Category: Acoustic

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Acoustic Appalachian Bluegrass Duo Folk Music Gig Trad Covers

Derby Folk Weekend – 1 October 2023

On the final day of the Derby Folk Weekend after being buoyed by the proceedings thus far, we come to the final run of acts.

We have enjoyed the variety and the different flavours of the folk world, and the final day continued this trend.

Old Spot

(www.oldspotmusic.com)

Having already skirted (or dipped in an out of) some Appalachian numbers previously with the Magpies Duo, we awake to the background of the sun shining over the mountaintop and go full Old-Timey with the band “Old Spot”. Old Spot is comprised of Rowan Pigott and Joe Danks playing fiddle and banjo respectively as they tackle the melting pot that is this region’s music. If you search for “Old Spot” pigs on Google you will undoubtedly find a description of them as “a hardy breed able to cope with most conditions” and having a reputation as an “excellent forager”. This is a funny but accurate description of their reach towards this genre of music.

For their set we see and hear some marvellous numbers be it starting with “Louis Collins” a Mississippi John Hurt murder ballad with an enigmatic origin and subject matter, “the angels laid him away, laid him six feet under the clay”. Another great number was the Aberystwythian, Red Kite track, “Fly That Red Kite”. Delicately played it is both the hangover response and some of the previous night’s revelrie floating in the distant vision much like the collection of Red Kites and sore head that inspired the track. A rich, bitter travelling number, “Otter Creek” is a contemporary old-time number written by Brad Kolodner that still oozes atmosphere despite the downsizing from additional hammered dulcimer and double bass.

We get the feeling that Old Spot were more like a “Dark Horse” than a pig, as their merch stall gets swamped afterwards. They have clearly lit the beacon on Mount Mitchell and they (the audience) have all gathered.

Kieran Towers and Charlotte Carrivick

(http://www.towerscarrivick.co.uk/)

The vibe continues with an established duo of artists who have their own hands in interpreting Appalachian Music. It is good to see this combination of artists for a snapshot in Derby as they have been all over, and it is doubly good that the high energy, generous enjoyment of this old music is as interesting as it was around the first time we saw them (when they were just starting out as a duo, in what seems like another world).

There were many tunes that warmed like the late morning sun, “Wolve a-Howling” is a good one invoking the lupine presence on a balmy prairie. A fairly fast number, the fiddle and banjo sparkles as always. Similar animal-centric there is the even more frantic scramble which is “We’ll Die In The Pig Pen Fighting” a raucous, sweeping melody that in it’s succint way describes a pig describing how they will escape. In terms of a plan, Chicken Run it is not. They also gave us a version of one of our favourites, “The Blackest Crow” which works due to the characterful fiddle work by Towers and Carrivick’s mournful voice par excellence. A hot combination following the Old Time early morning we had just heard.

As a cool bonus, Towers & Carrivick teamed up with Old Spot to play together at the end of the set, see our sample here. Excellent stuff.

Trish & Mark Kerrison with
Fi Fraser- “From Como Boy to Coram Girl”

After a bit of a break we return to something quite a bit different. “From Como Boy to Coram Girl” a story described as one about, “war, work and love – travels through the Industrial Revolution”. A gentle and affecting story that spans the Alps, the lace industry in Nottingham, Liverpool and the sea there is a lot to like with this performance. Aspects of this play reminded us of how far we have come, and hearing my own family’s stories of the experiences of mothers out of wedlock and how society treated them. There is not much we want to give away, but the throughline of acoustic guitar and song paints a vivid picture, especially when a member of the family the story follows was in the audience listening.

Certainly something different for the final day of the festival, but like previous festivals in Derby, it is especially nice to have something a bit more theatrical in the mix.

Katie Spencer

(HOME | Katie Spencer)

What can we say about Katie Spencer? An artist new to us, but one who inspires people who are fans of Joni Mitchell and Michael Chapman an their style of singer/songwriter stylings. Spencer’s set was the kind of stuff you go to festivals for with it’s contemplative, emotional welded strings and moody bite, it is an understatement to say we were impressed.

Spencer’s “The Edge of a Land” is much like many of her other works, steeped in the industrial heart of Hull and it’s changing face and role. Her voice evokes another time, and here she uses it to vibrate the sinews of the sea as they lose hold of the memories they keep. “Shannon Road” is a snapshot to a place where Spencer weaves a picture of an old road she returns to with the hints of the characters underneath, her spiralling voice and lyricism prods the exterior of the area to see the shades of light and dark within. There is much else to like here including her commission from the Yorkshire Folk Archive, the “Shipyard of Beverley” and “Forevermore”, a newer song which had the feeling of the “silver lining” on dark clouds.

