Ahead of performing at this year’s Hebden Bridge Folk Roots Festival, taking place from 10 to 12 May, we were delighted to interview, in partnership with Folk Phenomena, the folk rock sensation that is Merry Hell.
Q. For those who haven’t come across Merry Hell tell us more about yourselves and how you came about?
Merry Hell come from the North West of England, mainly Wigan and offer joyful folk-rock with energy, passion and a message of hope and togetherness for these troubled times. The band emerged Phoenix-like from the ashes of the much loved, much missed folk-punk band The Tansads, who played some reunion gigs after a 10 year break. However, some of the original members couldn’t carry on and we didn’t want to be simply a tribute band to our old selves, playing only the old songs, we wanted to play the new music we had written as well as that of new members, like our female lead singer, Virginia, who also writes quite a few of our songs. We decided in order to do that, we should change the name to reflect our new energy, new hopes and new ideas, built on the old band but not dictated by it.
Q. How would you describe your music in five words?
Joyful folk-rock, with a message. (That’s 5 if you count the hyphenated words as one!!
Q. What inspires you as band?
Quite simply, we are inspired by what we do, making and sharing music with good people who enjoy what we do. What else would a group of musicians want than to have people care enough about their music to sing it along with us when we perform?
Q. What can audience members expect from your set in the Trades Club as part of the Hebden Folk Roots Festival?
At the risk of getting repetitive, we will share our energy, our joy and our hope, our songs in a way that will involve all the people there, not simply standing on the stage and expecting people to watch us – that’s not what we are about. We hope that people will go away feeling uplifted and a little more hopeful about the direction in which we are travelling together.
Q. What’s your favourite song to perform as part of your set and why?
Ooh, that’s like asking which is your favourite child!! There are different moods within the set, so each has a purpose – so the only real answer is the one that we are playing at the time!
Q. Who else would you recommend festival goers seeing during the festival?
Take in as much original music as you can. A special mention for our friends Vision Thing, currently rejoicing in being Folking.Com Rising Stars Award winners and the wonderful Katie Spencer.
Q. What do you love most about performing on the festival circuit?
There’s so many things – meeting old friends, making new friends, travelling around the country, celebrating both our differences and what binds us together but ultimately nothing beats that real sense of community when the band and the audience really come together, wherever that happens to be.
Q. What’s coming up next for the band?
Apart from lots of gigs?? We have made a documentary about a year in the life of the band – what goes on, what we are about, an opportunity for people to know us just that little bit better a people and to see some of what goes on behind the curtain!! That will be coming out soon. We are also starting to record a new album and bring new songs into the set, so there’s plenty for us and hopefully our friends to get excited about.
Q. Have any of the band ever been in love with a “Baker’s Daughter”?
Yes and no!! None of us have specifically been in love with the daughter of a baker (unless there are some untold stories). However, the song is also about loving someone enough to want to change enough to make a partnership work. To that extent, we have all been in love with a Baker’s Daughter!
Q. And finally, if you find yourselves there what would be your idea of the perfect merry hell?
Merry Hell implies a degree of good natured mischief, so the perfect merry hell would be to use our music and performances to inspire people to refuse to accept the present status quo and to bring about some positive change in whatever small way they can in that same spirit. Random acts of kindness are a good place to start and we try to include those in whatever we do!
Merry Hell will be performing at The Traders Club at 9.30pm on Friday 10 May as part of Hebden Bridge Folk Roots Festival. For further information on Merry Hell visit www.merryhell.co.uk. For further information on the Hebden Bridge Folk Roots Festival visit www.hebdenfolkroots.org.
As mentioned, this interview was in partnership with “Last Night I Dream Of..”, a website dedicated to all things theatre in South Yorkshire. For further information visit:
Alongside our diligent reviewing partners “Last Night I Dream of..” we have the exception pleasure of bringing you a series of interviews with folk and roots artists coming to the jewel of West Yorkshire, Hebden Bridge ahead of the Hebden Bridge Folk Roots Festival (running from 10 to 12 May)
Our first interview is with folk/singer-songwriting superstar “Kathryn Williams” who is a headline at the upcoming event.
We remember hearing Kathryn Williams when we first dedicated to writing about folk. I remember tracking down a large number of her albums and doing a big bulk purchase. We have several of her albums and are particularly partial to “Crown Electric”,”The Quickening” and a very soft spot for her cover of “I started a joke” on “Relations” (it comes up in my top-rated songs list quite often!) Cerebral and clever but also breezy and accessible, Kathryn Williams has rated highly in our favourite singer-songwriters long before we moved over to the folk train.
So.. on to the questions!
Q. For those who haven’t come across you before, please describe you in a few sentences?
It’s hard to be asked to describe yourself… overdo it and you look arrogant under do it and you sell yourself short. I’m a bit folky but not folk, I’m a bit poppy but not pop, I’m a bit shy but foul mouthed,.. I am the best friend you’ll ever have.
Q. How would you describe your music in five words?
Thoughtful quiet unfolding punk rock.
Q. What inspires you as an artist?
Joy and pain, observing and imagining.
Q. What can audience members expect from your set as part of the Hebden Folk Roots Festival?
A moment of calm in the eye of the storm. Space for their own thoughts, a few laughs x
Q. What’s your favourite song to perform as part of your set and why?
I like playing songs people ask for or know even if I’ve not played them for a while. I like bringing the sea level down to the very quietest it can be.
Q. Who else would you recommend festival goers seeing during the festival?
Michele Stodart. She’s my best friend
Q. What do you love most about performing on the festival circuit?
To be honest I find it hard. My music is small and fragile. Playing to people who might not have heard of me is good though x
Q. Your last album, Common Ground was arranged to pair alongside the experiences of the main character in Cass Wheeler’s “Greatest Hits”. How did this differ to your usual writing style and are there any other characters real or fictional you would love to base an album on?
Well I did the album Hypoxia before the Cass Wheeler one. I loved the constraints of looking through a characters eyes, but I’m ready to be free and me again x
Q. You have recorded with many illustrious folk artists over the years. Are there any stories you can share from these collaborations and is there anyone else you would love to work with?
If I told you all my stories, you would never sleep again!
Q. What’s coming up next for you as an artist?
I have a 20cd box set coming out with one little Indian ( Bjork label) , I’m working on two new solo albums, an album with Michele Stodart, a collaboration with carol Ann Duffy and writing with other artists!
Kathryn Williams will be performing at Hope Baptist Church at 10pm on Saturday 11 May as part of Hebden Bridge Folk Roots Festival. For further information on Kathryn Williams visit https://kathrynwilliams.co.uk. For further information on the Hebden Bridge Folk Roots Festival visit www.hebdenfolkroots.org.
As mentioned, this interview was in partnership with “Last Night I Dreamt Of”, a website dedicated to theatre and performing arts. For further information visit http://www.lastnightidreamtof.co.uk/
We are sure there are more than one or two Show of Hands fans out there.
After all, anyone who enjoys folk of the rock-heavy kind with a side of introspective political lyrics and powerhouse anthems are bound to have heard of these influential artists, especially through the very different folk scene in the 90’s.
An important part of Show of Hands ethos is introducing new artists to the folk world, as well as giving them a little push and some encouraging words. Their efforts have helped bring wider public attention to artists such as Jackie Oates, Jim Causley and many others.
With this in mind we turn to Miranda Sykes, except with Sykes we have a slightly different story. Where are we going with this? Well first of all, who is Miranda Sykes?
