaults Bar, and like everyone else, wandered down to The Green one sunny June Sunday to see what the fuss was about. Having only ever attended one huge festival before (Knebworth, 1979), he found Folk on the Green a charming “small version” of that vibe — relaxed crowds, sunshine, picnics, and music.

His formal involvement began when he met sound engineer Alan Horton. As a musician with technical skills, Ian was roped in to help with stage changeovers. After two years, Alan stepped back, and Ian was asked to take over the PA entirely. At that point, the old 1970s equipment was failing, heavy, unreliable, and stressful to operate under tight time pressures. Ian’s newer gear, plus expanding the stage crew, transformed the event. By 1993/94, they were running FOTG “on time” for the first time — no more chaotic starts at midday with half-built rigs.

Ian describes the manic nature of festival line-checks: there are no sound checks at FOTG, even for headliners. His crew has minutes to clear one band, set the next, plug everything in, fix any surprises in their tech spec, and get basic levels before the first song. Modern digital equipment, tablets for monitor mixes, proper staging, canopies, backstage toilets, and improved power supplies have all made the job safer and smoother.

He recalls rain-soaked gigs, electric shocks, rogue 20-minute “final songs,” and the occasional chaotic moment, but stresses the overwhelmingly positive community spirit. FOTG endures because it’s loved: musically diverse, well-run, deeply social, and woven into Stony Stratford’s identity. Ian is proud of the team, the professionalism, and the camaraderie that keeps the festival thriving after 50 years.