A hallmark example of a revival done well, “The Transports” brings stalwarts of the folk world to tell affecting stories through song and history.
Introduction
Peter Bellamy’s folk ballad opera about migration, “The Transports” is back. Having it’s 40th Anniversary it does not so much ask the crowd to continue dancing, but rather teaches a few new steps that should encourage the shyest member to put on their shoes and join the party. It does this through an injection of modern stories, local history research, and a selection of eminent and accomplished musicians who makeup the cast. On tour at a number of venues, it is a dazzling and consummate collection of songs and stories that can clearly be seen to have been sharpened by the whetstone of politics. But while there is a strong theme around migration and hardship, there is also a lot of love and altruism here and the strongest theme that emerges is people’s visible spirit of optimism even when one is short of life choices. We shall return to this later.
Funded by the Arts Council England, we went to see the show at the grand Opera House in Buxton, Derbyshire (and a lovely venue it was too).
There is a lot to see and think about in this theatre event, so in turn let us look at the three main strands within the performance: the historical part, the contemporary links, and the song performances themselves.
Historical Bits
So “The Transports” is based around 1783. It starts with the story of Henry Cabel (Sean Cooney) who is an honest man in Suffolk looking at his neighbours in Norfolk and their wealth. He is down on his luck and struggling to feed himself; as the narrator (Matthew Crampton) says, “He’s a good man.. but he’s getting tempted.” This is the first of many explanations by the narrator which paints a morally grey landscape for all the people whatever their time of history, there is a lot of philosophical complexity to be wrought here. Crampton does a good job throughout of planting the seed of reflection in the audience, giving them the context and the tools and asking them if they would have acted differently in such a harsh and brutal world where the stakes are much higher. Crampton has a great voice that entices and explains. He pulls the audience in like a magical toyshop owner, he has some joy and sorrow that he cannot live to keep to himself. His investment in the role is not only visible to see, it can be gleaned from his wonderful research of Parallel Lines that feeds directly into parts of the play (more on this later).
The story progresses, Henry’s desperation leads leads to some unfortunate consequences with him joining with vagabond Abe Carman (David Eagle from the Young ‘Uns) to attempt burglary, They are caught, go to trial and then there are some bad outcomes.. and some very bad outcomes. Mostly framed around the songs, “The Transports” doesn’t so much explain every inner and outer working of the character in their song like in musicals per se (there are no songs about doing laundry for example), it rather opens a space for a broader discussion, a wider personal reflection about that character’s feelings. There are a few acting segments that illustrate this too, though it is much more about the song. That being said, David Eagle makes a truly lothesome yet fetching man of different moral dispositions in his role which made me think extensively of Fagin (the pickpocket from Oliver Twist, not James Fagan to clarify). His time is short, but the performance both inside and outside the “Robber’s Song” is a something to enjoy a lot. From all the musicians (barring maybe Greg Russell’s Turnkey) he carries more of the mannerisms into the song and embodies the character such that is certainly memorable.
As the play continues events move like the great waves between England and Australia, up and down with joy and grief. Henry meets Susannah (Rachael Mcshane) his future wife in prison and we begin to see some of the joys and the warmth that can be found in oppressive circumstances. Rachael plays her role with some grace and kindness whilst Cooney’s Henry is hopeful and the aforementioned Turnkey (Greg Russell) has a whale of a time being the hero (though not at carrying newborns). Alongside the artists having an acting turn, the choice of having the narrator direct so much of the action and explain what is happening is a good one. It means the musicians can play to their strengths and focus their characters into their musical numbers and tightens what we see; especially as the the whole cast necessarily are on the stage at all times.
As mentioned already, there is a huge silver streak of optimism within the play that doesn’t paint the historical situation as “entirely hopeless” even when things seem bad: love can happen in a prison or someone’s conscience will often lead them to a good deed. It mentions “change” in the form of the French Revolution and portrays England interestingly as a social pot about to boil over. It makes the times multi-faceted and lifts from the writing Bellamy’s faith in people to do good things. Even when people do less good things it is either through an attempt to control oppressive circumstances (Susannah stealing cutlery to escape being effectively a slave) or as a small footnote to a future of great accomplishment on the right side of the law. The play certainly makes you think about the notions of rehabilitation, circumstance, and morality.
Contemporary Links
One of the joys of seeing “The Transports” is it’s knowing looks at how the themes in the historical story are still very much a part of our modern fabric.
Returning to Matthew Crampton’s narrator, there are a number of wry references to the “privately-run” prisons of the time (and now), but also a sharing of the names of people involved in another exodus from London to the textile mills of Derbyshire. Through the research of the Parallel Lines project, he mentions the grim applications of the Poor Law and the experiences of children working in industry. The disparity between the lives they were promised and the lives they actually led is quite jarring, for locals who might not be aware of the price to dignity that some industries have made, this play is quite an eye-opener. Each show is different too. Depending on the venue, the narrator gives the names of local people from history who have suffered similar fates and hardships based on the decisions of industry owners and Government. Doubtless there are parts of the tour which even more history than being seen at Buxton but even the smallest mentions of a person or two are enough to think of these cruel times and how far (in some ways) we have come. It was both enlightening and sad. The effort to integrate this research into the play has the effect of slowing down events, but it is a poignant and relevant stop which really adds a cultural significance, and a heart to this showing of “The Transports”.
Another significant and pretty heart-wrenching modern link is the production’s choice to include the Young ‘Uns song, “Dark Water.” Telling the story of two Syrian refugees attempting to swim across the Aegean Sea it is a claustrophobic, gutting and poignant song. With the media spotlighting this issue a lot last year, this brings it back again explaining much like for the characters of the piece Henry and Sussanah, that these journeys are an ultimate risk that flies in the face of modern discourses against immigrants. Rather than seeing asylum seekers as mildly inconvenienced, carefree people and are coming to this Country to scam hard workers, it highlights a desperation that can only come from all-consuming hopelessness. It is a timely reminder of a risk-taking decision we could all very easily have to make if our lives got threatened in the same way through war or famine.
Songs and Music
This production of “The Transports” is certainly an energetic one. It helps that much like the original run (that had influential folk artists such as Norma Waterson, Martin Carthy and June Tabor to just name a handful), a number of recognised and young artists are involved in this.
Joining those already mentioned (Sean Cooney, David Eagle, Rachael McShane, Gregg Russell) there is also Michael Hughes (the Young Un’s) Nancy Kerr, and the members of Faustus (Paul Sartin, Saul Rose, Benji Kirkpatrick) who bring their trademark qualities of solemness, raucous energy, and focus to a pretty varied roster of songs. It is an impressive lineup that delivers some memorable experiences with each several highlights throughout.
All are great without exception. There are the beautiful laments of The Mother (Nancy Kerr), a wonderful number with Rachael McShane and Sean Conney that looks towards freedom, and a few other that are equally affecting. The opening Overture song is especially strong; it is clearly a sprint start and Paul Sartin’s voice and passion gives the beginning of this longboat of a play the oars that will push it onward. The Young ‘Uns seem like they born to do “The Transports”, especially as their music has more than once taken a cue from modern news (listen to Carriage 12) and the magnitude of their unaccompanied voices sits incredibly well with fellow award winners here. Another number which is especially fun is “Plymouth Mail”. What can only be described as a “land shanty” in my vocabulary, is a galloping, high octane number with the horses of the cart pulling with an energy and determination that matches the accompanying scene perfectly. There are some quieter moments too, but of course it all ramps up again for the finale. The final performance of “Roll Down” is certainly a powerhouse in every sense of the word. Going out on a sublime high, the ensemble case gives it more welly than a gaggle of pirate wanglers. Amazingly deep, rousing and quite brilliant, the show goes out with an unmatcheable gusto.
In Conclusion
All together, a great contemporary take.”The Transports” in 2017 is a triumph in it’s mix of song performance, history and human philosophies. Fans of the artists involved should go just to see them all in one place, but compared to what else this whole production brings this would be the slimmest of reasons for enjoying it. Kudos to creative producer Tim Dalling’s inputs and Paul Sartin’s role of Musical Director which has shaped a hugely spirited, and committed modern take that feels very faithful to the core messages of Peter Bellamy.
There is a lot here, a lot to take in, and 40 years since the play first went around it feels inside like it is as relevant as ever .
Some tickets are available for the touring show on “The Transports” website here.
If you are still unsure, have a look at their preview video below.
The images used in this post belong to their respective owners, I do not imply ownership of them with their inclusion here.
I have been threatening for a couple of months now to do an award post to celebrate (in my opinion) the best Folk of 2016.
It is a cliche to say it was a fantastic year for folk music, so I won’t say that more than that once.
But what I can honestly say though is that I’ve have heard more folk than ever before, and the scene is certainly a well-filled blend of whiskies; a vibrant mix of old and new expressions co-existing. The scene itself is pretty vibrant in it’s different expressions and many stories are being told old and anew.
As a result I thought it only fair that Folk Phenomena gives some awards this year, apologies there are no awards going for live gigs (per se), or traditional/instrumental. Maybe I will hear more of these things this coming year and incorporate this into my next awards! Before I proceed let me explain how I will do this.
As many know, I have a bit of a fondness for whimsy so here are Folk Phenomena’s award categories, and an explanation as to what they entail…
THE BRIDGE AWARD: (Crossover Folk)
The Bridge Award symbolises the most accessible of folk albums.
