Tag: gig

Categories
Folk Music Gigs

Steamchicken @ The Bury Met – 11 Mar – Album Launch

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).

https://www.youtube.com/watch?v=M4GKCle5q8c

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)

 

Categories
Dark Folk Folk Music Gigs Historical

Harp and a Monkey @ Village Folk – 25th February

Once again I was released from the steel gates of Sheffield and able to descend the long-winding roads to Derbyshire. There I went to see the latest artist “Harp and a Monkey” to perform for a throng of rapt Derbyshire people at the “Village Folk” session in the The Lawns Hotel, Chellaston. Continuing to draw crowds and some distinctive guests (Sam Kelly and the Lost Boys next) it is an honest pleasure to have travelled to see a great venue and lovely bunch of people that are really doing things right. Furthermore, they will once again be at Derby Folk Festival this year (as will I); so if you get a chance (and can get a ticket) get yourselves down to Chellaston, site here and to the Derby Folk Festival, (see here).

On this day it was “Harp and a Monkey”. Before the gig, I cannot say I had heard their musical repertoire before, the name conjures images of either the most exotic folk group or a children’s book that encourages the shyest of animals to take up an instrument (it is more the former, but someone should write the latter!) There seemed a lot of bustle before the performance; social media and conversations seemed to revolve largely in excitement around their anticipated rendition of “The Molecatcher” (Roud 1052) largely associated with Bernard Wrigley (with an awesome singular voice). On reflection, this was indeed well justified; but before we get to the heart of historic infidelity and why wronging people in dangerous professions is a bad idea for your health (and pocket), let me talk more about Harp and a Monkey.

Dressed as if going to find the Mancunian equivalent of the Haggis creature they cut a rather interesting sight. Lancashire with a capital “L” they are rather good ambassadors for the county, it is pleasing to hear songs around local industry and history, and they have found an eclectic way of telling these stories. Lead singer, Martin Purdy reminds me an awful lot of Christopher Eccleston. Perhaps if he weren’t playing a tune and singing he would be method acting as the guy who is soon going to unleash all crazy hell on some poor soul. As it happens he was rather more collected and (as per his stories on previous feedback from folk veterans) he instead gave his furious intention and movements to the glockenspiel instead of a line of dialogue. He certainly gave his glockenspiel all he’s got; you don’t hear enough glockenspiel really in the general sense of music. Harp and a Monkey do present an awful lot of glockenspiel but all of it welcome and part of the overarching charm is how it’s keys allow us a glimpse into some of the different characters of songs. The last time I heard it being played with great effect was Princess Chelsea’s excellent “Lil’ Golden Book” album and that was 2011 (and it’s not strictly speaking folk), so kudos to the group for this choice. Along with the banjo, guitar and sometimes the aforementioned harp we get a wall of sound that illustrates tragedy (e.g. The Manchester Angel) or even some sweeter sounds (Flanders Shore), and this continues with their addition of electronic sampling and voice. These later inclusions permeate through several songs and give the air an otherworldly feel to the extent that when listening it sounds a bit like the veils of reality have been shaken and you are peeking into a parallel world. This other dimension would be one where mainstream folk went somewhere slightly esoteric in the 80s and never stopped for air to the present day. It is a definitely something to experience, and also something quite evocative.

This is all great stuff, “Harp and a Monkey” use some quietly, elegant application of their instruments throughout which leads to a rather unexpected but solidly authentic capturing of the tone and subject matter of their songs. The idea of folk music that tells stories is always appealing, and “Harp and a Monkey” have a few to tell especially as their set splits across their earlier and later work, as well as songs from their work, “The War Show” taking into song some accounts of the first World War. They do cover a lot of ground be it people’s experiences in the war “The Soldier’s Song” or the heartfelt tribute of “Bowton’s Yard”, a putting to song of Samuel Laycock’s poem about his neighbours at Stalybridge, a textile town. The band’s version of this is quite homely, celebratory and proud; it has a chasing glock, and successfully paints a bird’s-eye view of ordinary people living in a street and their lives. It’s warm vocals and roots in describing community is a great addition to the set. “Pay Day” likewise touches on these themes as it exemplifies the workers laments, “oh no you’ll never know how far you’ll fall, oh you’ll never know how deeps the hole.” Some slightly understated accordion, crisp banjo and accompanying guitar build a nice, slightly jaunty track amongst a set with a reasonable amount of darker material.

Speaking of the dark, “Willow and the Ghost” is a favourite of mine. A song about a ghost sighting and a tragedy is probably as folk as you can get in this musical set and in the genre fully. That being said there is something rather stripped back about it here. It isn’t the arrangement, because the glock, banjo, and guitar are quite a moving storm and when joined with some background samples you could believe that it was a folk turn for “The Human League” (going back to the earlier analogy). Instead it’s main appeal is to do with the content (though it is performed very well too). A song with melancholy, it is itself a spectre as it has the sad visage and a fatal accident within the lyrics, but unlike many songs there doesn’t seem to be a resolution; nothing is learned, someone’s life doesn’t suddenly prove worthwhile, and the skeletons of family history are not laid to rest. I quite like the fact that it is stark and simple in this regard with the lyrics, “there I saw a young girl slip into the deep” and then it turns particularly miserable, “I saw her drown, I saw the dress weigh her down.” It doesn’t let up, “Harp and a Monkey” should not stop writing these songs, that’s for certain.