We don’t purport to be naturally enthusiastic to solo guitar artists and their work, it usually takes something a bit more special to hook us in. Katie Spencer has spun the mind around with her introspective lyrics that when paired with voice and guitar peel back and intrigue is in the best way of the phenomenon that is music.

Doug Eunson and Sarah Matthews

(Doug Eunson and Sarah Matthews DUO)

The penultimate performance is a well-received and anticipated performance by Doug Eunson and Sarah Matthews. A set littered with old favourites and drawing on collections familiar to trad fans, they are a strong, accomplished duo who bolster the entire festival.

Probably the funniest, cleverest lyrics of the festival we strongly remember a rendition of Robert W Service’s “In Praise of Alcohol” that was sung, it’s comedy only getting bigger by the second. Folk mainstay, “John Barleycorn” also made an appearance to which everyone raised their voices in joy, and of course, knew the words. We were also treated to a melodic, beautifully performed “Willie’s Lady” about a disapproving mother capable to giving out curses (one of our favourite stories in folk). Eunson and Matthews have great chemistry, their voices fit like chocolate and peanut butter. They are definitely a duo to see if you like if you enjoy your folk music adorned closer to your picture of traditional tunes, albeit with great composition, performance and reworking. Think of Steve Reeves with a loin cloth, classic.

Tarren

(tarrenmusic.com)

Ending the festival, we come to Tarren a fairly young, fresh but pedigreed group of artists (Sid Goldsmith, Alex Garden, and Danny Pedler) whose skills cover the concertina, cittern, fiddle and accordion. There is a lot that stirs and excites in this groups music and their takes on classic compositions. Hornpipes and irregular fiddle tunings aplenty, we look forward to the show they are putting on.

“Hot Wax” is a fantastic original tune conceived as a kind of “slow jig”. It wanders, and much like the substance drips flashes of heat and energy as it progresses. A steady tune, the mix-up of instruments is sweet but with a rough, granular edge; it isn’t showy, but rather reflective and hypnotic. “Rigs of the Time” is like a spiky gauntlet, it catches on a social feeling in whatever age it is worn really, but its constant reminder of corruption and feelings. Tarran continue the tradition of inventing new verses now, and several will probably continue into the endless future where there exploiters, greed, and people who have power over others. One of our favourites from their set, their instruments make a groove in the vinyl of our society.

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Acoustic Americana Appalachian British Duo Electronic Folk Music Gig Historical Trad Covers Traditional

Derby Folk Weekend – 30 September 2023

After the events of the first day, the second day at Derby Folk Weekend really kicked into gear and we were delighted to see known artists and some new faces who have been making the rounds on our social media feeds.

Apologies must be made as we were unable to go and see the political powerhouse that is Maddie Morris (https://www.maddiemorrismusic.co.uk/), or the stalwart Winter Wilson (https://winterwilson.com/) during our stay, though they would undoubtedly be well received by the audience. There were a few artists that we managed to see:

Frankie Archer

(https://frankiearchermusic.com/)

Frankie Archer is an artist who relatively described as, “a bold mash of electro alt-trad”. We are certainly inclined to agree with this descriptive statement.

Archer’s use of loop peddles and other technology along fiddle do the job of honouring the Northumbrian tradition and leaning on the inherent sadness or joy of the tracks without distorting them all out of recognition. Think of a shiny slinky, coiled and full of kinetic energy which to the unsuspecting child is an explosive, magical stepping instrument of movement and purpose.

Archer’s version of the old, old tune “Lucy Wan” is a good, personally grief-stricken take of the old murder ballad from the woman’s perspective. The samples drip behind the fiddle foreshadowing the grisly end, and whilst the brother of the piece does not get his comeuppance, so to speak, his guilt plays a darker course in end. Archer continues her wealthy showcase of her home area with a lively rendition of “Elsie Marley” that weds you to the time and place, as well as “Peacock Follows The Hen”, sounding more like it’s self then some of the other numbers. Archer is a fresh, assured start to the second day, an artist that should certainly assure all those electronic soundscape tinkerers and trad lovers that there is always room for reinterpretation. This along with her determination and drive for women’s persepective in folk make her a must see for us.

Jim Moray

(https://jimmoray.co.uk/)

We then put our hands together for Jim Moray.

Moray is the kind of artist with an esoteric mix of songs and subjects that are really appealing such as the curious “The Straight Line And The Curve”, a song about John Dee, an occult advisor to Elizabeth or, the exceptionally strong closer to the session, “Sounds of Earth” detailing the Voyager spacecraft and the audio recordings stashed on it. Moray himself is a lynchpin in several aspects of the modern folk scene with his indelible mix of traditional songs and original material, and his application of producing skills in support of newer artists such as Frankie Archer.