This is not to say that an album is lacking in folk credentials or has strayed over to the side of pop or hip-hop (for example), but it’s delivery combines all the best sensibilities of Folk Music whilst through arrangement or delivery reaches an out-stretched hand to the uninitiated in the scene. Gateway albums are essential in any music form and particular for albums considered for the “BRIDGE AWARD” this year.
THE GRAND ENTRANCE AWARD (Debut)
For artists with pizzazz who started the journey and reached this big milestone; this award honours those who not only were courageous to put this foot forward, but also did it with a sense of style. Having pushed open the doors to a glorious party, this award recognises the strength of vision for artists with a debut album launched in 2016. This is “THE GRAND ENTRANCE AWARD.”
THE MYTHMAKER AWARD (Folk/Myth Narrative)
Stories of old, spun in innumerable ways from the oral tradition that speak of things part history, part hearsay are some of my very favourite things.
Folk music often takes the mantel of talking about the more fantastic. Sometimes there is a legend or a famous person who did a wondrous feat, or maybe it’s just a touch of magic that is added too an otherwise unremarkable event.
For a sub-genre that is not everyone’s cup of tea, here it is “a cup of tea, bread and butter and chips coming out the chip pan”.
This award honours individuals who take a good tale and build something rather special with it be it something supernatural, folk-loreish or historical for the “MYTHMAKER AWARD”
THE GRIMMS GIG AWARD (Folk Theatre)
There are music gigs, and then there are folk gigs!
For this first year of awards I will not strictly be running an award for best live performance, but there is the Grimm’s Gig Award. It is needed, for indeed there is theatre that gives flesh to stories, a memory presented under the hot stage lights for the world to see. I sometimes wonder, what if the Brothers Grimm were here today? What would they show? How would they choose to extend their presence in plays?
There are of course theatrical shows of Grimm’s stories but this award is not limited to these, it celebrates folk ideas and their presentation on the stage and makes us think for the “GRIMMS GIG AWARD.”
THE MUSICAL MENAGERIE AWARD (Best Multi Artist Album)
Collaborations bring a number of individual artists and elements together with the goal of making a substantial and interesting piece of work. The Musical Menagerie Award highlights the best of these works from the year 2016. Please note the award isn’t intending to convey the experience of sitting in a locked cage together thinking of the particular chords or words that convey what you are thinking (though this might or might not be the case), but rather recognises that as different creatures, we bring our own ideas, history, and experiences to the musical pot.
This is the “MUSICAL MENAGERIE AWARD.”
THE WOODEN WORDSMITH AWARD (Songwriting)
A focus on lyrics and words, this award goes to the group and album that demonstrates a huge affinity to their subject with. They will be albums where the words have a life of their own and follow you through to the quiet of the early morning or ring in your ears, inaudible to other unsuspecting parties.
Like a person toiling to shape some wood into a beautiful carving; in this award artists have moved and arranged words that in turn move us for the “WOODEN WORDSMITH AWARD.”
THE SIGN OF THE TIMES AWARD (Political Folk)
Politics has dominated a lot of discussions in this year that is for certain.
Folk music’s more than casual acquaintance with protest and debate is not itself a debate that is needed, it is a given. Certain parts of folk music quite rightly want to communicate a collective unhappiness, or speak out about the vulnerable or mistreated. The “SIGN OF THE TIMES AWARD” goes to the most impressionable albums with an overtly political stance released in 2016.
HALO OF FOLK AWARD (Best Solo/Duo)
The Halo of folk is pretty much how it sounds.
It is music that can do no wrong, or if it does its so small that the light of it’s energy overcomes all.
An artist to receive the “Halo of Folk” award has persuaded many times over to play that album again, maybe even to deafening cries of your nearest or dearest for the “HALO OF FOLK AWARD.”
The Bridge Award (Crossover Folk)
WINNER – Nancy Kerr – Instar
Nancy Kerr’s “Instar” has a kind of swagger. It is true that the album covers no end of subjects that would be at home within a raft of folk albums: a song about birds (check), songs about social justice and equality(check), some songs about myth and stories (check), and these are my favourite things, very much so here but it certainly reaches out.
There is a firm, well-crafted feel to the album with an element of fun that peaks across many of the narratives on display here.
Kerr’s voice is interesting and engaging throughout, and in some places in a particularly playful way that oozes applicability of folk to modern living (i.e. Farewell Stony Ground is getting into Lily Allen territory with her slightly urban articulation). But it’s not just this, there are other “bridging” factors from Instar in arrangement such as a rock-influenced medieval recipe song (Gingerbread) and Light Rolls Home, that feels a bit Beach Boys/Ramones in it’s presentation. All-in-all an album which show ways of presenting folk songs/stories that the uninitiated listener could easily take hold of and embrace.
Highly recommended, and that is why this year Nancy wins the “BRIDGE AWARD”.
Instar can be purchased from many sources, including Nancy Kerr’s website here.
RUNNER UP – Kelly Oliver – Bedlam
Hot on Nancy’s heels is Kelly Oliver with “Bedlam” released early in 2016.
Quite simply, Kelly deals with some big topics. As mentioned on my previous blog, “she wastes no time with wishy-washy politics” she goes for some big targets such as a song about an unmarried mother put in an asylum “Bedlam”, and “Die this way” about a young child at wartime. The music has an achingly youthful and authentic sound which finds time to enjoy itself in paces too (such as the upbeat track “Jericho”). You could call her the musician of the Olympics this past year as her love-letter to Brazil was delivered with fresh observation and some catchy rhythms, together it is cemented with her soft voice and demeanour.
Not “hard folk” in any sense of the word, but her lyrics and subject matters cover meaningful material and stories which folk is highly concerned about.She crosses genres, she can go in any number of directions and will find an audience following, which could one day find it’s way into John Kirkpatrick’s garden. This is why she is Runner Up for the “BRIDGE AWARD”
Kelly Oliver’s album “Born This Way” can be purchased here from Folkstock Records.
The Grand Entrance Award (Debut Album)
WINNER- Heg and the Wold Chorus – Raising the Fires
Heg and the Wolf Chorus remind me somewhat of all the elements of music I enjoy outside folk (except maybe Reggae and Ska).
They appeared from the edges much like the dry ice you see in 1980’s fantasy films and before you know it you are not sure where you are. There are elements of dark cabaret here (e.g. Amanda Palmer/Emilie Autumn), cello rock, Kate Bush, and a hint of Tori Amos. It is all of this and also none of this. The broad, powerful ensemble of musicians is like a beating heart which pulsates stronger and stronger with the best sensibilities of supernatural folk.
Be it the shrill, piano marching warnings of “Hide! The Storm is Coming”, the theatrical and fun “White Witch”, or the more medieval styling of “Fairy Hill” there is an unfettered, confident collection of songs here that is brought to life. It could have stepped straight out of a HBO fairytale programme. If you like a touch of fantasy in your listening cave, I heartily recommend.
Heg and the Wolf Chorus’ album can be purchased from their website here.
RUNNER UP – Jenny Sturgeon – From the Skein
The first of the quite myth-heavy albums in the winners list. Occasionally nautical (Raven, Harbour Masters) and often an interesting take or elaboration on legends (Maiden Stone, Selkie) the album is a solid breakthrough into the folk scene.
Not just that, there is some very nice fiddle work indeed throughout and Sturgeon has a breathy, “warden of the woods” sound to her voice that exudes a certain confidence within the work. In a sense it is quite traditional, and finds beauty in being restrained and alluring.
This is why she is the runner up of the “GRAND ENTRANCE AWARD”, well done.
Jenny Sturgeon’s album can be bought here from Bandcamp.
The Mythmaker Award (Folk/Myth Narrative):
WINNER – Fay Hield – Old Adam
I am a fan of Fay Hield, but in my ultimate opinion “Old Adam” excels above her other works and continues her ascent into the perfect combination of expert research, literary considerations and performance. Her works have always lent themselves to being like an explosion of energy from a medieval tome, it is very easy to see her academic interest and the joy she derives from all aspects of her interests.
Her powerful adaptation of “Old Adam” is an exercise is great pacing, a luxurious string accompaniment, and a moving emotive voice. Throughout there is a careful measure of energy which she varies throughout the songs going from dancing and ethnic (Raggle Taggle Gypsy), to regally melodic (Queen Elanor’s Confession) ,and even comedic (The Hornet and the Beetle), this variety adds a huge amount to what you hear and how you feel.
It is also delightfully morally ambiguous and unfiltered; it is mythic folk of the finest kind, and that is why she wins the “MYTHMAKER AWARD”.
Connected at all points and moving track to track; Hannah James’ work directly mirrors the theme of travel throughout this conceptual album. The songs all form part of the “Jigdoll” show which Hannah has toured through the UK, an event that brings together her signature clog dance, accordion skills and distinctive voice. There are some amazing tunes in here including the warm “Coppicing Song”, the fleet of foot “Clog Jig”, and especially moving “The Carpenter.”
Cohesive and exploratory it conveys as much through what is not said as what is. It feels like a playground where one’s own mind can go wild, and is strikingly earthy like a pine glade. It only misses the winning spot through a feeling that seeing it all live as part of a full dance/puppet/song performance is probably the optimal experience, but nevertheless will leave you with your hairs standing on the back of you neck as an album in it’s own right.
