Author: blueestai

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Acoustic Americana British Country Dark Folk Debut Festival Folk Music Folk Pop Gigs Political

Hebden Bridge Folk and Roots Festival 2018 – What you missed

Hi I hope everyone’s good and enjoying the sun!

So it’s been a few weeks since the Hebden Bridge Folk and Roots Festival, where the sun started to emerge and the musicians came out to entertain. We had quite a few highlights from the festival with (for us) an array of new talent and artists to share with the world.

Stay with us a while and have a read and listen to some of the acts that you missed!

THE LANDLUBBERS, MORRIS AND.. BACK TO THE FUTURE?

The weather was as fine as could be, so a little outdoor song and dance always goes down well.
Near the bridge in the Town Centre we came across a motley group of Landlubbers (we wonder if they hate the sea or they were the tailend of an insult and the name stuck). However their name came to be they were as briny a crew or shanty singers as you could want. We thoroughly enjoyed their singing so much it made us wonder if their boat was on the river behind. A good crowd, and a great part of the festival.

There was some Morris Dancing as well! You can’t have a Folk Festival without a bit of Morris (knowing my luck I won’t have to  sit too long at my computer desk and await a festival without Morris to get in touch!) It was good to see an all-woman Morris Dance, and here they all are.. I presume as washerwomen. That reminds me, I have some shirts to dry! Heres a video to whet your dancing needs.

Ok.. we know that Chuck Berry did it long before it featured heavily in that 80s sci-fi comedy classic, but I’m a relatively young guy.. it’s the first thing that comes to mind. I have to sadly regret that I did not get these guys’ names as we were just passing, but we seriously felt that it was a great energetic aside to the day.

TRIXXI CORISH

 

On Sunday we got to see a few artists in the excellent Trades Club where the beer flowed liberally. It was also a fine place to be eating a bit of Thai food that was on the go as well. One relatively new artist was Trixxi Corish a singer-songwriter covering a number of different genres including folk and country, but intriguingly she brought some spoken word as well. Despite a disclaimer at the beginning of the set that she had a bad throat, she went on to sing a number of traditional tunes as well as an excellent cover of “Fields of Gold.” Her monologue about a Southern Irish woman managing with anxiety and depression was really thoughtful and natural; she has strengths in song and in word. A great up-and-coming artist and spoken word performer, we saw some magic there, and we raise our glass to her future successes (especially if this was not her running at 100% !).

LOGAN & MANLEY

There were many fine artists to be seen amongst the picturesque surroundings and the old cobbled paths, it is a mammoth task narrowing it down. But as the mind’s eye roves back over the festival the clear breakout from the festival for us was Logan and Manley. As soulful as a spicy tea and a demonstration of a charging elephant into the music scene, Logan & Manley were something else indeed. Breaking the civility of Folk Gigs and getting people dancing to their sultry, emotional beat they kicked serious ass. As we said on Twitter:

“The most interesting duo we have seen live in recent memory. Exceptional presence and burning talent. Logan & Manley stole the show in many ways at Hebden Folk Roots Festival. Soulful and energetic they work it with unfettered talent.”

Their simple pairing of vocals and guitar with added flourishes of percussion and a good use of looping vocals brought the house down. Some favourites of what they performed included the “Tell Him (Her)” a cover of Lauryn Hill, the warm rush of frothy milk on expensive coffee of “Meteor Shower” (the opener), and “Wait a While”, a jazz/funk backing which should do plenty to cement the pair as icons.

Forward in style and approach, a ferociously dynamic presence, and great musicianship could be enough to convert this website to “Soul Phenomena.” Do not miss under any circumstances.

HENRY PRIESTMAN, LES GLOVER AND THE MEN OF A CERTAIN AGE

As the day turned to night, Henry Priestman et al. reminded us that in a rather jolly fashion that in  that transitional stage of life akin to being a teenager, things can stop making a lot of sense. In fairness, it wasn’t a set that dwelt on the twilight years experience as there were plenty of politics (Goodbye Common Sense, Not In My Name), folk (Ghost of a Thousand Fishermen), and fatherhood (He Ain’t Good Enough For You, We Used to Be You). With songs that are always something different and a good connection with the audience you are always on to a winner.

From what we saw from the festival of a whole, Priestman and band were of the most energetic and delightfully irreverent in all the best ways. Accessible, catchy and pop-infused it was supported by songwriting not unlike strong, thick treated timber cladding. If the music garden of your mind requires something extra, these guys are the shed you have been looking for.

THE HARMONY JAR

 

For the cheery, dream-like “in between” time from the early morning entertainment and the build up to the evening showstoppers we had the pleasure of listening to the trio known as “The Harmony Jar.” Rather melancholic but also soothing and touching, The Harmony Jar excel as Americana, perhaps how you imagine the killer knots on a barbed wire of a fence. Singing about love, the prickling apologies of loss and leaving a husband (How We Part), angst through ukulele (Before You Are Through) and a more than serviceable cover of “The Way it Goes”, The Harmony Jar bit off a lot, but it wasn’t more than they could chew on. One of our favourites, we look forward to hearing from them in the future.

WILL KAUFMAN

https://www.willkaufman.com/

At one point during the festival it felt necessary to go rustic.

In terms of American Folk, you can’t get much more old-timey than some Woody Guthrie, who was as much a symbol of protest and liberty as a singer. This is definitely something we can say we like from our folk from time-to-time and Will Kaufman did not disappoint. As his page declares he is, “widely regarded as the world’s leading authority on Woody Guthrie” but it wasn’t just his academic credentials or his musicianship that impressed. He’s a thoroughly nice, extremely knowledgeable guy who told tales of Trump of old (Trump’s father) who was a less than stellar property landlord (with the song, “I ain’t got no home”), Mexicans and about a remarkable individual “Stetson Kennedy” a folklorist who infiltrated the KKK and gave away their secrets and codes to the radio.

There is something incredibly apt about an expert on a pioneer of folk following in his footsteps through both word and song.. Will Kaufman does that and does not disappoint.

And Many More..

There were many, many more great acts too.

Off the top of our heads: Reg Meuross (one of our perennial favourites) was playing his heartfelt, socially conscious brand of acoustic song to great effect, Steve Tilston brought the backbone of folk to the stage, and his daughter Molly Tilston performed a great dark folk set which much, much promise. The Roger Davies Band was one of the most confident and slick on stage and the Jon Palmer Band pretty much cleaned up with their jaunty songs that at times explored the best part of folk-pop. Here are some final clips to get you in the mood.

All-in-all Hebden Bridge was a good time, a great slice of local talent and a testament to West Yorkshire.

This year we liked the central location and how close the venues were to one another meaning it is very difficult to miss the acts you have been dying to see! Great shopping, great food and atmosphere, we’ve barely scratched the surface of what went down at the weekend beneath the warming sun but we hope this brings you a bit of a flavour.

We raise our glasses and hope to see you there next year! Keep your eyes peeled on the website https://www.hebdenfolkroots.org/

Categories
Acoustic Album/EP Reviews Country Folk Music

Gem Andrews – North- Album Review 2018

An enticing mix of light and darkness tied together in a package of exploratory, urban Tyneside Country.