The audience seemed in particular anticipation for Moray, most likely because of his grounding in traditional numbers (a Child ballad, a broken token, a classical regional piece) and the variety he trundled along with him. A nice treat was him taking the stage with Frankie Archer to perform the aforementioned “broken token” song, “Jenny Of The Moor” , a beautiful inclusion to a good set. Moray has an enviable reach and seems to be especially dedicated to the folk scene, we look forward to seeing more.

Threaded

(https://threadedmusic.com/)

As the darkness is looking to fall, the evening lineup starts with an intriguing group from our homeland (The Midlands). Comprised of Jamie Rutherford (guitar/lead vocals), Ning- ning Li (violin/vocals) and Rosie Rutherford (clarinet/vocals), Threaded’s sound is not merely a vein of optimism but rather a left ventricle pumping in the spirit of high adventure and fun into proceedings. Their music is not initially familiar to us, but there is a spark which resonated somewhere and then we realised why. They have been involved with Red Earth Theatre, the excellent Deaf-accessible, story-telling wondermachine that we have previous reviewed (see our review of Soonchild from the annals of history here). This explains why their wide-eyed creativity and joy has a place with us.

There is a lot to like to here starting with; “The Colony”, an unruly, bright song about massive ants, “The Lady Next Door”, a situated and loving piece about one of Rutherford;s neighbours, and a newer number “Raven Road”, a song full of warning and woe. Threaded’s music has a kind of family-friendly wonderment about it. You could call them the “E.T.” of the folk world as their tunes are the musical equivalent of the fruits of Steven Spielburg’s producing flair. If you get the chance, you should check them out.

The Magpies

(https://www.themagpiesmusic.com/)

The late part of the evening was allowed to soar a little higher with a chance to see The Magpies Duo (Bella Gaffney and Holly Brandon), the TransAtlantic Folk Band that hops all around the musical variations of the Atlantic. We have been vaguely aware of their journey whilst we were becoming new parents but missed them on the live circuit following this and Covid and everything else, so this was a rare pleasure. Their music is always moving like a bee collecting bits of pollen and influences from all over.

There is the earnest sounding “No More Tears” from the “Tidings” album, a quiet but forthright break-up song, the bouncing “Colin’s Set”, a modern tune written by Holly and arranged by the group, and the old-time Appalachian Song “Fall on My Knees” of (as the group rightly points out) a guy being “overly dramatic”. Their set was characterised by a dry humour, and excellent musicianship from their growing catalogue. They also gave the crowd what they wanted with (what they are well known for) their cover of the Eurythmics, “Sweet Dreams (Are Made of These)” that takes the jazzy electric synth and holds it down to an earthy, woody folk standard.

So all in all, a great second day, stay tuned for our third and final day writeup!

Categories
Acoustic British Chill Duo Festival Folk Music Folk Pop Gig Singer-Songwriter Traditional

Derby Folk Weekend – 29 September 2023

This year we managed to get to the Derby Folk Weekend.

Not quite as large as it has been previous, it still continues to get a good selection of artists from across the folk genre and it all takes place in the Old Bell Hotel (one of our favourite venues).

There are some other exhibitions going on around the Market Square, we hope to get to these in due course.

On the first night after setting our weary feet and joyful heart down for a whisky, we were able to see three(ish) acts from the first night: The Herron Brothers, Blair Dunlop, and Leveret.

Herron Brothers

(https://theherronbrothers.com/)

It all started for us in the front bar with The Herron Brothers; we were running a little late and did not settle for too long. What we heard was encouraging, bright and a cheerful pop act that had character. From what we have seen they are like Mirror Universe Gallagher brothers bringing the cheer to Derby in their own rather than projecting an image of fighting you for your bag of chips, like a seagull. Independent music is great and this band is carving a place with some cool music.

Before moving on we have to plug their clip of “Babu”, what a great, joyous listen.

Blair Dunlop

(https://blairdunlop.com/)

Then, from nearer our neck in the woods, Blair Dunlop arrives from sunny Chesterfield. Dunlop is a good entry to ticketed part of the festival with a mix of mellow, insightful in his acoustic performance. He credits Jim Moray as being a big influence (which seems to be a theme emerging in this festival so far) and, like Moray, he has found a plethora of interesting topics to tackle be it recent historicals or more obscure interests, (The expenses scandal, a Porsche, and condiments).

Dunlop is like a rag and bone man, he has a bit of something for everybody. For us we were particular enamoured by “Sweet on you” (a bad relationship, but a good melody) which has a hook as good as Arturo Gatti, “In the day I think you are trouble, in the night I’m sweet on you”. We also enjoyed the time travelling nature of “Spices From the East” which brought back a historical talk we had on a guide tour of the Salt Mines near Krakow. Fascinating, beautiful place and also a metaphor-filled spice rack of good lyrics once again. Check out the link below for the previous release for “Sweet On You”.