Miranda Sykes is an artist who has cut her teeth in a number of different lineups and bands be it with folk-rock band Pressgang, a folk and roots due with Rex Preston or as part of a group dedicated to playing workshops in care homes and hospitals. By 2002 she had joined Phil Beer with guitar and then on from that she joined Show of Hands with her impressive Double Bass and guitar skills. On stage she strikes as someone who works hard and has doubtlessly experienced many different interesting facets of the music scene. She certainly does not seem afraid to try new things.
Sykes had a boost within the folk world from her turn in Show of Hands (she was a popular addition). She then turned her attention forward to solo work to see where her next steps lay. A couple of years ago Sykes took the plunge and toured with her “Borrowed Places” concept. Sykes described the album as “looking back” in the sense that it covers the geography of her youth, the rural Lincolnshire area and memories around this. We did not hear much of it ourselves but many that did describe it as a “beautiful”, “gentle” work. Having heard her rendition of the carol, “The Lily and the Rose” at a Show of Hands concert, we cannot endorse this sentiment any more strongly. So what now?
Now we find that Sykes is on tour again and comes to the delightful “Village Folk”, a monthly gig at The Lawns Hotel in Chellaston. Radiating warmth and welcoming to all without any exclusivity or inward-looking, Village Folk certainly takes in the most wayward travellers, gives them a dose of fine entertainment and sends them on their way. With a great sound setup, intimate atmosphere and a friendly environment we do not hesitate to make many trips all the way from Sheffield to see them, http://folk-phenomena.co.uk/village-folk/. We therefore look forward to Sykes taking the stage.
To start, let us say that Sykes has a lovely voice. Somewhere between cherry blossom and praline; Sykes is smooth, articulate and clear. This might not sound like saying much, but clarity of words could be considered like a commandment on one of Moses’ stone tablets to some folk fans. Sykes gives us more than ample chance to evaluate because on stage it is just her and the double bass (occasionally her guitar), and I don’t spot any foot pedal looping going on. “My Heart’s Where My House to Be” is an unaccompanied number that illustrates this with a loving gaze back and it’s title coming around and rousing the crowd more at each sing back.
We are also fond of the song “Fishing”, a song which we see much of Sykes herself in. It is about the practicals, about the craft and the doing and also the fond memories come with doing what we do, here it is fishing of course. Images of the coral reefs, the making up of the line and the landscape flood the senses as Sykes describes a picturesque scene of nostalgia. Sykes gentle guitar is like the bright heart-beat of the sun, the lapping of the river shore, it is all bright and clear.
Sykes also has some great call-outs to other folk artists as well. There is the still, sweet joy of friendship celebrated in her cover of “Sweet Peace” by Kerr & Fagan (which could be one of our new favourites). Capturing both voices in her hands Sykes shows the kindness of mind and heart with this selection, her voice like a delicate glass swan. There is also a cover of the bluesy “Running Out of Road” by Steve Tilston. It’s inclusion is an inspired one as Sykes’ voice descends to the more haunting and bruised voice of the genre and it gives us a chance to continue to experience Sykes’ undisputed talent on Double Bass. Its always good to see someone with mastery of this epic instrument, its even better to hear an affecting number brilliantly sung alongside.
There is a lot else to enjoy too. The most charged song that resonates with us is the song “Double or Quits.” It is a song that starts about a boy with an aerosol can and his criminality being laid bare, but the majesty in it all is it is an incredibly pointed song. Like a burglar treading softly in a wealthy home, Sykes’ is taking a crowbar to the floorboards and quietly exposing the riches within, or rather here it is the hypocrisy of sections of society. She points at the town planners closing down buildings at the expense of others, the police can take away the liberty and the high authority with their finger on the button of war and makes a case for the lack of proportionality for a crime committed. In terms of intrigue and political commentary, it is one of our favourite inclusions to the set and album, and Sykes’ performance gives a good powerful punch to the message.
Overall it is a great evening. Miranda Sykes is one of those artists who appeals to the sensitive souls amongst us. Her songs call wistfully to other times and places and there is a layer of innocent joy amongst it all like marzipan on a birthday cake. As she works in the solo capacity, she has an eye for nature and people and is a treat to be in the presence of. We are very much enjoying her solo efforts so far, we look forward to hearing more in the future.
Miranda Sykes is on an extensive UK tour, check out details of her album and gig dates here. http://www.mirandasykes.com/
Also, check out the Village Folk website for their upcoming gigs at www.villagefolk.org.
2019 is with us, and with it comes the next wheel of folk that propels it’s artists up and into the sun for the year to come.
First in our more regular series of album reviews we would like to cast our eye over a new pairing of Ruth Notman & Sam Kelly with their first album together, “Changeable Heart.”
We admit to not hearing much from Ruth Notman’s previous albums, “Threads” and “The Life of Lilly” but what we have heard has certainly sounded like the sweet song of Summer or the light and joy of a meadow. In the case of Sam Kelly, our senses are often assaulted by the happy-go-lucky yet stalwart and professional folk sound that he brings to his albums and have high hopes indeed. It is almost like he is the subject of one of those trad songs about a mischievous guy who turns the hay with a wink and a smile. So with this pairing there is the strong possibility that we might see a new dynamic, some new shades of the folk artist palette hitherto unheard from these two.
What emerges from this meeting of minds is primarily an album of distilled romantic attraction interspersed with small flashes of the darker facets of love. After all there are a few numbers about gestures of love such as the knotted excitement of proposal such as “Bold Fisherman” or in the “Sweet Lass of Richmond Hill” but there is more than just this. There might be a song about working for family love but with the caveat of the loss of a childhood (School Days Over), the comical and lusty bawdiness of “The Cunning Cobbler” or a hope for a loving future in their cover of, “The Island.” (Paul Brady) as well. Overall though, it is a work about joy and intense emotion (think of a bird of paradise in a love dance) and the album cover shows this with the stirrings in the chest being illustrated by the warmth of flowers bursting within the heart.
In whole there is a good selection of traditional songs arranged well with a smattering of synth electric instrumentation, the odd cover and a couple of original numbers that are fresh and interesting on the album.
The track “Changeable Heart” is an important original song for starters. Like a calm night in a lagoon it takes it’s time as both Notman and Kelly linger over the words, adding a swathe of heartfelt emotion to proceedings. It is performing with a sensitivity and collective joy that elevates what could be considered relatively simply lyrics into a direct and powerful experience. As a ballad and as the showcase for the album, it both encapsulates their match of voices and adds a punchy weight to the overall experience. It is also one of the tracks with comparatively more instrumental input such as electric tenor guitar (Damien O’Kane), moog synth (Josh Clark) and strings (Anthony Davis) where it is especially effective and a good choice.
When the album approaches more traditional fair it does not disappoint either. The inclusion of “The Cunning Cobbler” is a certainly a welcome sight as we do not hear it too often. You can tell that Kelly and Notman are having fun on this track, and why not? Sordid and grimy it’s a dark deed of a song that we are both expecting and wanting from this pair, and it delivers. The whole thing keeps pace with it’s banjo interludes (Damien O’Kane) and whistles (Ross Ainslie); the song’s history is like a cross between On the Buses’ Jack Harper hiding in a wardrobe and the grimy tones of Sweeney Todd. Overall a great entry.