BAND

Gem Andrews: Vocals, Guitar

Nicky Rushton: Piano, Accordion, Electric Guitar, Harmony Vocals

Sarah Van Jellie: Double Bass, Harmony Vocals

Bernard Wright: Violin, Mandolin, Harmony vocals

Susanne Lambert: Drums, Percussion, Shells and Harmony vocals

Sue McLaren: Harmony vocals

Charlie Hardwick: Harmony vocals

Chris Hillman: Pedal Steel

Ed Blazey: Trumpet

Dora & Macie Keddie-McLaren: Cardboard Box

Folk Phenomena is boldly stepping forward in a new direction.

It has taken a diversion at the shady looking garage, ignoring the handwritten warnings of snakes and alligators, and has parked up near the bayou feeling a little hot under the collar.. and with good reason, we are reviewing a Country album! The album in question is Gem Andrew’s new album entitled, “North.”

Well, it is a Country album.. except Country as it feels situated in an the UK with an urban and slightly briny layer of the coast. This is understandable as in creating this album Gem Andrews is bringing her love of the sea. Well being born in Liverpool and then raised in Newcastle, you would certainly hope there is a love there (or life has dealt her a very salty deck of low cards). It’s not that there are many references to rugged sailors of such like, but its a bit like when someone points out there is some citrus taste in your pale ale.. it’s a large part of the makeup, character and flavour but not everyone is too worried about the finer details. With this spinning disc of metal, the sea creates part of the atmosphere that enters the boat of Gem Andrews; mind. It is in the background of the album making it an interesting beast indeed.

In terms of character, this is a an airy, sometimes speedy but always heartfelt album. Picture it maybe as a storm of roses rustling leaves down an alleyway of romantic interludes. It could win me over to Country and variations of it as to us it showcases a good variety of sound and character being one moment social realism as in “My Friends in the North”and then at another moment it is the winding river in a forest glade. The shades of emotion in the disc are delightful.

Andrews makes some good brush strokes on society, inequality and the modern experience as she performs. Truly she finds the seat and heart of Country’s consciousness in the UK’s suburbia within the disc. It’s musical brightness contrasts with the ugly reality of living with difficulties be it poverty or health and this contrast collides bringing a complexity to proceedings. In it’s darker, angrier moments the album is gritty and feels like we are the fly on the wall in a run-down terrace, next we are in greener pastures and brighter days. What of the tracks?

Opening with “Letter” we get the sense of adventure from the go. Snappy cymbals and sweet, downy fiddle proceeds from this song giving it a swing, and fluid motion. Curiously, it is what some might consider a midpoint song. What I mean is, if it was a part of a film, it would be the bit in an 80s teen rom-com where the protagonist has realised they’ve acted selfishly and is considering their next move. So in a way it’s an introspective start but points to Andrews diving right into the album from a wellspring of inspiration and reaction to maybe not a great time in her life. Performed with such warmth though as the strings are joined by the softly stepping piano, Andrews’ voice is a confiding and joyful linchpin through the full course. The track positioning is a somewhat bold but confident move that works really well.

“Sing Your Song” is a grabbing number, one that most expertly deals with the social issues we have mentioned in passing. I know enough about Country to know that social issues, family and domestic issues are high priority as are the topics of these songs here. Andrews paints a picture of a difficult, suffocating situation, “there is violence and quietness.. and eggshells underneath.” There are several wonderfully spun lyrics here that entrench the listener even more through the course of difficulties and the subject of the song being taken to the “North… to the sea.” It is a fresh, bracing wind, the sense of freedom and the loosening of a tightly knotted anxiety and anguish. It’s also an especially melodic track with it’s lightly whispering vocal backing, omnipresent violin, and supporting pedal steel. Love it, possibly the best track on the album.

“Lungs” is another good one. It is like one of those huge paintings you see in a museum where there are several details interspersed into a larger scene of belching factories and grey. We are thinkingit remind us of a number of Lowry paintings. This is not to say it is a vicious song, but it captures industrial discontent in a gentle hands-clasping, subtle way. Like a L.S. Lowry, there is a lot going on and Andrews certainly takes a whole society view of problems within it. It does feel rather seated in some of the North-East’s difficulties getting the short end of the stick Government-wise (e.g. foodbanks, schools etc.) While the song describes less than ideal situations, it advocates the power of collectivism and what groups of people can do, “Stand up, Stand together, Breathe Deeply.” Moody and evocative it rises like a grey vapour creating pretty patterns in the sky.

An album for several moods, an impressive array of instruments that really bring the “Old Time” to the UK, and a singer whose voice is flaxen, introspective and joyful;  the whole disc is a waltzer of emotion and social conscience. It almost sounds like Andrews’ has pitched up a gazeebo down the banks of the River Tyne and is singing a song of comfort and love for the city. Her voice is like a mirror for the city before a backdrop of people and place.

Quite evocative and situated, we recommend you give this album a go, we give it a thumbs up.

For more information about the artist and purchasing the album, go to www.gemandrews.co.uk

“North” was released in February 2018, recorded at Blank Studies for Market Square Music by Ross Lewis.

https://www.youtube.com/watch?v=INL9Gwp5pYw

Categories
Festival Interviews PR

Hebden Bridge Folk Roots Festival 2018- Some Artist Interviews!

Looking ahead to Hebden Bridge Folk and Roots Festival ( 11th-13th May!) we are hoping it is going to be a sun-drenched affair with ice-cream, cool beer and the faint rustling of leaves on the breeze. If it’s not.. well, at least we will still have the music! Before it all kicks off we managed to catch up with some of the musicians at the festival and were delighted to hear what they had to say.

For further information on the festival, its line-up, programme and to book tickets visit www.hebdenfolkroots.org.

Tickets are available to collect from the Hope Baptist Chapel in Hebden Bridge at 2pm on the first day, Friday 11th May 2018.

Henry Priestman

First of all we spoke to Henry Priestman, a man who has been in the music business quite a while (over 38 years) who whilst in the band, The Yachts supported some impressive talent such as The Who and The Sex Pistols and contributed to the world in a huge number of other musical projects. We caught up with him to hear his thoughts.

I: Tell us more about yourself?

Henry: My name is Henry Priestman. I used to be songwriter/member of The Christians (big in the 80’s/90’s, ask your Mum about them!), and before that, new wave band Yachts (ask your Grandad about them!). I released my debut solo album The Chronicles of Modern Life in 2008, and have had an amazing time in the last ten years, at this new cottage industry level, on the folk/singer/songwriter circuit. Wembley Arena? Been there, done it, give me Hebden Bridge anyday!

I: Describe your music in five words?

Henry: Radio 2’s Johnnie Walker, he called it “Music for grumpy old men”!! Me, I’d go for “wry, poignant, warmth, protest, mayhem”

I: What’s your favourite song to perform and why?

Henry: Probably my song “We Used To Be You”, a song about kids leaving home to go to University (or a job away)…I love seeing how each verse resonates with certain members of the audience…I feel I can hear them saying “yes, that was us when young Billy left home”!

I: What are you looking for to most about performing at the festival?

Henry: Returning to Hebden Bridge for the first time in 4 years…love the place…also will be great to be back with my band The Men of a Certain Age.

I: Who else are you looking forward to seeing perform at the festival?

Henry: Especially looking forward to meeting up again with quite a few people I’ve performed with in the past…a while back I did a Hebden Bridge songwriter circle with Steve Tilston and Roger Davies, and Reg Meuross and I have also done a few joint gigs together, so will be great to see all them again. And Jon Palmer and band have done Beverley Festival and Folk on the Farm Festival a number of times on the same bill as me, and they’re always good value!

I: What’s next for you after the festival?