Leveret

(https://www.leveretband.com/)

Leveret don’t really need much introduction for those swimming in the pool of traditional music. For many, they are probably “all about the playing”; as they said themselves on stage, “We don’t talk much”. They actually talked more than you might expect with this sentiment, but there were definitely some interesting stories from the road alongside the continuing excellent musicianship.

We’ve seen them a couple of times and hadn’t been aware of the changing roles they take during their sets depending on how they feel. Such fluidity must come from a place of prior technical excellence and practice. We loved the abundance of hornpipes, including the 3/2 ones such as “The Good Old Way” which is the tune that always instantly springs to mind when we hear their name. A beautiful change of pace was the set of airs, “The Height of Cader Idris” with “Jack a Lent”. The first tune certain conveys a kind of majesty within it’s performance, “Jack a Lent” has serious Spring overtones and probably less of the implied dark contradiction in this rite than you would imagine. If you want a listen, take a listen below:

An impressive entry to the Folk Weekend covering a few different bases in the musical tradition. There is a lot to like here and much more coming up for the Derby Folk Weekend https://www.derbyfolkfestival.co.uk/

Categories
Acoustic Blues Folk Music Gentle Gig Trad Covers

Miranda Sykes @ The Wesley Centre – 9th June 2023

We return to the Wesley Centre in Maltby after a hiatus to see what we have been missing out on. We haven’t been since Covid and are looking forward to a night of live music.

The Wesley Centre is still a nice intimate venue with friendly serving staff and the all-important raffle to host the folk-gig night “Firbeck Live” which continues to gather some cool folk artists. As pointed out, Miranda Sykes herself is not touring extensively until her own new album release and upcoming work with other bands, yet she is here and she is playing to a pretty full audience.

It is a set of two halves. Sykes’ first is her self proclaimed, “songs that I like and random numbers” and the second is where she delves into songs from her “Farmhouse Sessions”. The whole selection is light with a few forays into more traditional faire (notably the Bonny Light Horseman), but generally taking a comfortable and popular collection of blues and acoustic numbers that have been influences on Sykes. We have seen her before and have always been impressed of the road she has taken and her tales of being on the road. Contributing to many albums and travelling from Yorkshire across Europe in a number of groups, including her part she has played with the Show of Hands group; Sykes is a musician who is a pleasure to hear .

Sykes voice is more towards the softer and quieter scale, punctuated with a great clarity like that still hummingbird picture you see with it’s wings mid-motion. Her voice is somewhat like suede in that her lilt is versatile and can take a bit of punishment while retaining a glossy alllure. Metaphors aside, this is the best we have heard her voice in the few years since we last saw her and it was only better thanks to the great sound engineering work on the night.

There were some standouts from the sets, her rendition of Karine Polwart’s, “Only One Way” from the Faultlines album is a good one. Each pluck of the double bass was like a leg on a blues freeway you are hurtling down, building on the night wind in your hair. However one like’s their blues, this is a sharp number and performance. Kerr’s cover of Nancy Kerr and James Fagan’s “Sweet Peace” did it justice. Her voice managed to encapsulate the original’s duo dynamics with her own range and steady guitar strums. Gentle, spiritual and stirring it is a reflective cover of one of our favourites. A particular crowd pleaser was Sykes’ performance of “The Lincolnshire Song” a song peppered with heart and familiarity, which the audience were jubilant about hearing.

Sykes’ tunes contain echoes of counter-culture and kindness without being a harsh political denouncements calling for blood. This is seen in tracks such as Nancy Griffiths’ “Time of Inconvenience” with it’s especially boingy bass that thumps to the rhythm of technological commentary. The theme of joy and light is furthered with a rendition of Chris Hoban’s “Stay Close to Me”, a particularly poignant and pretty number penned during the time of Covid, which resonates through it’s call to hope even at a time when things were less certain for the future.

The songs and others point to a relaxed, happy evening. Warming and restorative, it is a pleasure to see Miranda Sykes again for a delightful evening at a great venue.

Check out Miranda Sykes’ website for details of further tour dates here

For details of further Firbeck Live gig, go here.

Categories
Acoustic Blues Folk Music Trad Covers Traditional

5th March 2022- Phil Beer at Wesley Centre, Maltby

We have recently had the pleasure of visiting the opening night of “Wesley Centre Live”, a series of folk gigs that has started in Maltby. We wanted to share our experiences with you, for more information about upcoming gigs, go to https://www.facebook.com/wesleycentrelive/?ref=page_internal. 

