In my past posts about Village Folk I have alluded to the venue (The Lawns Hotel) in Chellaston being very much like a fortress.
On reconsideration, it may in fact be more like a castle. Whatever your mythological leanings and interests one thing for certain is that within English music Martin Carthy is a wizard. Not a pinball wizard, not quite Gandalf or Merlin, but certainly a folk wizard of some sorts who lives and breathes the music he plays. You could also call him a bard as he is also an example of a widely touring artist often on the road, and at many fine establishments.
In April we see ourselves back at Village Folk to see Martin Carthy for what can only be described as the most recognisable act they’ve had to date. I don’t know anyone (outside of indie folk, anyway) who would not know who Martin Carthy is and his part within the jigsaw of acoustic music and history really. With 50 years of performance under his belt in a number of high-profile lineups and a Radio 2 Lifetime Award he is not really a guy who flies under the radar, but on the other hand he is as much a man as any other with an air graciousness and a down-to-earth personality. He fits well with the warm reception that Village Folk brings and it seems that the audience agree. Seats are packed closely, the venue sells out quickly and the action begins.
Taking the stage for the latest, big-name show (joining some excellent previous acts such as Sam Kelly, Harp and a Monkey too) tonight it seems especially the case that there is an understanding and a knowing nod that Martin Carthy is as big as an act as you can get; everyone is incredibly excited. He is a leading figure in the folk tradition; if the country had a hall of folk heroes with statues and everything (it might do, I don’t know), Carthy would be there in Marble, tall and proud with his head turned as he tunes his acoustic guitar for the next beguiling rendition. On a personal level Martin Carthy always interests too. The joy I get from stories;how they are told, collected and adapted is a hallmark of Carthy’s talent, and I take great interest in how he collects and interprets what he hears. He is a stellar example of reproducing and adding to folk songs but also adapting and taking great pleasure from what he does. As far beyond the hobbyist as you can imagine, he is fully aware of his efforts to change the meaning, context and life of a song and put his indomitable spin on it. A wizard he truly is as he resides in a world of tales, half-truths, history and lore that through history are whispered from mother to son and father to daughter. You cannot help but be dragged in by the atmosphere and wonder. What does Martin Carthy play?
He specialises in older songs, ones with a bit of legs to it that have been in our oral tradition for a long time. Nothing is quite as old-time and brimming with powerful energy as the deliberate and honoring “John Barleycorn”. It could be a very old song indeed, it could be much more recent than you think; opinion differs just as it does about the theme of the song. It could be a song about the death and resurrection of the Corn King or maybe just about brewing. Either way Carthy’s take has the sound of a song from history and quite unlike the modern age. His fingers strumming an ancient tone, his voice is like the village elder who keeps the law and keeps the community safe; all eyes point to the stage as Carthy explains the song a little. Even more intricate guitar work is seen in the militant, cyclic rhythms of “Downfall of Paris” another song from antiquity, but perhaps easier to confirm as a historical piece as it was played in the battlefield of Napolean’s armies. Carthy continues to tirelessly hold up these traditions and keep their fires alive and burning through the the arteries of the country. It is thankful he stopped a while in the centre, as some consider the Midlands where the heart is. Quite hypnotic and a sound to behold, his music is something else.
I am especially pleased to hear Carthy’s version of “My Son John” which was performed under the “Imagined Village” super-group a few years back. One of the first takes of a folk song I ever heard, Carthy’s quiet emotion and spinning, melodic fingers coupled with the sharp political lyrics of the time is for me a distinct political and personal memory that is awakened. As a reimagining and contemporary take on the aforementioned John” who loses his legs at war into the (relatively) modern soldier who steps on a min in Afghanistan, it still has a punch that is only enhanced by a richer, more varied and extended set of lyrics. Another favourite of mine that he performs is “A Stitch in Time” (Mike Waterson’s song). Explaining it’s origins in Hull and the Daily Mail he interests and stokes the curiosity by telling us it is not the “urban legend” we may think it is, and is very much real. In short, the wife of a not too pleasant man gets her revenge on his physical manner by stitching him to his bed while he sleeps.. the kind of thought of that could wake you with a cold sweat in the middle of the night. I’ve heard Lucy Ward’s cover which slows things down a little and adds the malice to proceedings; it is especially good to hear Martin Carthy sing it as the dry narrator, gently mocking the man and celebrating this folk-horror retribution with his expressive voice.
There were these and many, many more songs too such as traditional “Green Broom” and “Long John” too (who is especially tall and disliked by the King) with a number of narrative avenues that are visited throughout the course of the set. Telling stories as he re-tunes his guitar between songs (no rack of guitars in sight) and glows under the pale lights of one of Derbyshire’s most intimate venues, and the crowd loves him. A man with much to share and with a love for the genre that is rarely equalled he continues to cast a spell on the folk world.
Martin Carthy is indeed continuing to tour the UK both at larger venues and Folk Clubs, see details here.
Things are going splendidly well here in Sheffield. The sun hasn’t fully retreated, life is certainly stirring and festival season is well and truly kicking off.
I wanted to write something to make you aware of a festival, this weekend coming (12-14 May) in Hebden Bridge, West Yorkshire
I will be in attendance at Hebden Folk Roots Festival. Surely “Folk and Roots” is a better turn of phrase you ask?
No.”Folk Roots” makes sense and I will tell you why.
In it’s third year, Hebden Bridge opens it’s doors (quite literally the whole town’s pubs and venues are getting involved) to host a number of artists from across the Folk, Acoustic and Roots musical spectrum. To call it “Folk and Roots” would firstly miss the full range of what’s on offer with all the musicians in between (also playing Americana, BlueGrass, Swing- you name it) , and secondly it wouldn’t do justice to the sheer volume of singers, storytellers and workshops that are being wonderfully crammed into a lovely, cultural hotspot (I’m thinking recently of Happy Valley as well as older influences on Sylvia Plath and Ted Hughes).
What am I excited for?
Well there are a large number of well-known artists lending their talents to this growing festival. BBC Radio 2 Folk Awards Nominees O’Hooley & Tidowhttp://ohooleyandtidow.com/will be making an appearance, Sparkly and Rootsy Jess Morgan and the Light Band http://www.jessmorgan.co.uk/will be there riding the crest of their last release “Edison Gloriette” (which I helped crowdfund), and bluegrass heavyweights The Kentucky Cow Tippers http://www.thekentuckycowtippers.com/will also be grazing on the positive vibes in Hebden Bridge.
As mentioned, there is music for everyone. What am I looking forward to in particular?
Bric-a-Brac
As a fan of all things folky and with a keen eye for relatively new performers who are shaping the scene “Bric-a-Brac” with Bella Gaffney is a strong contender for a group whose set I am hoping to mosey on down to. Having performed at Beverley Folk Festival in the past, they converge from the Midlands and head upwards to delight curt Yorkshiremen and women alike. Looking at their clips from previous performances, I can see energy and enthusiasm and a great double whammy of traditional and modern. Their website is here, see below for a clip.
Plum Hall
Having gained the watchful eye of R2 Magazine and Steve Knightley; Plum Hall are an intriguing duo to consider. Looking at some of their previous performances (clip below from Moonbeams Festival where they cover “All I have To Do Is Dream”) I am feeling it will be a warm, rather inclusive atmosphere they will bring to Hebden Bridge. Will there be a log fire and will there be lots of ale? Probably, and the time goes swimmingly when there are good tunes to be heard. http://www.plumhall.co.uk/
Debs Newbold
I am somewhat envious of storytellers. They look cool, they have interesting tales to tell and they bring a certain air of enchantment wherever they go. I am envious in particular because often they make it look easy (and I know it’s not). From what I can tell, Debs Newbold has gathered much acclaim from her work. Like a shell collector who unearths known beautiful objects she thus arranges these known wonders (Macbeth, King Lear) and some original works and sells out vast, opulent rooms full of people (including at Hay Festival). Not only this there is some prestige here, she is also an education consultant for Shakespeare’s Globe after all and was ranked one of the top five acts of Towersley Festival. Why would I want to see the cat, when I can see the cream that the cat desires? Does that make sense? No, but this promises to be a good show. http://www.debsnewbold.com/
Ghost Walk: ‘Beyond the Veil of Calderdale’
Ghost walks are the best. Be it the quiet considered ramble through the cobblestone streets in York (where you often end up in a spooky pub at the end) or the father metropolitan, youthful and nerve wracking experience of a student ghost walk in Edinburgh (where you get things thrown at you and student actors jumping out of bins when you least expect); there is indeed something for everyone. I love connecting with a place with history and where myth and superstition overlap. I wonder if there will be a Thriller Dance to be had alongside the jigs and Morris there will be there? http://www.ursulaholdengill.com/storytelling/beyond-the-veil-of-calderdale-ghost-walk/
A very small sample indeed of the kinds of things happening. There are no end of other genres being covered including Rockabilly, Klemer, Swing, Barbershop.. check out the artist page https://www.hebdenfolkroots.org/artists
There are also Singing Workshops, a huge number of Dance Workshops and even a Clown Workshop (I am afraid of clowns but this guy seems nice!)
Striving to keep a lot local and celebrate this area, I think the curator for HEBDEN BRIDGE FOLK ROOTS, Brian Toberman sums it up best:
“The committee has created a festival, I as a musician would love to be at, we are lucky to have the amazing talent on our doorstep. The Hebden Folk Roots Festival brings people and music together and celebrates our local community, it is always good to give something back to our lovely town and bring a smile to people’s faces. We work closely with all local people, musicians and businesses to create a people’s festival.”
All-In-All
It will be good to see you there! There are a lot of venues, a lot of spaces and an awful lot of musical acts. It’s child-friendly too and promises to be a compelling weekend.
I will be there for the full weekend, if you see me there give me a shout and lets compare notes on what is happening!
I will also be providing shoutouts, and reminders about events and artists who are appearing, so follow me @folkphenomena on Twitter so you know who is on, playing what, where and when.
Go the website for details on pricing, accommodation and the possibility of camping.