Henry: A house gig at Spurn Point the next day!…then a good lie-down, followed by more dates throughout the year

Henry Priestman will be performing at Hope Baptist Chapel at 9.15pm on the Saturday 12th May. For further information on Henry Priestman visit www.henrypriestman.com.

Mambo Jambo

Mambo Jambo describe themselves as an acoustic-roots duo. With an uplifting sound and vast, almost continent-spanning array of instruments they have many tools in their arsenal and look to be a fabulous addition to the festival.

I: Tell us more about yourselves?

Mambo Jambo: This is what our website says about us! “Acoustic Roots duo, Mambo Jambo, might just be the biggest acoustic duo you’ll ever see. A truly unique two-piece with their own rhythmic and joyful sound, they’ll take you on a musical journey with a mash-up of sounds from roots, world, folk and jazz, plus their own compositions. With Frankie on sax, vocals, clarinet, flute, guitar and spoons plus other percussion and Pete on guitar, vocal, ukulele, tres (traditional Cuban guitar), banjo, accordion and suitcase ! Pete and Frankie have been gathering admirers at shows and festivals the length and breadth of the country. A fabulous musical treat is in store wherever they roll up, their tour bus packed to the brim!”

I: Describe your music in five words?

Mambo Jambo: Multi-instrumental Whirlwind of joyful roots music.

I: What’s your favourite song to perform and why?

Mambo Jambo: We don’t really have a favourite song as such; we keep it fresh for the audiences and ourselves with variety, variety of styles,moods and instruments. People often describe our shows as a musical journey and we don’t want to pick out just one musical stop off along the way!!

I: What are you looking for to most about performing at the festival?

Mambo Jambo: We’re looking forward to bringing a whole range of diverse roots music ourselves to the festival. We’re thrilled to be part of this festival with it’s great line up, we love the fact that there’s loads of great stuff going on in in venues, in the community and on the streets – all sorts of stuff going on!

I: Who else are you looking forward to seeing perform at the festival?

Mambo Jambo: We’re really looking forward to seeing all the musicians who are playing the same day as us, some of whom we’ve seen at other festivals they and we have played at, including Tantz, Mestisa, Don’t Feed The Peacocks. Also Steve Tilston; Musicians of Bremen, 309s; G-Runs And Roses;  and we’ll try and catch all the bands and musicians we haven’t seen before; so many great bands for us (and all the audiences) to discover! Not forgetting the storytelling sessions and workshops!

I: What’s next for you after the festival?

Mambo Jambo: We are constantly touring, which we love. So we’ve got a tour of the South West coming up, playing in venues in Bristol, Bath, and other venues in Somerset and Devon. Then a couple of festivals including The Big Malarkey Festival, Childrens Literature Festival where we’ve been commissioned to present some different workshops. Two other festivals we’ll be playing at are Beverley Puppet Festival, and a Cycle Festival in North Yorkshire. Later in the year we’ re playing some shows in Europe – lots of interesting playing for us this year! We’ve also got a fair few workshop sessions and school projects coming up, and are planning to do some recording in between all the touring!

Mambo Jambo will be performing at the Trade Club on Sunday 13th May at 3pm. For further information on Mambo Jambo visit http://mambojambo.co.uk.

Once again, further information on the festival, its line-up, programme and to book tickets visit www.hebdenfolkroots.org.

Tickets are available to collect from the Hope Baptist Chapel in Hebden Bridge at 2pm on the first day, Friday 11th May 2018.

Categories
Festival PR

Hebden Folk and Roots Festival 2018-11th, 12th, 13th May. 5 Reasons Why You Should Go!

PROMOTION FOR HEBDEN FOLK AND ROOTS FESTIVAL 11th, 12th, 13th May 2018 ( https://www.hebdenfolkroots.org/ )

Hebden Folk and Roots Festival is back in 2018!

Persistent in the yearly calendar, Hebden Festival has been going for a little while now showcasing music from far and wide but what is it about for those who have never been?

Hebden Bridge is nestled within the Upper Calder Valley as a place from history that has been known as “trouser town”, been a reception area for individuals in the wars relocating from urban cities, and a hotspot for politics, creativity and tourism. It is friendly and characterful with a cool town centre and a beautifully green and verdant feel being a place of choice for walkers, climber, hikers and the outdoorsy. It is a nice place, but what about the festival?

It is what it says on the tin, a festival of folk and roots music. It does this through the wonderful efforts of Hebden Bridge Creative types who have put the beacons out that and gathered the heart of roots music and the soul of folk music to it’s old stone buildings, song to the taverns and stories to the very glade itself. While it is stitched together so nicely with so many acts, it is also relaxed with a bohemian feel and a family friendly ethos.

There is something incredibly celebratory and characterful about the whole place, for adults, children and generally lovers of music. If you love live listening to music with the Countryside on your doorstep, this is your place. But for those who are still not sold..

HERE ARE 5 REASONS WHY YOU SHOULD GO

(1) Its picturesque

Hebden Bridge is definitely what you would refer to as a place of enchanting beauty. I’ve already been harping on about this a lot, but words cannot truly describe. Rather than go on and on even more, take a look at where this is all happening and get  yourself a ticket!

(2) It has local, established and upcoming talent

The Festival is very rooted to musical happenings from this part of the world but also from further afield. One of the venues, the first floor of the Trades Club is an incredibly well know, popular and celebrated site that regularly gets voted as a finalist for the NME Small Venue of the year award. Formed in history as a co-operative, it is even now member’s co-operative again. The history is one thing, the music is another. Last year the roof was pretty much being raised by the Klemzer Bands in there. Energetic, joyful and atmospheric it is one venue amongst many that get the senses going.

There is also a great, ranging musical spectrum of artists this year.  There is expert guitarist “Ewan Mclennan”, the political “Reg Meuross” and the recognisable “Steve Tilston” and these are just the bigger names. Of these artists, Reg Meuross, Steve Tilston, and John Palmer will be performing at the Hope Baptist Chapel a fine acoustic setting that reopened in late 2017.  There is also something here if you like historical song from Calderdale (Ghost School), the songs of Woodie Guthrie (Will Kaufman), Latin America (Mestisa), and swing (309’s) or Americana (Farrago); just as starting examples. There is undoubtedly something new and exciting to discover in this lineup, go and see what Calderdale is all about!

(3) There is intrigue as well as music 

It is not just music that Hebden Folk and Roots are known for. There is, of course, a ceilidh for people who cannot keep their feet still on Friday night and other opportunities to dance along with street entertainment.

The festival is also home this year to storytelling as Ursula Holden Gill takes you along a “grisly ghost walk” of Hebden Bridge (which is entertaining and appropriate for children also) and there is also Shonaleigh, an accomplished storyteller of the Drut’syla tradition who has travelled and performed in London, Europe, New Zealand and the US bringing her work to schools and community groups.

If storytelling is not your thing, there is comedy and street theatre from Mike Hancock, folk dancing, and “Fire Man Dave” (circus skills) to keep you and the little ones entertained. Whether inside a venue or outside in the beautiful sun, it’s going to be a great weekend with something to learn!

(4) There are fine taverns with their own musical goings on

If you need a break and the formality of a line-up gets too much, there is a  chance to walk the cobbled streets and grab a refreshing drink from several of the fine pubs that Hebden Bridge has to offer. From the “White Swan” to the “Fox and Goose”, from the “Old Gate” to the “Shoulder of Mutton” and the “Famous Albert” there are many stops to refuel, eat and drink and be merry. Hebden Bridge also boasts some small, accomplished cafes and bars which are also opening their doors such as “Mooch” and “Drink” for Coffee addicts if alcohol is not on your preferred drinks list. The food is also excellent here.