So as mentioned at the beginning of this page, we have to talk about “The Molecatcher.” Coming with as much menace as you like (and then some more); the band’s take on the cuckold’s reaction to a young man visiting his wife is pretty grey in morals. The harp is eerie, the whole affair sounds like it is wrapped up in a fairytale as much as history, but the type of fairytale where right and wrong has no place. After all, the Molecatcher in the story is in every sense a cuckold, he seems content with the financial recompense and  blissful ignorance of what is happening despite the trap setting for the unwitting lover. An old song and one from history showing people at their most complex and morally ambiguous, the group do such a good job with their interpretation with the odd jangle here and a grim turn of voice that somehow casts judgement on the listener as if asking “what is wrong with this scene?” It will clearly ring out in times and years to come with it’s catchy, black nature,”Woe to the day, woe to the wedding vows, woe to the day”. In absolute contrast, the set finished on “Katy’s Twinkly Band.” Conceived following a comment by a young daughter at the pub that the band started playing in they have imagined an upbeat song to match what she called them (the “Twinkly Band.”) Ending on an optimistic, child-like and light note it talks of the sea, the birds and a kaleidoscope of other imagery it sets. Perhaps there is still time, perhaps it is the “Sasha Fierce” to their “Beyonce” but instead with the grittier role being the everyday, and the cheery the other face? Either way a humorous and exceedingly sparkly entry.

Who will like “Harp and a Monkey”?

Fans of history to be sure, my review has barely scratched their works  around World War I (and there is a lot of poignancy to be had there).

They are not a standard setup by any stretch of the imagination, but their songs are gloriously steeped in the family and working class to the extent that it takes centre-stage throughout. Furthermore their sound is very needed; folk with some modern influences, but ones that actually draw a lot of emotions that are often neglected in this material through the glockenspiel, harp, and banjo together. When playing the stage becomes like a kind of human echo chamber, it is how you’d imagine people’s stories travelling across space and between the stars, there is  a certain beauty in the darkness and “Harp and a Monkey” has found it.

Check out their webpage here, if you are interested in upcoming Village Folk gigs, please go to the page here.

See a couple of samples below (the first from the excellent Bury Met). Give them a go- they are on tour too, so check out if they are playing near you!

 

 

Categories
Acoustic Gigs Political

Merrymaker at Village Folk, Chellaston 28th January 2017

During a brief  hiatus to the excessively cold weather last month,  I had the pleasure of heading down to Chellaston in Derbyshire for a gig at the Lawns Hotel to see Merrymaker.

High over the street like a small fortress on top of a rocky outcrop; the Lawns Hotel is indeed a hotel (and pub) that has a partnership with a rather pioneering and friendly organisation called Village Folk. Village Folk is a family (not just in saying, there are family working together here) who host an evening a month with a band or folk artist to bring a little entertainment and heart to the local area. I came across both the band (Merrymaker) and organisers (Village Folk) last year at Derby Folk Festival and situated within the Clubrooms they did a great job continuing the tour de force of Derby known as Winter:Wilson (see their site here). Introducing some newer and lesser known groups and giving them a chance to shine they were a great companion to the main acts in the square and more than the added bonus of being out of the heavy rain that weekend.

 

Relatively new to the organisation of live music, Village Folk are doing exceptionally well. They are getting good attendance and in a time of uncertainty around the viability of live music they are also attracting some recognisable and influential names to their midst (e.g. Sam Kelly soon and Martin Carthy in a couple of months), but it would not work if they were not lovely people with some serious love of the events that they are showcasing. Not a huge venue and also not a folk club; it manages to combine the good running and sound quality of the former with the intimacy of the latter, and it does it well. I certainly have my fingers crossed that they will have an involvement in Derby Folk Festival this coming year! What about the gig?

The great urban sprawl of my my younger years always comes racing back when I hear the dulcet tones of Dan Sealey (vocals, guitar) and Adam Barry (keyboard and others) with their West Midlands swagger, a series of sights and sounds never really seen or heard in my now native Yorkshire (much to it’s loss). They were joined by Nikki Petherick (whose accent is a direct contrast, perhaps sounding like an Inspector Morse extra) and Hannah (whose surname they could not decide upon) who brought additional guitar and violin respectively. In terms of a general sound, Merrymaker are a kind of entertaining scattering of folk with large elements of acoustic rock, which proves a good foundation for an interesting night out and it makes sense as Dan heralds from 90s rock outfit, Ocean Colour Scene. They have a boyish charm too on stage which is offset to some degree by Nikki giving as good as she gets in retaliation to the guys banter. The recent addition of violin is a boon too as Hannah’s classical training brings an extra dimension to Merrymaker’s more guitar heavy numbers whilst also having the potential to bring back the urban rock sound of the 90’s if needed. How would I describe Merrymaker’s songs?

Their songs are much like their stage presence in that they often come with a high dose of humour and/or self-deprecation (Adam spent a large amount of the gig concerned with his “fresh from the laundy-but-not-yet-dry trousers” that he apologised for wafting into the audience). This all creates a good environment for their slightly political angle as they performed songs with a focus on Donald Trump (which they played a rather 60’s pop “Coming Up Trumps” that they described as “a stupidly stupid song for a stupid person”) and another about the Syrian Refugee crisis which they curated from comments on Twitter “Nobody Here Wants a War.” With videos of these song posted online they show a versatility in form to their songwriting. The Trump song is indeed “a stupidly stupid song” but it is so good at being it, “Nobody here Wants a War” is more solemn but really well worked from the source material. Merrymaker’s music as a result has a bit of a bite, but rather than the deeper laceration from a jackal it is more like a nip from a well-meaning Brittany spaniel. And while the present world is too much for some, the band also delved into some nostalgia which was to be had from the Ocean Colour Scene days with a slower paced version of “The Riverboat Song” (admittedly not my favourite re-envisioning), and the Stranglers’ “Duchess” (quite good indeed).