Our favourite on the disc is probably their composition of “School Day’s Over.” As mentioned, it is essentially the loss of childhood as the song details little “John” putting on his work clothes to go down the pit, “Jim” going to mine, and Dai becoming a “collier” whilst reminding the sad truth that “school days over.” We love the atmosphere generated by the minimal drone of the instrumentation that harkens to this life transition. The instruments flicker like a wavering candle, it feels like the breaking of an early morning’s silence as the young boys look ahead to the day and life as it will be. We also love Notman’s voice, like a mother’s concern but also support of going to work and the idea of a son bringing money in love and support of the family. We recommend you check this track out, it is a moody and quiet version of a usually quite energetic number.
We are also keen on the duo’s rendition of “Bold Fisherman”, a more often heard but still excellent number. Opening the album, it shows both artists’ ability to sing; Notman is radiant and silky as a red fox’s fur, Kelly is delightfully restrained in embellishment (which is a good stylistic choice for this song). Another successful new track (probably the best on the disc) is “As you find your way home” by Notman. The piano accordion (Notman) adds a little spice and the chorus endings bring us back to the title with a warming familiarity, “As you find your way home.”
“Changeable Heart” is a welcome album as it points towards a good year for folk music. It is a disc of good song choice, a rather pure concept of love and a showcase of ballads, and most important an excellent intermix of Notman and Kelly’s voice (because that is an essential component of any duo). We feel Kelly is reaching quite successfully to his most heartfelt and contemplative and Notman is a great talent that we are pleased to now be acquainted with.
If you like a little romance in your life and you like a little more in your traditional repertoire then “Changeable Heart” is a good purchase. It is not an album that feels like it is attempting to square the wheel, but rather is making a very polished roller whose hub is held with a strength and clarity of two excellent folk voices.
The album is due out soon and there are upcoming tour dates, check Ruth Notman & Sam Kelly’s website (http://www.notmanandkelly.com/) and the Pure Records website (https://purerecords.net/) for more details and ordering information.
It’s been a little while and Derby Folk Festival 2018 has come and gone.. in fact, as of writing it is 2019 and there is a new year ahead!
We are pretty certain plans are under way for the next festival in October 2019, but in case you didn’t go last year.. let us give you our impressions of some of the goings on, the standout performances and general feel of this late year musical mixup. We couldn’t catch everyone, so apologies if we miss your favourite group out! There will be pictures and a few clips to give you a feel and hopefully get you excited about the return to Derby in 2019!
Last year the festival spread it’s wings a little more and has extended the festival to run from Thursday evening to Sunday. We could not get there for the Thursday, but we do hear that Gary Stewart’s “Graceland” and Zulu Tradition were extensively rocking the main festival tent. We can’t speak for Zulu Tradition as alas we have not witnessed them yet, but the “Graceland” set is a very good one. We saw Gary Stewart’s Graceland at Beardy Folk earlier in the year and they sound very, very like Paul Simon. They have the bustling energy you are looking for in bucket loads and for anyone wanting to relive the time of the album launch (or anyone new for that matter) they are indeed in for a treat of the ears by seeing them live, so we strongly recommend.
So let us start with some of the acts that got our attention.
A treat near the beginning of the festival, always a treat, is to hear John Tams & Barry Coope. Bringing a significant wealth of experience and poignancy to the beginning of the festival, this duo are clearly old favourites of the crowd. With pointed, emotive numbers such as a rendition of the “Manchester Rambler” (an ode which puts the highest amount of importance on this activity other all others… including marriage), the song “Sorrow” with it’s eye on loss in society and (presumably) unemployment, and also the “Devonshire Carol” (as heard in Warhorse) they bring a tear to the stanchest and toughest of people. A set that is quiet and dwells in the heart, we recommend catching these two if you get the chance.
It isn’t just Barry Coupes & John Tams whose music crosses into war-related music and stories. Luckily for us Louise Jordan arrives at the Guildhall Theatre with her trademark sense of class and humility, and most importantly with her excellent show/gig called “No Petticoats Here.” We have been looking forward to seeing Ms Jordan and her show every since the Great British Folk Festival we went to in 2017. We attempted to see her show in Skegness but due to the numbers, small size of the room, queuing difficulties and acoustics.. we couldn’t really say much about it. At the time of writing we are pretty certain she is working on her new show but if it is anything like the beautiful interlace of historical story, song and images we see in Derby, then we have high hopes indeed.
Conjuring up thoughts of the great war, Jordan does the job that everybody should have been asking her to do. That is bringing the voices of great women and their experiences to us to remember that we “were all in it” during the war. She certainly does and the show more often than not highlights some incredible sacrifices that were given which many would never of heard of. Not everyone is a fan of war-time related music but in fairness there is enough intrigue, guile and determination from the historical figures that Jordan brings to the fore, that it is incredibly difficult not to look on in admiration. Jordan’s voice is as powerful and empathetic as ever as well. Whether Jordan is teaching us about Ada Yorke (a nurse who wanted to be a doctor) who got the Royal Red Cross for exceptional nursing (in the song “Pride of the Army”), or about when women’s football teams arose to fundraise for children and families of soldiers (only for women’s football to be banned in 1920), she brings a sharp, observational style to her music. We can see what has been ignored for so long.
Jordan’s measured use of technology, design and choices allow the stage to be wholly about these important women. There are highs and lows, great characters and a lot of history to make this a fascinating evening show. Jordan is an enthusiastic sharer, her joy must be like a botanist finding a rare species of flower, except here the flowers are indeed the women of the Great War.
For that reason and the bright sparks that Jordan has captured from the tinder of the Great War, we consider her set one of three best things that we see at the festival.
Harp and a Monkey in the way that they are, are rather odd, deep and certainly furrowing their own path in the folk world.
We saw them a good while back at Village Folk in Chellaston and they were very good indeed. At Derby Folk Festival they were back again within the “Village Folk” segment of the festivities. The trio performed two sets over the day, each one coursing with a signature blend of the psyche (their cover of “The Molecatcher”), the reverent memory (The Gallipoli Oak), a tipping of the hat to Charlie Chaplin’s unusual role in the War (Charlie Chaplin) and their dipping into folk themes of old (Willow and the Ghost).
They certainly have built up an impressive repertoire of moods all blending in and out of each other. At Derby Folk Festival the sound was crisp and clear, their voices are both mournful and joyful as if moving across the veil itself, bringing these stories back. Their performance also reminds that they take risks, and whilst their use of electronic sampling will be a Marmite factor, it does bring shape and form to the whispers of stories past and put a signature to their invigoration of songs. Like a whisper travelling across the edges of your mind, Harp and a Monkey get in, reverberate and add to the mysteries of this world.
Without a question a swirling vortex of wind, Eliza Carthy et al’s entrance and reception at Derby Folk Festival is a reminder (in case you have been living under a no-folk rock for many years) that some voices cannot be contained by the constraints of nature.
Eliza Carthy and the Wayward Band have been formed since 2013. Twelve in number and probably 12 in volume and energy (sorry Spinal Tap), the band have gone from strength of strength especially since the launch of their 2016 work “Big Machine.”
Theatrical in sound, style and appearance it is a very awesome sight to behold. Ducking and weaving, jumping off the stage and bringing the feeling, Carthy and band certainly live up to the expectations from the album. They played some of our personal favourites such as, “Devil in the Woman” (a track of outrage and grit), “The Fitters Song” (a dark musical, but a number too good for any theatre I know) and the earthy, breathless “Hug you like a Mountain.” Words and descriptions do not really come close to the magic, spinning wonder and percussive excitement that you get from this individualistic band and show. It is like they bring the explosive pop of the champagne bottle to the Saturday, and we do not hesitate to put the group in our top three of Derby Folk Festival.