It was a few years ago I saw the Roving Crows now. I remember in Bromsgrove.
Not far from Ledbury (their home turf) andalso not far from where I spent my youngest years (in Kidderminster); it was an interesting experience when I was relatively new to folk.
It was not just an introduction to the band and the genre but also the Artrix, a venue that looked like it had descended from space. Modern with sleek edges, its appearance did not match my initial thoughts and with it I brought home a new interest that had developed far away. This was a surprise.Another surprise is Roving Crows’ new album “Bury Me Naked”. I liked the Roving Crows when I saw them but I can’t say I loved them. However, coming one full circle (with many more to go) I can see now that their new album (along with their music) reminds me that social and environmental issues can be “rocked” and “jammed”in music as much as quieter acoustic numbers in the corner of a pub and still be polished and interesting. And so a change of heart has taken place.
“Bury Me Naked” is a fun album. It doesn’t just stick to folk, it goes on a whirlwind tour of pop, rock, and reggae blending it together in an attractive package. There is a mix inside the packaging too. I like the rather earthy photography within the album sleeve; bright and bold it is a contrast to the sharp dark lines and concert photography across the front of the album. It is almost telling you that they are live performers first of all with a hat tip to the social causes they are supporting with their music and tour (drinking eco-friendly water, recycling and vegetarianism). When listening to the album along the way these themes do explicitly rise on the disc. “Refugees”, “Revolution” and “human Regret” you could say the three R’s.
The title track of the album “Bury Me Naked” is great folk rock. After the introduction segment of the song, it really gets going, punching the air as it continues. The fiddle ambushes from the side and an early listen to O’Neill’s voice is smooth and spectral giving it a slightly otherworldly feel. Instrument-wide there is a nice variety between the drums and wooden percussion (Tim Downes-Hall) that scatters down the tracks like the softer patter of a wolf. There is also a bit of menace from the electric guitar as the singer croons, “you said love was a weakness, you’ve got me on my knees.” Taking influence from Native Americans and their suffering it sounds like a scene on prairie land with nature and wildlife all around. It is quite interesting, it changes pace as it casts it’s entrancing spell; it has an epic Celtic Rock spirituality with it’s reverb and hefty backing sound. The same atmosphere calls over to track 2, “New York Love Song” except of course more suburban and with a greater interplay between singers Paul O’Neill and Caitlin Barrett in the vocal department.
“Refugee” is reggae. It doesn’t disguise this, it just is. Sometimes the best things in life are clear and straight and it works a treat here where opulent drums meet with an unabashed fiddle. Being uplifting and a part of a time in history that is still dealing with refugee affairs and how they impact on society, it does stand out as being different to the rest of the current crop of songs about refugees with it’s more sunny outlook. This might bother some people but not me. It does kind of appear from nowhere, you don’t automatically expect reggae but there is a cold place in your heart if the upbeat “sail away.. war-torn refuge.. world does not understand me” rhyming scheme does not put a smile on your face. With a great harmony (the best harmony) on the disc and exquisite fiddle from Caitlin Barrett (as always) it is more than a great addition. “Passing on the Love” is similarly like an Irish Coffee and a Bahama Mama being spilt together by the waiter in this joyous Caribbean mashup. Later on it descends into a kind of Celtic Dancehall track you could do some ska stomping to, it all civilised though and is a treat.
“If I had to choose” is an example of a standout track from the album’s which appeals to a slower, more considered melody. Paul O’Neill sounds at his best and the instruments blend together for a lyrically short, but expansive feeling piece of penultimate entertainment with lines such as, “If I may be so bold; all that glitters is not gold.” It’s rock sound appeals more to me than the more monologue sounding “The Last Breath”, though the latter does carry some beauty with it. Quite distinctly introspective when the track comes on the album it is like that moment you drop a needle on an old Blues record and await the the searching intake of breath before the evocative lyrics.
As previously mentioned the identifiable sound spiritual Rock permeates through many of the tracks here. With this we don’t get the same kind of feeling of remembrance you find in a lot of folk music where a story is told, the moral is clear (or hazy) and we never forget what has happened. Instead much of their sound is like an echo of a unifying cosmic energy that people can approach and understand on their own terms. It all comes to a head with their working of an old folk staple “Ride On”, the final track on the disc. It is large scale, it is quite resounding and heart-pounding and the arrangement brings a lot, burning an impression like an Eastern Desert’s winds on your face. Barrett captures the ballad sensibility well, wearing influences of alt-rock and dare I say, a quiet grunge in her consistent vocal performance that rises and falls delightfully. One of my favourites, it demonstrates that Roving Crows are not just a band striving for identikit energy tracks that you cannot distinguish on an album, but instead considering fast and slow, thoughtful and energetic in equal measure.
A nice mix of genre and with an spirituality and concern for the world, the Roving Crows set out and have a good time with it, which many would consider contradictory. But it’s not, they entertain and achieve buckets and buckets of likeability along the way.
There is also a good range of tracks with some being more about melody and others more about the words. Jovial and wide-reaching in scope the quality of the music production is second to none. There has certainly been a progression.
More importantly for me, they have dragged me out of the chair, unfolded my arms and invited me to dance.
The Roving Crows are on tour and “Bury me Naked” is now for sale.
Observational and considered, Lakeman collects a squad of influencing folk artists that bring his rich imagination and celebratory character to life
Released 3rd February 2017
Geoff Lakeman, in a rather circular and interesting path has recorded his debut solo entitled “After All These Years.”
What I mean of course is that Geoff is known to many being a renowned journalist for several users and also being father to Seth, Sean and Sam Lakeman; all musicians, all well known and father-in-law to equally renowned Kathyrn Roberts and Cara Dillon he has influenced some great musical talent, but he himself as never done a solo recording. I’m sure there is some saying about Salmon returning to where it was born or something about rivers and the ocean (I am not sure myself what I mean) but this personal wish to have have a disc made is a big one, and a timely one of that.
In a world where politics are more than ever discussed and the issues of truth and honesty are being debated; there is something refreshingly simple yet powerful about the contents of “After All these Years.” After all, Geoff was a veteran observer and recorder by profession (in journalism), it seems that however the world has turned Geoff would have seen and heard all and he is presenting what he knows to the listener. As a result we get an album that feels like it honours the songs within that he covers as well as the working man; it speaks from a wise, considered approach to the fundamental traditions of folk and has a pretty humble quality to it. Another way of putting it is that there are few “airs and graces” to be had here, the album is a listener and thinker not the debutante who wants to be seen and heard at all costs (and more the better for it). As a listener, Geoff puts on a quiet celebration.
Indeed, the album is characterised by it’s celebration of the past and in order to do so Geoff is joined by a multitude of artists. Not only is there family as Sean(producer an guitars), Seth (violin, viola), Sam (piano) and Kathryn and Cara (vocals) but also the well received Jim Causley (vocals, accordion), Jamie Francis (banjo), Ben Nicholls (bass, harmonium, jaw harp), Dan Crimp (whistle) and Gill Redmond (cello) also along for the ride. This crew of forces are to be reckoned with, but then they are topped off by legendary guitarist Nic Jones who sings some backing vocals on “England Green, England Grey.” It all builds a picture of an album intimately assembled with it’s supportive and close roster of characters. How are the songs?
There are some great Geoff Lakeman original works here. “Tie ‘Em Up” is one example of many on the disc where Lakeman is holding his principles dear, standing up for the fisherman with their imposed quotas and livelihoods that are being toyed with by officials, “We’ve risked our lives, left our wives. Missed our children growing up. Now we are high and dry upon the shore. On the dole – won’t fish no more.” A bouncy type of shanty and a sideways jab at authority like the latter original track “Doggie Song” (that we will see later), it would not be out of place in a musical on the stage with professional dancers in yellow fishing macs juggling buckets of fish. It oozes character as a squid oozes ink, the vocal harmony injects an infectious energy throughout and the concertina, as you would expect, is faultless. This all comes together in an even grander way for the “Rule and Bant”, a song about two Cornish miners who were trapped underground in the latter part of 1800s and the events that unfold as air was pumped down to keep them alive. It booms as Lakeman weaves the story around with harmonies that plunge deep like the obsidian earth itself and promising doom. A clear favourite that incorporates some nice touches with history.
But also there are covers that showcases Lakeman’s ear for a good tune and history in the folk scene. For example, Geoff’s version of Buddy and Jullie Miller’s sun-scorched “Wide Wide River to Cross” gives several of previous renditions a run for their money. His voice is warm with crystal clear enunciation, a beautiful trill of a vocal harmony and performed with a truly emotive mix of instruments it really gets into the corners of Americana’s dusty barn. If old folk songs were cowboys, this would a sheriff. The concertina bites delightfully across the track like the wind of a dustbowl’s cold evening nights, it is all very enjoyable and another favourite on this disc. Whilst historical in nature as it touches on other times and places, Geoff’s recording of Reg Meuross’ “England Green and England Grey” is very much of now, a political powerhouse and a commentary of the state things. It might be somewhat topical with its distrust of the “BBC” and “the NHS, our England jewel, is bartered by Westminster’s fool” but it really could be any time, especially as it recognises our British empire past. Managing to be both celebratory and critical of the state of things it perhaps places what it is to be British beyond all these events and ends with a collective call. Singing with Nic Jones shows a lovely contrast on this track, they work really well together and bring a several sided look at strength, fragility, morals and tradition to mind. Wonderful stuff.
Most importantly though, the cd never takes itself too seriously. Indeed if serious “down-the-line” folk is a bus then at a couple of points on the disc Geoff makes a stop to find a real ale tavern leading to some excellent diversions. It is hard to pinpoint the parts where he particularly relishes the fun side of “folk” but “When the Taters Are All Dug” and “Doggie Song” are pretty good candidates. The former is Lakeman at his fullest rural peak, as I picture him drinking milk with a straw hat while agricultural machinery is strategically placed in the background. Lovingly committed to the song throughout, the charm emanates all round be it the distinct twang within, the high caliber squeeze box or Lakeman’s own voice that rises and turns to the challenge. You can almost picture his smile through whatever audio equipment you are using. In all the best ways possible, you can imagine “Doggie Song” as being part of a vaudeville act. Gently lamenting on there being nowhere where his dog can go for some much needed relief it playfully paintings beach inspectors as some kind of organised cabal of fun haters and the South of England gets painted jokingly as no place for a dog. As an original track it is an interesting glimpse into the Geoff’s mind and it makes you wonder what else he has yet to reveal. It’s chorus will certainly linger in the mind, “you can’t bring your doggie down ‘ere.”