However they go about things, there is always some sunshine and comedy too. “Midst of Summertime” is a song from their time as the band Merrymouth and it is played in earnest with a really a cheerful, leaping in the rays kind of quality. Once again the violin in it’s live state lifted the track even higher; making it a heather-tinged song that leads to quite a smile. Some might say it makes one exceedingly “merry”. The biggest laughs come from a song about a man having to do chores on a Sunday (because he doesn’t mind what he and his wife does all day, when the amber glow of ale is at the back of his mind) which goes down really well the audience alongside “This is England”, a comedic song with some sober thoughts within. A song about the attitudes of their local pub regular, Roy, who at 88 is miserable and bemused in equal measure by the changes that have happened in society it paints a hilarious but empathic picture of a person that everybody knows.

The band unapologetically have fun throughout and this helped by their setlist that combines their political leanings and observations, but also the everyday without a Poe-face to be seen.

A great venue, a caring and passionate organisation and a fun, relatable band amount to a good night out. Check out Village Folk’s website for some great upcoming artists here, and for more information about Merrymaker, click here.

https://youtu.be/6C_1etMwBos

 

Categories
British Folk Music Gigs Political

Show of Hands w/Megan Henwood Live @ Royal Northern College, Manchester

I am happy on this Wednesday in November…. I am in Manchester.
Christmas stalls are up, but it is not that seasonal treat that interests me. It is instead the chance to catch a music group, a well-established roots band that is characterised by many years of playing and writing. I am talking of course about Show of Hands, who on this cold night are taking the stage at the Royal Northern College of Music. They aren’t alone though.

Joining them is Megan Henwood. Megan is a singer-songwriter with her second album “Heart, Head, Hands” (in 2015) under her belt but she is also well known for her collaboration with the cherished Jackie Oates on the EP “Wings” that came out in July 2016. She has also won the BBC Radio 2 Young Folk Award with her brother, performed at the Cambridge Folk Festival, and Glastonbury Festival in 2010, and on this night she opens for Show of Hands with a 30 minute set.

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Megan Henwood

With the energy of an auburn pioneer and with hints of self-deprecation thrown into her set, she is a true joy to watch.

She also plays some great folk with an added idiosyncrasy that she brings to a few songs with some unusual themes, “Painkiller” for example. Not the name of your migraine protection or some Scandinavian metal group, but rather a song about an Uncle who worked as a physiotherapist. Lightly paced and thoughtful with words she sings a mindful track. It is relatively simple words and arrangement, but it is understated and shows an obvious affection and respect for a person working in a field that is rarely covered by music at all. This positive observation on the good work and hearts of people gives it kudos alone, but she has a great voice too.

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“Puppet and the songbird” is a more of a jumping, intense and cryptic number in comparison. With more baroque-style lyrics, “look what I have done, I have been directed by the moon and the sun” combined with a modern beat, and lightly rapping delivery it creates a great lyrical exploratory space. She is a more of a folky and jazzy Alanis Morrissette here with lyrics that lead you on stories with a personal but pretty oblique meaning. Winding a path and knowing the way, her music has an effect that like a muse, you want to get lost with it. Henwood then plays some other folk-rock and roots such as “The Dolly” and the mildly heart-stopping”Chemicals”, an apology for a breakup with someone due to molecular makeup.

Despite my ambivalence towards songs about breakups (they are hugely popular at the moment), there is something more substantial and special in “Chemicals”. It is something to do with the lyrics and her emotional delivery. Cracked and affected, it hits all the right notes and makes jolts your memories of awkward breakups.

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In the time she was opening for Show of Hands she got a great reception and no end of people queuing for her merchandise (including as she put it, “a tote bag with my face on it”). Like a mahogany supernova she is colourful and swirling; she crossed genres by touching on aspects of folk (and in some tracks a strong Americana influence), acoustic numbers and blues influences not unlike many other singer-songwriters. There is something different in her delivery, and the songs themselves don’t feel like commercial shells, there is something else there and she is willing to share it. I strongly recommend you to listen to her, a growing talent to watch out for. Then there is the interval and then Show of Hands, who are Show of Hands?

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Show of Hands

Show of Hands are a well known trio on the folk and root circuit, their current (and fairly established) line up are Steve Knightley, Phil Beer, and Miranda Sykes. They play a heavily rock and roots influenced sound; their musical experience together goes back to the 80’s with studio albums from the 90’s and 00’s so they have performed and written for quite a while. They have performed at the Royal Albert Hall numerous times, and all have been a part of some influential and recognisable folk bands (Phil Beer being in The Albion Band for example). Be it Phil Beer’s musical hand that turns to any number of music of instruments, Steve Knightly’s earthy, scholarly mind as vocalist and instrumentalist, or Miranda Sykes’ captivating voice and bass; there are many elements that bring richness to Show of Hands. The sound can only really be described as a musical broth that has had time for it’s natural flavours to harmonise. Steve and Phil’s brand of elevated and accomplished roots with a hard rock halo is truly enhanced by the addition of Miranda’s natural, confident and (relatively) recent addition as double bass player and harmony vocals. The set then begins.

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Appearing a bit like a monkish choir with dark silhouettes (a kind of medieval Dartmoor Bohemian Rhapsody) the trio bring a solemn sound to the beginning of the set. Unlike the Queen mega hit, it is a track celebrating and remembering the historical funeral processions of England past. “The Old Lych Way” (written by Chris Hoban) is one of my favourites of the night despite it’s earlier play and difference in tone to some later tracks. The subject of death is jokingly referred to by the band as a “cheerful” start to proceedings, but it captures the attention and is a good bridge from the support to main act. It’s inclusion in the setlist highlights a key part of Show of Hands’ sound, the concept of remembrance that flows through their body of work like a delta on the floodplain. Whatever influences they turn to in their material (and they do cove a few bases) it is undoubtedly there, and their performance brings out a passion and commitment to these ideals that we can see in the gig.