The day after In the Guildhall Theatre on Sunday we get the very big treat of seeing another rather special folk group that also comprises of some top-notch musicians. Just prior to the release of their third album, “Through the Wild” we meet Jade Rhiannon and band as they prepare for a focused, clean and intensive set. It is a show we have been waiting to see for rather a while.
Straddling a canyon of folk rock, folk pop and hints of indie, The Willows are a step into a unashamedly full, refined soundscape with a strong baseline and vocals that evoke the warmest of times. Somewhat easy listening, somewhat 90’s popular folk the limits of their reach cannot be fully measured in this blogpost; but we do manage to reach a verdict on their show.
Before we get there, we have to think about their set. There is something here for everyone, “The Visitor” is uplifting and a pretty tasty bit of percussion, “Better Days” is a sweet and optimistic song though it winds its body around a contemplation of grief, and “False Light” a song about the ghost lights of the fens. With False Light in particular you get a song with a supernatural theme being turned into a belting, big sound event. Melodic to the last and rocking from the start, The Willows make a case for a wider sound, quite probably with larger mainstream appeal and musicians looking for something a little faster and fuller like a turbo-charged double-decker bus.
We enjoy their set and have had a good listen to their third album since; certainly an interesting and inspired choice for the festival.
There is a lot to see and fatigue can set in towards the end of a festival though Derby Folk has a secret up their sleeves. It is in fact Sam Kelly & The Lost Boys!
We do like these guys. Their folk music is unabashed fun and melodic, they are dead cheerful in demeanour and they do know how to put on a show. Most importantly you sometimes want to listen to a bit of folk that makes you feel good, Kelly and associates do not disappoint.
At this point they are probably stood on a tall stone surveying the land and maybe breathing in the fresh air as they have a couple of albums out and their initial ep, and pretty much everybody know who they are. This is a good gig to see for it is an act of consolidation and reflection. They cover several songs from both albums including the affirming “Spokes”, a song which is one of our favourite interpretations of “A Golden Vanity”, anthemic “The Jolly Waggoners” and many many more. They have a lot of good material both slow and fast and this gig certainly reminds us of their ascent into the limelight. We look forward to seeing where they go next!
This of course brings us to Lady Maisery. Before we get into the nitty-gritty, let us say that Lady Maisery were for us, hands down the best act at Derby Folk Festival. It is not a statement we take lightly or with any intention to downplay the other excellent acts that were there.
Why? Might you ask. It is no secret we rate the vocals of Hazel Askew, Rowan Rheingans and Hannah James at the top of their game but they brought something else which they admitted themselves had reinvigorated their enjoyment of the live scene. That is, their sound engineer.
Apologies for my failings. At first I couldn’t get a good picture and secondly I didn’t write down the sound engineer’s name. But when hearing the trio within the Guildhall, and with this level of sound production and management it is pretty close to perfect. Clear, resonating vocals and a show that takes many favourites from across their albums such as “The Factory Girl”, “Order and Chaos”, “Honest Work” and the excellent “Poor Man’s Lamentation” from the multi-artist Songs of Separation disc (one of the best works we have heard of all time).
Combining a sense of general societal political songs (not anything about the current situation thank goodness), poignant and dark tales of human beings and a sternum-shattering cohesive, beautiful sound their often (but not always) unaccompanied voices are pure magic.
For that reason they are our third pick of the festival and an act that you should not miss should the chance arise to see them!
And Many Others…
The crowd going wild for Sam Kelly
A bit of street morris
Kim Lowings and the Greenwood with some material new and old
Jack Rutter
What treasure exists within?
The Lucy Ward Band
Oka Vanga
The Carrivicks
The Kimberleys
There are many, many others who graced the stage who we saw and enjoyed thorough. Midnight Skyracer, the all-female bluegrass phenomenon were here continuing their explosive entry into the scene with fast fiddle, deep bass and an incredibly joyous set of songs to behold. Jack Rutterer had a great acoustic set touching on folk of all corners including the well-known “John Barleycorn”, The Kimberleys remind of acoustic folk of old: simple, happy and refreshing, and Oka Vanga have their time in the light of Derby Cathedral bringing songs of myth, nature and heartbreak.
So all-in-all an excellent festival. We saw a lot of artists here, many who we haven’t mentioned- the joy of Derby Folk Festival is it certainly gets the artists in!
Check out our sample videos below of the acts and get over to their websites for more information about them!
Keep your eyes open for Derby Folk 2019 and do not forget to get your ticket when the time comes at the website.
Rachael Mcshane has trekked through the valleys of folk music theatre with her star turn as Susannah, a new mother fighting through hardship on a boat to Australia in “The Transports”, dazzled under the lights of big band folk in “Bellowhead”, and made a flourish as a solo artist and teacher throughout her musical career. Drawing together an accompanying band from the bright beacon that is the North East called “The Cartographers” she looks to do Newcastle and the region proud alongside well-travelled guitarist and singer “Matthew Ord” and “Julian Sutton”, a melodeon player with some big name artists he has played besides. This album boasts a large number of guest musicians too, too many to name but a couple that spring in recognition include “Paul Sartin” on oboe and “Ed Neuhauser” on tuba.
There is a kind of no-nonsense, starkness to the album art. With clear, sharp photography McShane sits in her polka-dot dress maybe waiting for an incredibly refined jam session (musical jam, not toast but there is a lovely looking cup of tea there). Bright and colourful we get an early insight into what the album is about, like the shining of a glittering beam of light across the parchments of old. The clarity and level of communication of Mcshane and bands characters are unsurprising when you know it’s an Elly Lucas series of photos, as she is one of the best artist photographers of this current age. Like the warm embrace of your favourite feline, you know you are getting quality when she is involved in your work.
Starting with The Molecatcher (Roud 1052), McShane and group are almost literally “jumping over the stile” with their performance. It’s like a much jollier jaunt than we are used to on this dark, crawling beast of song with the feel of secret winks, closed doors and money being passed for turning the other way. It’s like the group have turned over the dirt and manure of the situation to make way for roses, especially with the affable melodeon cutting a jolly path indeed through the song. McShane sings with joy and glee, and the mandolin chases playfully it all works well and brings something different again to this little favourite of ours. Whilst the message of the song doesn’t change, the delivery certainly has and by an unexpected and delightful means.
A track that feels like a parade at the the Country Fair is “Ploughman Lads”, a take on The Plooman Laddies (Roud 3448), a Scottish love song to the tradesman essentially. A little quicker than older versions and a hint of modernity with its rolling drum means these hunky men get a little bit more of a fanfare and red carpet in virtue of a glowing enthusiasm baked into this interpretation. It is a folk song which in this iteration feels like it deserves it’s place in a broadway musical somewhere where the central female protagonist is putting her sassy friends right about “where it’s at” with different types of men (or in this song, are “all the go”). It is certainly a toe-tapper and dancer, and another example of McShane’s optimism being manifest on the CD.
Another high point on the album is the band’s rendition of “Sheath and Knife”, a famous ballad (often) about incest with a sad conclusion (well, despite the subject matter). Alongside their take on “Two Sisters” it sits as the biggest divergence into melancholy that the album musters through it’s course. In terms of grim songs done well, we feel that the take on “Two Sisters” slightly edges it with its diversionary ending that cements the murky, brutal realism of murder and theft. McShane acknowledges the “cynic” in her for stripping out the magical elements of the singing-corpse-musical-instrument thing, but it works well as she strips down the dressing like a butcher removing the sinew from a carcass. It leaves the cold, meaningless of death as the final point in the story as the body is thrown back in the water and you feel just that little bit more grubby for listening.