What can I say? The album is like a film with Lakeman being the ethical director, the heart and soul that shapes the performances around him. There are many other gems to be found here which I haven’t mentioned, so I heartily recommend. The production is crisp and captures a fine balance of instruments, the duet concertina is very much a star but not at the expense of the other fine performers and instruments here. He leads in an admirable way on the disc, being fearless of reprisals and confident of the dignities and rights of people. When such a moral attitude is combined with some of the most recognised performers of the day, you expect magic to happen; and it does in spades.
Check out Geoff’s site here for details of purchasing the album and for more information.
Isembard’s Wheel sit between modern indie folk and more traditional folk fare that should properly interest the industry both as a great live band and one with crossover appeal.
Introduction
The Shakespeares Pub in Sheffield is hosting some great artists; some new and some established. I don’t want to gush too much, the pub gets a lot of praise for it’s real ale, and (for me personally) a pretty extensive catalogue of whisky too. If you are in the steel city, I say check it out (go here)
Relatively speaking Isembard’s Wheel are fairly new to the scene, though they have appeared in a few prestigious places (Warwick Folk Festival), and have had a mention on BBC Introducing too. Tonight we see them for their album launch of “Common Ground.” It is a rather joyous affair with fire dancers, some warm-up acts and some great beer on tap.
There is definitely something here with this band. On listening I would say that their music could be considered a kind of keystone of folk music. It is like an indie folk band in terms of arrangement and instruments but there is a keen, natural eye that looks to traditional folk for songwriting and themes which goes beyond most indie folk artists; and this for me is pretty exciting stuff. Many an hour can be spent debating what “folk” is and lamenting on the state of live music or volume of young audiences but truly a band like Isembard’s Wheel (in my mind at least) has the potential to be the bridge or even reception room to the vast, varied and interesting genre of folk music.
Supports
Before the group takes the stage we are treated to some support acts. Acoustic singer/songwriter Jordan Wrigley took the stage first.
Jordan Wrigley, from Wakefield is a student of Law at Sheffield Hallam. He has performed during SHUfest (a celebration of talent at the University) and a few other places too. There are no dusty tomes to be seen or any interrogation of witnesses, for his knowledge of performance is up for judgement on this night.
Wrigley has an enthusiasm and also brings a quiet sensibility to his set and character. A good and practised voice, his cover of “The Banjolin Song” from Mumford and Sons benefits from being a more stripped down version of the song. I prefer it to the hit number which is more buried in layers of reverb and production and in hindsight too many expected conventions. Wrigley’s effort draws in more attention to the lyrics and celebrates the acoustic form as much as a bear celebrates honey. He also plays Paulo Nutini’s “These Streets” too laying down a consistently positive attitude throughout the course of the songs. All this being said, in the best possible way, his own songs overshadow the covers and hint at a deft hand for folk writing; for example “The Charge”, a song heavily influenced by the Charge of the Light Brigade. Quite persistent in how it grabs you, there are some interesting storytelling elements within and of the soldiers’ lived experience. With a little more instrumentation and arrangement that could bring the deeper boom and impending doom of this subject matter further to the listener’s consciousness, the song’s could shine even more and would not be out of place on a veteran folk artist’s album. He also shares an original song based on Wuthering Heights, and some more familiarity with a bit of Springsteen. It is good to see consummate ukelele play and a positive reception to this set from the audience. In sum a refreshing amount of variety, a good opening and an artist to keep an eye on.
The second warmup act is The Idolins. Somewhere between the Cranberries and The Corrs the group occupy a scene within pop-folk with a seasoning of rock. Coming to the stage with candor and some Nottingham charm thrown in, The Idolins have got a long reach and appeal to listeners who enjoy different genres; their talents have not gone unnoticed by BBC Radio 6 for example. They have a lineup that includes original member Karen Smalley-Turner (vocalist, songwriter, guitar), Nick Scott (guitar, harmony), Mark Rice (percussionist), Dukes (bassist) and Hannah (cello). “The Idolins” have a sweet sound, the voice is not syrupy in-your-face sweetness but rather an ambient sweetness; like the marshmellows in a Rocky Road. They previewed “Refuge” adding some banjo to this as yet unrecorded number. Rolling in bass there could be some comparisons made with this song to Natalie Imbruglia, though with a more social-issues subject matter, it is quite thoughtful and enchanting. A favourite for myself is their new single, “Seasons.” More of a ballad, the fiddle sounds especially good and the lyrics tangle themelves around the concept of seasons of the relationship’s temperment and life. Nicely worded and like a quiet blustery day it captures the idea and gently spins a story of colour, intensity and sadness; worth an exploration. There areplenty of other tracks to be enjoyed too including the self-professed “Skunk Anansie-like” track “Safety Net” with it’s heavier rock and “Nothing Missing” where slight world influences with great rhymes and an anthem to sing along to. A lot to like on the way to Isembard’s Wheel, check out the Idolins website here with details of purchasing “Seasons”, their most recent single.
Before we get there though I would like to give some applause for “Jackdaw Circus” who provided some fire-based entertainment on the evening. I don’t think I’d seen a firewhip before, the closest I’ve ever come to it is the energy whip in the 80’s He-Man film (I was young and my taste went astray). It was great, I’ve seen a few circus acts in the past, but these guys were something else; you can tell that they have performed in Edinburgh Fringe in the past. Funny and political and really practised, the duo of this fire-taming group entertained between artists and as performers some of the friendliest people you can meet. Their skit around different Countries was particularly good. If anyone reading needs to book some entertainment; you can’t go wrong with these contemporary Denis the Menace, fire bard types. Check out their site here.
Isembard’s Wheel- Album and Gig
So this brings us to the main act “Isembard’s Wheel” launching their album “Common Ground.”
Comprising Alexander Isembard, Edward Young, Toby Morris, Rebekah Foard, Joss Mann-Hazell we get a great combination of lyrics, guitar, banjo, double bass, and fiddle that shakes the Shakespeare, sparks the light fittings and generally throws both feet forward into the world of folk and live performance.
“Rauccous” is not the right word, but there is a lot of energy here and for a debut album from a relatively new group there is a fearless attempt to try and cram in a number of genres, and like a pirate who has ransacked the sinking ship, the gamble pays off. The positive qualities of young musicians is sometimes attributed to a lack of restraint over genre and previous traditional material, I would say here that “Common Ground” doesn’t fit this mold. It instead is a large showcase of musical forms and niches that are performed very well within their own genres and then brought together here. It is quite sharp about how the group does it, it is not an album that feels like it stumbles at any point and whilst reverent of different works, it never slows to catch it’s breath. For example they do a more than serviceable cover of “Adieu, Sweet, Lovely Nancy” with an Americana influence and layers of strings making it more of an anthem than you might imagine. As it progresses it goes a bit mad and just after the middle we arrive at Sydney Carter’s “Lord of the Dance”. It won’t be to everyone’s tastes but it bursts out and gets the crowd going, for younger readers there is actually a bit of Green Day going on in this performance (yes, I am aware they aren’t a new band ha ha). The good thing you feel from their performance and the disc is that these are not token references, there is a love for what has come before.
“Ask the Time Away” is similarly nimble number leaving with little time to gasp with a rewarding and almost pop voice awash with like the light flashes from artist’s palette, “I could make the finest work of art, it would soon fade.” More dancing is inbound with “Turner’s Bones” which has the youthful energy of indie folk of kicking a positive beat to life with it’s characteristic big drum, it’s a song that enjoys itself it reminds of that first hint of sun in the Spring that laps at your door. They are certainly adding something to the folk genre. Their sound has a lightness of touch in lyrics that reminds me of the rather prominent group at the moment “Ninebarrow” with the dwelling on the influence of the rocks, the birds and the green landscape that gives rise to inspiration and celebration. “Isembard’s Wheel” take introspective lyrics and take them down on a whitewater raft. Their sound seems very much to be situated in the Sheffield with influences from the Peaks and their songs have a naturalistic feel to them like the Green Man himself is roaming the Damflask reservoir or pottering across rocky outcrops at Mam Tor. As a local there are a lot of different landmarks and energy of the land that they have in their collective musical aura.
There is versatility in the album tracks that comes across on stage. Taking the group somewhat out of Sheffield and perhaps with Westward eyes looking back in time, “Sowain Tul” is an A Capella joy, a frontier kind of reflection of life and death that you might find being tackled by someone later in life. You can almost feel the hot wall of Arkansas air and the spirit of contentment wash over “So when I stand over my bones, ever more beneath the leaves.” It’s harmonies are top notch and percussion, foot stomps and thumps really vigorous and catchy. “Horse on the Hill” is one of my favourites with it’s adventurous and zesty series of strings, banjo, fiddle, guitar all coming together to express the burning candle of love,”you are the dawn on my day.” Possibly a prehistoric love with the “Horse on the hill” being one of the giant figures of a horse carved into the hillside from ancient civilisation, the song does what the band does best; mingling the old with the modern and making something very interesting from it. The voice is uplifting and sounds great alongside the rich soundscape and some nice touches of lyrics and melody that is inescapable, “I thought myself a man before I became a boy.”
In the flesh they are an enthusiastic group who had a large mixed-age audience. There is a lot of crossover appeal with their songs concerning all matter of subjects that are held together by a coursing tide of nature and history in it’s discourse. Their set is quite loud as a vehicle for their creative energies, the crowd are equally enthusiastic and engaging; a quiet set of folk ballads this is not. But then not everybody does that, and the folk industry should be happy indeed with a band such as this which has faceted a musical sculpture which is not just indie-folk but has a place in myth-making and traditional folk music too. Quite fearless with musicianship that combines energy and sensitivity, Isembard’s Wheel should be on your radar.