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They also preview some of their newer tracks and some covers (that are both timely in nature and about time itself) such as a warming tribute to the recently passed Leonard Cohen with their version of “Suzanne”. Also in the mix is their version of “Time After Time” by Cyndi Lauper with some incredibly enthralling vocal harmonies, marching strings and a resolute lead voice from Knightley. I am glad they perform this cover, their performance ranks as one of the best 80’s ballad covers that I have heard, one that adds something through their trio of voices. One of Knightley’s new songs that is introduced is “Have no secrets” that is being showcased by Show of Hands on their YouTube channel. A frank piece of advice written from Steve Knightley to another man who is just getting married for what you should do including, “..no place to hide away, no treasure in a far away cave” seeks to  impart worldly experience to a guy stepping into a transition. I prefer this to the other track previewed, it speaks a little more to me and it’s words cover the uncertainty, the joy and the caution in the young man. The crowd give it a good reception too.

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Not that the group needs it, but another boost to proceedings is the venue. The Royal Northern College at this point in my writing is probably the best venue I have been to to hear folk music of this type. The instruments sound sharp and powerful, the lyrics are distinct and crystal clear, and the sound mixing is nothing short of breathtaking, I suppose the University involvement and dedicated space to music make this a necessity. There is certainly a marriage of sorts going on and unlike two hippos flapping in a mud-pot, there is no murky sound to be heard anywhere. It lends especially well to their more bombastic, anthem numbers that the crowd are undoubtedly waiting for such as “Roots”, the well-known call for the preservation of English music, the working class uniting “Country Life”, and powerful anthem “Cousin Jack”. In this last track in particular there are powerful anthems from the band.

Knightley’s peppery sawdust voice, Beer’s rum and golden syrup vocals, and Sykes’ splashes of lemon, high notes come together amazingly. There is a rich, thumping baseline and exquisite mandolin in “Cousin Jack” too, the stand-out anthem from a gallery of likely contenders. The crowd join in, there is singing back, the chorus erupts, a guy in front of me practically squeals in happiness, it is all going very well.

Conclusions

Would I recommend? Definitely, it is a show that entertains, which is melodic and friendly all round (something all the family can enjoy).

They are a band that is clearly influenced by history and their songs also talk about class and identity, the same stuff people of the 60’s, 80’s and today can relate to in their everyday lives. An earthy, accessible and well practised band they bring the joy in during these cold months. Megan Henwood likewise has a great acoustic presence and with her fascinating take on subjects in her songs she is a lively addition to the show. On stage they are all full of character and charm and their personalities are such that they can close the distance between the audience and stage to make the show and intimate one.
Check out your local venue they are playing at on their website and grab yourself a ticket, it is a great night.

Show of Hands are on tour. They are touring from “peak to fen” through to December including Portsmouth, Oxford and many others.
Check out their website here for details.

If you are unfamiliar with Show of Hands, check the videos below!Check out Show of Hands if you do not know their work below!

 

Categories
Folk Stories Gigs

Adverse Camber- Fire in the North Sky at The Crucible Studio, Sheffield 11/10/16

For one night only the Studio space of the Crucible was turned into a a kaleidoscope of story, wonder and history with a combined storytelling and musical performance of “Fire in the North Sky” by Adverse Camber. There were birds, bears, men forging with gold and silver, and other incredible creations told and performed from the Kalevala, a hundred thousand lines of collected story traditions from ancient Finnish history so rich in material you feel that the show barely scratched the surface of the epic. Collected by Elias Lonnrot in the 19th Century it was brought to life by Adverse Camber, an independent production company that curates original, expansive stories from another time and another place, and works with artists and venues to transmit these tales more valuable than silk to a modern audience. They are quite local too coming from Derbyshire, and much like their other recent work I reviewed, The Shahnameh (here), there is an energy and excitement to their show which balances the need for telling stories that stand up on their own merits. Not only this but the company manages it without unnecessary set-pieces of over-the-top props that could dilute the richness of the story, the oral tradition takes centre stage. Credit to the producer, Naomi Wilds for shaping the show and director (Paula Crutchlow) for moving the pieces, the Studio was a particularly good choice to host such a program. The decision to use the Crucible Studio meant that quite an intimate connection could be forged with the audience that neither cramped the audience or dwarfed the performers; much like in Goldilocks, the size was just right. The words flourished on the boards of the stage and there was no danger of there being much empty space in the audience as the pre-show interest must have been immense with the studio being fully packed out to the gills and rapt in attention.

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“Fire in the North Sky” does not have a single theme as such running through it. It is a series of stories with certain characters rotating, appearing and disappearing into the ether which echoes the variation and improvisation of these sung stories in antiquity. Like a river the whole thing moves a winding course as a necessary and inescapable aspect of storytelling but there in presentation there was evidence that the tales chosen are sufficiently different in order to provide at least one tale of interest to each audience member. There is a cast of four and all are utilised in connecting to the audience in a different way; Nick Hennessey took the lead in the engagements and telling stories, Anna-Kaisa Liedes and Kristiina Ilmonen brought a bewildering myriad of voice improvisations and Tima Vaananen performed his kantele playing skills throughout linking the stories together. It does mean there is something that everyone will enjoy and given as the performers are folk story and music academics, there is a feeling of being part of something that is well researched and conveyed that adds an extra dimension to the raw draw of a pub yarn from old friends.

With the stories themselves there is certainly an interesting array with several of them touching on the notion of humankind, godhood and the pure power of knowledge. As expected there is morality seeping through the seams where some questionable choices are made by the characters but there is also the heroic ideal shown with individual mortals making bold and beautiful choices in this a strange ancient world. A favourite is the story of Ilmarinen, the blacksmith who upon losing his wife decides to forge a new wife from gold and silver to “fill the space” on her pillow and bed where her head and hip were.