This is a good album to get your mitts on as within Rachael McShane & The Cartographers have made a good selection of songs that demonstrate a certain type of bustle, energy and life to this songs that are sung reasonably often across the folk world. Their optimism is rising like bubbles in a prosecco, if you want to join the party.. I’d bring a glass.
“When all is still” is available from several stockists. We would recommend going to the bands page and purchasing there if you are interested!
With “Only a Flight Away” there is a gear change from the “Country Lane” to the “Highway Lane”. Working and skillfully taking influences from all round this is an artist who is more assured, more confident and more accomplished.
What comes to mind when you think of refinement? Fine wine, some blue coloured cheese, a hat tailored in such a way to make you look suave?
Of course it is all these things (unless of course, you have an aversion for food that admittedly on occasion smells of socks) but according to the dictionary it is more specifically, “the improvement or clarification of something by making small changes.” With Robert Lane’s latest album, “Only a Flight Away” we get a good, if not one of the best examples of fine tuning from an artist we have come across this year. Before we get to the meat of the album, who is Robert Lane?
Shakeypix Images
Robert Lane is an acoustic performer and singer-songwriter who has had the pleasure of performing as support for the likes of Bob Fox and in the company of greats such as Fleetwood Mac, Mark Knopfler, and Eric Clapton. He also seems to roam close to my distant homeland in Brum, is part of an improv group (The Improlectuals) and gives guitar lessons (maybe one day if I ever master fiddle). An artist with a few projects on the go and a keenness, his profile is growing all the time. With this latest album, Robert returns in a followup to his previous EP “Ends and Starts” from 2016 and as we have alluded to already, it is a different kettle of fish to this previous work.
Bigger in scale, richer in sound, “Only a Flight Away” is the equivalent of a ballerina putting on their shoes or Columbo putting on his dirty mac in that Lane has found a part of his character, outlook and sound that he is rightly accentuating for others to see. In creating the album you get a strong sense of direction that Lane is staring in, he has sight of the path he wants to take, and part of this path is political commentary. The album is primarily a core of songs about the relationships, identity and self-musing but every now and then Lane’s devil inside, a grinning spectre emerges to comment about certain powerful men of the world. He is a bit like the strategic boxer, he isn’t coming out with flurry after flurry of missing blows, he takes his time and makes the right shots and much like in this situation, it is more the better for it. After all, in so much media making these jabs at Trump and America can be so easy and saturating that is tired to make the same allusions over and over again. Lane doesn’t do this, he makes is matter when he does it and then moves on.
Take “Man of the Moment” (track 2), it could be seen as purely a Trump missile (especially with it’s modern trappings of “post truth”) but that aside, its gravelly, slicing guitar riffs, encircling voice and hints of percussion has more to say. Your initial sense is of the Killers at the top of their game with it’s thumping, melodic beauty but thinking about it, if the film (and book) of American Psycho wasn’t so heavily based in the 80s, this could easily be an accompanying track to that. Lane’s lyrics could easily be the monologue of Patrick Bateman’s ego trip, smirking and thinking of self love (instead maybe of the Phil Collins we got). A beast of a song and recognisable as the standout hit on the album it is a great example of how having good sound production certainly makes a difference where it matters.
There are some other great numbers too. “Baby Knows” is a clapping, blues-led number that you could drink some good (and not so good) bourbon too. A positive, warming song which, like the album as a whole, has a fond regard to guitar performance with some lovely picking here to contrast to track two’s power chords. Its not reverence to the guitar like a church setting, more like Lane and his guitar are both in a biker gang, his guitar has a skill for arm-wrestling and this song is flexing it’s biceps. Kind of chummy like he knows it’s got him out of some scrapes in a tequila bar. As mentioned, there are some claps and harmonies there and the joy of the mixing is that the guitar has a prominent place, but nothing else is drowned out in the process.. which is certainly what you want.
Shakeypix Images
Another favourite on the album is “Far Too Busy.” Consciously structured as a lyrical and audio narrative, it does great things with an electronic baseline, piano and harmony. Starting as a recently modern sound (I get echoes of Lorde) it starts with a light industrial feel, maybe situating itself in a great conurbation like Birmingham. It is airy though with threads of dreampop, piano flourishes from Queen, and social commentary folk of the 60s. But there is genre time-travel all over this album, and repeated listens bring out some of the finer elements of the creation process be it the more rock opening of “The Hundred House” with echos of “Layla” and “The Good, the Bad and the Ugly” or the slightly 90’s “calling out into the darkness” Oasis sound of “Bill Frost’s Flying Machine,” the comparisons could go on. If this doesn’t sound like high praise, it is. Bear in mind we usually only get enthused with guitar if there is a song about someone dying at sea being sung over the top of it, this album does have the power to remind of the musical influences of the past and that is always a good thing. The joy of these influences are that in the album they are glimpses, much like the fleeting memory of one’s earlier days of fast romancing (or if not applicable, I don’t know maybe a great whisky you had years ago!)
So when it boils down to it, it is a varied album. Lane shows us the different shades of his guitar and makes an earnest, successful stab at bringing a sense of fun and attitude to what he does. A series of guitar songs about relationships doesn’t always float our boat but it does here as there is a great use of the resources around Lane and in terms of polish the sound production on “Only a Flight Away” is like that of an album from a big, mega, world-touring band and quite unexpected for a more humble artist.
An auspicious beginning in the sun, Beardy brings the breadth of bigger festivals to you in a space which is convenient, friendly and relaxed
Like when the blacksmith’s hammer is at it’s hottest, June this year was aglow with fire, heat and sparks.
Festival season was underway and the musical magic about to happen for many people who get to choose their poison (alcohol, cola, tea) and go to a festival to choose their other poison (pop, jazz, folk, hip-hop). For a few days over late June we decided to opt for Folk as our medium of choice and travel down to Shropshire for the first of what is shaping to a nice additional to the festival calendar, the “Beardy Folk Festival.”
It lived up to it’s name, that’s for certain. One of the artists (I cannot remember which) did point out he thought he’d walked into a ZZ Top Convention. Yes there were beards and they were that impressive, my boy stubble was of no compare.
Bearded stuff aside, the festival was home to some children’s entertainment, a mini funfair and opportunities to eat, drink and buy around the fantastic walled Hopton Court. Thankfully with the expansive, warming sun we found a few areas of shade to cool off and certainly left the festival with a tan! We are certainly liking the trend in festivals where the bar is encouraging people to hire the containers or bring their own. Beardy had their own take where they sold you a commemorative container for £1 and you keep it for the festival all the way through and beyond. Certainly environmentally better than binning a pile of plastic.
We also found that there was excellent sound quality all around, good scheduling (you could see absolutely everything) and some brilliant acts to boot; the beer was quite awesome too. It’s more contained than expansive city festivals (like Oxford Folk Festival) so what it loses in it’s varied sprawling historical setting it makes up for in convenience and pleasant surroundings. The only musical tent being an acoustic tent was good also, not much need for jostling to get to the front, everyone can see and have to bring their own seats.
That’s the festival generally. What were our musical highlights? See below and have a quick sample!