Heading out in your car a little East of Rotherham you come to Maltby, and near to the centre of that there is the Wesley Centre. The Wesley Centre is a Methodist Chapel with it’s first references to worship being from a directory entry in 1832 and for this night it is the setting for “Songs of the Road”, a post-Covid solo gig by Phil Beer (from folk band, Show of Hands). Phil Beer is a great choice of the inaugural gig for meetup being a multi-instrumentalist who not only lived and played through modern folk’s golden age but is also a personable lively sort of individual who is an affable, early tonic for the recovering live music scene. 

We found The Wesley Centre to be a great modern space for folk gigs. On entry there is enough space to fit a good number of audience members without it being a cramped space (there was  around 80 for this gig with space for more), but not so large as to detract from the intimacy of the event. The whole thing started with a warm welcome from Nick Wilson, one of the organisers who seems to have a great passion for live music. The overall shared sentiment was that live music was returning and this was a very welcome return indeed.   

Following the introduction, Phil takes the stage. Phil himself has many years of experience on the music circuit from his individual endeavours, partnerships, and of course recognition in the Exter everyman band that is “Show of Hands”. During the gig he regaled tales from his travels, recalled the folk club that was resident in the building many years ago, and had a few gentle humours regarding the Romans and their roads. Beer was softly spoken and with his banter he came across as a person very much interested in history, the landscape and the enduring purpose of music (folk or not). This was apparent as he dedicated his last few songs to singers of late who had themselves been given these gifts of early song. The most notable of these mentions was, of course, for Norma Waterson who passed away earlier this year. 

The set itself was split across songs that Phil and Show of Hands are well known for (folk and folk rock), and later on a delve into the blues influences that made up, “The Blues Hour” that Phil was involved in during the height of Covid-19 restrictions. This spread meant that Phil was leaning into the genres he has most been interested in, ones he has performed in extensively.

Just about timely was Phil performing, “Fire and Wine”, a song steeped in the immersive imagery of the cold season with it’s references to Robin Redbreast seeking food, and “wine for the mind”. With its winding recall of “we will sing Jack Frost away”, and the hint of light through the grey, heavy clouds, it is a great introduction to what will be a first live gig for many people. You could say that Beer’s guitar opens this lively, descriptive number with the careful eye of a jolly watchmaker.  We also heard the succinct, emotive fiddle of “The Blind Fiddler”, a historical American song about a blacksmith who gives up his job after an unfortunate accident and becomes a traveller seeking to help others. Beer brings an old, desperate angst to the song alongside some beautiful violin playing that both rises above the canopy of a verdant forest and to the low levels of despair felt by a drunken reveller lay in the drains. 

Phil’s rendition of “Cocaine Blues”, as most songs of it’s type, has a sparkle in it’s guitar that belies the nature of its subject matter. It is a popular and well-received song by the audience whose reception is only eclipsed when Beer turns his attention to that stalwart sing-a-long work number, “Blow the man down”. Both are a joy to hear and an example of Phil rousing the audience without even having to ask. We also hear “The next Best Western” which was Phil’s interpretation of Richard Shindell’s number about lorry driving. That signature blend of Christian imagery and occupation shines as a more deliberate part of the evening that like the slow whistling of the dust from the Southern Plains caused the audience a moment of reflection and thought during the twilight part of night. 

Seeing Phil Beer again, and at the Wesley Centre, has been an enjoyable experience. In relatively uncertain times there is a smile to be had to hear the well-travelled Beer sing songs inspired from history of the world, and the history of songs themselves (from several foundational Blues numbers). Cosy and inviting, the Wesley Centre is a good venue for the purposes of folk music (as shown from history) and long may it do into the future. The magic is in how Beer’s words and songs recall decades ago but it feels literally like yesterday as his spirited showmanship brings them right up to date and into our hearts.


To find more information about Phil Beer, go to http://www.philbeer.co.uk/

Categories
Acoustic Album/EP Reviews Animal Duo Energetic Folk Music Folk Pop Folk Rock Folk Stories Nature Folk No Covers

Birds and Beasts – “Kozmik Disko” review

Like the thunderous hooves of an approaching stampede, Birds and Beasts’ second album is a groove-filled, thumping and purposeful sophomore album which puts it’s classic rock expertise to very good use.

Album Launch Date: 23/10/21

If you have been living in a cave for the past few years, then chances are, (without you realising) you have had a song or two written about you by a band  from the sunny uplands of West Yorkshire. This will not be due to your lack of up-to-date news about youth slang, or your dislike of music post 1982, but it might be because you are a bear. Let us explain.

