Tag: Appalachian

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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!

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The Idumea Quartet- “More Than One” Review

Classical musicians take on the Appalachians and win while still dressed in their tuxedos and ballgowns.

Release Date – 9th April 2020, relisted to 1st November 2020

Label – Penny Fiddle Records

Like an inhale of peppermint-laced breath, The Idumea Quartet’s debut album offering is a spicy yet cooling work whose self-description of “tradition, innovation and whimsy in equal measure” is pretty much on the money. Comprising of Ewan Macdonald (violin), Jane Rothfield (violin, vocals), Rebecca Wolfe (Viola, vocals) and Nathan Bontager (cello, vocals), this fearless foursome have engaged in some considered work in applying their classical trained skills to reworking Appalachian folk music. 

Credit: David Rynkowski

You see, while this album is a sustained effort of chamber-folk it has its share of whimsy too. It is the kind of shake-up that makes this album like a flash of the magician’s deck of cards, and therefore something interesting indeed. The refreshing nature of “More Than One” is perhaps that brilliant friend you have who wears flowers in her hair and is often seen vaulting into the middle of a sardine packed dance floor full of energy and vitality. To look at her you might think that spontaneity is ill-informed, but she has done this many times and has the experience to back-up the novelty. Let us look at the tracks and see this in action.

The first is an excellent set of “Falls of Richmond/Grub Springs”. We particularly love this version of “Falls of Richmond” which whilst sticking close to how you expect the tune of the James River and small waterfalls therein, the training and orchestral bent of the quartet are here to enjoy. It isn’t played super-fast, the tune can be savoured and enjoyed as the parts all converge, rise and fall into the springier “Grub Springs”. A joy to begin, though potentially misleading like the pleasant ambience of walking into a sauna, things are going to get hotter quickly. Unlike a sauna though where it generally just gets very very hot, you do not expect what is to come here.

Next, for example, there is a great version of the Christian Gospel “Fall on my knees”. Beginning as the solemn take you would imagine it quickly transforms from cautious caterpillar to soaring Red Admiral Butterfly as the call of the thumping cello emerges and the pace picks up. It has the feeling of a spontaneous jam by the smoking camp-fire with its share of red medium-rare vocals and inquiring violin. More a shared bond of life than an overt call for a higher power, it’s humanist overtones are warm and inviting. In fact one could argue that the group’s cover of the Bluegrass song “Cluck Old Hen” is more religious in sentiments. Apart from the odd vocal flourish that slips the disguise a little, it feels like you are more in the house of God than the Henhouse. In fact in terms of reverence and introspection (about laying eggs) this song is on it’s way towards being like “The Old Churchyard” in feel. The interpretation brings with it a sense of desperation, resignation and the idea dancing on a poor family’s lips as to whether this hen’s fortunes turn round or it becomes the family’s last taste of meat before the cold hits. Bold and interesting, it is worth checking out. 

Carthy Hoose in contrast is a light delight of a tune. While airy in general feel, the violin and cello strings feel embedded like weighty iron train tracks; you can almost hear the cry of Mountain life outside the clattering carriage shutters. This steam engine starts as a formal dance but chuffs its way into the rural circle, champagne gives way to good old-time bourbon and a good time is had by all. Joy on several levels the track is brimming with movement and chi and it is also our favourite tune and track on the album.

We are also treated to a version of “Sally Anne” which is an interesting diversion sans banjo (as you might normally hear it). Quite dense musically, intentionally or unintentionally the backing vocals kind of sound like they are in the wind with so many overlapping strings dominating your senses. Kudos to the sound design and production on this track as I could easily imagine this recording falling down under its own weight under lesser hands. The sound production throughout the album (mixed by Jason Alder, mastered by Sam Proctor) is very good, you can hear the life that all the strings have of their own, in a way the disc seems to shine a spotlight on the instrumentation slightly more than the vocals, but for a classically trained ensemble this is exactly what you want. Except once again the band diverge from this notion with the next track..

It is of course the Idumea Quartet’s version of “Silver Dagger”. Up to now it would be difficult to predict how they choose to approach this song of high renown as the Quartet like to play with the blocks of form. It is safe to say it is treated well, sung with deep emotion and a backing musical overture which is like a dawn’s chorus as it grows from humble rays to fuller shining sun. We admit “Silver Dagger” is not our favourite song (I know, shock horror there), but we recognise the skill in which this old faithful dog has been taught some new(ish) tricks.

This album is like a wild hare. One moment it stands on its hind legs majestically austere as it surveys the scene, you turn your back for a second and the next time you look it is frollicking and springing into the air with festivity.There are musical conventions and consistant choices that could have legitimately made the disc a particular sound to fulfill a particular desire (pure fans of the Appalachian Folk)  but, to our personal relief it is playful and inventive as well as being competent and traditional.

Check out some videos below, you can purchase the album from BandCamp https://theidumeaquartet.bandcamp.com/album/more-than-one-2

Keep an eye on their website and social media to see when they are touring near you, they are currently rescheduling due to the Coronvirus outbreak. https://idumeaquartet.com/