The cool bit is not just that they are serving as ususal, they also have their own programmes of music running through the weekend with many local bands making an appearance and entertaining you through your third latte.  A warming coffee and some good music is a good way to end the night.

(5) Great Shopping

We did say it was beautiful.. but it also has some great shops to grab a few gifts at such as “Noir” Jewellery (http://noir.me.uk/), Jules Chinaware (http://www.juleschina.co.uk/), and one of our personal favourites “The V&A Collective” (https://www.visitcalderdale.com/the-v-a-collective) for your artistic Gothic needs. There are interesting art galleries (such as the Snug Gallery http://www.snug-gallery.com/) and places for antiques (like the Hebden Bridge Antiques Centre, http://www.hebdenantiques.co.uk/) and many, many others that will have something a bit different for you to purchase to show your loved ones.

We really think its difficult not to come away from Hebden Bridge without something unique and special to remember your time there, check them out!

And there you have it. A music festival, but also a weekend experience in itself, and one we are looking forward to very much.

If you are interested in going, check out the website and get yourself some tickets. There is the option of camping, day tickets and weekend tickets, the website is a good resource for finding out other information about the area too at https://www.hebdenfolkroots.org/.

The Box Office is open from 2pm on Friday 11th May 2018, so pop in.. say hi, and get yourself a ticket!

We hope to see you there, we will be!

Categories
British Debut Folk Music Folk Stories Historical Trad Covers Traditional

Geoff Lakeman at Village Folk – 17th March 2018

Geoff Lakeman

There is procrastination and procrastination. I mean I have thought about painting the walls in my office a beautiful forest green for weeks (and haven’t managed yet) but sometimes people put off really big things, things that matter. In the world of music there are bands who take their sweet time between album releases. For example Daft Punk took 12 years between “Human After All” and “Random Access Memories” and The Who went from 1982 to 2006 without a further album release in the middle. You have groups like this, then you get Geoff Lakeman.

Geoff Lakeman is a surprisingly low-key figure in a flock of Lakemans, but there are few that will not recognise the name at all. Many are well known folk artists after all including Seth, Sam and Sean Lakeman, all artists very present and productive in their folk projects, but what of Geoff? Well if Lakemans are like springs of musical versatility then perhaps you could say that Geoff is the “limestone” that helped these waters emerge. As father to the others, he is the unsung song,the unseen wind that performed folk as a family for several years only taking it up full-time when retiring from a long, distinguished career in wall-street journalism. So when we think about time taken for artists to release work, few will match Geoff’s record of waiting until his 69th year to put his thoughts on to silver disc.

But it is well worth the wait, our review of it is here and tonight he plays at Village Folk in Chellaston.

Making his way in a rather quiet and unassuming manner, Geoff took the stage to show us what he knows. Perhaps this element of Geoff taking his time to make a disc from his 40 years of performance is what makes listening to Lakeman now a special and privileged event.

It is a refreshing set. Lakeman skips across the Atlantic on more than one occassion bringing us “When the Taters are Dug” and “A Wide, Wide River to Cross.” The former being a delightful ditty about rural life from Maine, the latter is like a spiritual hymn with it’s powerful resonating introspection, the singer reaches far and wide in both location and tone. The crowd are rapt and attentive as he holds the stage for his own, it is a delight to see him touring. Delicate in character Geoff also sang “Someone waiting for me”, a track not found on “After All These Years” and when he comes back to our shores he storms in with an original number “Tie ‘Em Up”, based in history but eerily relevant to today’s issues to do with fishing quotas.

Geoff also plays one of our personal favourites “Rule and Bant” about a couple of tin miners trapped in the ground following an accident in the 1800s. An emotional number, Geoff’s voice is quite elastic here portraying fear, good cheer and mystery. Politics gets as good as a visit as history too with Lakeman playing an excellent cover of “England Green, England Grey” by Reg Meuross instead swapping out the fine guitar work for his own concertina. As becomes apparent, the set has more than a few flashes of politics and history and has an awful lot to say much like the aforementioned Meuross who alongside Geoff are likewise chroniclers of our modern injustices. The joy of seeing Geoff is that he embodies the soul of folk music as he plays alone with a rare concertina quality with no production tricks, echos or otherwise. For many this alone is folk music at it’s purest, like col0ssal veins of iron before they are treated to become stainless steel. People who like their songs about the working man will not be disappointed here.

In person and in performance there is isn’t a big band or a wall of sound but does not suffer for it. It is quite a pertinent observation as Lakeman jokingly tells the audience about the creation of the album. It is pretty entertaining to hear how it came to it’s current shape, especially at one point where Geoff sends a track off to Sean doing the production to add in another instrument and it comes back with more backing and Kathryn Roberts’ voice appearing on the number as a surprise. His laments about being coerced into including the track “Doggie Song”by said Roberts are also entertaining as he becomes concerned about being remembered for the guy who sings about “dog turds”. The risks of musical typecasting is certainly real!

As well as showcasing a large amount of the album’s tracks, Geoff took some delightful sunny detours. He sings “The Seeds of Love”, that old, old classic collected from Cecil Sharp and a jaunty, folky version of Ella Fitzgerald’s “Making Whoopee” that makes really does the earth move. These little moments of sweetness and humour really bring a roundedness to the set elevating it above the preconceptions that some might have about folk music, e.g. that it’s all about death and seriousness.

So in a strong, simple performance whose strength is it’s simplicity and clarity, Lakeman shows us he is an entralling, generous and accomplished host. The set brims with stories, the room sways and sings along in time and the night is awash with a quiet energy that fills the corners of the Lawns Hotel.  A great night,  a thorough, committed performance and as always a gracious, attentive and warm reception by this night’s organisers, definitely give one of Geoff’s gigs a go.

Check out Geoff’s website for more information about where he is touring here!

Village Folk is one of the best live venues we have been to.. granted we write for them, but we also believe it is a great atmosphere, a welcoming family of people and a special night out, check out their website here to see which folk act they are getting next (they get some of the best) http://www.villagefolk.org/

Categories
Album/EP Reviews British Cabaret Energetic Folk Music Folk Stories Historical Myths Trad Covers

Kathryn Roberts & Sean Lakeman – Personae (2018) Album Review

“Sharp, witty and accomplished there is a class to Roberts & Lakeman’s new album that cannot be measured on any known scientific apparatus”

Album: Personae

Producer: Sean Lakeman

Tracks: 10

Iscream Music Records (2018)

Released 9th March 2018

Kathryn Roberts & Sean Lakeman are indeed a famous duo. Maybe the best known in folk circles due to the two well-deserved wins for “Best Duo” at the Radio 2 Folk Awards. People always presume that the difficulty in fame and music is in the ascent, but surely Lords and Ladies have the added pressure of walking their parapets safely once they have been built. Roberts and Lakeman haven’t  installed a hand rail on their high wall though to keep them safe however. They are still dancing, leaning over the outcrop, shouting to the crowd and having a regal ball in plain sight. Their new, fifth album “Personae” is an album of energy showing no lack of original ideas, adventure or showmanship in the realm of fantastical stories.

It all starts with the cover photograph (by Niki Bidgood) which is either an otherworldly rodeo or Roberts is performing a superhero feat of strength with her hips. It is warmly baffling, but in the best possible way. Perhaps as the album is called “personae” it is in the spirit of one “reining” in their outward appearance. The whole scene is like a painting where your eyes cannot be trusted- here you wonder if it is sea or land, it could be either. Whatever the intent, there is a lot of fun to be had here and this definitely spills over to the album. It spills over despite any attempt to keep it contained like a rainbow bucket filled with sparkles.