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Despite his toil and looking like he would fail at some point. he does indeed forge a new women but comes to to the realisation that she is cold to the touch. It is part allegory for the futility of substituting human love for material love and part warning of the limits of man’s power (especially well communicated by Nick Hennessey who you can practically smell and feel the sweat and scorching tools as he works the blacksmiths fire).

In another story, Ilmarinen is being forced to forge the Sampo, a magical mill that creates grain, salt and gold, a veritable philosophers stone plus. An enigmatic device to us, but clearly the most life sustaining and valuable commodities of the age. Here both Anna-Kaisa and Kristiina Ilmonen create a vivid scene as the metal goes in the fire and comes out in a number of forms such as a crossbow, a ship. a cow; in the audience the tension rises and the instrumentalists add layers of wails and hisses that are somewhere between creature, human, and material. There is a noticeable breadth and variety of sounds that emerge of a degree and quality I have not yet heard in equal during another storytelling event. At times in the show it felt like you could get lost in thick conifer forests that had sprung up around, and the lush grasses had risen from our seats for the precision of the elements of the soundscape that are introduced are second to none.

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There are also some other familiar figures such as shape-changing witches, the magical musical player Vainamoinen who brings to things to life with his kantele, and Lemmionkainen a youth restored to life through the maternal questing on his mother; it is an exciting spectacle from a rather unknown storytelling region from my own experiences, but on that draws parallels to other more familiar cultures, e.g. Osiris in Egyptian mythology for example who body is pieced back together. Tima Vaananen certainly brings some magic with the music throughout and the authentic addition of this old instrument seems as essential as the Finnish self-deprecating wit. It’s presence acts like the thread that holds the seams of the epic together. The theatre experience is encapsulated with a free programme that is given out which explains the song and story style, the history of the region, and crucial information about the characters focused on. It is a good starting point for anyone keen to learn about Finnish myth an itself a nice souvenir.

In just the two Adverse Camber productions I have seen I have been impressed. There is a great variety between the two but both share a great selection of stories, the curation of some less obvious but interesting material for the audience, and some warm story-telling. Out of the two, Fire in the Sky had a bigger cast, probably more musical and backing variety (but then there is a bigger cast) than the Shahnameh. The Studio allowed the story to progress across the bigger space but the Shahnameh necessarily had to make more creative use of the space and set pieces when I saw it in the smaller Derby venue (which did add some charm). They are minor comparisons and differences, both are a great showcase of talent, a veritable saga of morality and creation, and most importantly an enjoyable night. If you get the chance to see an Adverse Camber work go and see, prepare to be educated and entertained in uncountable ways!

If you want to check out Adverse Camber and their upcoming work, check out their website here.

 

I do not claim ownership or copyright on the above publicity pictures, see Adverse Camber’s website for more information.

Categories
Folk Stories

The Shahnameh “vibrant and colourful with ancient intrigue” – Derby Folk Festival 2016

Title: The Shahnameh: The Epic Book of Kings

Company: Adverse Camber http://www.adversecamber.org/

Producer: Naomi Wilds

Arts Council England

It is Friday 30 September and the first night of the Derby Folk Festival 2016. The marquee is up, the rain is generally holding off and the crowds are just forming. With the choice that there is I take the thoughtful approach and decide to start the festival like the opening of a good book (with a story and spectacle) and go to the Guildhall Theatre to see “The Shanameh: The Epic Book of Kings” brought to us by production company, Adverse Camber.

Broadening it’s remit this year Derby Folk Festival has programmed a piece of live theatre to flavour the start the festival. Different and contrasting to some more identifiable folk (Alma, Sam Kelly) and fan-favourites Fairport Convention on slightly later, it takes a different tack by introducing story-telling of the epic nature early on giving a chance for reflection and consideration of what is heard throughout the three days in Derby. Adapted and staged by a company called Adverse Camber (a producing company based in Cromford, Derbyshire) the stage performance of “The Shahnameh” tells a number of stories and myths that feel familiar to fans of literature and storytelling, yet surprise in their richness of character and mystery of their setting and time in ancient Persia. In having the opportunity to  see this live theatrical event I feel enriched and truly grateful to have made this choice as an opening event.

The Shahnameh is a poem and a historical account of Iran, but these descriptions does not even remotely do it justice. Written by a Persian poet called Ferdowsi between 977 and 1010BC, it does indeed tell some scholarly elements of history and politics though where it shines is the time it spends with the characters and other aspects of wonder and myth. The book has over 50, 000 lines of verse so the performance has to keep it brief! Split into a number of different ages, the company chooses to tell us some fairly action-packed adventures that come predominantly from the “Heroic Age” including stories of Rustam a powerful, several-hundred years old man dragged into the battles and politics of an array of powerful shahs, the beautiful and powerful Simorgh bird straight from imaginative myth who lends aid when it is most needed, and several other characters including Rakhsk a horse the colour of “rose leaves scattered on saffron”. A special strength in the parts and delivery of the story are these characters. Yes, the men are powerful and the women beautiful but there is deception both ways. The mother “Simorgh” bird is immensely wise and strong and a key part of the story, Tahmina is a half-human, half-fairy woman who through pure conviction and choice wants Rustam as a husband; I recommend the stories for people wanting to see gender done right and well even from an unimaginably old literary text.

There is a wonderful, colourful and informative free programme with the show.
There is a wonderful, colourful and informative free programme with the show.

These sensory descriptions give a very vivid sense of the characters but it is the combination of the storyteller and musician that make it truly dance.