The Huddersfield-based band “Birds and Beasts” are the duo of Anna and Leo Brazil who had an epiphany about nature and our relationship with it. By looking at the behaviour and lives of animals, they combine the daily struggles of being an ant (for example) with imagery and situations we recognise as part of being human too. This natural communion has served them well on their previous offering, “Entwined” and now, after returning from that shady glen, their second album is out called “Kozmik Disko”. 

There is a temptation for us of a certain age (or with children) to have apocalyptic visions of a rave style “Baa Baa Black Ship” or a Hard House version of “Nellie the Elephant” while a DJ plays sped-up samples from a BBC Wildlife documentary (I am almost certain that second track exists and I have danced to it). Thankfully, nothing could be further from the truth as “Birds and Beast” carefully knit a strikingly sharp cardigan which has shades of commentary, wry humour and great sounds, as a well-constructed work that does not take short cuts. It’s mastering at Abbey Road Studios have put a real magnetic luster on the already fine contents.  

Take track 4 “The Bloat”, for example. Here is a song about warring hippos in direct confrontation of a watering hole. A watery layer of classic rock, some chunky riffs and jazz undertones the scene plays out like one of those old film brawls with flailing arms and accusations calling out over the top. Think of the Barn Fight from “Seven Brides for Seven Brothers” but instead taking place in a 1970s Discotek. The vocals compliment each other well, there is a little kick of a pace and the song is an example, as many are on the album, of the artists’ versatility. Much like the Cape Buffalo, a thoughtful exploration of one’s partnership can suddenly turn, the track snakes in one direction and then finds a new emotion and beat, Before you know it you have been a lead in to a music genre that has been skillfully smuggled and blended in.

“The Current” tells of a shark and it’s electrical impulses that lead it to food, friends and family. Like the strong guitars of Heart’s “Barracuda” (also another shark, of course), the song has a strong beating heart where the two guitar tracks interact which pushes it on. Clean guitars throughout and a nicely light drum compliment the upbeat glow of the singers’ voices. It warms the hands and feet like a gentle, coal fire. A fine example of classic rock, “The Current” takes a concise approach to describing the creature as it feels around the busy waters much like the electric anticipation of a live concert. 

“The Day I was Born” is even more radiant describing the sweeter side of love alongside the intoxicating role of the honey bee. More than ready to jump into a soft shoe shuffle, the track is full of platitudes such as, “I am yours, body and soul”. The honey bee here is chosen from birth to “marry” the Queen bee, and the human subject comparatively is more than smitten and in love. The sense of all life being preordained and the subject being strongly carried by the waves of fate presides through the number. While we listen there are the bouncy sensibilities of 60s boy bands powdered with the pollen of 80s new wave and rock as those awesome brief synth interludes put their head over the parapets. Colourful and joyous, the track grabs you like a rainbow bulldog clip and refuses to let go. Wherever Birds and Beasts travel through or end up at with their songs there are some extremely catchy segments and turns of phrase that indicate some well-placed confidence in the songwriting department.

The joy of the album is that there are obvious and easy choices taken here, the songs are written well enough to take a pummeling even by an individual with no knowledge of the natural world because the human factor is equally recognisable and celebrated alongside. For every eloping couple there is the song, “Wolfpack” about two wolves leaving the pack to start a new life; for every hero there is “Keep Walking” the ant who sacrifices communication and closeness with the rest of the hive in order to save them; and if that’s not analogous enough we get “Deep Down”, a scorpion’s tireless search to find a mate. True, there is a lot about love here, but not once do you have to sit down to dull the nausea. There is all sorts of love: obsessive love, romantic love, love through duty and the songwriters give each a proper examination in the light of their watchful eyes. It helps that everything from the album cover artwork (designed by the band), to the off-beat, bright, DIY style to the music videos add oodles of charm; no scrap that, noodles of charm all hugging together in an instant ramen cup.

One of our favourites from the album has to be “Silver Moon Array” where a hedgehog awakes a little early (mid)  hibernation and does not recognise the world he has stepped into. Incredibly atmospheric, you feel a shiver as the snow comes and the hedgehog’s vision of stretches of grass is replaced by concrete. The duos’ vocals dance together with a good harmony with Anna taking the lead adding a great sadness underneath the jangly melody and tinged with an almost Caribbean keyboard backing track. The accompanying video (see below) just adds to the scene and tugs the heart chords.       

In case you hadn’t guessed, we strongly recommend “Birds and Beasts”. Their new album is a tight work that is informed by, but also extremely generous with it’s genre influences. It is an original series of tracks that pays its respects to animals without dressing them up in top hats and dinner jackets. Evocative and confident, the “Birds and Beasts” second album is an essential purchase for those with a hankering for unabashedly classic rock with an intriguing central premise that goes a long, long way.

Birds and the Beasts are launching their album tour, starting at the Laurence Batley Theatre in Huddersfield (supported by Dan Healey) on 23rd October, and then are going outward to other great venues, check out the details here.