The CD starts with a belting version of Child Ballad 265, “The Knight’s Ghost”. The duo’s rendition makes it rather a favourite for ourselves. We love traditional and maintaining the way things have been; here the song isn’t just elaborated, it is upgraded.  Like most ballads the advice of the story inside is of mixed quality. It does remind how grief can make us take rash actions (as the main subject begins revenge against those that she thinks have done her husband harm) though maybe in everyday life we cannot rely on our late partner’s ghost pointing out our errors.  For an opener on an album it is a vivacious interpretation that benefits from clear guitar work and emotive, nuanced vocals. It is quite a powerhouse. Sam Kelly’s additional vocals are characterful and fitting. Overall when thinking of the track, going back to the comparison rodeos, this song is much like that the bucking animal who sprints out at the fire of the gun, it bucks and hops and is determined and fierce. A great opener.

Track 3 “Tribute of Hands” is an original fast-paced number that brings some more of the myth to the table. Inspired by the story of the founding of Antwerp the duo have managed to create something as bloodthirsty and grim as any song from the folk song canon, and it fits especially well. Along other tracks, It forms a  backbone of tracks about history; legends with a slight fairytale kick and mischievous attitude that give the CD a fantastical anchor. The woodwind in the middle ramps up the mystery and wonder, it is as much of the song as dry ice is in a Prince music video. It all works very well as it speeds along exuding charm. We need more fantastical stories of this kind being brought to life, though this might mean I would stop reading fairytales.

“The Street of the Cats Who Dance” is our favourite of the quintessential piano-led ballads on the album. At first we thought the song might refer to Istanbul which I believe is heavily linked with cats, but the song actually refers to St. Malo, a town in France. In history the governors had the idea of unleashing hungry dogs at night to enforce a curfew on wrongdoers. Night time curfews and nightwalking in history are fascinating reading (I have a great book to recommend on this), but this aside the cats are dancing because the dogs were eventually banned from being used in this way following a particularly gruesome death. The song is incredibly well mixed, Lakeman has created some good harmonies of Roberts’ voice which shines throughout. The song has stirrings of early Tori Amos which, in my opinion,  always gets the senses going. This is no Amos tribute though, it moves it’s feet to it’s own beat. It is hard to imagine who else would have the presence to take this song on in the future, but for now this is the least of our concerns.

 

There are many other fine tracks on the album. The vaudeville, “poison club” exemplifies the mischievousness, playful nature of two folk artists quite perfectly listing some of the best ways substances to have fun to (or die from). Their cover of Sandy Denny’s “Solo” is pure beautiful intention, and “Old, Old, Old” (about a Seychelles tortoise) could be part of a growing tradition of the duo pointing out remarkable creatures  in the world around us. Throughout Lakeman doesn’t miss a beat in the instrumentation. It is a credit to his mixing that the weapon of choice on whatever song he is performing on sounds more like a pumped-up army as opposed to a single man, the depth across the disc even on more poignant numbers like “Independence” is breathtaking.

We cannot fault this album. The disc is thoroughly entertaining diving right in and waving to the crowd; it is a work that will be spinning in our music player for periods of time not yet anticipated. For any sci-fi fans it is fairytale in a similar way to Matt Smith’s run on Doctor Who with it’s kind of cool, slightly unusual but prestigious appearance.

Another way to understand the value of this album is to imagine that in the depths of Winter you were cold and someone recommended you buy this disc because it would keep you warm. You might don your pickaxe and hard hat to go down the mine in preparation for finding some coal, but what you would find  instead is a cave of diamonds from floor to ceiling that shine in the dim amber light of your torch. Take the bag that is your heart and fill it to the top.

Which is just as well because energy prices are going through the roof.

“Personae” is best ordered direct from Roberts & Lakeman at: https://www.kathrynrobertsandseanlakeman.com/

My other half recently interviewed the duo, find out their favourite poisons here, http://www.lastnightidreamtof.co.uk/music/kathryn-roberts-and-sean-lakeman-interview/

(I do not claim ownership of pictures and media referenced in this article, they belong to their respective holders).

Categories
Album/EP Reviews Folk Music Modern Arrangement Trad Covers Traditional Vitality

Peter Knight’s Gigspanner “The Wife of Urban Law” Review

“An album that greets old friends with a warm handshake which has arrived with a zest for life and a sense of adventure”   

Picking up Peter Knight’s Gigspanner’s “The Wife of Urban Law” you might think that the soul of this disc is wrapped up warm in a coat of high reputation. Like a naughty child with a spoon of sugar, the character of sweetness must be coated on the tongue of every person whose ever heard of Peter Knight as they will make the assumption that there will be fiddle and it will be as luscious as condensed milk… and you would be right. But fiddle alone does not necessary dictate the character of an album and here the excellent efforts of Roger Flack (Guitar/Bass/Vocals), and Sacha Trochet (Percussion, Bass, Vocals) also contribute to the full flavor that rests within this metal disc.

The album is quite distinctive in appearance. With some of the brightest colours and blend of photography and artwork, it is somehow spectral without being one iota dismal or dark. A bit like a hybrid of the “found footage” technique of films and a hyper-fantasy style, the album cover is both powerfully real and imaginary. It is beautiful and eerie and brings to mind the incredible cinematography of James Hawkinson (Hannibal) with it’s accomplished modern style. Credit to all involved Tim Marris, Kate Stretton (artwork) and Captblack76 (123rf.com photography) this is a fine piece of design.

In fact track 4, “Lament for the Wife of Urban Law” conceptually and in delivery matches the artwork aesthetic faultlessly. Ethereal and stirring the instruments are almost shred the heart and soul and leave sadness out in plain sight. An instrumental that aims high and delivers higher, playing this late at night with the lights out might make you think that the dark has a character manifest. Executed wonderfully, it is our favourite track on the disc.

The whole work could be considered a bit of a “best of” classic folk tunes recognizable to anyone whose walked into a gathering of people cheering for murder ballads and felt a kinship,  but what makes Gigspanner’s  album particularly good is the manner in which it is presented.  The album displays some interesting diversions along the ways, it is sprinkled with an exotic arrangement that gives the whole thing a kick. The drumming is golden turmeric, a scattering of spice and the venture in full is like a bunch of English Folk Songs who have gone on an expedition in their youth and come back older and wiser with a bunch of tattoos and stories about close run-ins with crocodiles and other wild beasts. It is all the better for it, there are many sonic layers that are incredibly pleasing, the mixing is top notch and the CD is evidence of seasoned minds at good work.

Their version of “Green Gravel” reflects the dark origins and subtext of the children’s playground game quite well. Through the bass and percussion that thumps it marches alongside exploratory strings and we get a rather sad affair that brings the urban to stories of the countryside and graves.  Knight’s voice captures a weariness and futility rather than outright doom but along with the harmonies provides more levity than you might initially think a song such as this could have.

“Bold Riley” is a like a proud pony clopping on the cobbled street. As with all of the well-known folk songs on this album, Gigspanner bring something different to the song. In the middle, Gigspanner bring an urgent and pressing fiddle (perhaps this is a pony who has bolted) that warns of ill tidings. Maybe it is the tumultuous storm at sea or possibly the anxiety of the sailor’s wives at looking their best for “White Stocking Day”, either way it adds a great deal. Coming back to the cinema imagery, this instrumental middle (and others on the disc) add a certain touch of class a bit like the “Gongman”at the beginning of a film you know is going to be some epic, biblical Charlton Heston affair.