Isembard’s Wheel have a tour coming up, check out their website for details and where you can purchase their new album, or check out their Facebook Page for more details
Steamchicken is a universally fun and energetic band boasting shamelessly soulful vocals and a catchy, booming brass-line.
Chocks away!
Somewhere between a smoky jazz outfit and a blues brass extravaganza, “Steamchicken” are a group who set out to entertain, and do so in spades. Much like the wise, old traveller from a Western or the steely glare of a a wizened sensei in a martial arts movie, it feels very much like the band has seen and experienced a lot; their music reflects a fusion of life experiences, musical history and stage presence. As a result it’s very hard to dislike the work they are doing here and there is a lot of widespread appeal. Comprised of a huge roster (or is that rooster?) Ted Crum (Harmonica, Bass, Melodeon), Andrew Sharpe (Piano), Joe Crum (Percussion), Mandy Sutton (Tenor Sax), Becky Eden-Green (Alto Sax, Bass), Katy Oliver (Trumpet), Matt Crum (Soprano Sax, Melodeon) and Amy Kakoura (Vocals) it is clear there is a large brass influence to the mix, (which I love to bits). It also means that there should a bit of instrumentation for everyone (though maybe not shruti box enthusiasts). The addition of Amy Kakoura’s voice is like the aroma of flowers in a beautiful display collection that draws the crowd in and fitting along the steely harmonica and chasing piano quite nicely.
It is always a pleasure to see the chickens in action, and on this day they certainly were poultry with a purpose. “Steamchicken” come to the Bury Met to perform in the smaller space at the venue; not quite the scene from a New Orleans club basement (the seats are too comfy for example) but certainly an event and show with energy, pizzazz and a rather enviable lineup of songs to influence and entertain. It is an intimate space and like the friend you knew at school that smoked menthol cigarettes in the rain, it is rather a cool companion to the larger concert room upstairs; it felt like hanging out in the world’s best basement conversion with friends as you set the worlds to rights. On this day it was the album launch for their latest collection called, “Look Both Ways”, sensible advice for chickens and humans alike.
One of the joys with the group is that they tread not too softly upon a number of genres and gladly share in the fun with the audience. On entry to the gig, Steamchicken gave out a number of stickers (some were left pointing, others right pointing). This was not obviously apparent but whichever way you pointed (ooh err) had a bearing on how you participated in one of the songs, either as the train klaxon or some wheels rollin’ on down the track. Lets say I rolled alongside a lot of others, fun was had all round and we certainly were getting somewhere. From their years doing ceilidh and previous band reforging with Amy Kakoura, they are definitely ploughing ahead. It was a fun show, it really doesn’t take an over imagination to work out that they would fit well at a number of folk festivals. What of the music they played on the evening?
Their songs ranged from folkier numbers to full blown blues and jazz, an instrumental number and doses of the musical influences for ska. Whilst showcasing some tracks from the new album there were some numbers drawn from the band’s previous works too. Of the folkier stuff they tackle there is the folk classic “The Oak and the Ash” with some wonderfully sad piano with a voice like an expressive vine wrapped around a tree, a tightening and heart tugging presentation. From the new album, “Big Tin Horn” is a further example of them working with a sound that crosses genres. Somewhat a folk shanty, somewhat swing and also ska/jazz backing it reminds just how fun music can be. Like the friend who is centre of attention at a gathering who also drags up the mood, the energy; it is breathless, the gentle breeze and sun of Spring. The brass takes on a life of it’s own and the nautical interludes are truly exquisite, “dance to the rhythm of the marching band, dance to the coming of the dawn” (probably my favourite track from the new album). “Mary and the Soldier” was another track from the new album, one of most expressively old-world numbers sounding like it is running through a forest of expressive accordion and deep, longing song (a song Dylan and others had recorded in the past). The most committed song to the idea of folk on the album, it is folky jazz at it’s best; if they were children stealing biscuits from the biscuit barrel they would leave no trace, likewise here folk is combined with their jazz instrument leanings in a seamless way.
Another track “Jericho” is something else altogether though exactly as you would imagine with a hallowed call, soulful wall shattering melody from the brass and Old Testament name dropping, “Joshua”, “King Saul” and all the other big names from the time and place. War-like in tempo it is the heavy cavalry within a medieval army, especially so as other artists with songs that call upon this event from the Bible (K.D. Lang, Hilary Duff, Kelly Oliver just for starters) take either a more oblique, saccharine or personal narrative approach to the imagery (in that order). Steamchicken’s take was kind of “in your face”, a confident cousin telling you to take the risk to swing across a stream on a rope or the artillery firing in a Napoleonic regiment. “Western Approaches” remains a favourite, transplanting you from the certainty of things to a storm brewing on the open sea and the quickening of pace. Starting in a swing fashion, the drums call out the certainty and ebbing of the sea; then as it progresses the band blows left and the band blows right, as it takes off and picks up pace. It certainly brings the adventure of sailing forward and revels in the joys and fears of this ancient pastime and trade.
The band have put in a scattering of covers to their new album, they all fit remarkably well though and their spin on things are always interesting and add something to the track. “When I get Low, I get High” is a streetwise, urban rumble of a song, a mindful cover to include on the new album. Though a cover of a 30’s track, it does do it’s own thing and their performance showed a smoldering Amy Kakoura. It is high kicking, it growls and pounds the burning sidewalks with it’s presence, and whilst it isn’t Ella Fitzgerald’s signature bite, Kakoura’s voice reaches around and brings a class of it’s own, “My man walked out, now you know that ain’t right, well he’d better watch out if I meet him tonight.” If you wanted a snapshot of Kakoura’s versatility in soulful voice, this might be the track that you go to first. Quite possibly a monumental influence for the band name, “Ain’t Nobody here but us Chickens” is one their finishers, a swing mainstay of a song and an indicator of their vintage soul their cover is up there with the best (and their chicken impression is one of the best I’ve ever heard).
A fun evening for all really. There are always several head nods to yesteryear but the band themselves carry a fresh, vibrant strength of voice and backing. There is a lot of variety here, a very good fit in musicians and throughout the set several “spotlight” moments where an “old time” glamour is presented on stage and you lose a little sense of the present. A great venue, a great band, a great night (for everyone).
Steamchicken’s new album “Look Both Ways” (released on 10th Feb 2017) can be bought here and they are doing a few dates later in the year (check here)
Dimbleby successfully reflects a range of feelings and emotions in a decent and also unconventional album that has captured her mind’s eye.
Introduction
Armed without folk instruments as such but with the creative sense of the oldest instrument there is, the voice, Kate Dimbleby explores a musical sound that is more akin to a hawk flying through a tailwind than an acapella dawn chorus that the title Songbirds” first seems to presents to us. The reason is that the dawn chorus is somewhat familiar to people, it is a light awakening and a commonplace universal sound, and Kate Dimbleby’s album in contrast is quite gutsy and makes choices that you might not really come to expect when you put the CD in. This is no bad thing though and this flying hunter’s confidence to individuate is at cirrostratus heights as she flies onward, but she is not alone.
Taking some inspiration and support from Bobby McFerrin from New York, she has chosen a hybrid of voice, technology and loop to pretty much “sing with herself”. It is mixed incredibly well giving the album an air of informality and improvisation with it’s special parliament of voices expressing what she says herself is, “the first [album] which I can regard as entirely me.” Much of the inspiration for the tracks comes from a sense of being “frightened” and taken out of her comfort zone in London and on to Vancouver Island. Swapping urban sprawl and nouse for the wilderness and quietm we hear the theme of uncertainty and fear permeating a few parts of the album. It is fully expressed and realised in the final track, “Song For a Hill”, but along the way it makes a few proud steps in other directions too, not all doom and gloom.
Not just showy confidence, she is also keeping another kind of confidence about the content. Indeed the smile on her face on the artwork cover doesn’t really give anything away, you might in fact be inclined to think she will sing about lost love in the hills or some folk ballad about an ancient trades, but in a thoughtful twist she becomes more like Edward Scissorhands, cutting hedges into giant hands and such-like whilst subverting sing-songwriter suburbia. The album holds together well despite the uncertainty and inconsistency this could bring to proceedings through experimentation and a part of this will be the sensitivity in which the work has been handled. This desire for breaking from what is expected of her does fit the profile of Folkstock Records who celebrate a rich array of women’s voices. As an independent record company who can appreciate and encourage the strength of female creativity, it certainly feels like the artist has been able to make a good match and maintain a lot of creative control over the content. This is all good, but what about the songs?
Songs
“Happy” (number 3) is a great track, whichever way you cut it. Somewhat psychedelic, somewhat funk and gospel, it is a fun, unbridled expression of energy and laughter. Like a cat dancing around when food is put in his bowl, it’s an unapologetic and relatively short experimentation into the simpler side of joy. As the warm feeling itself there is a bit of a (good) rawness here, and serves as one of the better “spontaneous” songs on the album. “Musical boxes”, Dimbleby’s song about individualism and non-judgement, is probably the most fully realised and polished on the disc. Released as a single at the beginning of February it impresses with it’s backing track of slightly muted claps and a few orbiting layers of voice all coming together in a reflective, positive wave. If it were a character, it sounds like a very wise person indeed (or perhaps some kind of thoughtful tree). It feels accomplished, complete and is a good example track for the artist.
“Whatever” (track 7) is another foray into the light. It’s “mmbops” make you think of a barbershop quartet but it is different in that it takes it’s time; sometimes it keeps pace, sometimes it slows to relish what can only be described as the elation emanating between words. Her voice(s) are sunshine like a hot day on the sidewalk in New York city or the feeling of the breeze as it rustles vertically through the spring trees. All-in-all another highlight on the album that grabs the attention. “Love can be easy” is like a lullaby on the coast. You feel a gentle contentment and enjoyment of life, Dimbleby is riding a spark of inspiration as she sits in the middle of the scene with events moving around like a slow carousel. Constructed in a carefree moment, it is the holiday feeling with your responsibilities being distant and out of sight and your family being close. Dimbleby’s voice is gentle and assuring on this song and it works.