The album is available from all good stockists, we recommend you purchase from the band directly here.

Categories
Acoustic Album/EP Reviews Cabaret Folk Music Folk Pop Irish Mixed Genre

Emma Langford- “Sowing Acorns” – A Review

A fun album that will defy attempts to hold it down in one place. Well arranged and with some seriously confident creations, this disc hints at a continued bright future for Langford.

Release Date: September 2020

It’s been a long time coming, but we have finally got around to reviewing the second album by the characterful, nu-folk joy of a musician that is Emma Langford. Nu-Folk you ask? 

Well Nu-Folk can be all sorts including songs about love, teenage issues to new worries about the world and environment, and all of it will contain a trapping or more of folk music within it. It might be something with a diy acoustic vibe, a grandiose trumpet/some-kind-of-brass solo or some incredibly shiny banjos and usually it is all held together without any historical theme or mention of tradespeople, but something different that speaks to a modern sadness or joy.

This “different” thing is not always what we are personally interested in, but before you expertly flatten your cap to go and find a song about ploughing, take pause. When done well,  Nu-Folk, like all music, is a wonder to behold. When jazz hits folk in a way that creates that yesteryear feeling, when the lyrics are tightly wound and chosen and each word is strung and tuned more daring and precise than the last, then you can go back to your porridge and everything in the world is still right. It is safe to say that Langford has got things right here with a strong sophmore entry.

Irish-born Langford has made strides in recent years. She has been named Best Emerging Folk Artist by Irish national broadcaster, RTÉ Radio 1, and likewise was shortlisted as the Best Folk Singer in the RTÉ Radio 1 Folk Awards of  2020. Before these awards and the phenomenon of Covid, Langford found many opportunities to tour away from  Limerick, with her sound being  over Europe in Denmark, Switzerland, Germany and others. She must be as joyous as a raffle winner; the one who is making her strides to the raffle table to choose and collect the one good remaining prize (which is usually a suspect looking bottle of wine).

Listening to the CD the first thing that strikes you is the contrast between the songs here. Like a honey badger fighting a mole snake, it is a beast of a CD with different flourishes and movements that it showcases to be able to make success on it’s own terms. There are tracks that are a showcase of a folk-talent bonny and bright, but then you have the other genres mixed here with their colours coming together delightfully like a skittle milkshake (though brush your teeth before and after this album please). This being said, there is nothing here that is over-sentimental or sickly sweet (or as disagreeable as the lime skittles).

“The Winding Way down to Kells Bay” is a light-touch, joy-filled handshake of a song that splashes and sprays seawater over the rocks of the sunny beach you are walking down. This could be a folk staple with Langford’s voice being the engine that is in James Bond’s Aston Martin compared to a modern supercar. She isn’t racing you along so you aren’t getting a battering in the ribs, but rather you get to see the scene in the stately drive, see the landscape and feel the land. Much like the foam of the sea it is breezy and casual yet quintessentially and seriously the folk you are looking for .

The album opener “BirdSong” is a striking choral chant that thuds and scraps it’s way onto the scene with it’s rolling shockwaves of confidence and defiant tone. Demanding attention, it’s lyric “Til your eyes find me I’m strong as my bones” is pretty much a spell of power harkening to all women whose strength of mind and body is not unlike a basalt carving. Moved and formed by a volcanic heart of compassion and love, it portrays a grit and determination in it’s stalwart composition and steady pace. Contemplating the weakness in pairing with another person, the song itself repeats and builds, many voices come in and it’s musical layers come together in an almost spiritually clean manner. Simple enough in construction but the devil is in the detail, it shines like stars in the night cloak of the sky. 

Goodbye Hawaii is probably our favourite track on the album. Definitely having it’s mirror focused on the yesteryear here is a song with a vintage, jazz sea-sprayed quality combined with buzz words from Grey’s Anatomy. Undeniably rosy-cheeked and spirited, it is interspersed with lyrics that call on Oxytocin and heart muscle as if they were volleyball buddies in Miami. Perhaps it is the sound of Hannibal having a holiday in the Bahamas or Dexter on a city break? Whatever the intention, gruesome interlude or cute fact-check on anatomy it’s a visceral description of what being heart-broken is like and the associated emotional pain that is felt from being left. Langford croons incredibly well amongst the jangly percussion. Langford’s classy image, the sound of suburbia and a clear looking love to this island you get the impression that there was a lot of fun to be had here.  