“Penny the Hero”, a newer track (renamed and continued from the Steeleye Span version “Seagulls”) is as the name suggests a feathery, floating number that charts a kind of love-hate relationship with the game of “shove penny.” The mandolin is clear and fast, the acoustic mastery on the number is second to none; it is a joyful addition to proceedings.

There is plenty more to enjoy on Gigspanner’s latest entry, it would a shame to spoil it for you. “The Wife of Urban Law” is a fine collection and a playbook in how to reinterpret, deeply understand and make one’s mark on a body of familiar folk songs.

If you wish to buy the album or find out more; check out the bands page, http://www.gigspanner.com/shop.html

Here is a sample for any who are still unbelievers.

 

Categories
Blues Energetic Folk Music Gigs Modern Arrangement Vitality

Steamchicken Tour Begins at the Guildhall Theatre 23rd February 2018

“Strong of purpose, unbridled in energy… Steamchicken’s sound is a surprise to many, but a disappointment to none”

There are plenty of good reasons to hide away. It could be the dark, a moment of reflection, or even (at the time of the his writing) to get away from scary snow beasts clawing at your door. Whatever your plan, it is always good to have an accompanying soundtrack to your thoughts (particularly if you are under the weather). The question is then, “Who do I listen to?” Well if you are looking for entertainment and especially to lift the heavy weight of your heart.. then the band “Steamchicken” is the answer.  Who are Steamchicken?

Comprised of Ted Crum (Harmonica, Bass, Melodeon), Andrew Sharpe (Piano), Joe Crum (Percussion), Mandy Sutton (Tenor Sax), Becky Eden-Green (Alto Sax, Bass), Katy Oliver (Trumpet), Matt Crum (Soprano Sax, Melodeon),  Tim Yates (Bass) and Amy Kakoura (Vocals) they are not so much a band but an army of music makers. Steamchicken in their own words are, “Folk with a twist, with huge dollop of blues and ska.” We can’t really argue with this, their feathery wings cover a wide range of influences. It would even be insufficient for us to add that there are elements of reggae, swing and jazz there too because that is the tip of the iceberg to the expansive and inclusive of their sound.

From beginning to end their set is like a child running around in a toy store with the energy and excitement galore that explode from this ennead of artists. There are brass instruments aplenty which blast from left to right and all around, some truly beautiful, sustained harmonica, and the grounding of excellent bass and keyboard, a rich goulash of melodic possibilities that swirl around lead singer, Amy Kakoura. Everything is played exceptionally, the person sat next to us in the theatre are particularly impressed with the drumming which has a rich, technical and clean sound (Joe Crum) but we personally cannot really point anything out in particular. It would be like commenting on your favourite stripe on a tiger.

What we enjoy about seeing Steamchicken is there is a song for every occasion, and then a few more- it is a comprehensive selection. Some of their early opening songs include “Landslide”, a jazz-filled upbeat song about misery and melancholy, their off-beat retelling of “Brigg Fair” with shades of blues and trip-hop aka. Portishead, and Amy Kakoura’s soaring vocals on a streetwise cover of “When I Get Low I Get High.” It is enthusing to see a varied set and the band’s ambition of perpetuating and developing their sound into something wholly theirs. There is a level of mastery here that is cemented with Kakoura’s luscious and varied vocals. After 20 or so years of different lineups and styles, the animated whole of the musical performance might make this the Ziggy Stardust moment of the band.

Steamchicken always come across as a force of nature and there is something primal that is stirred by their sounds. The perfect example from their set is “Western Approaches” (a favourite of ours), a song that makes a boating holiday become more of a tale of adventure in the face of briny elements. When you are just reeling from the fun and frivolity, the set takes a sharp turn in a different direction with the introspective “Gypsy”, an altogether creepier and darker take of Raggle Taggle Gypsy (perhaps the polar opposite of a more jaunty version such as Fay Hield’s). For people of the shadowier persuasion, their song “Foot Falling” has a kind of gallows humour married to and excellent sing-along, dance-along tune about a goddess with a wild, macabre streak who gives a brutal response to the suggestion that she should get married (a fantastic number).

Along with some favourites they also played a few new songs for the audience. There are some good songs here, our favourite is without a doubt “Violet Lane”, a track about enterprising “ladies of the night” and their plans for rich gentleman who visit. They end, as always with an encore of a song that is to them as the night is to Batman, 1947’s “Ain’t Nobody Here But Us Chickens” as fun a tune as you could ask to hear.

It’s not just that the music is great and that they are well rehearsed, Steamchicken clearly love what they do. Much like the train in their Johnny Cash tribute, they keep rolling. There is no dead time in their set, there are a few good-natured quips here and there between band members and a warm audience presence, but primarily it’s a musically rich set that goes at a good pace speed from song to song.

We strongly recommend for folkies, non-folkies and for anyone who doubts that live music can get you moving in your heart and in your feet because these chickens sure can fly!

 

For more details about Steamchicken check out their website here which has details about their most recent album release, “Look Both Ways” (I presume when crossing the road!) 

Also check out their 2018 tour list here to see when they are playing near you!

If you still haven’t had enough of Steamchicken, check out my other half’s interview with the Chickens not too long ago here.

 

 

 

 

 

Categories
Acoustic Festival Folk Music Folk Stories PR Singer-Songwriter Trad Covers

Derby Folk Festival – A Roundup – October 2017

Hi everyone. Quite a bit of time has passed since my last festival post and as the cold sets in to it’s fullest we have snow as far as the eye can see (well it is here). Before the hot rays return I wanted to bring you a roundup of some of the things that we saw at Derby Folk Festival a few months back (ESPECIALLY AS THE LINEUP FOR 2018 is looking pretty colossal!)

Derby is quite a central place and relatively easy to get to, so we do enjoy travelling down and seeing what is happening.

For those who have not managed to get there yet, it is a friendly festival wit  venues that aren’t too far from each other, and always a good and varied lineup across the range of Folk genres and popularity. We think in all ways it gets the balance good for an inner-city festival).  There is also ceilidh, often some dance workshop and plenty of public displays too that make it a fun few days.

Thinking about Derby Folk Festival, the first rather small (but important) point to note is the Main Marquee. Every year its a sight to see. It’s a big space sitting in the very heart of Derby’s art quarter which ends up weathering an potential weather storms at the quite late time of year. In 2016, the rain fell and got everywhere. Let us say the Marquee seemed to take a bit of a battering and the Gods seemed displeased. This year the Marquee is reinforced, looks a lot more solid like a great metal tree awaiting the harshest of elements. Unfortunately (or fortunately) the weather didn’t come so it wasn’t put to the test. It still looked great though.

Another thing about the festival is there is plenty to see, some cool food vans, many great bands and the lovely yearly addition of Adverse Camber (more on them later). Apologies if you or your band are not mentioned below, we have taken a chance to highlight some of the lesser-known artists this year. The rest of you, I will catch up with you shortly I am sure!

So.. lets get to the music! Rather than go day-by-day, let me point out some of the great stuff that springs to mind that I would recommend and makes the festival special.