“These Things, they will come” is probably the mirror image of “Whatever.” The sun-drenched hues of that song are drained away here as Dimbleby instead wanders a track of introspective blues, perhaps with the exhaustion you feel when the sun burns too much. This makes sense as Dimbleby points it out as a song about pain, loss of identity and joy; inside it is limbo, a disconnection you might get in a deep depression that calls for a soul searching you cannot muster the energy for. The doctor, her sister are telling her the same thing about time being the healer, but the words do not seem to penetrate; the song continues, it’s lamenting chorus of voices click their fingers and the singer sees no end in sight. It sounds very personal, and resonates more than mere feelings that hint at seismic life and perspective changes. As a tune it reminds of the heights of worry being as a brick wall. Whilst simple in appearance, the mortared stones can encase the liveliest of spirits and sap the sense of life from a situation. “Song for a Hill” is like this too, but rather more of an abstract, environmental assault on the senses. A bit trip-hop, it sounds like Portishead having a quiet moment and retreating from the city only to end up in a chilling woodland glen. Dimbelby’s voice in this track is like a vine wrapping around a twisted willow or a crocodile pulling it’s prey into the marsh, it is in the background and springs out when you focus on it. Bellowing water and dripping fire it is quite the fascinating number and towards the end the track it makes you think of a person whose taken a slip in the Peak District, with it’s deathly ebb and other-worldliness as someone’s life hangs in the balance. The darkest of the material here, it’s restrained arrangement is very good you might picture it at a pivotal or sad part of a northern drama on television.
You can tell that she has run free here, she does not have the musician’s unquenched thirst for epic instrumental solos (as there are hardly any instruments), and she seems to be finishing the songs earlier than you might think, opting for economy of message. It is probably a wise, instinctive choice though and has the bonus of showing she has expressed her creativity without becoming self-indulgent. Such as with an album of these idiosyncrasies, it would be nigh impossible to personally connect with each song that you listen to and there were a couple of tracks that did not spark my senses. “Harder than you think” is actually pretty good for a spontaneous walking song, but as an experiment seems more of a miss than a hit for me. “At our best” likewise captures the spirit of a marching song and rolls with some inspiration, but feels much longer than the one minute duration, horses for courses and all that.
As mentioned previously, there is some nice production and a lot of distance is made from Dimbleby’s voice that give it some distinct and interesting sonic layering throughout the album. Fairly unconventional in presentation it is like the film “Inside Out” with it’s collection of imprints, emotions and thoughts that are snatched from the air and made manifest. There is something individual about each track and even if listeners are not fans of the acappella form, they should exercise patience and listen closely as there are few preconceptions that can fully prepare for the contents within. There are a few gems of personal experience that are passed in our direction here and Dimbleby has a charm and honesty that radiates throughout the work.
Kate is appearing at a few places, the album launched on 2nd March, check here for further details, and go to Folkstock Records site to order a CD here for £10
Check out Folkstock’s website for some of the other artists they support, here.
An album of resistance to oppression in armed and peaceful forms. Articulate and personal, it is peppered with tragedy but is in essence celebratory of family and the personalities whose stories are within.
Sound Recording: Jason Emberton, Jonny Dyer
Additional Recording: Timur Dzeytov
Produced: Jason Emberton, Jonny Dyer, Daria Kulesh
Introduction
Daria Kulesh returns following her debut album “Eternal Child”, an album that was bathed with a kind of autobiographical style and promise. A sleek black and pink affair (still love the photography and artwork) it touched on her eastern roots and ventured on a few flights of magical realism and fancy. “Veil folk” might be an appropriate term for the type of music with it’s strongly emotive numbers coupled with some supernatural and historical elements.
On listen it felt as if the veil of reality “has been shaken” somewhat, hence my attempt at genre. Listeners might have also encountered Daria through, of course through the band KARA (where she sings vocals and themes influenced by both Russian and English elements), she does seem to have kept herself busy. In KARA she released the excellent, briny foray into the sea with their last album, “Some Other Shore” see my review here, but this time however she is going solo. I say solo, but she is joined by a prominent roster of artists (too many to mention all) including Jonny Dyer (guitar, piano, bouzouki, accordion, bass), Terry Crouch (classical guitar), Kate Rouse (hammered dulcimer, vocals) and Vicki Swan (myckelharpas, Scottish smallpipes, flute) who along with others bring enough instruments to satisfy even the mildly curious listener. With several tools and sounds that I have heard before (and some that I have not), the artist has pulled together a large army of melody to convey her personal message. Kudos should be given for the breadth of sounds considered and the inclusion of instruments from Ingushetia, the focus place of this album (a Dakchan pandar, anyone?) “Long Lost Home” is not just a trek into a faraway land but also a ramble into the living memory of tradition and customs.
History
So the culture and history in question is centred around Ingushetia, a republic in Russia’s south. In the background of the album there are some major historical and political events that shape the stories within, including the deportation of the Ingush and Chechens by Stalin in 1944, and also war crimes of the time.”Long Lost Home” is capturing the past and also is a personal theme as Ingushetia was the homeland of Daria’s Grandmother, Fatima Akhireva. She experienced the tides of history, issues of exile from their home and a lot of hardship in her life; it might be considered enough to stop here but Kulesh goes further back to collect stories that her Grandmother had from generations before, quite a fear. Kulesh wants to explain and remember what has happened, but equally importantly it is her chance to show a few glimpses of the powerful, stalwart personalities in her family and how they have weathered difficult times.
For a subject it is pretty intense stuff but also fascinating from the perspective of someone not knowing the smallest bit about this part of the world and it’s histories. It is natural to think that the times we live in are the worse they ever have been (if you are a pessimist of course), but albums like this are quite useful in reminding us of harder circumstances and oppression. From the album artwork we can see the artist has fully immersed herself into the sounds and sights of this ancient homeland. Kulesh travelled to Ingushetia to gather the stories and in the sleeve we see her in the traditional dress of fine deep blue. There are also photographs of family and characters that help us put faces to deeds quite effectively, it is quite beautiful in this regard. So how is this communicated by the songs within?
Songs
In the opening track “Tamara” there is a deep sense of the album arising; the song fills the senses with the sounds of the shruti box like a serpent waiting to strike. Like the wind scaling the jagged rocks and heights, it is the track which most resembles her previous work of taking myths and legends and giving them a classical treatment. In the song her Grandmother’s ancestral village and the ruined tower stand at the centre of a storm torn vista of shivering antiquity and wonder; the percussion rattles and jingles giving it an otherworldly air and Kulesh’s voice furrows a winding and enticing path. The tribal drums sounding drums here give “Long Lost Home” an almost spectral opening to an album, looking back the furthest of the songs and setting the scene for the human stories within.
“The Moon and The Pilot” is either the most well-known of Daria’s songs to anyone reading this or it will soon to be to new listeners. Previewed in various formats between this and her last album release it has had some coverage (and with good reason). Telling the story of her Great Grandmother Diba Posheva (the Moon) and her husband of the sky (Rashid Akhriev, a pilot who is killed delivering supplies in 1942 to Leningrad) it teaches that heroic deeds are not always recognised, and even when they are as here, circumstance and the world can step in and at the drop of a hat lead to a catastrophic change. Akhriev was due to named a hero, but Stalin then declared the Ingushetia people as “enemies of the people” (despite fighting against Hitler). A lyrically simple song but the piano is quite captivating and Kulesh’s voice reaches for the very vestibules of the soul, “Shine my moon, your face made of light. Let down the your hair, black as the night”. It dances like the queen of night under a halo of glittering crystal and stardust. An excellent track indeed.
Track five, “The Hazel Tree” is a great song that harkens back to the artist’s Grandmother’s Grandmother. It is strength of the album that as it trails back along the earlier paths of Daria’s family tree it makes you think of your own history, the stories within and the strength among one’s own kin. It seems like it must have been a series of big discoveries for Kulesh when curating these narratives. An upbeat song, the guitar work on this album is energetic with the “Hazel Tree” of the title seeming so close and full of radiating life despite the words pointing towards the tree being a final burying place for the subject, “You lived again, and blossomed and bore sweet fruit.” It sure is a spirit affirming number, its sense of wisdom, humility and resilience in the person described shines in plain sight through this song, making it an essential listen on the album.
Not only is there resilience, but also resistance. “The Panther” (Track 7) about Laisat Baisarova, a sniper and officer who went vigilante in protest against orders to deport and kill her own people. There are some good lyrics here, Kulesh reveres The Panther’s power and rebellion in the face of injustice, “An Amazon doesn’t serve. In an army of slaves,” and her voice lingers and dances around the classical strings quite elegantly. The defiance of this interesting woman burns within the song like a fire nestled against cold, snow-buried stones. Characterful, Daria’s voice has a slight snarl to start and then becomes light and compassionate as the song (uncharacteristic for folk) develops into a positive ending with her never being captured and possibly becoming of less renown because of it. An inspirational character and a pointer to strength of noble conviction.
Other songs that point to Kulesh’s pride in the people and the place include, “Safely Wed” is certainly a balmy, rich, heady song in celebration of an “Auntie Nina” and a Matriarch exercising some prudent wisdom with family affairs and “Like a God”, an urban, gladiatorial wonder of a song with the main character Alaudin (a doctor) fighting against Stalin and a cut-throat world of bandits with the steel of his scalpel, “leading them a merry dance, on a floor of snow and blood.” There is steel in these notes, there is iron in these words but as shown, it is not always shaped into a gun.
Folk fans who like a more classical voice, a respect and inclusion of cultural instruments, and a sense of family will instantly love this album. It is a personal concept album in the most part, Kulesh does actually move away from the core concept for a track or two (“Untangle my Bones” and “Gone” being the main examples”) but they are needed, they show an artist who is trying to convey what the sum of her research and experiences have triggered in herself. In sound arrangement it is musing, capturing the minds eye as it races to the East in search of mystery and a strong, personal album that moves slightly away from Kulesh’s magical realist music and more into biography and history. Kulesh’s voice soars as always in the beguiling way that it does and the result we get is an album which is simple speaking an artefact. It gives voice to people who have faced what life has thrown at them and continued to fight back either through their deeds or their respect and love of family.
