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Festival Folk Music

Looking Back Before Looking Forward: Derby Folk Festival 2018

A bit of street morris

It’s been a little while and Derby Folk Festival 2018 has come and gone.. in fact, as of writing it is 2019 and there is a new year ahead!

We are pretty certain plans are under way for the next festival in October 2019, but in case you didn’t go last year.. let us give you our impressions of some of the goings on, the standout performances and general feel of this late year musical mixup. We couldn’t catch everyone, so apologies if we miss your favourite group out! There will be pictures and a few clips to give you a feel and hopefully get you excited about the return to Derby in 2019!

Last year the festival spread it’s wings a little more and has extended the festival to run from Thursday evening to Sunday. We could not get there for the Thursday, but we do hear that Gary Stewart’s “Graceland” and Zulu Tradition were extensively rocking the main festival tent. We can’t speak for Zulu Tradition as alas we have not witnessed them yet, but the “Graceland” set is a very good one. We saw Gary Stewart’s Graceland at Beardy Folk earlier in the year and they sound very, very like Paul Simon. They have the bustling energy you are looking for in bucket loads and for anyone wanting to relive the time of the album launch (or anyone new for that matter) they are indeed in for a treat of the ears by seeing them live, so we strongly recommend.

So let us start with some of the acts that got our attention.

John Tams & Barry Coupe

https://www.johntams.co.uk/

A treat near the beginning of the festival, always a treat, is to hear John Tams & Barry Coope. Bringing a significant wealth of experience and poignancy to the beginning of the festival, this duo are clearly old favourites of the crowd. With pointed, emotive numbers such as a rendition of the “Manchester Rambler” (an ode which puts the highest amount of importance on this activity other all others… including marriage), the song “Sorrow” with it’s eye on loss in society and (presumably) unemployment, and also the “Devonshire Carol” (as heard in Warhorse) they bring a tear to the stanchest and toughest of people. A set that is quiet and dwells in the heart, we recommend catching these two if you get the chance.

Louise Jordan

http://louisejordan.co.uk/

It isn’t just Barry Coupes & John Tams whose music crosses into war-related music and stories. Luckily for us Louise Jordan arrives at the Guildhall Theatre with her trademark sense of class and humility, and most importantly with her excellent show/gig called “No Petticoats Here.” We have been looking forward to seeing Ms Jordan and her show every since the Great British Folk Festival we went to in 2017. We attempted to see her show in Skegness but due to the numbers, small size of the room, queuing difficulties and acoustics.. we couldn’t really say much about it. At the time of writing we are pretty certain she is working on her new show but if it is anything like the beautiful interlace of historical story, song and images we see in Derby, then we have high hopes indeed.

Conjuring up thoughts of the great war, Jordan does the job that everybody should have been asking her to do. That is bringing the voices of great women and their experiences to us to remember that we “were all in it” during the war. She certainly does and the show more often than not highlights some incredible sacrifices that were given which many would never of heard of. Not everyone is a fan of war-time related music but in fairness there is enough intrigue, guile and determination from the historical figures that Jordan brings to the fore, that it is incredibly difficult not to look on in admiration. Jordan’s voice is as powerful and empathetic as ever as well. Whether Jordan is teaching us about Ada Yorke (a nurse who wanted to be a doctor) who got the Royal Red Cross for exceptional nursing (in the song “Pride of the Army”), or about when women’s football teams arose to fundraise for children and families of soldiers (only for women’s football to be banned in 1920), she brings a sharp, observational style to her music. We can see what has been ignored for so long.

Jordan’s measured use of technology, design and choices allow the stage to be wholly about these important women. There are highs and lows, great characters and a lot of history to make this a fascinating evening show. Jordan is an enthusiastic sharer, her joy must be like a botanist finding a rare species of flower, except here the flowers are indeed the women of the Great War.

For that reason and the bright sparks that Jordan has captured from the tinder of the Great War, we consider her set one of three best things that we see at the festival.

Harp and a Monkey

http://www.harpandamonkey.com/

Harp and a Monkey in the way that they are, are rather odd, deep and certainly furrowing their own path in the folk world.

We saw them a good while back at Village Folk in Chellaston and they were very good indeed. At Derby Folk Festival they were back again within the “Village Folk” segment of the festivities. The trio performed two sets over the day, each one coursing with a signature blend of the psyche (their cover of “The Molecatcher”), the reverent memory (The Gallipoli Oak), a tipping of the hat to Charlie Chaplin’s unusual role in the War (Charlie Chaplin) and their dipping into folk themes of old (Willow and the Ghost).