 

Rusty Shackle

A young folk bicep of a group flexing their musical muscles, “Rusty Shackle” is an energetic start to the festival. From Wales, the groups comes across as a sometimes understated indie voice, sometimes a fine mirror to Billie Joe Armstrong; either way they have an incredibly broad range.  One minute it is the broad anthem of “King Creole”, a song of self worry and ruin, the next it is a surprising medley of numbers including the wonder of “Touch My Bum” (The Cheeky Girls) which got a few nods of recognition. They certainly have a sense of humour too, and it is this fresh-faced, joy and fun that make them a very good gateway to folk for a young crowd; they are a veritable folk aperitif. Other fast and melodic numbers include the quite sweet number “3AM” with a welcome bit of banjo riffing, the denser more urban and expansive “When the Morning Comes”, and a personal favourite “Down to the Valley” that reminds of the best of 80s pop in a direct collision with Show of Hands at the top of their game.

It is all a sweet sound indeed with electric guitar, fiddle, banjo and drums and trumpet laying down spritley, rocking and seriously entertaining set of tunes you should check out. They are also a pretty industrious bunch being on an extensive tour so see their website and perhaps check them out here.

 

The Rheingan Sisters

A duo of artists that spring to mind the Rheingan Sisters’. We see one of their sets (they actually have two different sets over the festival), and are on very good form,

Fantastic as always with excellent fiddle technicality and songs of evocative soundscapes, we caught them as they were trialling some new material much of which revolved around French bal music and other influences from the region. They did “Cuckoo” from their “Already Home” album as well and this was rich and deep as ever. This allows us to lose ourselves in the ballroom amongst the party of strings. One of their new numbers took us into the depths of forests, in a sweeping and glorious portrayal of environmental destruction, and this was our favourite. Epic and contained like a jack-in-the-box, the Rheingans continue to impress and make a mark. We are just a little dismayed we did not catch their full set (our fault, nowhere elses). Details of their projects can be found here.

Adverse Camber – Dreaming The Nightfield

Burning brightly from a number of past intriguing shows, Adverse Camber return to Derby Folk Festival with performance, story and song about the old book of tales written in Middle Welsh, the Mabinogi. We have seen them on more than one occasion and the fire is still there in their performances. It is quite a treat to see something drawing on old history and myths from our own isles, and I am saying this absolutely loving the older shows from Persia (the Shahnameh show the other year) and their more Nordic sagas.

It is a warming experience for Derby to let the Storytelling in, after all stories and myth aren’t everyone’s cup of tea. Whichever side one falls on, here it certainly adds to the variety of what is on show and delivers a quieter (but not too much!), individual first night at the festival. It is quite a sensory, word-spinning reflection of a show and as such it brings a different kind of wonder to the corner of the Guildhall for a night.

Telling some stories of the fair and just lord of Gwnedd, Math fab Mathonwy, Pryderi the lord of Dyfed, a magician  (Gwydion), heroes (Lleu Llaw Gyffes) and a woman made of flowers (Blodeuwedd) there are lots of enchanting tales, and as with many stories from history; usually a moral involved (especially with Blodeuwedd). The wonders keep coming.Whether it is (literally) magic mushrooms transforming into golden shields, a plot involving the theft of especially tasty pigs or (my personal favourite) the part where the great lord transforms his son into a series of animals (and learns the creatures’ natures) there is a lot to digest, and like a fine stew more the better for it. The three storytellers Stacey Blythe, Lynne Denman, and Michael Harvey all have their time to shine as musicians and singers in turn with Michael Harvey taking the lead with recounting the stories. The music is stirring and the stage evolves alongside the story which is a pretty special thing to see.

What happens is that throughout the show the cast carry and assemble of series of sticks in what at first seems like a kind of sculpture maze, but it becomes apparent that it is forming the aspects of the stories so the sticks are representing either creatures, mountains or even dead soldiers. The movement of the sticks actually grounds the play and connects the artists to the environment, the touch of dynamism is welcome and it is intriguing to see how the sticks assemble together and actually balance. It is a pleasure to see the company’s continued creative use of set pieces in their shows.

Alongside Naomi Wilds (producer) they have put together a close to home, wondrous series of stories that will leave you wanting more of the magic and more of the myth from those rainy, misty Welsh valleys. We heartily recommend, as of the time of writing there are two more dates coming early 2018 for the show if you can make them, have a look here.

Robyn Johnson

Robyn Johnson joins a (growing) list of female acoustic musicians this year who are convincing me that you do not necessarily need a full band to create a good variety of songs and feelings. Admittedly and embarrassingly at time we at FP find solo guitar acoustic artists a little wanting and numbing. Of course there are always exceptions, and this is not knocking guitars of any shape or size, we just require more convincing. Let us say however that this year we have come to out senses a little bit more on this issue.

Under the banner of Village Folk (excellent hosts in and and out of the Derby Folk Festival, see here), Robyn emerges riding a midnight blues train that has a few folk-town stops along the way. Johnson played some delightfully understated and rhythmic entries such as “Say it with wine”, a lyrically break-dancing tune that wears a bit of a Country and Western hat. Sweet and vulnerable it probes modern living and anxieties in what is an essential piece of acoustic listening. There is also the exploratory, evocative “midnight ramble” which Johnson plays to warmed up, appreciative and rapt audience. Midnight Ramble has particular interest due to it being written about the characterful characters and experiences gathered while the inner town of Derby late on a Friday night, it has everything “Gypsies selling roses”, propositioning men, and a swirling blues ambience.

“Plastic Bag Fairy” is a demonstration of Johnson’s excellent acoustic guitar times and tones; as the first song she wrote it is interesting to see how it contrasts with the rest of her set. Slightly more optimistic and sunny, it shows the good in people who have little to live on. Ending on “Pour Me” is the striking of a match to a can of gasoline as a finisher that refuses to take things slowly.

An intriguing addition to Derby Folk. Worthy and in a way delightfully low-key, her songwriting left an impression with us. Check out her Mixcloud of recordings here.

Kim Lowings and the Greenwood Band

Pretty much the highlight for us and several others at the festival, Kim Lowings and the Greenwood Band had been on our cards for a good while, but we hadn’t seen them live until now.

The band has a good sound and a nice range of instruments. Lowings herself has a distinctive and clear voice and it was all enhanced by the Guildhall’s  acoustics. The joyful thing about Lowings and the Greenwood is that they have a playful aura which they cast on to several oldies giving them continued leases of life. Their version of “The Cuckoo” was rather special, and their take on “Oh the Wind and Rain” leaves you wanting more.

We do not want to go into too much detail here, except to say they are an entertaining and rich sound experience, and that  for you should check out our other blogpost here about their latest album “Wild & Wicked Youth” here. Take a look at Kim Lowings and the Greenwood’s site here.

Kirsty Merryn

Kirsty Merryn was a very welcome addition.

Recently basking in the sunshine from her debut album “She & I” (it is very, very good) she had a chance to perform in Derby Cathedral to an attentive audience. Performing her numbers solo without band accompaniment, Merryn brought a touch of class. At one point she was brought a bouquet of flowers (this has happened a lot while we have been on the road recently), adding even more colour to her flourishing, piano led set. Some songs she shared included ghostly tale “Without Grace” about Grace and William Darling and a tall lighthouse, “The Birds of May” had a strong stillness to it’s sound, like a pagoda next to a small pond of bright koi. This was a general theme and feeling throughout the set; Merryn provokes with a powerful front and a quiet strength that shatters aggravating noises around. She is a fantastic role model in this regard that men and women could look to equally. She also previewed a love song to the sea that she was working on which was exciting to hear. Usually she is the support for Show of Hands, and in a way she is a perfect foil to their louder more anthem-fuelled sounds. They both share a sense of wonder in people and musically approach their reflections on them from different angles.