Give it a go, the album is launched 23 February at Cecil Sharpe House (see here), and the album will be available shortly after, keep an eye on Daria’s website here.
Daria is also on tour, go here for her upcoming tour dates, see if she is touring near you!
A hallmark example of a revival done well, “The Transports” brings stalwarts of the folk world to tell affecting stories through song and history.
Introduction
Peter Bellamy’s folk ballad opera about migration, “The Transports” is back. Having it’s 40th Anniversary it does not so much ask the crowd to continue dancing, but rather teaches a few new steps that should encourage the shyest member to put on their shoes and join the party. It does this through an injection of modern stories, local history research, and a selection of eminent and accomplished musicians who makeup the cast. On tour at a number of venues, it is a dazzling and consummate collection of songs and stories that can clearly be seen to have been sharpened by the whetstone of politics. But while there is a strong theme around migration and hardship, there is also a lot of love and altruism here and the strongest theme that emerges is people’s visible spirit of optimism even when one is short of life choices. We shall return to this later.
Funded by the Arts Council England, we went to see the show at the grand Opera House in Buxton, Derbyshire (and a lovely venue it was too).
There is a lot to see and think about in this theatre event, so in turn let us look at the three main strands within the performance: the historical part, the contemporary links, and the song performances themselves.
Historical Bits
So “The Transports” is based around 1783. It starts with the story of Henry Cabel (Sean Cooney) who is an honest man in Suffolk looking at his neighbours in Norfolk and their wealth. He is down on his luck and struggling to feed himself; as the narrator (Matthew Crampton) says, “He’s a good man.. but he’s getting tempted.” This is the first of many explanations by the narrator which paints a morally grey landscape for all the people whatever their time of history, there is a lot of philosophical complexity to be wrought here. Crampton does a good job throughout of planting the seed of reflection in the audience, giving them the context and the tools and asking them if they would have acted differently in such a harsh and brutal world where the stakes are much higher. Crampton has a great voice that entices and explains. He pulls the audience in like a magical toyshop owner, he has some joy and sorrow that he cannot live to keep to himself. His investment in the role is not only visible to see, it can be gleaned from his wonderful research of Parallel Lines that feeds directly into parts of the play (more on this later).
The story progresses, Henry’s desperation leads leads to some unfortunate consequences with him joining with vagabond Abe Carman (David Eagle from the Young ‘Uns) to attempt burglary, They are caught, go to trial and then there are some bad outcomes.. and some very bad outcomes. Mostly framed around the songs, “The Transports” doesn’t so much explain every inner and outer working of the character in their song like in musicals per se (there are no songs about doing laundry for example), it rather opens a space for a broader discussion, a wider personal reflection about that character’s feelings. There are a few acting segments that illustrate this too, though it is much more about the song. That being said, David Eagle makes a truly lothesome yet fetching man of different moral dispositions in his role which made me think extensively of Fagin (the pickpocket from Oliver Twist, not James Fagan to clarify). His time is short, but the performance both inside and outside the “Robber’s Song” is a something to enjoy a lot. From all the musicians (barring maybe Greg Russell’s Turnkey) he carries more of the mannerisms into the song and embodies the character such that is certainly memorable.
As the play continues events move like the great waves between England and Australia, up and down with joy and grief. Henry meets Susannah (Rachael Mcshane) his future wife in prison and we begin to see some of the joys and the warmth that can be found in oppressive circumstances. Rachael plays her role with some grace and kindness whilst Cooney’s Henry is hopeful and the aforementioned Turnkey (Greg Russell) has a whale of a time being the hero (though not at carrying newborns). Alongside the artists having an acting turn, the choice of having the narrator direct so much of the action and explain what is happening is a good one. It means the musicians can play to their strengths and focus their characters into their musical numbers and tightens what we see; especially as the the whole cast necessarily are on the stage at all times.
As mentioned already, there is a huge silver streak of optimism within the play that doesn’t paint the historical situation as “entirely hopeless” even when things seem bad: love can happen in a prison or someone’s conscience will often lead them to a good deed. It mentions “change” in the form of the French Revolution and portrays England interestingly as a social pot about to boil over. It makes the times multi-faceted and lifts from the writing Bellamy’s faith in people to do good things. Even when people do less good things it is either through an attempt to control oppressive circumstances (Susannah stealing cutlery to escape being effectively a slave) or as a small footnote to a future of great accomplishment on the right side of the law. The play certainly makes you think about the notions of rehabilitation, circumstance, and morality.
Contemporary Links
One of the joys of seeing “The Transports” is it’s knowing looks at how the themes in the historical story are still very much a part of our modern fabric.
Returning to Matthew Crampton’s narrator, there are a number of wry references to the “privately-run” prisons of the time (and now), but also a sharing of the names of people involved in another exodus from London to the textile mills of Derbyshire. Through the research of the Parallel Lines project, he mentions the grim applications of the Poor Law and the experiences of children working in industry. The disparity between the lives they were promised and the lives they actually led is quite jarring, for locals who might not be aware of the price to dignity that some industries have made, this play is quite an eye-opener. Each show is different too. Depending on the venue, the narrator gives the names of local people from history who have suffered similar fates and hardships based on the decisions of industry owners and Government. Doubtless there are parts of the tour which even more history than being seen at Buxton but even the smallest mentions of a person or two are enough to think of these cruel times and how far (in some ways) we have come. It was both enlightening and sad. The effort to integrate this research into the play has the effect of slowing down events, but it is a poignant and relevant stop which really adds a cultural significance, and a heart to this showing of “The Transports”.
Another significant and pretty heart-wrenching modern link is the production’s choice to include the Young ‘Uns song, “Dark Water.” Telling the story of two Syrian refugees attempting to swim across the Aegean Sea it is a claustrophobic, gutting and poignant song. With the media spotlighting this issue a lot last year, this brings it back again explaining much like for the characters of the piece Henry and Sussanah, that these journeys are an ultimate risk that flies in the face of modern discourses against immigrants. Rather than seeing asylum seekers as mildly inconvenienced, carefree people and are coming to this Country to scam hard workers, it highlights a desperation that can only come from all-consuming hopelessness. It is a timely reminder of a risk-taking decision we could all very easily have to make if our lives got threatened in the same way through war or famine.
Songs and Music
This production of “The Transports” is certainly an energetic one. It helps that much like the original run (that had influential folk artists such as Norma Waterson, Martin Carthy and June Tabor to just name a handful), a number of recognised and young artists are involved in this.
Joining those already mentioned (Sean Cooney, David Eagle, Rachael McShane, Gregg Russell) there is also Michael Hughes (the Young Un’s) Nancy Kerr, and the members of Faustus (Paul Sartin, Saul Rose, Benji Kirkpatrick) who bring their trademark qualities of solemness, raucous energy, and focus to a pretty varied roster of songs. It is an impressive lineup that delivers some memorable experiences with each several highlights throughout.
All are great without exception. There are the beautiful laments of The Mother (Nancy Kerr), a wonderful number with Rachael McShane and Sean Conney that looks towards freedom, and a few other that are equally affecting. The opening Overture song is especially strong; it is clearly a sprint start and Paul Sartin’s voice and passion gives the beginning of this longboat of a play the oars that will push it onward. The Young ‘Uns seem like they born to do “The Transports”, especially as their music has more than once taken a cue from modern news (listen to Carriage 12) and the magnitude of their unaccompanied voices sits incredibly well with fellow award winners here. Another number which is especially fun is “Plymouth Mail”. What can only be described as a “land shanty” in my vocabulary, is a galloping, high octane number with the horses of the cart pulling with an energy and determination that matches the accompanying scene perfectly. There are some quieter moments too, but of course it all ramps up again for the finale. The final performance of “Roll Down” is certainly a powerhouse in every sense of the word. Going out on a sublime high, the ensemble case gives it more welly than a gaggle of pirate wanglers. Amazingly deep, rousing and quite brilliant, the show goes out with an unmatcheable gusto.
In Conclusion
All together, a great contemporary take.”The Transports” in 2017 is a triumph in it’s mix of song performance, history and human philosophies. Fans of the artists involved should go just to see them all in one place, but compared to what else this whole production brings this would be the slimmest of reasons for enjoying it. Kudos to creative producer Tim Dalling’s inputs and Paul Sartin’s role of Musical Director which has shaped a hugely spirited, and committed modern take that feels very faithful to the core messages of Peter Bellamy.
There is a lot here, a lot to take in, and 40 years since the play first went around it feels inside like it is as relevant as ever .
Some tickets are available for the touring show on “The Transports” website here.
If you are still unsure, have a look at their preview video below.
The images used in this post belong to their respective owners, I do not imply ownership of them with their inclusion here.
I have been threatening for a couple of months now to do an award post to celebrate (in my opinion) the best Folk of 2016.
It is a cliche to say it was a fantastic year for folk music, so I won’t say that more than that once.
But what I can honestly say though is that I’ve have heard more folk than ever before, and the scene is certainly a well-filled blend of whiskies; a vibrant mix of old and new expressions co-existing. The scene itself is pretty vibrant in it’s different expressions and many stories are being told old and anew.
As a result I thought it only fair that Folk Phenomena gives some awards this year, apologies there are no awards going for live gigs (per se), or traditional/instrumental. Maybe I will hear more of these things this coming year and incorporate this into my next awards! Before I proceed let me explain how I will do this.
As many know, I have a bit of a fondness for whimsy so here are Folk Phenomena’s award categories, and an explanation as to what they entail…
THE BRIDGE AWARD: (Crossover Folk)
The Bridge Award symbolises the most accessible of folk albums.