JOSHUA BURNELL BAND
We continue to sing the praises of this modern, psychedelic outfit that brings the animation of yesteryear folk and collides it with the vitality of youth. Singing a number of folk songs, some bombastic in their rock interpretations (The Lowlands of Holland) with other more considered numbers (such as a version of “At the Harbour”) or bloodythirsty tales of revenge, “The Smuggler’s Tale”, they continue to be a a festival catalyst. Like the spinning leaves of Autumn that trigger a beautiful memory as they crunch underfoot, the Joshua Burnell Band always liven up the place. Their belting of Scots set, “Plane Tree & Tenpenny bit” is like the crack of a lion tamers whip as it curves around the stage, it is even more with the recent addition of Holly Brandon on fiddle, they really are hitting their groove in style.
With a big band rock edge, inspiration can be seen from Steeleye Span with their spin on “Blackleg Miner” and Fairport Convention’s “Tamlin” and these models certainly suits them as the joining chorus of instruments keep pace with Burnell’s dancing hands and swaying hair.
Always a pleasure to see and hear. For us the Joshua Burnell Band are like the person at a party who finds and open the champagne in the middle of celebrations!
We admit that the sun always shines on us with the Carrivick Sisters. A duo who have been influencing and informing folk and bluegrass for a while, it is statistically possible that their down-to-earth characters and earnest, exploratory songwriting could not do the trick one day.. but that would be a sad day indeed (and we do very badly at maths).
At Beardy, they were joined by Kieran Towers. Kieran has made an album with Charlotte Carrivick, “Wolves a Howlin'” that looks at Appalachian Folk Music with new eyes, and his presence here was very welcome indeed. They performed some excellent songs including the historically drenched “1912 House” that oozed sadness and the feel of another time, the burning and aching wonder of their take on “The Blackest Crow” and the delicate racing burst of “Piggy Bank”, an instrumental that reminded of the sugar rush of crushed skittles.
They also sung of Snowdonia and maps, responding to a Yew Pine Mountain in an original track (“No Yew a Pine Mountain”) and an old tortoise, in a great set of versatility.
Dynamic and versatile, Towers and the Carrivicks make it look easy and effortless. To hear more of Charlotte and Kieran go here http://www.towerscarrivick.co.uk/, for the Carrivicks go here http://www.thecarrivicksisters.co.uk/.
KITTY MACFARLANE
Imagine a quiet cave with you inside and your thoughts on the walls around from a mythological adventure you have returned from. This is how you might come to understand the music of Kitty Macfarlane. We have been waiting to see her for quite a while, the last time we caught any of her set was at Oxford Folk Festival last year.. but that was literally ten minutes (we got lost on the windy streets).
Beardy Folk made it very easy to find her this time so there we were! Kitty’s set didn’t disappoint.
Several of the songs tickled our interest of legend and story such as the “Glass Eel”, the world-spanning creature and “Avona and the Giant” about the muse of brothers “Goram and Vincent” from Somerset lore. The latter is much like the singer herself: quiet and effective as it makes it’s way into the world. The afternoon sun definitely got softer with her musical presence. And then there were other songs such as her song about fishermen in North France “Tide and Time”, and a new song she had composed for a newborn in her family “Dawn and Dark” about there being bigger challenges for the child as they grow up and even better things to come in the future.
Enjoyable, mellow and contained we recommend you see her where you can.
At the point of Kitty’s debut album is on it’s way on 21st September, “Namer of Clouds.” Go to her website for more information http://www.kittymacfarlane.com/
GRANNY’S ATTIC
With Granny’s Attic we feel that they are at the point where their lightening might strike, we have heard the rumble of thunder and now the energy is coming down from the skies. With a fairly extensive tour schedule and
Granny’s Attic are a trio of young, exasperatingly talented musicians who (we think quite rarely) sail their boat around the rock of traditional folk. There aren’t the only young group who are, its just that few seem to accomplish it with the kind of trad-purity and dedication to the cause. Like a herd of plucky mountain goats you can try to catch their sound and energy but they will run away with it.
Our favourites were “The Wheels of the World” with a particular message about society, the great titled “What I Saw In My Dream (As I Slept in My Chair)” a kind of delirious dream of what the world could be like, and of course their saline, punchy version of shanty, “Away to the South’ard.” The winds of the world were blowing indeed and these guys answer the call.
A funny bit of the set was how the band described how they might have burnt their bridges in local Worcester venues (because they weren’t very good back then) and have found fame elsewhere. It is certainly encouraging to hear how musicians always start from somewhere (and it happens they are from near where we grew up).
They are a young image of folk that takes everything you like about the traditional scene and adds a dash chilli to heat it up, go to their website for more info https://www.grannysattic.org.uk/
URBAN FOLK QUARTET
Dishing out intricate musical performance with the energy of a piston engine, the Urban Folk Quartet opened with “Long Time Traveller” an earthy, rich hewing of ancient wood and soil. There is plenty here with fiddle, guitar, banjo and some serious percussion that extends it’s grasp into those areas between experiences that spread beyond geographical boundaries. Awfully tongue-in-cheek with their prowess there is so much to like whether it’s Dan Walsh’s clambering and speeding “Whiplash Reel” (after what we presume is an intense Indian car journey) or a three piece tune that celebrates the experience of joining (and then running away) from the circus; there are many things to be happy with and many subject matters to get lost in. “The “Whiplash Reel” rolls off the banjo almost effortlessly and sings of unfamiliar streets, the song is layered like a strata of land that bristles with India’s many precious metals perhaps inviting you for a prospect of your own.
Enjoyable and reaching for those places you didn’t know existed, the Urban Folk Quartet are another band to add to your list, https://theufq.com/
There were many other sets we enjoyed at Beardy too. There was a rare appearance by Richard Digance, comedian and singer who sand many from his repetoire “What’s the use of anything?”, “Jack of all trades” and “Sod’s Law.” An all-round entertainer, Digance explained the showbiz world and where he feels he fits in it, it was surely entertaining to realise where all those daytime TV guitar numbers had come from. Grace Petrie was a force of nature. We hadn’t seen a full set of hers until this time (previously caught her as part of the Coven) so it was a joy to hear a strongly political (but often personal) voice to the mix of proceedings here. Extremely self-aware (her musing about just how “left” she is is telling, and something I battle with myself) she was a thundering cannon on these thoughts in “Nobody Knows I’m a Fraud” before launching into “Ivy” a runaway hit of her set (and would have been at the festival were it not for the Graceland set). Her self and being is held up for all to see, a heartfelt performer that laments her lack of finding a particular niche but exhibits the qualities of freedom and break from tradition that much folk shys away from.
We also enjoyed the continuing success of Kim Lowings, which was seen even more here and the comedic but vivid waves of tunes from the Jaywalkers who supplied not only the offbeat, unexpected numbers around burnt chilli and a “Mountain Chicken” but also a very fine cover of “Tainted Love.” Bright and piercing like an arrow of light, they are a quality act. Other musicians of note were Roberts & Lakeman, Skinner & Twitch, and Jim Moray but there are too many to mention here.
Beardy Folk was an incredible success. A good opener with a recognisable and varied type of artist, an open location with a complimentary sound setup.
Hi all. We hope the sun has brought some joy to your weeks and a smile to your face!
We are back after spending much time at the Beardy Folk Festival (which we will tell you about very shortly), because after all it is still festival season!
Today we would like to introduce a number of artists who sat down and had a bit of a chat with us about the upcoming “Underneath the Stars” Festival. What is “Underneath the Stars”?
Well, “Underneath the Stars” cannot really be considered apart from the efforts of Joe Rusby (and others), and singer Kate Rusby who always forms a part of proceedings. For many, folk music has always taken pride of place in the heart and never ceases to illuminate the top shelf of the CD rack (or now maybe the top disc of your computer hard drive!) But for others later to the game, it can seem a genre with a difficult way in. Kate Rusby is many people’s way in, and it’s hard to see why not. Great vocals, singing voice and arrangements truly warrant her moniker of the “Barnsley Nightingale” and this year along with many, many others they will entertaining at Cinderhill Farm near Barnsley.