Like Kim Edgar but earlier in furrowing her own path, Kirsty Merryn is on an upward trajectory. Check out the video below, her website here and keep tuning in for more writing about her in the near future.

Oka Vanga

Oka Vanga are another group for which we have been acquainted with for a while. We reviewed their latest album, “Dance of the Copper Trail” and found it, “An incredibly listenable album that is tightly managed and has a pretty rich, consistent sound” here, Suffice to say they did not disappoint in person either. Playing some material from their EP, as well as some other acoustic wonders (bolstered by some great double bass) like “The Devil’s Tide,” an exciting, interesting song about a female pirate.

Hosted by live music aficionados, “Village Folk.” they brought a Western charm with their tales of birds, trains and magical trees. The set was punctuated by a heartfelt and warm few songs by Dave Sudbury. He sang “The King of Rome”, and we cried a lot. Fantastic to see him and the friendly reception that he got with the generous applause and acknowledgement. Here is Oka Vanga’s website.

There were many big names at Derby too including  Show of Hands, Oysterband, Roberts & Lakeman, and Leveret too which were fabulous to hear while we were moving from place to place. The schedule is enormous, detailed and leaves you with choices to make but in the best possible way.

“Derby Folk is good value, convenient and friendly with good systems for putting the audience close up to both big and upcoming stars of the folk and roots circuit.”

 

This trend of encouraging this myriad of folk names continues for 2018 as some due to be attending include: Lady Maisery, Eliza Carthy and the Wayward Band, Sam Kelly & The Lost Boys and many, many more. The tickets are available here and more information about the Festival as a whole here,

This coming year the festival will be running from 4-7 October 2018.

There will be an extra concert on the Thursday compared to previous years (see the site for details). 

 

 

 

Categories
Acoustic Album/EP Reviews Blues Folk Music Trad Covers

Bella Gaffney- Heaven Knows – Album Review

Album: Heaven Knows

With:  Bella Gaffney (Vocals and guitars, concertina, and more)

             Lauren Deakin Davies (Bass guitar, keys and percussion)

             Nick Hall (Backing vocals and lead guitar)

             Tim Spencer (Drums)

             Chris Elliott (Fiddle)

            Heather Sirret (Bass Guitar)

            James Gaffney (Piano)

Tracks: 11

Produced by: Lauren Deakin Davies

FOLKSTOCK RECORDS – Released July 2017

 

“A folk-blues charmer of an album, Heaven Knows is the wonder of biting into a Wispa and realising it’s a Wispa Gold”

 

PICK OF THE ALBUM: “Grandma’s House”

From the expertise of Folkstock Records and wordful mind Bella Gaffney comes a new album of acoustic delight. The joy of Folkstock is that it is rather skilled at representing an awesome range of female (and sometimes male) voices to the folk world and recognising artist talent that others might miss. Not only this, they work with these artists to bring the magic out and in doing so promote musicians with a unique sparkle that doesn’t follow a prescribed definition of folk music. Gaffney certainly has her own shine; if she was coming to your party she would wear her folk music like a bright and colourful flower on her shirt but not without a cool, slightly worn Blues Brothers trilby too. These images and sounds compliment better than the description might make out, they certainly do in her song style.

Bella can be found somewhere between Bradford and York though this year she has been on a well-received tour of clubs and festivals (we had the pleasure of seeing her in Hebden Bridge in 2017). As an artist on a journey, how was her album release?

“Heaven Knows” is not only a crisp, veritable slice of humble and capable songwriting; it serves as a reminder that  unlike the cooking of al-dente spaghetti, everything doesn’t have to be thrown at the kitchen tiles (recording process)  in an attempt to make something stick (in that time honoured way I was taught to cook pasta). On paper there are a lot of instruments here ranging from concertina to fiddle, bass guitar, piano and more but everything is in it’s right place. It is the difference between putting a seashell to your ear to hear the sea and sitting in a Ferrari with the sounds of waves vol 2 playing through the stereo at max. There is a conciseness to the selection of instruments, it is beautifully orderly like the musical equivalent of the KonMarie Method.

Looking at the tracks there is joy all around and, like the best cheeseboard, enough variety to mean you are not leaving your seat anytime soon.

“I am the tide” (Track 2) and track 3, “After the fall” are in the order they are a rather neat set of stages in a relationships: adoration (track 2), and then a break-up number (track 3). “I am the tide” is a self-proclaimed love song with a “big folk ballad feel.” This is definitely not far off the mark. Starting gentle like lapping waves at the shore there is a folky-ache in Gaffney proclamations that strikes like an aggravated cobra as she hangs on the words .”After the fall” is even better. It has some notably refined lyrics as Gaffney laments and expresses several cutting metaphors of disappointment, “strip me down, use me up, wash me clean, with your tears from the flood.” The guitar cuts down like sheets of rain in the storm of this track, the voice rises like dry ice. Another good song.

When it comes to covers, Gaffney’s version of “Cocaine” is as dedicated, characterful and hazy a cover that can be asked for. It is dark Americana in a disused alleyway, it is a sharp intake of breath contrasted with the frosty exhalation of winter air during the late end of Autumn. The song is what it says on the tin, the thought and experience of the drug,”cocaine is all running round my brain.” More lingering than John Martyn’s original it has a slower bite. It deservedly calls for your attention with it’s minor harmony creating a nice accompany to the main singer’s smouldering dark lullaby and a tragic but addictive tone. Gaffney has embraced the song and the era bringing all the delightful wonders of the age with her, her voice shines as it rises and falls in a marvellous addition to the album.

“Grandma’s House” is not alone on the CD in being a relatively quiet and introspective powerhouse of a song. It is based on the true life story heart-warming tale of a grandmother in Greece who takes in a whole family of refugees who don’t speak her language. It is a great song on many levels, the addition of concertina, low backing vocals and some fiddle alongside Gaffney’s venerating and sweet voice builds a picture of a song of pure empathy and power. This kind of songwriting reminds of the best of other artists like Louise Jordan and her recent World War concept album. As Jordan does, Gaffney celebrates kindness in a hallowed, rich hush that many artists strive for and she hits on the head. This is quite possibly the best song on the album with it’s ability to paint a picture of the coast, it’s heart-wrenching fiddle work and ability to replay through your brain through your working day. A very good track.

Out of the ten tracks on the album, for us the only track that doesn’t shine as much as the others for us is Gaffney’s version of “Gallows Pole.” It has her signature thoughtful approach and is sung well (Gaffney’s voice doesn’t faulter at all through the life of the disc). It’s stylings are closer the more modern Willie Watson’s version rather than Odetta or the rockier Led Zeppelin cover leaving it with a less pacey and urgent character than we prefer on this track. It has some measure of reflection to it, it just doesn’t quite hit the mark though I have heard her sing this very, very well live. As well, if it did resemble a hard rock track it would be out of place amongst

It is a lean album. It is muscled like Mo Farah rather than Charles Atlas as the CD definitely is geared for distance rather than brute strength and there are some fine tracks on the CD. Gaffney has some good songwriting skills that she brings to the table here. She makes it look easy as she does her sprint for glory following an excellent year of songwriting and performance, as a growing recognised artist she is certainly coming into her own.

Check out Bella’s website to have a little listen to some of the tracks here, or check out the sample video below!

The CD is available to buy from Folkstock Records here.