This is not to say that an album is lacking in folk credentials or has strayed over to the side of pop or hip-hop (for example), but it’s delivery combines all the best sensibilities of Folk Music whilst through arrangement or delivery reaches an out-stretched hand to the uninitiated in the scene. Gateway albums are essential in any music form and particular for albums considered for the “BRIDGE AWARD” this year.
THE GRAND ENTRANCE AWARD (Debut)
For artists with pizzazz who started the journey and reached this big milestone; this award honours those who not only were courageous to put this foot forward, but also did it with a sense of style. Having pushed open the doors to a glorious party, this award recognises the strength of vision for artists with a debut album launched in 2016. This is “THE GRAND ENTRANCE AWARD.”
THE MYTHMAKER AWARD (Folk/Myth Narrative)
Stories of old, spun in innumerable ways from the oral tradition that speak of things part history, part hearsay are some of my very favourite things.
Folk music often takes the mantel of talking about the more fantastic. Sometimes there is a legend or a famous person who did a wondrous feat, or maybe it’s just a touch of magic that is added too an otherwise unremarkable event.
For a sub-genre that is not everyone’s cup of tea, here it is “a cup of tea, bread and butter and chips coming out the chip pan”.
This award honours individuals who take a good tale and build something rather special with it be it something supernatural, folk-loreish or historical for the “MYTHMAKER AWARD”
THE GRIMMS GIG AWARD (Folk Theatre)
There are music gigs, and then there are folk gigs!
For this first year of awards I will not strictly be running an award for best live performance, but there is the Grimm’s Gig Award. It is needed, for indeed there is theatre that gives flesh to stories, a memory presented under the hot stage lights for the world to see. I sometimes wonder, what if the Brothers Grimm were here today? What would they show? How would they choose to extend their presence in plays?
There are of course theatrical shows of Grimm’s stories but this award is not limited to these, it celebrates folk ideas and their presentation on the stage and makes us think for the “GRIMMS GIG AWARD.”
THE MUSICAL MENAGERIE AWARD (Best Multi Artist Album)
Collaborations bring a number of individual artists and elements together with the goal of making a substantial and interesting piece of work. The Musical Menagerie Award highlights the best of these works from the year 2016. Please note the award isn’t intending to convey the experience of sitting in a locked cage together thinking of the particular chords or words that convey what you are thinking (though this might or might not be the case), but rather recognises that as different creatures, we bring our own ideas, history, and experiences to the musical pot.
This is the “MUSICAL MENAGERIE AWARD.”
THE WOODEN WORDSMITH AWARD (Songwriting)
A focus on lyrics and words, this award goes to the group and album that demonstrates a huge affinity to their subject with. They will be albums where the words have a life of their own and follow you through to the quiet of the early morning or ring in your ears, inaudible to other unsuspecting parties.
Like a person toiling to shape some wood into a beautiful carving; in this award artists have moved and arranged words that in turn move us for the “WOODEN WORDSMITH AWARD.”
THE SIGN OF THE TIMES AWARD (Political Folk)
Politics has dominated a lot of discussions in this year that is for certain.
Folk music’s more than casual acquaintance with protest and debate is not itself a debate that is needed, it is a given. Certain parts of folk music quite rightly want to communicate a collective unhappiness, or speak out about the vulnerable or mistreated. The “SIGN OF THE TIMES AWARD” goes to the most impressionable albums with an overtly political stance released in 2016.
HALO OF FOLK AWARD (Best Solo/Duo)
The Halo of folk is pretty much how it sounds.
It is music that can do no wrong, or if it does its so small that the light of it’s energy overcomes all.
An artist to receive the “Halo of Folk” award has persuaded many times over to play that album again, maybe even to deafening cries of your nearest or dearest for the “HALO OF FOLK AWARD.”
The Bridge Award (Crossover Folk)
WINNER – Nancy Kerr – Instar
Nancy Kerr’s “Instar” has a kind of swagger. It is true that the album covers no end of subjects that would be at home within a raft of folk albums: a song about birds (check), songs about social justice and equality(check), some songs about myth and stories (check), and these are my favourite things, very much so here but it certainly reaches out.
There is a firm, well-crafted feel to the album with an element of fun that peaks across many of the narratives on display here.
Kerr’s voice is interesting and engaging throughout, and in some places in a particularly playful way that oozes applicability of folk to modern living (i.e. Farewell Stony Ground is getting into Lily Allen territory with her slightly urban articulation). But it’s not just this, there are other “bridging” factors from Instar in arrangement such as a rock-influenced medieval recipe song (Gingerbread) and Light Rolls Home, that feels a bit Beach Boys/Ramones in it’s presentation. All-in-all an album which show ways of presenting folk songs/stories that the uninitiated listener could easily take hold of and embrace.
Highly recommended, and that is why this year Nancy wins the “BRIDGE AWARD”.
Instar can be purchased from many sources, including Nancy Kerr’s website here.
RUNNER UP – Kelly Oliver – Bedlam
Hot on Nancy’s heels is Kelly Oliver with “Bedlam” released early in 2016.
Quite simply, Kelly deals with some big topics. As mentioned on my previous blog, “she wastes no time with wishy-washy politics” she goes for some big targets such as a song about an unmarried mother put in an asylum “Bedlam”, and “Die this way” about a young child at wartime. The music has an achingly youthful and authentic sound which finds time to enjoy itself in paces too (such as the upbeat track “Jericho”). You could call her the musician of the Olympics this past year as her love-letter to Brazil was delivered with fresh observation and some catchy rhythms, together it is cemented with her soft voice and demeanour.
Not “hard folk” in any sense of the word, but her lyrics and subject matters cover meaningful material and stories which folk is highly concerned about.She crosses genres, she can go in any number of directions and will find an audience following, which could one day find it’s way into John Kirkpatrick’s garden. This is why she is Runner Up for the “BRIDGE AWARD”
Kelly Oliver’s album “Born This Way” can be purchased here from Folkstock Records.
The Grand Entrance Award (Debut Album)
WINNER- Heg and the Wold Chorus – Raising the Fires
Heg and the Wolf Chorus remind me somewhat of all the elements of music I enjoy outside folk (except maybe Reggae and Ska).
They appeared from the edges much like the dry ice you see in 1980’s fantasy films and before you know it you are not sure where you are. There are elements of dark cabaret here (e.g. Amanda Palmer/Emilie Autumn), cello rock, Kate Bush, and a hint of Tori Amos. It is all of this and also none of this. The broad, powerful ensemble of musicians is like a beating heart which pulsates stronger and stronger with the best sensibilities of supernatural folk.
Be it the shrill, piano marching warnings of “Hide! The Storm is Coming”, the theatrical and fun “White Witch”, or the more medieval styling of “Fairy Hill” there is an unfettered, confident collection of songs here that is brought to life. It could have stepped straight out of a HBO fairytale programme. If you like a touch of fantasy in your listening cave, I heartily recommend.
Heg and the Wolf Chorus’ album can be purchased from their website here.
RUNNER UP – Jenny Sturgeon – From the Skein
The first of the quite myth-heavy albums in the winners list. Occasionally nautical (Raven, Harbour Masters) and often an interesting take or elaboration on legends (Maiden Stone, Selkie) the album is a solid breakthrough into the folk scene.
Not just that, there is some very nice fiddle work indeed throughout and Sturgeon has a breathy, “warden of the woods” sound to her voice that exudes a certain confidence within the work. In a sense it is quite traditional, and finds beauty in being restrained and alluring.
This is why she is the runner up of the “GRAND ENTRANCE AWARD”, well done.
Jenny Sturgeon’s album can be bought here from Bandcamp.
The Mythmaker Award (Folk/Myth Narrative):
WINNER – Fay Hield – Old Adam
I am a fan of Fay Hield, but in my ultimate opinion “Old Adam” excels above her other works and continues her ascent into the perfect combination of expert research, literary considerations and performance. Her works have always lent themselves to being like an explosion of energy from a medieval tome, it is very easy to see her academic interest and the joy she derives from all aspects of her interests.
Her powerful adaptation of “Old Adam” is an exercise is great pacing, a luxurious string accompaniment, and a moving emotive voice. Throughout there is a careful measure of energy which she varies throughout the songs going from dancing and ethnic (Raggle Taggle Gypsy), to regally melodic (Queen Elanor’s Confession) ,and even comedic (The Hornet and the Beetle), this variety adds a huge amount to what you hear and how you feel.
It is also delightfully morally ambiguous and unfiltered; it is mythic folk of the finest kind, and that is why she wins the “MYTHMAKER AWARD”.
Connected at all points and moving track to track; Hannah James’ work directly mirrors the theme of travel throughout this conceptual album. The songs all form part of the “Jigdoll” show which Hannah has toured through the UK, an event that brings together her signature clog dance, accordion skills and distinctive voice. There are some amazing tunes in here including the warm “Coppicing Song”, the fleet of foot “Clog Jig”, and especially moving “The Carpenter.”
Cohesive and exploratory it conveys as much through what is not said as what is. It feels like a playground where one’s own mind can go wild, and is strikingly earthy like a pine glade. It only misses the winning spot through a feeling that seeing it all live as part of a full dance/puppet/song performance is probably the optimal experience, but nevertheless will leave you with your hairs standing on the back of you neck as an album in it’s own right.
You can buy Hannah James’ album here from Rootbeat Records.
The Grimms Gig Award
WINNER- Karine Polwart – Wind Resistance
Karine Polwart amazes on every level in this monologue combining music, stories, and movement.
Like a lush terrarium, the set is incredibly detailed in the number of items on display, several of which come to life in the performance; no space is wasted and Polwart is a warm, beloved storyteller here.
Not being sure what you will see, “Wind Resistance” offers a masterful commentary on humans’ relationship with nature, history and society. There is a segment of her show when she describes the plants of the land and how they were made into remedies, linking their historical with their modern uses; but this is just one insightful example of how the play intersects history. A pairing is made between a figure of the past and Karine herself as she describes the experience of giving birth, and how in a sense we are still at mercy to fate, and that advances only go so far.
Deeply personal, and with great flair Wind Resistance wins the “Grimms Gig” Award.