They certainly have built up an impressive repertoire of moods all blending in and out of each other. At Derby Folk Festival the sound was crisp and clear, their voices are both mournful and joyful as if moving across the veil itself, bringing these stories back. Their performance also reminds that they take risks, and whilst their use of electronic sampling will be a Marmite factor, it does bring shape and form to the whispers of stories past and put a signature to their invigoration of songs.  Like a whisper travelling across the edges of your mind, Harp and a Monkey get in, reverberate and add to the mysteries of this world.

Eliza Carthy and The Wayward Band

https://elizawayward.com/

Without a question a swirling vortex of wind, Eliza Carthy et al’s entrance and reception at Derby Folk Festival is a reminder (in case you have been living under a no-folk rock for many years) that some voices cannot be contained by the constraints of nature.

Eliza Carthy and the Wayward Band have been formed since 2013. Twelve in number and probably 12 in volume and energy (sorry Spinal Tap), the band have gone from strength of strength especially since the launch of their 2016 work “Big Machine.”

Theatrical in sound, style and appearance it is a very awesome sight to behold. Ducking and weaving, jumping off the stage and bringing the feeling, Carthy and band certainly live up to the expectations from the album. They played some of our personal favourites such as, “Devil in the Woman” (a track of outrage and grit), “The Fitters Song” (a dark musical, but a number too good for any theatre I know) and the earthy, breathless “Hug you like a Mountain.” Words and descriptions do not really come close to the magic, spinning wonder and percussive excitement that you get from this individualistic band and show. It is like they bring the explosive pop of the champagne bottle to the Saturday, and we do not hesitate to put the group in our top three of Derby Folk Festival.

The Willows

https://www.thewillowsband.co.uk/

The day after In the Guildhall Theatre on Sunday we get the very big treat of seeing another rather special folk group that also comprises of some top-notch musicians. Just prior to the release of their third album, “Through the Wild” we meet Jade Rhiannon and band as they prepare for a focused, clean and intensive set. It is a show we have been waiting to see for rather a while.

Straddling a canyon of folk rock, folk pop and hints of indie, The Willows are a step into a unashamedly full, refined soundscape with a strong baseline and vocals that evoke the warmest of times. Somewhat easy listening, somewhat 90’s popular folk the limits of their reach cannot be fully measured in this blogpost; but we do manage to reach a  verdict on their show.

Before we get there, we have to think about their set. There is something here for everyone, “The Visitor” is uplifting and a pretty tasty bit of percussion, “Better Days” is a sweet and optimistic song though it winds its body around a contemplation of grief, and “False Light” a song about the ghost lights of the fens. With False Light in particular you get a song with a supernatural theme being turned into a belting, big sound event. Melodic to the last and rocking from the start, The Willows make a case for a wider sound, quite probably with larger mainstream appeal and musicians looking for something a little faster and fuller like a turbo-charged double-decker bus.

We enjoy their set and have had a good listen to their third album since; certainly an interesting and inspired choice for the festival.

Sam Kelly & The Lost Boys

http://www.samkelly.org/

There is a lot to see and fatigue can set in towards the end of a festival though Derby Folk has a secret up their sleeves. It is in fact Sam Kelly & The Lost Boys!

We do like these guys. Their folk music is unabashed fun and melodic, they are dead cheerful in demeanour and they do know how to put on a show. Most importantly you sometimes want to listen to a bit of folk that makes you feel good, Kelly and associates do not disappoint.

At this point they are probably stood on a tall stone surveying the land and maybe breathing in the fresh air as they have a couple of albums out and their initial ep, and pretty much everybody know who they are. This is a good gig to see for it is an act of consolidation and reflection. They cover several songs from both albums including the affirming “Spokes”, a song which is one of our favourite interpretations of “A Golden Vanity”, anthemic “The Jolly Waggoners” and many many more. They have a lot of good material both slow and fast and this gig certainly reminds us of their ascent into the limelight. We look forward to seeing where they go next!

Lady Maisery

https://www.ladymaisery.com/

This of course brings us to Lady Maisery. Before we get into the nitty-gritty, let us say that Lady Maisery were for us, hands down the best act at Derby Folk Festival. It is not a statement we take lightly or with any intention to downplay the other excellent acts that were there.