You can buy Hannah James’ album here from Rootbeat Records.
The Grimms Gig Award
WINNER- Karine Polwart – Wind Resistance
Karine Polwart amazes on every level in this monologue combining music, stories, and movement.
Like a lush terrarium, the set is incredibly detailed in the number of items on display, several of which come to life in the performance; no space is wasted and Polwart is a warm, beloved storyteller here.
Not being sure what you will see, “Wind Resistance” offers a masterful commentary on humans’ relationship with nature, history and society. There is a segment of her show when she describes the plants of the land and how they were made into remedies, linking their historical with their modern uses; but this is just one insightful example of how the play intersects history. A pairing is made between a figure of the past and Karine herself as she describes the experience of giving birth, and how in a sense we are still at mercy to fate, and that advances only go so far.
Deeply personal, and with great flair Wind Resistance wins the “Grimms Gig” Award.
RUNNER UP – Adverse Camber’s – The Shahnameh
Based on stories from ancient Persia, Adverse Camber’s “The Shahnameh” delights and gives a generous sense of time and place.
Thoroughly entertaining, the cast of two manage to tell the stories from the heroic age that spins a tapestry of lore as we hear of a magic horse, Rustam a powerful man hundreds of years old, and the Simorgh, a beautiful bird of the imagination, and many more. The characters keep coming, the stories keep enthralling and the evening sales through, and you really do get lost inside.
A very good use of the minimal stage props and an extensive personal array of postures and mannerisms from the narrator (Xanthe Gresham Knight) sit alongside a gentle but persuasive approach to engagement with the audience. Highly memorable, “The Shahnameh” wins RUNNER UP for the “Grimms Gig” Award.
THE MUSICAL MENAGERIE AWARD
WINNER – Various Artists – Songs of Seperation
Songs of Separation for myself was like a seismic event from very early on in 2016.
On the magical Isle of Eigg a veritable powerhouse of folk musicians assembled to combine the finest elements of English and Scots traditional influences into an enduring legacy of an album that speaks of separation from personal and historical experiences.
Too many great artists to give credit to it is like an etching in diamond. The sense of history from the Gaelic songs echoes from the past and sees many voices, many talents and stories preserved for time to come.
There is very little I can say to endorse it more, give it a listen if (for some reason) you hadn’t in the previous year. Now.
Song’s of Separation can be bought here from Navigation Records.
RUNNER UP – The Furrow Collective – WILD HOG
The Furrow Collective comprise of Lucy Farrell, Rachel Newton, Alasdair Roberts and Emily Portman.
Their second album is like the beast on the horizon, or rather it seems to be and then it leaps on you in the broad daylight. A legendary creature this work is relentless and piercing, and quite rightly it should be too.
With some of the finest harmonies I have heard this year the album is melodic and with a sorrowful edge. Their version of”Wild Hog” is an unbridled joy of an interpretation and elsewhere the banjo further glitters amongst the marsh reeds in immensely deep additions such as “Many a Night’s Rest” and their “Queen Eleanor’s Confession”. It is swamp folk at it’s very, very best but also an example of collaboration and great performance to others who are only seeking to accomplish half as much.
Eerie but not overly miserable and macabre this is like a well-balanced dagger. A great outlet for the dark folk leanings of this membership it rightly wins runner up for the “MUSICAL MENAGERIE” award.
The Furrow Collective’s “Wild Hog” can be bought at the Hudson Records website here.
THE WOODEN WORDSMITH AWARD
WINNER – Lady Maisery – Cycle
Lady Maisery’s music is rather special.
Their latest album, “Cycle” fulfills that folk itch for natural wonder as it gallops through the Wheel of the Year, the seasons of the world and beyond in a dizzying spectacle that is something to see. Their last album “Mayday” was very good, this is even better.
Even before you get to considering the strength of their songwriting you have a chance to link arms with comrades through quite a few mindful and pertinent song entries such as “Honest Work” and “Digger’s Song”. With one eye on history, and one of the song-sheet they continue (in my mind) to lead within their particular folk niche.
But to award them the “Wooden Wordsmith” we look beyond performance and to original words. Though there are several on the album, two are of such dazzling quality it propels them to these heights. Firstly there is “A Father’s Lullaby”, a mind whirring ode to children’s homes of history, and lone fatherhood due to the risk of death in childbirth. I cried so much during a live performance of this, endlessly moving, very sad. The other rather stellar song is “Order and Chaos”. Self-described as a song about Atheism, the world and cosmos and it’s wonder. Referencing birth and death it puts everything into perspective and reaches far wider then you might imagine. This is why through excellence in songwriting, Lady Maisery win the “WOODEN WORDSMITH” award.
To buy Lady Maisery’s album, please visit here at Rootbeat Records.
RUNNER UP – Ange Hardy and Lukas Drinkwater – Findings
Ange Hardy has teamed up with Lukas Drinkwater in this quite meta, lightly thematic album.
Beautifully crisp in recording, elegant in delivery, “Findings” excels in a number of ways.
As an album concerned with the fastening between links, the new forged connections between artists, and even an innovative look at pairing up the audience with the #Findings Game, the duo continue to make interesting additions to the folk music toolbox as if from the ether.
Time-hopping it manages to situate itself in the present with considerations of migrants risking their lives (By the Tides) and the difficulties of young carers (Invisible Child) with pronounced and worthy versions of older numbers (The Trees They Do Grow High and Bonny Lighter-Boy), and these fit together with enviable ease. In findings other to perform alongside, they have also found the words to match their ambition that celebrate several sections of society including mothers (True are the Mothers) and daughters too (Daughter Dear Daughter) which highlight a proactive, confident approach to songwriting.
Somehow being fairly traditional but with a spirited youthful voice, “Findings” wins Runner Up for “WOODEN WORDSMITH” award.
Before the final sprint of unusual events and developments towards the later part of 2016, Merry Hell had managed to forecast a great need for unity due to huge gulfs in opinion and feelings that developed from our “post truth”. “Bloodlines came at the right time but saying this alone is quite badly underselling it as an album.
Merry Hell are known as spirited, energetic live performers and this album whilst could not possibly contain all of that flow of showmanship, comes as near to it as possible. The songs could be to unthinking ears mere blunt instruments of patriotism and anthems (hell there is nothing wrong with anthems), but there is a certain gentle care within the construction of each song that points towards the band’s wish for unity and gentle acceptance of each other rather than more radical means. Some tracks take this to the apex and pull on the heart strings (When we are old) or even on our love for the Countryside (Come on England). A favourite on the album is definitely “Over the Wall”, a three part, high-octane song that lets loose in all the right ways leading up to (and following) a prison break.
Merry Hell have translated their signature well-written lyrics, thumping tune and passionate delivery to go all political in 2016. This is why they win the “SIGN OF THE TIMES” award.
Following on from his previous album “Striking Matches in the Wind”, “Somewhere Between” takes a similar forest path to his debut. You could be inclined to say that it is “Somewhere left-leaning” but Steve Pledger seems to be an artist that is willing to lampoon both sides for their extremes in political behaviour.
Probably gentler still than Merry Hell’s winning entry, Steve Pledger’s acoustic offering is in some ways how you would expect. Quite minimal in instrumentation and backing with his voice the forefront as if playing his album one-on-one to you in the corner of a milkshake shop. It is stripped and with this comes a kind of honest purity.
With this kind of torch and strength he deals with discrimination (Other), history and duty (The Louisa Miner) and hypocrisy throughout the album in a non-judgemental, Carl Rogers psychotherapy kind of way.
It works though and generates as many thoughts in oneself as it gives, and for this reason it wins runner-up for the “SIGN OF THE TIMES” award.
WINNER – Leyla Mccalla – A Day for the Hunter, a day for the prey
Leyla dedicates this album to the human spirit and without reservation this album reaches and finds parts of the soul you might not be aware of.
Breathtaking strings throughout, it made me fall in love with an instrument enough to want to learn this year, which really takes some doing.
Enough about my reasons, why might you like it?
It is indeed a burning, Cajun flame that could have easily been included as a gateway to this world of music. The title track is a chase much like the prey and the hunter themselves venturing into the thicket, the second track “Les Plats Sont tous Mis Sur La Table” is beauty in itself with the fiddle sounding like a call to the dance, the instrument almost cries with laughter and encourages you along.
Part in French, part English, part Haitian Creole it is folk, but it also jazz and soul and resonates a rich and meaningful message. It has a delightful waltz to the heart of joy and optimism within music. For that reason it wins the “HALO OF FOLK” award.
Kate Rusby needs no introduction, instantly recognisable with a gravitas of voice that has seen folk through a number of phases and fashions she is not carving her place in folk history but rather having her own shelf for the works she has contributed over the years.
Her 14th album, “Life in a Paper Boat” is as poignant as ever with a hearty mix of more fantastical elements (The Mermaid and The Witch of Westmorland) but also similarly to “Findings” a deeply seated social conscience around the issues of travelling across the sea looking for refuge (Life in a Paper Boat).The album opts for a modern arrangement that sits her as a hugely listenable artist to all, especially as she proves she can spin a story from the unlikeliest sources to great comedic effect (Big Brave Bill- the superhero from Barnsley).
Sometimes slight, sometimes more complex there is a lot to enjoy from this album, a great achievement in Rusby’s continuing career.
Kate Rusby’s album can be bought here from Pure Records.