RUNNER UP – Adverse Camber’s – The Shahnameh
Based on stories from ancient Persia, Adverse Camber’s “The Shahnameh” delights and gives a generous sense of time and place.
Thoroughly entertaining, the cast of two manage to tell the stories from the heroic age that spins a tapestry of lore as we hear of a magic horse, Rustam a powerful man hundreds of years old, and the Simorgh, a beautiful bird of the imagination, and many more. The characters keep coming, the stories keep enthralling and the evening sales through, and you really do get lost inside.
A very good use of the minimal stage props and an extensive personal array of postures and mannerisms from the narrator (Xanthe Gresham Knight) sit alongside a gentle but persuasive approach to engagement with the audience. Highly memorable, “The Shahnameh” wins RUNNER UP for the “Grimms Gig” Award.
THE MUSICAL MENAGERIE AWARD
WINNER – Various Artists – Songs of Seperation
Songs of Separation for myself was like a seismic event from very early on in 2016.
On the magical Isle of Eigg a veritable powerhouse of folk musicians assembled to combine the finest elements of English and Scots traditional influences into an enduring legacy of an album that speaks of separation from personal and historical experiences.
Too many great artists to give credit to it is like an etching in diamond. The sense of history from the Gaelic songs echoes from the past and sees many voices, many talents and stories preserved for time to come.
There is very little I can say to endorse it more, give it a listen if (for some reason) you hadn’t in the previous year. Now.
Song’s of Separation can be bought here from Navigation Records.
RUNNER UP – The Furrow Collective – WILD HOG
The Furrow Collective comprise of Lucy Farrell, Rachel Newton, Alasdair Roberts and Emily Portman.
Their second album is like the beast on the horizon, or rather it seems to be and then it leaps on you in the broad daylight. A legendary creature this work is relentless and piercing, and quite rightly it should be too.
With some of the finest harmonies I have heard this year the album is melodic and with a sorrowful edge. Their version of”Wild Hog” is an unbridled joy of an interpretation and elsewhere the banjo further glitters amongst the marsh reeds in immensely deep additions such as “Many a Night’s Rest” and their “Queen Eleanor’s Confession”. It is swamp folk at it’s very, very best but also an example of collaboration and great performance to others who are only seeking to accomplish half as much.
Eerie but not overly miserable and macabre this is like a well-balanced dagger. A great outlet for the dark folk leanings of this membership it rightly wins runner up for the “MUSICAL MENAGERIE” award.
The Furrow Collective’s “Wild Hog” can be bought at the Hudson Records website here.
THE WOODEN WORDSMITH AWARD
WINNER – Lady Maisery – Cycle
Lady Maisery’s music is rather special.
Their latest album, “Cycle” fulfills that folk itch for natural wonder as it gallops through the Wheel of the Year, the seasons of the world and beyond in a dizzying spectacle that is something to see. Their last album “Mayday” was very good, this is even better.
Even before you get to considering the strength of their songwriting you have a chance to link arms with comrades through quite a few mindful and pertinent song entries such as “Honest Work” and “Digger’s Song”. With one eye on history, and one of the song-sheet they continue (in my mind) to lead within their particular folk niche.
But to award them the “Wooden Wordsmith” we look beyond performance and to original words. Though there are several on the album, two are of such dazzling quality it propels them to these heights. Firstly there is “A Father’s Lullaby”, a mind whirring ode to children’s homes of history, and lone fatherhood due to the risk of death in childbirth. I cried so much during a live performance of this, endlessly moving, very sad. The other rather stellar song is “Order and Chaos”. Self-described as a song about Atheism, the world and cosmos and it’s wonder. Referencing birth and death it puts everything into perspective and reaches far wider then you might imagine. This is why through excellence in songwriting, Lady Maisery win the “WOODEN WORDSMITH” award.
To buy Lady Maisery’s album, please visit here at Rootbeat Records.
RUNNER UP – Ange Hardy and Lukas Drinkwater – Findings
Ange Hardy has teamed up with Lukas Drinkwater in this quite meta, lightly thematic album.
Beautifully crisp in recording, elegant in delivery, “Findings” excels in a number of ways.
As an album concerned with the fastening between links, the new forged connections between artists, and even an innovative look at pairing up the audience with the #Findings Game, the duo continue to make interesting additions to the folk music toolbox as if from the ether.
Time-hopping it manages to situate itself in the present with considerations of migrants risking their lives (By the Tides) and the difficulties of young carers (Invisible Child) with pronounced and worthy versions of older numbers (The Trees They Do Grow High and Bonny Lighter-Boy), and these fit together with enviable ease. In findings other to perform alongside, they have also found the words to match their ambition that celebrate several sections of society including mothers (True are the Mothers) and daughters too (Daughter Dear Daughter) which highlight a proactive, confident approach to songwriting.
Somehow being fairly traditional but with a spirited youthful voice, “Findings” wins Runner Up for “WOODEN WORDSMITH” award.
Before the final sprint of unusual events and developments towards the later part of 2016, Merry Hell had managed to forecast a great need for unity due to huge gulfs in opinion and feelings that developed from our “post truth”. “Bloodlines came at the right time but saying this alone is quite badly underselling it as an album.
Merry Hell are known as spirited, energetic live performers and this album whilst could not possibly contain all of that flow of showmanship, comes as near to it as possible. The songs could be to unthinking ears mere blunt instruments of patriotism and anthems (hell there is nothing wrong with anthems), but there is a certain gentle care within the construction of each song that points towards the band’s wish for unity and gentle acceptance of each other rather than more radical means. Some tracks take this to the apex and pull on the heart strings (When we are old) or even on our love for the Countryside (Come on England). A favourite on the album is definitely “Over the Wall”, a three part, high-octane song that lets loose in all the right ways leading up to (and following) a prison break.
Merry Hell have translated their signature well-written lyrics, thumping tune and passionate delivery to go all political in 2016. This is why they win the “SIGN OF THE TIMES” award.
Following on from his previous album “Striking Matches in the Wind”, “Somewhere Between” takes a similar forest path to his debut. You could be inclined to say that it is “Somewhere left-leaning” but Steve Pledger seems to be an artist that is willing to lampoon both sides for their extremes in political behaviour.
Probably gentler still than Merry Hell’s winning entry, Steve Pledger’s acoustic offering is in some ways how you would expect. Quite minimal in instrumentation and backing with his voice the forefront as if playing his album one-on-one to you in the corner of a milkshake shop. It is stripped and with this comes a kind of honest purity.
With this kind of torch and strength he deals with discrimination (Other), history and duty (The Louisa Miner) and hypocrisy throughout the album in a non-judgemental, Carl Rogers psychotherapy kind of way.
It works though and generates as many thoughts in oneself as it gives, and for this reason it wins runner-up for the “SIGN OF THE TIMES” award.
WINNER – Leyla Mccalla – A Day for the Hunter, a day for the prey
Leyla dedicates this album to the human spirit and without reservation this album reaches and finds parts of the soul you might not be aware of.
Breathtaking strings throughout, it made me fall in love with an instrument enough to want to learn this year, which really takes some doing.
Enough about my reasons, why might you like it?
It is indeed a burning, Cajun flame that could have easily been included as a gateway to this world of music. The title track is a chase much like the prey and the hunter themselves venturing into the thicket, the second track “Les Plats Sont tous Mis Sur La Table” is beauty in itself with the fiddle sounding like a call to the dance, the instrument almost cries with laughter and encourages you along.
Part in French, part English, part Haitian Creole it is folk, but it also jazz and soul and resonates a rich and meaningful message. It has a delightful waltz to the heart of joy and optimism within music. For that reason it wins the “HALO OF FOLK” award.
Kate Rusby needs no introduction, instantly recognisable with a gravitas of voice that has seen folk through a number of phases and fashions she is not carving her place in folk history but rather having her own shelf for the works she has contributed over the years.
Her 14th album, “Life in a Paper Boat” is as poignant as ever with a hearty mix of more fantastical elements (The Mermaid and The Witch of Westmorland) but also similarly to “Findings” a deeply seated social conscience around the issues of travelling across the sea looking for refuge (Life in a Paper Boat).The album opts for a modern arrangement that sits her as a hugely listenable artist to all, especially as she proves she can spin a story from the unlikeliest sources to great comedic effect (Big Brave Bill- the superhero from Barnsley).
Sometimes slight, sometimes more complex there is a lot to enjoy from this album, a great achievement in Rusby’s continuing career.
Kate Rusby’s album can be bought here from Pure Records.
And that my friends concludes my yearly awards for Folk Music in 2016.
Please get in touch on Twitter, or comment on this post and let me know what you think and what alternative suggestions you would make.
Thank you to all the artists and your time, more posts coming soon!
breathless, the gentle breeze and sun of Spring. The brass takes on a life of it’s own and the nautical interludes are truly exquisite, “dance to the rhythm of the marching band, dance to the coming of the dawn” (probably my favourite track from the new album). “Mary and the Soldier” was another track from the new album, one of most expressively old-world numbers sounding like it is running through a forest of expressive accordion and deep, longing song (a song Dylan and others had recorded in the past). The most committed song to the idea of folk on the album, it is folky jazz at it’s best; if they were children stealing biscuits from the biscuit barrel they would leave no trace, likewise here folk is combined with their jazz instrument leanings in a seamless way.
THE GRAND ENTRANCE AWARD (Debut)
THE MYTHMAKER AWARD (Folk/Myth Narrative)
THE GRIMMS GIG AWARD (Folk Theatre)
WINNER – Nancy Kerr – Instar
RUNNER UP – Kelly Oliver – Bedlam
RUNNER UP – Jenny Sturgeon – From the Skein
RUNNER UP – Adverse Camber’s – The Shahnameh
WINNER – Various Artists – Songs of Seperation
WINNER – Lady Maisery – Cycle
RUNNER UP – Ange Hardy and Lukas Drinkwater – Findings
WINNER – Merry Hell – Bloodlines
RUNNER UP – Steve Pledger – Somewhere Between
WINNER – Leyla Mccalla – A Day for the Hunter, a day for the prey