You Are Not Mine (This Song Isn’t About You, You Lying Bollix) is another good swinging time with punchy, soft drums and gentle strums in between a purposeful, yet meandering heady mix that seems an awful lot like those complex interactions at wedding receptions. It is the sound of history as you share a space with an old relationship, that weird spark of energy and familiarity that grabs your heart until your head overrides. Hopefully you realise that little heist that is going on is a sequel to the tune of Oceans 12, and is probably not a good idea. A great track to finish the album. 

There is a lot else here to enjoy such as the breathy, intimate questioning of “Free to Fall” in it’s acoustic simplicity, the anthemic and placard raising sensibilities of the title track, or the bright, snappy retro Angel Delight of a dessert that is “Ready-O”.  Langford moves through the pages of history stopping at the heart-felt meadow, the cosmopolitan champagne bar, and wind-swept beaches like a bee collecting the nectar of music. As she goes she collects what she needs to make a confident, whimsy-filled album brimming at the edges with joy and talent. The cabaret has started, everyone start your cheers.

“Sowing Acorns” is available on Bandcamp directly from the artist, at https://emmalangfordmusic.bandcamp.com/album/sowing-acorns

For more information about the artist, go to her page here.

— I do not claim ownership or copyright of any pictures used in this post. If I have not identified your work and you want your photos credited then please contact us at reviewer@folk-phenomena.co.uk

Categories
Acoustic Album/EP Reviews Folk Music Gentle

Saskia – Are You Listening?” (Album Review)

“An album that refreshes and surveys the ground covered up to now. Saskia continues to sculpt her clay of gentle-folk into a pleasing and healing treasure.”

Released July 31st 2020.

Our Pick: “Write me a Song” (Track 5)

From the brightest, warmest and sunniest part of folk music’s acoustic heart comes musician, Saskia Griffith Moore (or Saskia, for short) with her new album entitled “Are You Listening?”

Much of Saskia’s music and character does indeed seem to come from this place. From London to the West Country and back again, Saskia has transitioned from therapist to singer and throughout has shown to be a dedicated and uplifting artist whose social media often have some sunny rays to share around. We have been listening since Saskia’s debut “Gentle Heart” in 2016 where we summed up her work with the simple sentence, “It’s ‘gentle’ nature is a strength”. This is very much still the case as this most recent album is part one of a two disc release in association with the Susanne Marcus Collins Foundation Inc. and both share in their collaboration the values of optimism and inspiration. Saskia’s hard work is paying off.

As a kind of “best of”, this is a good and fitting catch-up point for those not previously following Saskia’s work. The disc is a series of songs that dance in the huge, shiny fog-lights that are her sweet acoustic guitar and warm, enveloping voice. It is positive to the extent that even when tracks approach the soul-searching mainstays and companions of acoustic guitar such as “a long life” and “possible regret” (Write Me A Song) show up, Saskia’s will still not bring the rain clouds and misery. In this regard the album seems like a perfect fit for peaceful souls  who surround their worlds with positivity and joy (or those that would like to little more in). It is a key characteristic of the work here, and an infectious one. 

There are several tunes to like here. 

“These Hours”, co-written with Clive Gray and with Australian songwriter, Cooper Lower, is a snappy song about friendship which glows with the warmth of deep bonds and the knowing of the bumpy road that is life. Other tracks roll in like cut grass, such as “Come Comfort Me”. Much like the “perfect, golden face” in the song, there is a gentle heat hiding a quietly fierce passion as Moore’s guitar rolls like Spanish sun and an air cooled with cocktails. Feeling and place don’t collide, but rather lie alongside each other on the beach and gently turning to catch the rays.

Another great number is “Wash it Away” with its Country nods. More than a skin deep Country-feel, it fully captures the faith aspect of that world of music. Closing your eyes and listening to the words, it’s minor harmonies wash over, and both in word and character the theme of devotion is like a coastal salt spray. Perfectly pitched and quietly joyous, it is one of our favourites.

That being said, “Write me a Song” is probably our number one pick from the album. The track considers a man (possibly later in life) who has seen and done much, clearly seen a lot of bloodshed. He is settling down and has decided to end his wandering. We cannot say that the theme is unique and groundbreaking, but much like Saskia’s only cover on the disc (“Hallelujah”), the strength of the tender conviction in her voice gives it a glow of its own like a constellation of fireflies at dusk.  

Some say Saskia’s music is a “balm for our times”, we cannot really argue with this. Saskia is a reminder of another era that seems far away in time and space yet one that is craved for by many. That being said, there is a lot of original music here and the album is a testament to quiet power and observation, and (in all the best ways) seems very wedded to the artist and her outlook on life.  In a politics heavy, frightening time, this album serves as a respite to the negativity, and is a solid buy. A little nostalgia and warmth goes a long way and not taking a political angle is definitely a selling point for many.

Check out the video below and Saskia’s website for more details, www.saskiagm.com

Categories
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