And that my friends concludes my yearly awards for Folk Music in 2016.
Please get in touch on Twitter, or comment on this post and let me know what you think and what alternative suggestions you would make.
Thank you to all the artists and your time, more posts coming soon!
Folk music that tackles some stirring source material that should not be forgotten. There is a roving central passion that brings both a delightful sense of joy and personal isolation to the works within. The album dwells very much in the topic it is exploring.
The year 2016 will be seen as a year of upheaval and huge changes in the political sphere of these isles with the EU referendum.
Whichever way people of the nation voted and what the impacts (positive and negative) of this choice are, we can say it was that, a choice.
After this event but before the new year the album, “Visionaries 1916” was released (October) which marked the 100 year anniversary of a huge event in history much more turbulent and antagonistic than the current age, and with an exceedingly difficult choices individuals of Ireland were making in the face of English rule. In 1916 there was the “Easter Rising” in Ireland as revolutionaries seized a number of areas in Dublin city in an attempt to establish an independent Irish Republic away from England, as was said, “England’s difficulty is Ireland’s opportunity”. Many lives were lost during this time, innocent individuals got caught in this major event of street fighting, artillery fire and an estimate of 485 people lost their lives (with over a half being civilians). On top of this, independence did not come straight away and it was not immediately a positive outcome; it did however help crystallise an Irish identity that would lead to Independence further down the road. This album by Lorcán Mac Mathúna (voice) includes Íde Nic Mhathúna (voice), Martin Tourish (accordion), Daire Bracken (fiddle, guitar), Eamonn Galdubh (uillean pipes, saxophone, flute, bodhrán), and Elaine O’Dea (spoken word) works through the songs and poems of influential thinkers Plunkett, Pearse, Connolly, Mac Diarmada, Ceannt, Clare and McDonagh, with an emphasis on Plunkett and Connolly. Arts Council Ireland have provided some funding for an interesting album concept indeed.
The album design is remembrance through and through. There are photographs of the revolutionaries with their considering eyes, with hope and a spark of better things to come. In respect to the package design and case, the contents match the subject matter enormously. It is full of poems, lyrics and explanations of the circumstances at the time, poets are included and speak their piece too and there is quite a lot here for someone coming to this time and place in the world through new eyes. This means that it effectively puts a good deal of respect into history and the complexities of characters within it at the expense of a more stylised and streamlined presentation. It could not have been any other way, or should be, it aims for the folk fan with a patience for learning and reading and evaluating and captures all sides. By explaining the “awkwardness” of one revolutionary (Pearse), and the “unlucky in love” Plunkett we see a moral and character complexity that is quintessential for folk music of this kind; it also gives us a good insight into the poetic inspirations of the authors and the songs giving contextual information for this unfamiliar with the revolutionaries. But what of the music itself?
There are some interesting tracks here. The first track, “Daybreak” bursts into your senses and refuses to be contained. A surprising clash of saxophone, fiddle, and accordion it conjures a breaking of thought like harsh water scattering of waterfall rocks. Plunkett’s poem fortifies in the chest, the yearning in the singing voice is expertly matched by the chasing fiddle (Daire Bracken) and instrument of sultry nights, the saxophone (Eamonn Galldubh) that all meld into a powerful and emotive entrance. It conjures images of a deep thinker, a darkly, silent man who reads with full knowledge of conflict to come. Irresistible and charming, the track reflects Plunkett’s sensitive nature, it pierces the still emotional depths of a man wanting both a new freedom and identity as well as more luck in love, “for you have flung a brand, and fixed a spark. Deep in the stone, of your immortal fire.” Track five,”White Dove of the Wild” brings a wider more sweeping and less pacey interpretation of Plunkett. The rhythm in your minds eye takes a backseat as Lorcan Mac Mathuna finds and accentuates an almost cosmic nature to the poem, lingering over the words but allowing a slower, more pronounced soundscape to form from a solemn voice and accordion. “Daybreak” is catharsis through honest work and the outdoors, “White Dove of the Wild” is the firing of neurons as the narrative of a recently read book begins to rearrange in your dreams. Both stirring, both effective.
For track four, one of the James Connolly’s poems “We Only want the Earth” is put into song. The composition offers persuasiveness and persistence in a voice that feels very much that it speaks from a group soul which is both jolly and spirited. Both singers (Lorcan Mac Mathuna and Ide Nic Mhathuna) project huge emotion that conveys yet with some added deft flute work here (Eamoon Galldubh). The instrumentation and yearning vocals bring a bright vibrancy to this song of the people, the “mirth” of the poem is emphasised and projected outward despite the serious desire and wish. The energy within the Irish tradition flows through this track freely and is much a character reference for the people and history of this place as any.
The albums inclusion of An Dord Feinne (Óró sé do bheatha abhaile) is essential for a work such as this with it being the song of rebellion. The arrangement and singing gives it a rather militant “in the field” feel particularly compared to other interpretations (i.e. Sinead O’Connor and The Dubliners), it works really well and shines like the heart of a poet under a grimy, sodden exterior; a thinking man becoming a man of action through necessity. This is not an isolated effect on the album. An aspect of many of the performances here is the feeling that they are putting flesh to these darker quieter moments by adding a realism that permeates through your speakers. In track 9, Fornocht do Chonac (from Pearce) the song could be the laments of men in prison awaiting their executions, mulling their actions over and considering their love for their country. Under a sound cracking fiddle, a sad flute interlude, and incarcerating accordion (Martin Tourish) it reaches some quieter, darker moments that nevertheless glow with a black shine if inevitability. Likewise the final track, “Lament for Thomas McDonagh” is a beautifully sung poem that feels like the still ocean, awash with a piercing moonlight across the water’s surface. There is foreboding as Lorcan describes when, “the Dark Cow leaves the moor”, his voice is a tight rope, a straining oar, and all-in-all a great solo effort.
A lively arrangement with a breath of life on to old history, it clearly is infused with reverence. It’s delivery is traditional, heartfelt and rich with some delightful counterpoints of vocal harmonies. It manages to show and transmit the hope of these revolutionaries through soundwaves, through a tight collection of instruments that are all undoubtedly working to this end. It would be wrong to suggest that it is always an easy and jaunty listen, revolution is often bloody. Mac Mathuna has managed here to keep the focus on the glimmers of optimism in the writers, despite the difficulty of this time. Fans of history, politics and poetical should give this album of Irish identity a good listen and it was a very characterful addition to 2016’s folk roster indeed.
Check out the video below see if you would like to give the album a go!
You can order the album here on their website, where there is also details of their remaining tour dates in Wexford, Dundalk, Dublin and Cork.
Since my writing in early 2016, Saskia Griffiths-Moore has continued to grow with a series of concerts and some well-shot covers of some well-known tracks on her Youtube channel here.
“Gentle Heart” is seriously an album that you might have missed this year, but shouldn’t have. Check out my writing and the video below!
An unabashed genre-hopping album that balances light with dark in a spiritually precise manner and a strong leading voice.
Some albums are like the snow-topped mountains of Asia, full of ancient mystery which might be a little unusual or less accessible to the everyday tourist but nevertheless has a solid following and interest, especially for those who have walked those paths. They push out finding new cliques of knowledge to bring back and impress; others are closer to home, seeking simpler wonders and the joys of snapping branches in the local woods, building their tents amongst their mates with a focus on the warm feeling rather than a physical and mystifying experience.
At a beginning listen to you Saskia Griffiths-Moore’s debut album “Gentle Heart” you would be fully under the impression that it follows the warmer, straightforward approach to music making, but this is a misreading of the use of the word “gentle” in the album’s title. For the artist’s intentions here we find that the core of what she is trying to convey is both the affable warmth of beginnings but also the trying to understand the simplicity of death; “gentle heart” here fosters both creative and destructive forces in equal measure. Sometimes it seems more light-hearted, but it is quite deep and even in the bouncier numbers there is often a reference to change and the end of a good life. There is a lot that the album does well, especially Saskia’s voice itself in contrast to the arrangements. If we look at the influences of it’s production next, it is no surprise that the album strives for this kind of balanced exploration of feeling that is has and succeeds.
Saskia Griffiths-Moore is a relative newcomer to the music scene but she has made some splashes along the way. She has been named as Bristol’s “number 1 folk artist” through the new artist-friendly ReverbNation (for four months running) and has been on BBC Radio Gloucestershire promoting her music too. The album is produced by Robert N. Neil, a musician whose experiences in publishing alongside Ashley Kozak (who was involved with Brian Epstein and Donovan) and his own albums of instrumental healing (and previous meeting with famous guru, Swami Satchidananda) does bring to the disc the aforementioned yin and yang, and a sense of harmony to the music. The focus is uncluttered which leads to an album which is self-described as “underproduced”, but doesn’t suffer for it and in many occasions transcends the simplicity of the arrangement and message being given (in particular track 3, “Call on Spring”). The rather spiritual ethos of the producer is not overly channelled by Saskia’s vocal talents, but rather through it’s cleanness, clarity and arrangement of tracks to create a piece of music which fits somewhere between genres. There are elements of the acoustic, folk, country, jazz, pop, and singer-songwriter categories and for a debut album is all the better for it as it casts a thread of tenderness throughout it’s tracks that provide easy-listening for the audience but with lyrical interest to be something more.