Told by Xanthe Gresham Knight (narrator) and accompanied with music of the time and place from Arash Moradi (musician) it builds and maintains a feeling of being taken far, it felt like some of the mundanity of life were brushed aside as we heard the wondrous lives of people thousands of years ago. The story unfolds through the openness of storytelling in the Naqali form, a surprising and engaging form of performance that allows some improvisation and direct engagement of the audience. Several people would roll their eyes at the thought of taking part in a show they have paid to see in front of them, but Knight managed to encourage and draw the audience without being heavy-handed or coercive. By the end like all good stories they were gleefully involved with singing the chants of battlecrys and as birds of the forest, and the whole show felt like it was taking on a life of it’s own- by the interval you really wanted to know what happens next. This connection can be so hard to get in this artform and even with Knight’s exceptional experience in Storytelling (such as having numerous Storytelling Residencies) it still felt like there was a potential for it being a challenging opening as something so different within a full folk music programme, but it all goes exceptionally well and the audience was truly enthralled.

As mentioned, Arash Moradi’s music is something quite special. Throughout the tests of strength, the incredibly romantic encounters and the eloquent riddles that all hallmarks of great stories, the music was ever present. The show seamlessly shifts from one instrument to the next, the drum instrument is made to make the sound of thunderous hooves from what seems like the world’s biggest horse, and the quieter encounters of the heart the next; the shades of emotion are impressive. The imagination of the stories and beliefs of Zoroastrianism were positively conveyed, the heroes felt taller, the moral quandaries greater; the music winds and shapes and like the sweetest perfume draws you in. The message and character of the show is an epic and bombastic yet thoughtful piece that captures your heart and runs with it.

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Credit should also go to the creative team involved with the show. Collaborating director (Kate Higginbottom), design assistant (Claudine Scheer), technical manager (Gethin Stacey), associate producer (Louisa Davies) and producer (Naomi Wilds) have come together to deliver a show that manages to tell old series of stories indeed but make them familiar and shining with an edge of gold leaf. The set is quite minimal but is used really well, the storyteller moves across it in unpredictable ways and takes a number of shapes and characters to convey the story; there is never any confusion about who or what she is representing and the direction helps with this. The stories themselves are quite striking, they remind me a little of the scale and imagination in the Ramanyana on one hand and the familiarity of nature stories like the Jungle Book on the other.

A great beginning to Derby Folk, fans of storytelling cannot fail to be impressed and several others will almost definitely become converts. Adverse have managed the task of choosing an interesting story, telling it in an interesting way, and managing to involve the audience in a gentle way it is vibrant and colourful with ancient intrigue.

If you get a chance to see this as it tours you really should, details are here, alongside their other storytelling tours.

I look forward to seeing what else the festival has in store.

Check out a video of the show below:

Categories
British Folk Music Gigs

South Yorkshire FRW Music Festival – Sep 2016: Gilmore and Roberts

Folk tales done somewhat contemporary with audacious combination of source material, rhythm and wonder.

In Doncaster the day turned to night, the amber lights came on and Gilmore and Roberts came out, though vampires I am sure they are not.

On their 10th year working together Katriona Gilmore and Jamie Roberts are going strong, as strong as ever really. In my email inbox and those flyers you get through with your cd purchases I had seen the references, heard the signs and probably passed by much of the folk audience holding their breath as to how I had not come to listen to them. After all, the adoration from people has come from far and wide. I had heard of their recent Radio 2 Folk Awards nominations (3 times in total), their extensive support of other bands (and of course 4 albums together and numerous other projects) and like a monkey with a broken peanut was trying to put the pieces together in my mind. Even before hearing them, I felt like I would kind of have to agree with everyone especially as I often do a merry dance quite regularly with the Dovetail Trio and Kerfuffle which Jamie has a hand (and probably a foot) in.

After seeing them live I began to stop being grumpy, after all it is no understatement to say that they pretty much tick all the boxes for innovative, peerless folk music. Their arrangements are interesting, their selection of story and song subjects are varied, and every crinkle is their works are doused in myth and set alight by sparking good humour and excellent performance.

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Starting their set with “Dr James” they narrate a true song about a woman pretending to be male doctor considered a “lady’s man” who was credited at saving a woman and child during labour with caesarean section. It impressed me enough that despite me being the tortoise in this folk race, I have decided to make it my folk video of the week (for other reasons too, post here). Then there is their song about a bad scarecrow “scarecrow”or the man with the with arm transplant who continues the life of it’s previous occupant (theft) in “stealing arm” . Their reach (see what I did there) is long indeed, and whilst many artists make the veil separating history, myth and society flutter in their music, Gilmore and Roberts instead bring the curtain down, let the rapture in and play a wry chorus while things are burning all around. Their attitude and chemistry on stage was relished by the audience here, Gilmore was like a coiled, cool ringmaster and Roberts like the musical guy who would know how to fix your boat if you asked nicely. Whatever their appearance was outside of my imagination, it worked really well with everyone else too and they are obviously well rehearsed.

The set wasn’t restricted to older subject matter either, we got the added pleasure of an almost debut of a new song, “All the Way to Rome” about a particularly intriguing relationship between a nun and a priest (based on American Horror Story) and it ended on “Selfish Man”, a song penned on the Isle of Man which rolls and curses and talks of torment and anger. Throughout the lighting cast a white heaven, or deathly red on the stage, in seriousness it seemed to be more rotating on a random setting but nevertheless added something. Roberts’ guitar playing was precise and leading with an emotive voice, Gilmore’s singing felt enriched and expressive, all-in-all an impressive duo to get into this festival in Doncaster.

