It's the second day of Nelsonville Music Festival. The sun is beating down furiously, not a cloud in the sky to allow for even a little shade. But no worries, nothing a little SPF 15 can't fix. Besides, this sort of weather is what we all hoped for.

The day ahead is full of live music made for the folky and funky souls of Athens to blithely wallow in, from the handsomely humble Adam Torres to my soul sista Sharon Jones. Alls I can see is the sun and alls I can hear is the music. Nothing beats this day.

3:04 - Adam Torres

Barefoot college kids pile into the No-Fi cabin as people bind the doors and shut the windows to block out the music seeping in from the Main Stage. Adam Torres may look small and meek, but this voice is reverberating off the wooden-paneled walls as he absolutely demands the attention of the audience.

Torres' mom sits by the door, eyes closed and singing along, as the lyrical genius that is her son sings love songs to his girlfriend and croons out romantic tunes in perfectly-accented Spanish. This voice is truly one that needs to be heard to be believed -- an enchantingly soothing, pitch-perfect falsetto makes the entire cabin feel completely taken away, like the Main and Porch Stages are miles away and we are all in the middle of the woods, sharing an intimate moment with Torres and his soul. -K.N.

4:02 - Southeast Engine

It's occurring to me that this very well may be the last time I see Southeast Engine in Athens, which is something that strikes me as sad, as they're one of the first bands I fell in love with upon coming to Athens.

Compared to their usual home on Casa's stage, these guys are looking awfully small... but they sure aren't sounding that way. Playing a nearly hour-long set, the modest crowd searches for shade from the scorching sun as they sing along to some of Southeast Engine's more well-known tunes.

This mellow and authentic performance is perfectly representative of Southeast Engine, and I'm glad they've taken this opportunity to really show Southeast Ohio what they're all about. -K.N.

5:15 - Those Darlins

Totally bummed to discover Those Darlins have been canceled; word around the fest is that one of the girls broke her arm. A total drag, because I would have loved a repeat performance of their absolute awesomeness from yesterday, but I'm glad I've already had the opportunity to see them. -K.N.

6:17 - Michael Hurley

It's the little things about Hurley's performance that is making it the most darling, adorable, badass solo act I've seen yet. It's the toe tapping, the pointing of his guitar toward the sky at the reference of heaven, the subtle excitement he got at a crowd-shouted request, and how he switched songs mid-intro to accommodate.

The crowd does NOT want Hurley to stop, and it continues to build as his set goes on. This voice is so pure and so definitive of folk, and his small, wrinkled smile shows the unpretentious smugness he's accumulated at such loyal and dedicated fans.

I am truly enchanted, and if he never got offstage I really wouldn't complain. He makes you feel like you're his friend; I want this man to be my grandpa, and sing to us every year at Christmas and Easter. Hurley's truly a gem, and one that fits right in at Nelsonville Music Festival. -K.N.

7:45 - Woody Pines

Woody Pines is a man who can time travel. With the Porch Stage as his background, he converts the grassy lawn into a 1920s New Orleans celebration. His stage banter as well as the band's simple, yet classic button-up plaid shirts are more suitable for the days of speakeasies and flappers. But as usual, Pines provides a great performance. The jaunty 2/4 rhythms paired with the fiddle, upright bass, saxophone, clarinet and even the kazoo compel the audience to shake off their shoes and dance while Pines’ twangy voice rings through the hills.

What's remarkable about Woody Pines' back porch performance is that it is their third performance of the day. He played at the intimate No-Fi Cabin and filled in for Those Darlins on the main stage in the afternoon. Despite already playing for nearly two hours, Pines's performance is fresh, energetic and enchanting. -E.S.

8:37 - Loretta Lynn

Who knew the legendary country star's set would be a family affair? First we hear from her son Ernie (About his thankfulness for Viagra? Uhh...?) and her daughter Peggy, both of whom have inherited musical talent from their mother. But we all know who the crowd is really here to see.

Loretta is introduced via a flashback video, highlighting the past 50 years of her career in country music. Finally, the legend emerges onstage, wearing a pink, sequined, to-the-floor gown; the chair-sprinkled lawn goes absolutely wild, and strangers latch onto strangers and begin do-si-do-ing in the small amount of space that they have.

Seeing Loretta here in Nelsonville is so fitting. Where better to hear from the musician who helped build her fame based on her upbringing as a coal miner's daughter? Sadly, a large portion of Loretta's set is her resting her old pipes as members of her band sing to the audience, but when she does take the mic, it is every bit as fantastic as we could have hoped. On one side of me is a woman who is pushing 90, and on the other, an overenthusiastic maybe-lesbian is grinding up against me.

But I have to excuse it all, because this is Loretta-freaking-Lynn we're talking about, and she is perky and enthusiastic in ways that I can only hope to be when I'm 75 years old. After experiencing Loretta Lynn, I really can understand why she's considered a legend in country music. -K.N.

11:05 - Sharon Jones

Holy Sharon Jones, is this an experience. Jones is graced with the intro of all intros, complete with a fully-horned jazz band and emcee, who hype up Jones' performance for minutes on end before the headliner takes the stage, as the crowd toe-taps along in anticipation.

But said band is not overestimating Sharon; she comes out all sass and pizazz, the beats taking over her body from the very first second. We all know that Jones has a voice of gold, whether she's crooning gospel tunes or bluesy cadences on love, but damn, can this lady move, too! She truly is a stage performer, and even if she does have to take off her heels during a song in which she describes the origin of her dancing (it traces all the way back to her ancestors in West Africa), she moves and grooves most of the night with heels intact, which really is saying something if you've ever seen this lady dance.

And let's talk about Adam. I don't know who he is, or what he did to catch Jones' fancy, but Sharon pulls the fifteen-year-old kid up on stage personally during a song in which she grabs his hips, gyrates her body and shows him how to really please a lady. The ever-awkward Adam nods and smiles, and her dancing puts his attempts to shame. The crowd is going crazy, absolutely tickled by this middle-aged groovester's ability to sexually tease a small, little white kid. Talk about unexpected.

After a classic outro, Jones is off the stage, and for the first time in my life I truly have to beg for an encore. There were a few minutes there where the faces of the crowd seemed unsure as to whether or not Jones would return at all, but their enthusiasm never dies down, and after Jones' emcee tells us we're "just being greedy," the songstress comes back out with a punch, and her band quickly follows. She pulls some ladies onstage and gives us a two-song encore that quenches our desires thoroughly.

Jonesy, I love ya, baby, and the sweat that dripped from your forehead and face was well appreciated and will be forever remembered by us Nelsonville fest-goers. Way to cap off the night. -K.N.