The Tracks
1. In Time 2. Are you Listening? 3. Call on Spring 4. Take My Hand 5. Gentle Heart 6. Wash it Away 7. In the Garden 8. Blue Shade 9. The Presence 10. Be Not Afraid to Die
“In Time” (track 1) is an authoritative-accordion number complete with wisdom, a plethora of chord scratching, and a catchy, simple chorus. Saskia’s voice is quite striking in it’s identity, it bears a strong mid-range much like many several artists at least ten years her senior (she’s in her early 20’s), The lyrics are quite nice too, “of all of my friends, some faces I will see again, and some aren’t around anymore.. but that is a natural law”, they make a mark early on. There is a good presence in this track which relies on the theme of an older person coaching younger members of the family about what they have learnt. It is quite primal and feels like it has hardly been distilled from the experiences that have led to it’s conception and has an air of acceptance of what will be. It is wise-sounding, and slightly cheerfully sung though its words are hinting at themes that will appear later in the album (like a kind of trailer for what is to come). It is an accomplished first track on the album, the chorus is simple yet the repetition of the title throughout with Saskia’s different emphases shows a delightfully clear voice no matter what she is doing with it.
Another track to mention is “Call on Spring” (track 3), a song which veers into the very best territories of singer-songwriter lands. It’s slightly baroque, slightly Tori Amos (Boys for Pele era), and slightly pop ballad and stands enormously strong as a great piano lead that is both light and serious. Once again she employs a hook which will probably reel in young and old alike,”call on Spring, call on Spring, sunshine I will bring”. It is penetrating and lethal as a ballad which due to it’s title and feel has more than a slight touch of the Ostara equinox about it with the rising sun burning the frosty dew, and bringing “renewed life”. It is earthy and could be a rework of a song from history if I didn’t know better, Saskia’s voice is inviting, the piano once again strides and is made all the clearer through an uncluttered and clean mix.
“In the Garden” (track 7) brings a dainty jazz backing to the album as a change of scene. It is a song you would imagine on a veranda in the closing parts of the day when the long drinks are being brought out by butlers with immaculate white gloves. There are some playful woodwind interruptions as well and some higher singing notes that hang like stars in a calming and confident diversion from the other genres on the disc. It is slightly dream-like and manages to capture the senses pretty well, and deserves a listen for it’s crossover value. Not being a jazz fan there was a danger that it would not be to my taste, but once again Saskia’s vocals make it more compelling then it could have imagined to have been.
“Wash it Away” (track 6) brings back the accordion in a more extended introduction and then keeps it as a central part of the album throughout. The guitar chords and technique sound a bit more Country, as is the subject matter which describes someone in later life reflecting on what has been, the movement of time and the role of history, “wash it all away like the river in it’s path, moving slow or rushing fast”. It is an example of the theme of the album which looks at things delicately, and has a mellow appraisal of things that have happened. It is incredibly hard to dislike and quite moving in it’s simple reflective voice and modest use of minor harmonies that are included within.
“The Presence” (track 9) is a moodier song that looks at loss and serves as a slightly less literal look at death before track 10 arrives (Be Not Afraid to Die). It is introspective and starts incorporating the odd bit of phenomenology into it’s being, describing gazing and “unknowables” and things “gazing back” quite akin to the famous Nietzsche quote that you might have heard (in it’s own way), “out the door I peek into what is not yet know, I set on the edge and feel the Presence”. It is slower, more deliberate, achroamatic and harrowing. Saskia adapts quite well to the downbeat nature of the song and the content, though it would be a much lesser album with songs purely around this theme.
In Conclusion
The album is varied, It feels like there is a whole spectrum of dark and light that spreads throughout the disc that touches on a number of musical styles, each which is visited quite well (the ballad style of track 3 being the apex for me). On the whole, I find her brighter songs marginally better than the more solemn ones (though track 9 is a great philosophical de-construction) but there is not much difference in real terms, the songs are all well constructed and a good showcase of her various talents. For a debut it is quite ambitious, but it accomplishes what it sets out to do and provokes a few thoughts along the way. It’s “gentle” nature is a strength, it touches on the vulnerability of people later in life but also respectfully listens to their advice and continues to intrigue throughout. If there is anything to take away from her music, that is that her voice is incredibly clear and delightful and in many ways ahead of it’s years, she is one to watch for the future, but in the meantime check her album out.
If you want to find out more about Saskia Griffiths-Moore, check out her website here (where you can also get free copies of her EPs).
As the veil of winter is beginning to fall, I continue to bring news of some Autumn EP releases which I have given some time to listen to.
For my third EP roundup post I will talk about acoustic singer-songwriter, “Melanie Crew” and folksinger “James Black” and they releases in the past months, following a bit of time that has cropped up for me to look back at some unsigned/new artists.
Different in every way that can be conceived; Melanie is a singer-songwriter exploring experiences within a relationship through upbeat melody, James is seeking the dark pediment of modern society through song and spoken word, together they form my exploration of new music in EP Post #3.
Melanie Crew- “Further Away” (EP)
Coming in with a six track EP entitled “Further Away”, Melanie starts with a collection with positivity by exploring emotions within a relationship. In this collection of songs the trials and tribulations of love is considered through series of heartfelt thoughts from one person to another. It would be unrepresentative to say that the disc stays exclusively to this brief, it does take a surprising (and successful) detour in the middle and then plays out the relationship further (sadly without a happy ending).
Balanced and floral, light and balanced; Ross Palmer;s production brings the lyrics to the forefront with a polished sound that in several instances retains a good amount of emotion and longing. “Bring you back” is a great headliner, Crew’s voice shines in it’s conveyance of trust and support, possibly to a friend or partner who has gone astray, “when it seems like no one else is around, I will bring you back. I’ll take you home.” A song which goes for sweetness, it is a quiet love ballad to the extent that even the drums seem slightly hushed and the guitar a series of strums of faithful affection. With a slight feeling of yesteryear it is a gentle boil, a simmering stock of emotions. “A Hundred Words” is interesting in that it is the most accessible of tracks here and is quite catchy though hasn’t fully reached for a song hook. Upbeat and warm, it is still a nice addition. “Parade” is similar but a little bit more Country in sound and execution. There is a clean mix of vocal harmonies and the song feels like it is beginning to use the pacing and inspiration of the genre. Though it probably could go further in this regard, it hits the mark more than the previous track due to it’s sensitive and gentle nature. Crew then makes a right turn for her third track “Ghost” before returning back to the musical crossroads.
In “Ghost” there is a spooky atmosphere both in terms of vocals and delivery. The double bass (Colin Somerville) is just one element that brings the haunting; Melanie’s own backing vocals are also chilling, and her main vocal performance is quite fragile and vivid. It is definitely the best vocal showcase she makes on this collection. I love the darker themes in folk, so it might just be my own sensibilities but this track seems the strongest. I can’t say if it’s the icy instrumentation or the wildly diverging, rising and falling voice that brings the amazing chills, but it is the strongest track here by quite a margin. The final track, “Can’t find a way” at first glance differs from the established main narrative as it does not seem as overtly romantic, but actually it is part of the broader arc of being in a relationship and the process of a breakup that is occurring. This track is also quite powerful in that it does a good job of grounding the level of turmoil and confusion that happens at the end. It offers some interesting spaces to explore and leaves the tracks on a high.
For a small production, it has a nice balanced sound. There are some odd scratches, but it all plays and feels fairly rich in delivery.
As mentioned, for myself the strongest elements here are where Crew goes off theme and there are some glimmers of the unknown such as the lyrics, “what would you do, if you couldn’t run?” Fans of acoustic music that explores relationships might be tempted to give this a go, it does not offer something exclusively new but there is is some good early exploration of lyric writing and meaning here, and there is not much fault with the performance.
Why not not give the tracks a go, the EP is free to listen to and download on Bandcamp?
James Black – “Days of Self Pity/Goldmine Blues” (EP)
Next I turn to James Black, a musician with two tracks he has released on SoundCloud.
Following the large waves of gun crime and identity politics that have come to the fore in 2016; James Black, a traditional Scots and Jacobite ballads musician has waded into the foreground with the self-penned song, “Days of Self Pity” and the rather poetical “Goldmine Blues.”
There is a lot to like about this. First there is Black’s voice itself with is like a rather Celtic Dylan/Guthrie with his winding, spoken word recital,”all our heroes are dying, they are falling like flies, even the heroes of myth were mocked and despised.” There are some nice turn-of-phrases peppered throughout and the simple acoustic accompaniment gains strength from it’s 60’s sound, and this is clearly no coincidence. Black observes, and as he does he calls out the “enforcement” of human rights in our current information age berating, the hard, blunt side of equality rather than the soft, nurturing heart of what the term means. From it’s sound, it is as if the 60’s is looking and judging the age we are in, unhappy with what it sees.
It is more than rustic charm. If starkness, is it’s strength then “Goldmine Blues” is a serpent waiting to strike.
“Goldmine Blues” continues the musician’s love of form and words. Much like the reaction when you clear away the mould that is spreading through the tangerines in your fruitbowl, Black describes a broken society and local neighbourhood and how it co-exists. Once again, Black is quite a wordsmith and hits the mark at a number of interesting places, here describing just one subsection of society:
“the children of Oliver Reed and Richard Burton swallowing existence with every swallow of black bitter”
His acerbic denouncements aren’t just limited to those managing the dark drink, “hipsters” also run scurrying from his eye in his growing catalogue of spotted hypocricy as well as “trust fund drop-outs with voices like Golem.” It spills like creative bilge water and if “Days of Self Pity” is the song of disappointment, “Goldmine Blues” is the pain of a sex tourist being trampled on by muggers in the early afternoon heat. The joy in listening is the youthful voice, the voice that wishes to tear down in anger. It might not be for everyone’s taste, but the wordplay here is pretty good reminding of Irvine Welsh at most turns.