I sadly did not get time to catch some of the other artists who were there, had I been able to it could have gone a different way, but as it stands they were the clear stand artists  of the day. I will now rush out and buy all their albums (actually maybe wait til payday).

Give them a try, but don’t wait for several years (like myself).

 

Gilmore and Roberts are currently on tour going all over the place, I would check them out if I were you, here.

 

Categories
British Dark Folk Gigs Uncategorised

South Yorkshire FRW Music Festival – Sep 2016: Said The Maiden

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Authentic energy brought to dark, traditional numbers and original work.

http://www.saidthemaiden.co.uk/

 

Admittedly one of the two acts that drew me to the the new festival in Doncaster (South Yorkshire Folk, Roots and World) at the Leopard, “Said the Maiden” fantastic in name, and beginning to flourish in notability. They are like a group on their way up to the horizon, the sun might be setting in other places but they are rising. Having played with the late, highly-influential fiddler Dave Swarbrick on tour, occupied their own tour spaces and won the Isambard Folk Award in 2015, they occupy a particular niche which they do surprisingly well in. Their delivery and subject matter is generally traditional folk elements, but their enthusiasm and confidence gives it an exceptionally original edge.

For anyone not familiar with their work they are Jess Distill, Hannah Elizabeth and Kathy Pilkinton, a trio of women that bring the sea, mystery and the best sensibilities of folk music storytelling to an acapella form. Somewhat like Lady Maisery (though earlier in their journey) but choosing to dwell on the darker side of things for now they wind a story here and there and bring a kind of light menace to the subjects of their work through their harmony.

After an initial release of “a curious tale” in 2014, and their their recent maturing of sound EP “of maids and mariners” they have also been involved in a great collaborative work with supergroup “The Company of Players” with the likes of Kelly Oliver, Kim Lowings, and Lukas Drinkwater (and many others) in celebration of the works of Shakespeare. Alongside other fledgling and interesting sounds must have been a boon, they are working on a new album and expectations are unsurprisingly high for what they will bring next.

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At the Leopard in Doncaster their set included a number of great songs including a rendition of  1870’s “In the Pines (also known as “Where did you sleep last night?”) where they gave a grand and solemn focus to the tragic and well known number, a faithful and interesting “Spencer the Rover”, and a slowed down, more punchy cover of “Jolene”. These all shared a high benchmark of quality though the highlights of their set were probably their version of “The Soldier and the Maid”, and their own song “Polly Can You Swim?”

The STM version of “The Soldier and the Maid” (Trooper and the Maid) sounds the marching energy of the soldier at war, in this respect it arguably trumps some of the more traditional renditions which seem plodding in comparison. Their three voices are almost like spirit narrators or the young maid’s turmoil manifest on stage. As they sing they details her joy, her worry as the voices of reason within the Maid’s mind; the aforementioned pace fits both the growing lust and the speed and urgency of the call to war within the song. If you can get hold of a copy I recommend it.

“Polly can you swim?” is a song entrenched both in subject and delivery of the sea shanty. It has the themes of classic folk and theatre (women dressing as men), the romanticism of setting (on a boat at sea), and the piratical chanting of the eponymous title of the song. When it came on there was a slight buzz, the audience got right into it. Much like my recent review of Jenny Sturgeon and her song “Raven”, there is a rhythmic hymn within the song; it mocks, it excites, and it fits seamlessly into history. People in times to come will think it is a much older song than it is, which is some achievement as it is extremely hard to establish convincing modern mythology in the traditional style and not look like a maligned smuggler of floral tea.
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Said the Maiden more than lived up to expectations. Their set was brooding and professional, their voices were like vanilla coconut, sweet but textured with the grit of hard living which sounds great from a relatively young band.

I strongly recommend you see them, their next appearance is at the Great British Folk Festival in December, Skegness where there are some amazing groups (I wish I was able to go at: https://www.bigweekends.com/the-weekends/specialist-music-weekends/great-british-folk-festival.aspx).

Check out “Polly Can You Swim?” and “The Soldier and the Maid” below.

 

Categories
Americana Canadian Folk

South Yorkshire FRW Music Festival – Sep 2016: Madison Violet

Madison Violet

“light Americana which grabs and appeals across the board”

Starting off the South Yorkshire Folk, Roots, and World Festival there was the incredibly talented duo of “Madison Violet”. Madison Violet consists of Brenley MachEachern and Lisa MacIsaac, two great robust names and musical artists with a sound I am going to describe as glazed pinewood, quite light in character and incredibly well polished.

Colourful in name and compelling in presence this Canadian act has more than a few hints of Americana and Roots to it, though it’s strength is in their wide appeal to a full audience. Having released seven albums following a busy schedule of touring and working together for the last 14+ years, they are of course on another big tour which is stopping off in many countries, though sadly not much longer here (check out their website for details here). Their touring seems integral to their character, their professionalism and confidence certainly shows in the set in Doncaster as they made a lot of new fans in a potentially a difficult slot in a day when people are usually hunting Yorkshire Puddings rather than live music (first slot at 2pm on a Sunday).

They started the set with “The Heat”, a track that was swerving and engaging in equal measure. This alongside “Ohio” were introductions that describe the character of Madison Violet quite well: the sound is clean, their performance is unforced and their instrument changes seamless. Under the shine of the unexpected Doncaster sun and the fleetingness of the afternoon, they were a great way to spend the time. Much of the set was older material than “Ohio” a more poppy number from their latest album, “Year of the Horse”. Whilst some fans are split on the new influences with the later album, it seems that whatever material the women reach for has at least a modicum of appeal to a general audience; and this is no bad thing, many fans of Americana might be seeking the grimier side of life but treading that furrow can equally be a worn exercise.