Why? Might you ask. It is no secret we rate the vocals of Hazel Askew, Rowan Rheingans and Hannah James at the top of their game but they brought something else which they admitted themselves had reinvigorated their enjoyment of the live scene. That is, their sound engineer.

Apologies for my failings. At first I couldn’t get a good picture and secondly I didn’t write down the sound engineer’s name. But when hearing the trio within the Guildhall, and with this level of sound production and management it is pretty close to perfect. Clear, resonating vocals and a show that takes many favourites from across their albums such as “The Factory Girl”, “Order and Chaos”, “Honest Work” and the excellent “Poor Man’s Lamentation” from the multi-artist Songs of Separation disc (one of the best works we have heard of all time).

Combining a sense of general societal political songs (not anything about the current situation thank goodness), poignant and dark tales of human beings and a sternum-shattering cohesive, beautiful sound their often (but not always) unaccompanied voices are pure magic.

For that reason they are our third pick of the festival and an act that you should not miss should the chance arise to see them!


And Many Others…

  • The crowd going wild for Sam Kelly
  • A bit of street morris
  • Kim Lowings and the Greenwood with some material new and old
  • Jack Rutter
  • What treasure exists within?
  • The Lucy Ward Band
  • Oka Vanga
  • The Carrivicks
  • The Kimberleys

There are many, many others who graced the stage who we saw and enjoyed thorough. Midnight Skyracer, the all-female bluegrass phenomenon were here continuing their explosive entry into the scene with fast fiddle, deep bass and an incredibly joyous set of songs to behold. Jack Rutterer had a great acoustic set touching on folk of all corners including the well-known “John Barleycorn”, The Kimberleys remind of acoustic folk of old: simple, happy and refreshing, and Oka Vanga have their time in the light of Derby Cathedral bringing songs of myth, nature and heartbreak.

So all-in-all an excellent festival. We saw a lot of artists here, many who we haven’t mentioned- the joy of Derby Folk Festival is it certainly gets the artists in!

Check out our sample videos below of the acts and get over to their websites for more information about them!

Keep your eyes open for Derby Folk 2019 and do not forget to get your ticket when the time comes at the website.

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Festival Folk Music

An Auspicious Beginning in the Sun – Beardy Folk Festival 2018 – 21st-23rd June 2018

An auspicious beginning in the sun, Beardy brings the breadth of bigger festivals to you in a space which is convenient, friendly and relaxed

Like when the blacksmith’s hammer is at it’s hottest, June this year was aglow with fire, heat and sparks.

Festival season was underway and the musical magic about to happen for many people who get to choose their poison (alcohol, cola, tea) and go to a festival to choose their other poison (pop, jazz, folk, hip-hop). For a few days over late June we decided to opt for Folk as our medium of choice and travel down to Shropshire for the first of what is shaping to a nice additional to the festival calendar, the “Beardy Folk Festival.”

It lived up to it’s name, that’s for certain. One of the artists (I cannot remember which) did point out he thought he’d walked into a ZZ Top Convention. Yes there were beards and they were that impressive, my boy stubble was of no compare.

Bearded stuff aside, the festival was home to some children’s entertainment, a mini funfair and opportunities to eat, drink and buy around the fantastic walled Hopton Court. Thankfully with the expansive, warming sun we found a few areas of shade to cool off and certainly left the festival with a tan! We are certainly liking the trend in festivals where the bar is encouraging people to hire the containers or bring their own. Beardy had their own take where they sold you a commemorative container for £1 and you keep it for the festival all the way through and beyond. Certainly environmentally better than binning a pile of plastic.

We also found that there was excellent sound quality all around, good scheduling (you could see absolutely everything) and some brilliant acts to boot; the beer was quite awesome too. It’s more contained than expansive city festivals (like Oxford Folk Festival) so what it loses in it’s varied sprawling historical setting it makes up for in convenience and pleasant surroundings. The only musical tent being an acoustic tent was good also, not much need for jostling to get to the front, everyone can see and have to bring their own seats.

That’s the festival generally. What were our musical highlights? See below and have a quick sample!

JOSHUA BURNELL BAND

We continue to sing the praises of this modern, psychedelic outfit that brings the animation of yesteryear folk and collides it with the vitality of youth. Singing a number of folk songs, some bombastic in their rock interpretations (The Lowlands of Holland) with other more considered numbers (such as a version of “At the Harbour”) or bloodythirsty tales of revenge, “The Smuggler’s Tale”, they continue to be a a festival catalyst. Like the spinning leaves of Autumn that trigger a beautiful memory as they crunch underfoot, the Joshua Burnell Band always liven up the place. Their belting of Scots set, “Plane Tree & Tenpenny bit” is like the crack of a lion tamers whip as it curves around the stage, it is even more with the recent addition of Holly Brandon on fiddle, they really are hitting their groove in style.