If you fancy something raw and quite inspired, head over to Jame Black’s page on Soundcloud, or click below.
A self-assured album from Pledger, whose writing has clearly grown in skill. The lyrics are pleasingly concise, yet emotive and manage to capture other people’s viewpoints very well. It always persuades, but sometimes astonishes.
Introduction to Album
Steve Pledger is back with “Somewhere Between” his second acoustic-offering that continues to move across the themes he established quite convincingly in his album “Striking Matches in the Wind.” It is an album that continues to convey society and Steve’s particular viewpoint on politics that is somewhat left of centre. This in mind, it seems that a lot of folk fans will be drawn to the disc regardless of political alignment as it is observant in a forthright but considered way which should garner respect from all corners. The issues at the heart of his album are understandable no matter the political alignment of the listener.
For example, on the album cover there is an image of white and red paint on the side of a boat. The paintwork is somewhat incomplete, there is a lack of certainty about the finished product. Like many folk musicians hearkening to human fears and worries, the image of sailing and travel is likened to uncertainty; here it would not be a stretch to consider that Pledger is thinking of the future of the UK. For the final track on the disc, “At he Last”, he touches on this sentiment explicitly and leading up to this point throughout the album he considers some more specific issues, notably marginalisation (“Other”), free speech (“The Right to be Wrong”), and the personal effect of mining (“The Louisa Miner”). The music is all held together by Pledger’s attitude; if you have not heard Steve Pledger his sound is like a milky porridge mix. It is a staple, light and energy filled with fairly concise, relatively simple arrangements but also rustically sweet. I say his voice is porridge because there might be ways of making a mix of oats and milk at a Michelin-starred restaurant that would leave it unrecognisable as a working breakfast, but in doing so the factory-man’s blend becomes something less. One could not begrudge Pledger for taking some new inspiration in times to come, but while he is making political, acoustic work his direct, concise manner of delivery suits the genre, and will be recognisable to audiences.
Songs
It is therefore a cohesive sound that runs throughout. “To Change the World” is Pledger starting his album with a lightly mocking dig at consumerism. Exceedingly airy and wandering it shows the singer at his most aware self, the one that is fused with his political self. The singer positions himself at odds with established ideology, slightly agitating and poking fun at some of the hypocrisies of the left, or maybe those on the right that proclaim they are interested in politics but are slipping as much in the machinations of the system as much as anyone. It doesn’t really matter, he covers both bases and namedropping “Banksy” and “Che Guevara” does give the song some memorable comedy as well, we all know someone who is singing about. The musical arrangement comes together almost like a faux reggae inspired number which is quite self aware too. Whether in construction or incidental the track lampoons a lot of targets on it’s way to your ear and serves the purpose that Steve seems to be saying throughout his work, that he is not above seeing the funny side to life. A good opening track whichever way you look at it.
“Lefty, wait your turn!” is a light touch song that contrasts by pulling some heavyweight names from elsewhere on the political spectrum (e.g. Rosa Parks and Luther King”). There is a call for change, perhaps Pledger is pointing to actions being louder than words, “the more we push the harder this boat rocks”, and that the system itself will not bring about the change, “you don’t get much change out of the bottom of a ballot box.” The piano/organ is quite chirpy when it appears and Luka’s Drinkwater’s double bass brings a nice extra layer to the overall sound too. It all keeps pace, like a kick around with your mates in the back-yard or the familiar pub discussions you know you will have when you see your colleagues at the bar. The track is what you expect it to be which is no bad thing.
A couple of tracks that bring some poignancy are “The Louisa Miner” and “Other”. Simplicity and conciseness in explanation are elements of Steve’s work that appeal the most, though Steve’s music is quite characterful with it. “The Louisa Miner” explores the risks of this way of life, the people that are taken from us, and the families that are undoubtedly drawn into the dangerous work in a different way. It’s strength is that it provides a voice for the miner, exposing the necessity of what they are doing to themselves but also the need to provide for the family, “And if you want a home, Kids and a wife, Bread on the table, a little jam on your knife”. There is a considered purity of language here. When considered alongside “To Change the World” we see that Pledger has clearly grown in his music writing style since the last album. He is taking on different points of views, different modes of speaking, and has now written in the voices of the subjects he is singing about. Pledger captures the sadness and the complexities quite beautifully here and this is a particular strength from this album.
“Other” is more of a blank canvas that waits for the audience to paint upon. It is a quietly reflective song with an (even) starker arrangement of instruments. As it plays it is somewhat like a cold, quiet thought or an amble down a misty glen. Tanya Allen’s fiddle takes pleasure in it’s restless unhappiness in the central character as the song explores identity, and whilst it does seemingly reference skin colour, “my soul would choose a body fair”, the writer has intentionally created a stage here for different people to identify within and play their own parts. In truth it does not seem to seek to address any particular issue, e.g. race, sexuality, age, gender identity, and leaves this matter for the listener to make their own minds and personal links. It feels a bit different to many of the tracks on the album and is one of the best on here.
I am also particularly fond of “I spat fire.” The lyrics are clever “illuminated beauty/vitriolic duty”, the song is almost pop in it’s catchiness, and the imagery within is a thing of inspiration, “the seasons, Lazarus, and darkness.” It could be about a time in a tent, it could also be a creation myth. There is something rather smoky, quite engulfing about the track and I don’t think it’s just the Ledaig I have made a start on. Evocative and interesting it slightly mixes the practical memory with an almost transcendental subtext. The album finishes with “At the last” which (as mentioned) uses the familiar and comforting metaphor of the boat on a choppy sea to describe Pledger’s feelings of uncertainty. It is uncertain about British society, people that kind of thing, “We chart our course, beyond the bow there lies, every fall and every rise we must withstand” but it also exhibits Pledger’s hope that runs throughout the album like a vein of gold in earthy rock.
Conclusion
Steve Pledger takes the strengths of the acoustic genre and sharpens his political scalpel with it. I say scalpel rather than cleaver because there is a sense of care of what is being put in; the songs are not a mindless attack. You can tell that these things matter to him, it truly comes across in the song but there is an aura, a vapour of Pledger’s open-mindedness, and he is self-aware as he clearly treads with humour and good nature. It feels like there is more variety here than “Striking Matches in the Wind.” Even if there are probably fewer instances of recognisable chants (I am looking at you, “This Land is Poundland”), it doesn’t really matter. Grounded in the world, speaking for people it’s succinct and powerful manner gives it acoustic heart, heart that is unashamedly moved by a changing UK landscape. Fans of political folk will be sold, fans of the acoustic should also give this a gander. Steve Pledger is growing in power.
“Something Between” was launched on 7 Nov 2016. The best place to buy the album is on Steve’s website here, priced £12.
The tour is still continuing too, check out details of where Steve will be playing here.
Check out a video of “Other” below!
I do not hold, or claim copyright for the pictures/links in the above post, they belong to their respective owners.
Merry Hell are certainly putting their hours in. There are a working band with new disc “Bloodlines” coming out within two years since their last album, “The Ghost in Our House” (2015). They are in the middle of an exceptionally busy looking tour schedule too (with dates being filled up to next August).
Introduction
Consisting of brothers Andrew (vocals), John (guitar) and Bob (mandolin, bouzouki) with Virginia Kettle (vocals), Nick Davies (bass), Lee Goulding (keyboards), Neil McCartney (fiddle), and Andy Jones (drums) they continue their musical odyssey. This time they rally around the artery of politics, a blood system that courses throughout their folk-rock sound both in name and attitude. On previous musical dashes of theirs you can find tracks such as “No Money”, “Old Soldier” and “Pillar Of Society” that do this already by considering politics in one form or another, but unlike previous albums “Bloodlines” particularly feels like it has been conceived as an outlet for collective unrest in British society.
I say “outlet” rather than spear because there is a certain amount of melodic encouragement and lighter relief to Merry Hell’s sound that cushions this jagged edge of direct protest. It is not a folk album widely influenced by the punk tradition after all though much of the feel depends on the songwriter of each song in question. The male Kettles’ songs are slightly brasher with mental images of steel and industry and farm materials, a direct blow to society’s alloy. Virginia’s lyrics seem instead more like a forest canopy with meanings that dance beneath it’s surface. When combined the overall property of gentle defiance emerges as the intermediate. Whether a song fits into one of these, or to the other band-members songwriting credits; the delivery of the lyrics is generally bouncy, accompanied by a toasty warm bass and a grassy lawn fiddle. Despite the material being split into either being heavily action or contemplation, there is an overarching feel of conciliation and trust in others that forms the shale base.