 

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Moving on to “Come as you are” and “Crying your eyes out” the strength of this group is in their intimate portrayal of emotion; “crying your eyes out” was, as admitted by Brenley as being in part about her brother (who passed away) and part on discovery of the chemical complexities of the tearful act. A sad number yet catchy and memorable. My favourite song from the group had to be “The Ransom”, one of those songs that while tip-toeing a lightness that their music embodies, it describes the pits, the desperation, and worry of being broke. Inspired by an Australian motel, you can almost feel the broken aircon through the guitar strings and searching lyrics.

Not “husky” but with a touch of darker sweetness, maybe a vanilla pancake with brown sugar (does that exist, I want one?) their voices show that time has been put into their craft and the decision to reduce production to a barer sound throughout their career is a very good choice, it puts their voices and hearts centre stage.

A great start for a good day. Check out my brief video for a thought, then check out some other clips on YouTube below, see if you like them- if so head over to their website http://www.madisonviolet.com/, several of their albums are available on Amazon too, https://www.amazon.co.uk/Madison-Violet/e/B002PA7I5I.

https://www.youtube.com/watch?v=-EGU3uHFlko&feature=youtu.be

And from their recording sessions with MusicFog and others.

 

 

 

 

Categories
Folk Music Gigs

The Silver Darlings: Watermark- Single Launch in Sheffield (review)

A band with fire enjoying their musical influences without putting themselves in a box


I recently had the pleasure of attending the single launch with The Silver Darlings, a Sheffield-based indie-folk group at The Heeley Institute (Sheffield) and was more than pleasantly surprised.


The Silver Darlings are part of Ankle Breka Records, a growing independent music record based in Sheffield that is headed by Paul Littlewood, an artist in his own right. Before the Silver Darlings took the stage, Paul struck out and started the evening with a blues-tinged, acoustic voice quickly created an attentive, interested audience for what was yet to come. Paul himself is soon due to release a track, “Fire and Rain” with Neil McSweeney. McSweeney, if you are not sure. is pretty high on the Sheffield pantheon of folk artists not least due to his continued support of the stalwart figure Richard Hawley and some other high profile appearances in and around the city (I saw him at HARC’s last charity concert in Sheffield Cathedral with Nancy Kerr, Fay Hield and others), so there was a feeling that Littlewood would be pretty good, and he was. 



The main band played a warm set amongst the nautically themed space and whilst the band do not resemble their namesake (i.e. there is no passing resemblance to a herring in sight) there was everything else you might to come to expect such as a sea of candles in bottles, light-houses surrounded by shells and muted lighting… everything bar the sailing boat. It certainly looked the picture and set a good mood for the evening. Who are the Silver Darlings?

The Silver Darlings have changed line-ups a few times and now seem to be settling in stream and putting down some more solid roots. The band is made up of Andy Whitehouse (vocals), Lindsay Callaway (bass, backing vocals), Harry Corps (keyboard), Richard Master (lead guitar), Simon Joy (violin), and James Howe (drums and percussion). A good mix and the sight of a dedicated percussionist always brings a smile to my face whether it is drums of a box or anything, Simon Joy’s violin brought quite a bit to the show also. 



Prior to The Silver Darlings playing their new single, they played a some songs from their back catalogue such as “Pilgrims”, “Goldfish Girl” and “I’m Ready” from their 2011 album “Souls”. The songs that the Silver Darlings played covered quite a range like: jazz, folk, funk, and rock; it is all held together and works due to the song writing and ease at occupying this space between categories. “Goldfish Girl” is a a great jazz-infused, lovingly meandering and exploratory track. It floats in the air like the aforementioned subject’s attention and memories and plays nicely with the imagery throughout with the singer trying to “catch you in the little net.” It is a playful song for a playful band. Like loose fitting linen trousers in the heat of the Indian Summer, it is not everyone’s cup of tea, but few would complain that they didn’t make things cool. “Pilgrims” is a speedy and immediate number that thrusts you quite successfully into the varied, dizzying world travel, immigration and people trying to make connections with one another. “I’m ready” is like an indie-rock anthem with sincerity that uplifts, going for clarity and strength rather than the complexity of the previous songs but being positively memorable for it. It is safe to say that The Silver Darlings go for a catch-all approach with their music; it’s folk and rock influences familiar to an older crowd, but not inaccessible to newer audiences who enjoy the live music scene.



With the launch of “Watermark” we get a musing, folk-rock track that has the feeling of Spring due to it’s energy and movement. The track, much like the band occupies an interesting niche with it’s persistent and engaging guitars alongside lyrics with imagery (but ones that encourage gentle thought rather than the enigma of someone like Don Mclean). The song is (like many) about the complexity of love, describing love lost and love regained and has been reworked much like the relationship itself following a 27 year gap, with all the thoughts in between. In the song we get some nice turns of phrase such as, “And from time to time I blink and you’re gone, and it’s your face I focus on” and “she blazed down on me like the sun, the shadow lingers long after she’s gone,” it is all powerful symbolism. If the Silver Darlings were a pop-rock group they would not be a hundred leagues from REM, Andy’s voice is laid-back, but from the performance you can tell it is well-rehearsed and the band is clearly serious about entertaining, maybe he is a bit like Bill Bailey in his more serious musical moments or a more optimistic Ian Curtis. Perhaps it is the particular coupling of lyrics and rock, or maybe its the lighter backing vocals and harmonies of Lindsay Calloway that reminds me of the B-52’s Kate Pierson in “Shiny Happy People” that appeals, but nevertheless it is a merry number, for a merry band. The Silver Darlings feel like they are making a push in the live music scene, reminding us of music that rocks without dumbing down the core message, a group I would strongly recommend.


Give them a go, check out their website here, get yourself a copy of the single here, and check out their previous album while you are at it.