Check out their website above and get yourself there, its a lineup of kings and for us a special occasion so quintessentially South Yorkshire.
Anyway before we go, we decided to speak to a few of the artists going and this is who we stumbled upon, have a read and get ready for :
We start by having a brief chat with Pitou, an intelligent music adventurer. Dutch-born with a palpable sense of experimentation in emotion, the Independent described her as “One of the most arresting voices to emerge out of 2017, Amsterdam-born artist Pitou has earned comparisons to singers such as Laura Marling and Julia Holter thanks to her intelligent brand of folk-pop.” There is something intriguing here, like the delight of a sharp, glass figurine that catches the corner of your eye in a room full of porcelain we have high hopes as she crosses the sea to share her vulnerable, exploratory music in South Yorkshire.
Pitou will be performing on the Little Lights Stage on Friday 20 July.
I: Tell us more about yourself?
Pitou: My name is Pitou, I am from Amsterdam, and I will be playing at Underneath the Stars with my wonderful band. We can’t wait to play.
I: Describe your music in five words?
Pitou: My first answer would be: Please Come Look For Yourselves. It’s always kind of dreadful to try and squeeze your music into a couple of words. But let me try again. Folkpop, Harmonies, Emphatic, Human, Delicate.
I: What’s your favourite song to perform and why?
Pitou: We do a couple of acapella songs. That’s always a special moment in the set. I’ve sang in a classical children’s choir when I was young, and these songs are a way of showing how wonderful just voices can be – but to a completely different stage and to a different audience.
I: What are you looking for to most about performing at the festival?
Pitou: We are looking forward to pretty much everything – the road-trip (we are coming from Amsterdam, and playing in London the day before), the sightseeing, but mostly the performing itself, and meeting new people.
I: Who else are you looking forward to seeing perform at the festival?
Pitou: My drummer was beyond excited when he found out that we are playing on the same stage as Steve Earle & The Dukes.
I: What’s next for you after the festival?
Pitou: We will play some really nice festivals, and I am already working on new music, which I’m really excited about. Right now we are starting to play abroad more and more – and it’s wonderful to see all these different places, whilst discovering that the people that come and listen are not that different from each other. In a very beautiful and positive way.
Rock and Roll never goes out of fashion.. and quite rightly so.
Taking elements of Rockabilly, Country and Blues and mixing it across their original set, Howlin’ Rick reaches back in time and tickles the nostalgia of yesteryear. From what we’ve heard it’s got legs.. and they want to move. Eschewing an homage and instead bringing something that sounds quite fresh and with solid workmanship we spoke to the Leeds multi-instrumentalist ahead of the festival.
Howlin’ Rick & The Rocketeers will be performing on the Little Lights Stage on Friday 20 July.
I: Tell us more about yourselves?
HR&TR: We are a five piece Rhythm n Blues band from Yorkshire. We play original material and try and keep it rooted in mid-50s Rock n Roll & RnB. Most of our time is spent travelling up and down the UK playing our set at Rock n Roll clubs, bars and Rockin’ Festivals.
I: Describe your music in five words?
HR&TR: Original Rockin’ Rhythm & Blues.
I: What’s your favourite song to perform and why?
HR&TR: The song of the moment for us is our new song “Lovin’ Days Are Through”. Got an RnB/Gospel feel. It’s going to be released in November as our first single.
I: What are you looking for to most about performing at the festival?
HR&TR: This festival has a great reputation. Everything from looking after the artists, the quality of the stages, sound team and last but not least how up for it the music loving audience is!
I: Who else are you looking forward to seeing perform at the festival?
HR&TR: We are there on the Friday so after we’ve played we are gonna check out Steve Earl & the Dukes
I: What’s next for you after the festival?
HR&TR: Next up we are playing more festivals but one of the most exciting things for us is our first single coming out in November followed by our first album in Spring/Summer 2019.
Folk music through and through, the Melrose Quartet are high profile indeed within these beautiful fields of traditional music that are soon to be filled at “Underneath the Stars.” We cannot do much but sing their praises, and also point out they were one of the few lucky groups to win one of our “Halo of Folk” Awards this year (listen to our award podcast at www.folk-phenomena.co.uk). We spoke to Jess Arrowsmith (on fiddle) about the upcoming festival.
The Melrose Quartet will be performing on the Little Lights Stage on Saturday 21 July.
I: Tell us more about yourselves?
Jess Arrowsmith: Melrose Quartet are Nancy Kerr, James Fagan, and Jess & Richard Arrowsmith. We’ve been good friends for a long time, and all are established performers with quite a range of other projects, but the band came together after ending up living on the same street and having babies at the same time as each other, spending a lot of time hanging out together singing and playing socially, and realising that the combination of all four voices plus two fiddles, box and bouzouki was a bit magic. It is one of those bands that feels like considerably more than the sum of its parts, and we genuinely have enormous fun making music together.
Jess Arrowsmith: Such a difficult question! That is like asking us to choose a favourite child!! If we are only allowed to pick one then probably Dominion of the Sword (17th century words with the snap of modern rap, put to a gutsy traditional Breton tune by Martin Carthy in the 1980’s – always gets the adrenaline going.).
I: What are you looking for to most about performing at the festival?
Jess Arrowsmith: Playing and singing for a new audience – none of us have been to the festival before.
I: Who else are you looking forward to seeing perform at the festival?
Jess Arrowsmith: Never seen Steve Earle live before but have listened to his music for a long time, so that is pretty exciting.
I: What’s next for you after the festival?
Jess Arrowsmith: Lake District Folk Weekend 3-4 August, Dartmoor Folk Festival 10-11 August, Whitby Folk Week (where we are patrons) 18-24 August.
One of our most anticipated acts for “Underneath the Stars” is John Metcalfe.
We can’t put our finger on it, maybe its the trip-hop influence on the song “Wrapped”.. or the slight breakbeat inflections of “Sycamore”.. or maybe it’s just the pure sleeves of talent on these performers but we are loving the soundscapes and departure from the bound and usual. Either way they are on our horizons, and should be on yours. Check out our brief stop and chat.
John Metcalfe will be performing on the Little Lights Stage on Saturday 21 July.
I: Tell us more about yourselves?
John Metcalfe: We like a small tequila after the show.
I: Describe your music in five words?
John Metcalfe: Dolphin, Tree, Copper, Dusk, Dopamine.
I: What’s your favourite song to perform and why?
John Metcalfe: ‘Sun’. It’s 20 minutes long and is a bit of a journey…
I: What are you looking forward to most about performing at the festival?
John Metcalfe: The lights going down just before we play.
I: Who else are you looking forward to seeing perform at the festival?
John Metcalfe: Everyone we can!
I: What’s next for you after the festival?
John Metcalfe: New album release and producing a new album for Ben Murray and Rosie Doonan.
With her quanun in arms and the drive for bringing peace through music, Maya Youseff is very curious indeed. She has played in Syria, at the proms and now she is playing at “Underneath the Stars.” Playing in opposition to Syria’s troubles, she is a truly great, original and ethical pick for the festival and we look forward to the event that her set absolutely will be.
Maya Youssef will be performing on the Planets Stage on Sunday 22 July.
I: Tell us more about yourself?