Track List
1. We Need Each Other Now
2. Bloodlines
3. Come On, England!
4. Coming Home Song
5. All the Bright Blossoms
6. When We Are Old
7. Stand Down
8. Sailing Too Close to the Wind
9. Chasing a Bluebird
10. Over the Wall
11. Under the Overkill
12. Man of Few Words
13. Sweet Oblivion
Tracks
In the opening track, “We need each other now” there is an unambiguous call to action in it’s words, “as borders crumble land and sea, bored with ideology, the skinhead and the refugee, you need each other now.” Along with “Come on England!” it looks to society to act together through the lens of change in response to the barriers of modernity. For the most part it settles on describing political structures and how they affect our personal liberties. If the album had been written later on this year (especially with the US election results) I do wonder if it’s fruit would be less sweet given what feels like a further shift in the political landscape, but these thoughts are largely academic.
“Come on England!” is a great track and does it while talking about “bluebells”, “teacups”, and “dandelions” which in fairness works well to balance with the other darker lyrics about “robbers” and “racists.” Those with a streak of patriotism will really like this song; in the engine that is “Bloodlines”, “Come on England!” is the protest fuel that burns at the highest grade. This musical direction is a hallmark of Merry Hell’s work and in a way reminds of Show of Hands musical explorations. Merry Hell is more playful and optimistic though, “Bloodlines” is not a savage hound going for the throat, it is a St Bernard taking aid to the parched explorer.
“When we are old” is a delightfully fervent turn from Virginia Kettle taking the reins of main vocals. Swaying like a treasured swing it is a song of commitment and love, possibly a love letter to her husband; it certainly seems likely. Though it might feel that “Bloodlines” has fewer tracks of this type then Merry Hell might ordinarily go for (I do slightly lament the omission of tracks more like “The Baker’s Daughter”) it makes sense that they do not want to dilute their message too much. The album makes up for this with it’s consistent, considered, poetic lyrics such as, “the days empty and wide, we can watch all the seasons unfold, when we are old.” Deeply personal, carefully written and with some nice backing strings it does what it sets out to do. In result it becomes a possible wedding number for a folk fan (not for me, though I’d like to I suspect my other half would prefer the Human League).
“Over the Wall” is a very good song indeed. Full of fun it doesn’t just tell a story, it practically acts it out with props and stage notes. It starts as a serious, pondering reflection (how you might imagine a musical “Man in the Iron Mask”) surrounded by snippets of goth and new romantic influences as it describes the “festering darkness” of the prison cell. It then gleefully sprints as the rhythm changes and McCartney’s fiddle begins to dance like the eight legs of Sleipnir. Andrew Kettle goes for range with his voice (and succeeds as he has demonstrated many times), the drums rattle and all the elements come together including Virginia Kettle’s urgent dissent in vocal harmony. Like a novel it turns, gathers speed and slows in sadness a dizzying number of times. It is an example of fearless delivery, brave timing choices and a wonderful historical setting making this the stand out track on the album without dispute.
Some other tracks to listen to intently include “Sailing too close to the wind” (whose intro brings salty memory of “The Tide is High”), “Stand Down” (a slight bouzouki blizzard), and the wide-reaching title track of “Bloodlines”, which like much of the band’s music is affecting and dulcet. The track I did not feel much for was “Chasing the Bluebird.” Though nice in arrangement, and fragile in delivery it struggles to hold my attention with it’s lyrics. A minor niggle on an album that largely delivers with fun and heart (especially on the last track, “Sweet Oblivion”).
In a Few Words..
Quite political it is a human album that will speak to fans and newcomers alike being well produced and as full of anthems as ever. Generous in spirit Merry Hell deliver an energetic set of tracks with an optimistic view on people and collective power.
If you love politics, a good melody and a thoughtful lyric or two, this album is for you.
If you would like to purchase the album, please go here in the first instance (£12 including postage).
I am happy on this Wednesday in November…. I am in Manchester.
Christmas stalls are up, but it is not that seasonal treat that interests me. It is instead the chance to catch a music group, a well-established roots band that is characterised by many years of playing and writing. I am talking of course about Show of Hands, who on this cold night are taking the stage at the Royal Northern College of Music. They aren’t alone though.
Joining them is Megan Henwood. Megan is a singer-songwriter with her second album “Heart, Head, Hands” (in 2015) under her belt but she is also well known for her collaboration with the cherished Jackie Oates on the EP “Wings” that came out in July 2016. She has also won the BBC Radio 2 Young Folk Award with her brother, performed at the Cambridge Folk Festival, and Glastonbury Festival in 2010, and on this night she opens for Show of Hands with a 30 minute set.
Megan Henwood
With the energy of an auburn pioneer and with hints of self-deprecation thrown into her set, she is a true joy to watch.
She also plays some great folk with an added idiosyncrasy that she brings to a few songs with some unusual themes, “Painkiller” for example. Not the name of your migraine protection or some Scandinavian metal group, but rather a song about an Uncle who worked as a physiotherapist. Lightly paced and thoughtful with words she sings a mindful track. It is relatively simple words and arrangement, but it is understated and shows an obvious affection and respect for a person working in a field that is rarely covered by music at all. This positive observation on the good work and hearts of people gives it kudos alone, but she has a great voice too.
“Puppet and the songbird” is a more of a jumping, intense and cryptic number in comparison. With more baroque-style lyrics, “look what I have done, I have been directed by the moon and the sun” combined with a modern beat, and lightly rapping delivery it creates a great lyrical exploratory space. She is a more of a folky and jazzy Alanis Morrissette here with lyrics that lead you on stories with a personal but pretty oblique meaning. Winding a path and knowing the way, her music has an effect that like a muse, you want to get lost with it. Henwood then plays some other folk-rock and roots such as “The Dolly” and the mildly heart-stopping”Chemicals”, an apology for a breakup with someone due to molecular makeup.
Despite my ambivalence towards songs about breakups (they are hugely popular at the moment), there is something more substantial and special in “Chemicals”. It is something to do with the lyrics and her emotional delivery. Cracked and affected, it hits all the right notes and makes jolts your memories of awkward breakups.
In the time she was opening for Show of Hands she got a great reception and no end of people queuing for her merchandise (including as she put it, “a tote bag with my face on it”). Like a mahogany supernova she is colourful and swirling; she crossed genres by touching on aspects of folk (and in some tracks a strong Americana influence), acoustic numbers and blues influences not unlike many other singer-songwriters. There is something different in her delivery, and the songs themselves don’t feel like commercial shells, there is something else there and she is willing to share it. I strongly recommend you to listen to her, a growing talent to watch out for. Then there is the interval and then Show of Hands, who are Show of Hands?
Show of Hands
Show of Hands are a well known trio on the folk and root circuit, their current (and fairly established) line up are Steve Knightley, Phil Beer, and Miranda Sykes. They play a heavily rock and roots influenced sound; their musical experience together goes back to the 80’s with studio albums from the 90’s and 00’s so they have performed and written for quite a while. They have performed at the Royal Albert Hall numerous times, and all have been a part of some influential and recognisable folk bands (Phil Beer being in The Albion Band for example). Be it Phil Beer’s musical hand that turns to any number of music of instruments, Steve Knightly’s earthy, scholarly mind as vocalist and instrumentalist, or Miranda Sykes’ captivating voice and bass; there are many elements that bring richness to Show of Hands. The sound can only really be described as a musical broth that has had time for it’s natural flavours to harmonise. Steve and Phil’s brand of elevated and accomplished roots with a hard rock halo is truly enhanced by the addition of Miranda’s natural, confident and (relatively) recent addition as double bass player and harmony vocals. The set then begins.
Appearing a bit like a monkish choir with dark silhouettes (a kind of medieval Dartmoor Bohemian Rhapsody) the trio bring a solemn sound to the beginning of the set. Unlike the Queen mega hit, it is a track celebrating and remembering the historical funeral processions of England past. “The Old Lych Way” (written by Chris Hoban) is one of my favourites of the night despite it’s earlier play and difference in tone to some later tracks. The subject of death is jokingly referred to by the band as a “cheerful” start to proceedings, but it captures the attention and is a good bridge from the support to main act. It’s inclusion in the setlist highlights a key part of Show of Hands’ sound, the concept of remembrance that flows through their body of work like a delta on the floodplain. Whatever influences they turn to in their material (and they do cove a few bases) it is undoubtedly there, and their performance brings out a passion and commitment to these ideals that we can see in the gig.
They also preview some of their newer tracks and some covers (that are both timely in nature and about time itself) such as a warming tribute to the recently passed Leonard Cohen with their version of “Suzanne”. Also in the mix is their version of “Time After Time” by Cyndi Lauper with some incredibly enthralling vocal harmonies, marching strings and a resolute lead voice from Knightley. I am glad they perform this cover, their performance ranks as one of the best 80’s ballad covers that I have heard, one that adds something through their trio of voices. One of Knightley’s new songs that is introduced is “Have no secrets” that is being showcased by Show of Hands on their YouTube channel. A frank piece of advice written from Steve Knightley to another man who is just getting married for what you should do including, “..no place to hide away, no treasure in a far away cave” seeks to impart worldly experience to a guy stepping into a transition. I prefer this to the other track previewed, it speaks a little more to me and it’s words cover the uncertainty, the joy and the caution in the young man. The crowd give it a good reception too.
Not that the group needs it, but another boost to proceedings is the venue. The Royal Northern College at this point in my writing is probably the best venue I have been to to hear folk music of this type. The instruments sound sharp and powerful, the lyrics are distinct and crystal clear, and the sound mixing is nothing short of breathtaking, I suppose the University involvement and dedicated space to music make this a necessity. There is certainly a marriage of sorts going on and unlike two hippos flapping in a mud-pot, there is no murky sound to be heard anywhere. It lends especially well to their more bombastic, anthem numbers that the crowd are undoubtedly waiting for such as “Roots”, the well-known call for the preservation of English music, the working class uniting “Country Life”, and powerful anthem “Cousin Jack”. In this last track in particular there are powerful anthems from the band.
Knightley’s peppery sawdust voice, Beer’s rum and golden syrup vocals, and Sykes’ splashes of lemon, high notes come together amazingly. There is a rich, thumping baseline and exquisite mandolin in “Cousin Jack” too, the stand-out anthem from a gallery of likely contenders. The crowd join in, there is singing back, the chorus erupts, a guy in front of me practically squeals in happiness, it is all going very well.
Conclusions
Would I recommend? Definitely, it is a show that entertains, which is melodic and friendly all round (something all the family can enjoy).
They are a band that is clearly influenced by history and their songs also talk about class and identity, the same stuff people of the 60’s, 80’s and today can relate to in their everyday lives. An earthy, accessible and well practised band they bring the joy in during these cold months. Megan Henwood likewise has a great acoustic presence and with her fascinating take on subjects in her songs she is a lively addition to the show. On stage they are all full of character and charm and their personalities are such that they can close the distance between the audience and stage to make the show and intimate one.
Check out your local venue they are playing at on their website and grab yourself a ticket, it is a great night.
Show of Hands are on tour. They are touring from “peak to fen” through to December including Portsmouth, Oxford and many others.
Check out their website here for details.
If you are unfamiliar with Show of Hands, check the videos below!Check out Show of Hands if you do not know their work below!
A dawn chorus whose stalwart shanties wash an ignorance of history past they
approach the day careening in Physis’ circuit, putting a breathy foot to a metal horse.
As an earthy watchmaker sets out her table, she is brought an old face.
Burrowing into these metal shells and eyeing her tested tools, she works it’s body.
A chrome infant meets an ancient quartz, no splinter in the ingot. No fault in the join.
A story begins, a story never ends.
Thoughtful, the trio acknowledge a family’s love; itself a supporting stage.
Then onward in the quiet of night they deliver “A Father’s Lullaby”, a deep loss within a
lavish labyrinth. This rustling fern echoes, it’s court expands
splitting any stone wall, it creates a sculpture of armouring ice. In spirit
it is rather a brooding temper that swells, dances upon a fulcrum
and begets a mournful embrace.
Elsewhere. Be it the Brotherhood or the dissenting diggers;
no grey day, nor loss of sight has moved
the gravel of union or changed the call of the common man.
As the picket lines are emptied and the rain comes,
three birds honour a call from the halls, the canteens, the mills.
And their struggles are not forgotten.
These worked hands turn anew; a heated heart of stories told are spun.
Within it there is one part renewal, then a struggle ensues, and finally action turns to thought.
Lay these words all down. A mysticism teases as a chesnut woman brings unimaginable gifts.
In your mind you see her, dancing on a velvet sheet. Her enigma stays creased but her care of step is truly stellar.
Together they move, together they waltz. In order, a sweet continuum of three fine artists.
Truly an epic of the annum.
It is a great album in every sense of the word.
Released recently on 28 October, you can buy it at Rootbeat Records here. Lady Maisery are also on tour (check here), so I would recommend seeing them live too.
If you are still not sure, check out a Youtube video of track number 11, “Order and Chaos”, just one example of a singular tune from the album.
Iona Fyfe (and band’s) “East” EP has been out for a while; since July 1st in actuality.
Four months have passed, the leaves now fall and the darkening has already beckoned. When the cold weather truly starts I know several people who will be looking back and lamenting the loss of the sun. The only lament I have is that I did not share my experiences of this disc by Iona Fyfe sooner. As an individual with an incredibly thorough interest in the new and developing folk sub-genres, I am surprisingly growing an appreciation for the traditional as well (yes, I will admit it is not my first folk of choice). It is certainly encouraging to see these forms being reproduced and continued with younger artists, and it is done with an honest passion here. Iona’s tour has now ended and the whirlwind of heather breeze has settled, so I would like to look back at this release and let you know what I thought, but first who is Iona Fyfe and her band?
Iona Fyfe is a musician, a young musician who is blessed more than her namesake (which means “blessed”). Through Scotlands’ youth art programme “Time to Shine” she has made an impact on the folk circuit from Prestonpans to Dalbeattie on tour, was a semi-finalist for the BBC2 Young Folk Award in 2015 through interpretations of traditional songs (in particular ballads), and a BBC Radio Scotland Young Traditional Musician of the Year 2017 Finalist. It is a growing profile and clearly must be a source of pride for the traditional scene in Scotland and the UK as a whole. The band consists of Iona (vocals, piano, Shruti box), Charlie Grey (fiddle, tenor, guitar), Chris Ferrie (guitar, bodhran), Callum Cronin (double bass), and Ross Miller (border pipes). A folk-rich variety of instruments (particularly the Shruti box, love the sound of this) there are some interesting opportunities within this Gaelic assembly; the tour for the most part is over, but there are some dates coming up early next year (see here) so with all that being said how is the EP?
The first track “Sleepytoon” (Roud 3775) is an Aberdeenshire “bothy ballad” often sung by farm servants of their wages and lives that helped during tasks they performed through the day. There are a few striking things in this track which draws me to it alongside the possibly satirical content of the “hard-working farmer” such as Iona Fyfe’s voice and the great interplay between double bass, bodhran, and fiddle. It is said that much of the magic in folk is in the arrangement, particularly as there are so many good singers out there and it becomes a legendary quest to categorise and describe these competing talents. Iona’s voice is like a graphene butterfly, delicate in form but strong in flexibility and character. She draws a lot from the track and an undisguised reverence for the material in her intonation, a fluttering, melodic Summer shawl of colour. The fiddle finds a characters in few dark corners to get dancing too, the bodhran lays down the cobbles for a wonderful mountainous trek too.
More contemporary sounding but sharing in the “bothy” status, “pride of Aberdeen” follows the story of a girl orphaned at 11, engaged at 17 and unfortunate to pass away in the same year. Not an uncommon story, one that in a similar vein resonates even into the pop world with “The Trees They do Grow High” it has a consistent undercurrent of energy and is peppered with an almost modern sounding Country accompaniment. Track three’s “Queen Amang the Heather” broods quite a bit more. Under the established fiddle we have a love ballad that is bolstered by Iona’s piano. It paints the picture of seduction well, Iona’s interpretation feels fast-paced and at certain points in the track seems to veer in another, exciting direction as like when malting barley, it turns and catches your senses. “Cairn o’ Mount” is an Aberdeen song covered fairly extensively by tradition bearers. The instrumentation falls away here, Iona’s voice is the vehicle for a fine blend, a budding surge of a number that displays her voice as a fresh, charismatic call to history. “Bonny Udny”, the final track is a different kind of tradition, namely one making reference to Udny (the village in Aberdeenshire) and the love of the character’s life. Slightly epic in terms of ballads it starts out as a quiet piano reflection but later is a marriage of the pipes, present guitar and a fiddle chaperone. The solo instrumental at the end is something to particularly look forward to here.
Alongside “Sleepytoon”, “Earl Richard” is a favourite on the album. A song covering part of an epic story about a woman killing her ex-lover who previously jilted her and is in keeping with the remainder of the tracks with it’s myth and history but extent of the song’s movement to England and across the water explains the scope of the material has traditionally had. The pipes are strong with this one, it is performed with character almost like how you might imagine it told over a campfire, gestures and all. Also, what is not to like about talking birds? A sustained number which benefits from keeping up the pace.
The Iona Fyfe Band in performance here have convinced me further of the intrigue lurking in Aberdeenshire, of the annuls of history and the dark secrets of lovers, farmers and the land. The land seems so far up and away from me, but a piece of it has now come to me. It is traditional folk indeed, but with a particular flair and vigour that shows more than a nod to the time and land of the past.
Their music seems inseparable from the place, and hark my words this is no bad thing at all.
Fans of folk music that is rooted in the Scotland Highlands need to see what the fuss is about with Iona Fyfe, and look at the hands and hearts that many of these historical artifacts will be carried by in years to come.
There is a lot to like on this disc, it is in all senses a successful, flavoursome EP that thoroughly breathes Aberdeenshire in both reverence and quality.
If you like traditional folk, this EP is a no-brainer, if there are any left you should go and get one right now.
Iona Fyfe Band’s EP is still available for £6 through her website here, give the above videos a look on You Tube too!
THE GRAND ENTRANCE AWARD (Debut)
THE MYTHMAKER AWARD (Folk/Myth Narrative)
THE GRIMMS GIG AWARD (Folk Theatre)
WINNER – Nancy Kerr – Instar
RUNNER UP – Kelly Oliver – Bedlam
RUNNER UP – Jenny Sturgeon – From the Skein
RUNNER UP – Adverse Camber’s – The Shahnameh
WINNER – Various Artists – Songs of Seperation
WINNER – Lady Maisery – Cycle
RUNNER UP – Ange Hardy and Lukas Drinkwater – Findings
WINNER – Merry Hell – Bloodlines
RUNNER UP – Steve Pledger – Somewhere Between
WINNER – Leyla Mccalla – A Day for the Hunter, a day for the prey