Maya Youssef: I am a dreamer, a bringer of peace, and a rebel. The ‘proper’ way to describe myself is a Syrian qanun player and a composer based in London. The qanun is a 78 stringed- plucked zither often referred to as the piano of Arabic music.
Maya Youssef: That changes from time to time. Currently it’s ‘Queen of the night’ because it’s the most uplifting mischievous track on my album Syrian Dreams.
I: What are you looking for to most about performing at the festival?
Maya Youssef: I love myself an intimate festival … the people, Yorkshire…I would say pretty much everything!
I; Who else are you looking forward to seeing perform at the festival?
Maya Youssef: Kate Rusby. I am also looking forward to discovering some new music.
I: What’s next for you after the festival?
Maya Youssef: Two gigs in Ireland including one at the National Concert Hall, Dublin and then my UK Autumn tour in some pretty epic venues.
So there you go. Five artists and groups, five different voices and messages.. all in once place.
Playing on the Acoustic Stage at 8.30pm on Saturday 23rd June. For further information on Fly Yeti Fly visit http://flyyetifly.com.
I: Tell us more about yourselves?
Darren and Lorna: We’re Darren Fisher and Lorna Somerville. We met six years ago at an open-mic night in Torquay, Devon, and we spent the rest of that night sitting under the stars together writing songs until sunrise. Shortly after meeting, we moved to Belgium, lived in a caravan and worked on an allotment, and it was during that time we wrote a lot of the songs that are on our first album. We then moved back to Devon and started gigging together, getting known locally as ‘the yetis’ and sharing our music with people all over the south west. We’ve since got married, and we now live on a narrowboat on the Kennet and Avon Canal – we draw a lot of inspiration for our music from the natural world and the people we meet. People say that our sound is reminiscent of the late-60s folk scene, and we released our debut album, ‘Shine a Light in the Dark’, last year.
I: Describe your music in five words?
Darren and Lorna: Dreamy, honest, delicate, quirky, enchanting.
I: What’s your favourite song to perform and why?
Darren and Lorna: That’s a tough question, because each performance feels different, the room is different, the audience is different, so it can change all the time! At the moment, we really enjoy playing ‘The Mermaid Song’. It’s a song we wrote based on the Cornish folk story about the Mermaid of Zennor. The song is romantic but also dark, and as it progresses, a change occurs in the music and it morphs into something quite psychedelic.
I: What are you looking forward to most about performing at the festival?
Darren and Lorna: Well, it’s a brand new festival, so we’re excited to visit the site for the first time and meet lots of new people. We’re playing on the Acoustic Stage, and we really love playing smaller stages that give us a chance to interact with people, get a feel for the ambience, and vibe it. That’s the best thing about performing live.
I: Who else are you looking forward to seeing perform at the festival?
Darren and Lorna: We’re particularly looking forward to seeing Jim Moray, because we’ve followed his music for some time but have never seen him live, and also 3 Daft Monkeys, who are loads of fun to dance around to! There’s also a lot of acts on the Acoustic Stage that we’ve never heard of – festivals are a brilliant way of discovering new music, so we look forward to catching lots of other acts.
I: What’s next for you after the festival?
Darren and Lorna: After Beardy Folk Festival, we’ll be travelling to Dorset to play ‘Folk On The Quay’ – a fantastic free festival which is organised by the masterminds that also created the wonderful Purbeck Valley Folk Festival. We’re also looking forward to playing Cornwall Folk Festival in August, and Glastonbury Abbey in September. We’ve got a really busy summer ahead, with lots of gigs in country pubs and smaller festivals too.
SKERRYVORE
Playing on the Main Stage at 10.30pm on Saturday 23rd June. For further information on Skerryvore visit http://skerryvore.com.
I: Tell us more about yourselves?
Alec from Skerryvore: Skerryvore create a unique fusion of folk, trad, rock and Americana that represents all the different personalities and upbringing of the 8 band members who hail from different regions of Scotland
Alec: Usually our favourite song to perform is the latest single because it’s what you’ve most recently put all the hard work into and it’s still raw and fresh to perform. Our latest single is ‘Take My Hand’ And it’s great to get the audience reaction on a song they’ve probably never heard before.
I: What are you looking for to most about performing at the festival?
Alec: It’s always fun to play to a new audience and we love playing at music festivals. It’s an exciting challenge to convince an audience to join you in having a great time.
I: Who else are you looking forward to seeing perform at the festival?
Alec: I think the most interesting part about seeing other artists at a music festival is discovering a hidden gem that you’ve never heard before so we’re looking forward to discovering and adding some new music to the soundtrack of long van journeys.
I: What’s next for you after the festival?
Alec: The next big one in the calendar after Beardy is Moonbeams Festival at the Wold Top Brewery in Yorkshire. It’s a fantastic festival run by our lovely friend and booking agent Leila and we’re the patrons so it’s always one for us to look forward to!
GARY STEWART’S GRACELAND
Playing on the Main Stage at 5.15pm on Sunday 24th June.
I: Tell us more about yourselves?
Gary: We’re a bunch of Yorkshire-based happy-go lucky musicians who get together to play this awesome Album of South African music. The band comprises of musicians from other bands-three of us play in Hope & Social,one of us plays in Wilful Missing and our drummer used to play for Nightmares On Wax and is currently Peven Everett’s drummer.
I: Describe your music in five words?
Gary: Sunny. Jangly. Harmony. Drenched. Loviness.
I: What’s your favourite song to perform and why?
Gary: I love playing The Boy In The Bubble as it’s our opening number, and it sets the rest of the show for us. And I just love the opening with the massive drums and accordion!
I: What are you looking for to most about performing at the festival?
Gary: It’s a new Festival so there is the expectation that we’ll play to a whole bunch of new people and that these people will come and see us play ‘Graceland’ again and again 🙂 Also,if it’s sunny then I’m looking forward to playing a lovely stage of lovely people in the Sun!
I: Who else are you looking forward to seeing perform at the festival?
Gary: Urban Folk Quartet! Chris Helme is amazing. What a voice. My mate Dan Webster is also playing so I’ll be sure to catch him also.
I: What’s next for you after the festival?
Gary: More Festivals Ha! We have Moonbeams, Respect Festival, Just So, Head For The Hills to play and then we’re off to Portugal in October for Costa Del Folk (and a long awaited holiday!).
3 DAFT MONKEYS
Playing on the Main Stage at 8.15pm on Sunday 24th June. For further information on 3 Daft Monkeys visit www.3daftmonkeys.co.uk.
I: Tell us more about yourselves?
Tim from 3 Daft Monkeys: Bringing vibrant and sparkling new songs from their new album “Year of the Clown”, festival favourites 3 Daft Monkeys return to perform a brand new set of their quirky, original and upbeat fiddle-driven tunes. Now with a four-piece line-up, the band are taking their famously dynamic live show to new danceable dizzy heights.
I: Describe your music in five words?
Tim: Lyrical, Tuneful, Danceable, Wild and Original
I: What’s your favourite song to perform and why?
Tim: Year Of The Clown as it’s new and relevant
I: What are you looking forward to most about performing at the festival?
Tim: Playing to a whole new audience is always a buzz.
I: Who else are you looking forward to seeing perform at the festival?
Tim: Never seen Urban Folk Quartet but heard good reports.
I: What’s next for you after the festival?
Tim: Lot’s more Festivals !!!
And finally … www.lastnightnightidreamtof.co.uk interviewed Kathyrn Roberts and Sean Lakeman, who will be performing on the Main Stage at 2.30pm on Sunday 24th June, to promote their new album Personae. To read the interview click here