With a big band rock edge, inspiration can be seen from Steeleye Span with their spin on “Blackleg Miner” and Fairport Convention’s “Tamlin” and these models certainly suits them as the joining chorus of instruments keep pace with Burnell’s dancing hands and swaying hair.

Always a pleasure to see and hear. For us the Joshua Burnell Band are like the person at a party who finds and open the champagne in the middle of celebrations!

Go to http://www.joshuaburnell.co.uk/ and find some more out about them.

KIERAN TOWERS AND THE CARRIVICK SISTERS

We admit that the sun always shines on us with the Carrivick Sisters. A duo who have been influencing and informing folk and bluegrass for a while, it is statistically possible that their down-to-earth characters and earnest, exploratory songwriting could not do the trick one day.. but that would be a sad day indeed (and we do very badly at maths).

At Beardy, they were joined by Kieran Towers. Kieran has made an album with Charlotte Carrivick, “Wolves a Howlin'” that looks at Appalachian Folk Music with new eyes, and his presence here was very welcome indeed. They performed some excellent songs including the historically drenched “1912 House” that oozed sadness and the feel of another time, the burning and aching wonder of their take on “The Blackest Crow” and the delicate racing burst of “Piggy Bank”, an instrumental that reminded of the sugar rush of crushed skittles.

They also sung of Snowdonia and maps, responding to a Yew Pine Mountain in an original track (“No Yew a Pine Mountain”) and an old tortoise, in a great set of versatility.

Dynamic and versatile, Towers and the Carrivicks make it look easy and effortless. To hear more of Charlotte and Kieran go here http://www.towerscarrivick.co.uk/, for the Carrivicks go here http://www.thecarrivicksisters.co.uk/.

 

KITTY MACFARLANE

Imagine a quiet cave with you inside and your thoughts on the walls around from a mythological adventure you have returned from. This is how you might come to understand the music of Kitty Macfarlane. We have been waiting to see her for quite a while, the last time we caught any of her set was at Oxford Folk Festival last year.. but that was literally ten minutes (we got lost on the windy streets).

Beardy Folk made it very easy to find her this time so there we were! Kitty’s set didn’t disappoint.

Several of the songs tickled our interest of legend and story such as the “Glass Eel”, the world-spanning creature and “Avona and the Giant” about the muse of brothers “Goram and Vincent” from Somerset lore. The latter is much like the singer herself: quiet and effective as it makes it’s way into the world. The afternoon sun definitely got softer with her musical presence. And then there were other songs such as her song about fishermen in North France “Tide and Time”, and a new song she had composed for a newborn in her family “Dawn and Dark” about there being bigger challenges for the child as they grow up and even better things to come in the future.

Enjoyable, mellow and contained we recommend you see her where you can.

At the point of Kitty’s debut album is on it’s way on 21st September, “Namer of Clouds.” Go to her website for more information http://www.kittymacfarlane.com/

GRANNY’S ATTIC

With Granny’s Attic we feel that they are at the point where their lightening might strike, we have heard the rumble of thunder and now the energy is coming down from the skies. With a fairly extensive tour schedule and

Granny’s Attic are a trio of young, exasperatingly talented musicians who (we think quite rarely) sail their boat around the rock of traditional folk. There aren’t the only young group who are, its just that few seem to accomplish it with the kind of trad-purity and dedication to the cause. Like a herd of plucky mountain goats you can try to catch their sound and energy but they will run away with it.

Our favourites were “The Wheels of the World” with a particular message about society, the great titled “What I Saw In My Dream (As I Slept in My Chair)” a kind of delirious dream of what the world could be like, and of course their saline, punchy version of shanty, “Away to the South’ard.” The winds of the world were blowing indeed and these guys answer the call.

A funny bit of the set was how the band described how they might have burnt their bridges in local Worcester venues (because they weren’t very good back then) and have found fame elsewhere. It is certainly encouraging to hear how musicians always start from somewhere (and it happens they are from near where we grew up).

They are a young image of folk that takes everything you like about the traditional scene and adds a dash chilli to heat it up, go to their website for more info https://www.grannysattic.org.uk/

URBAN FOLK QUARTET

Dishing out intricate musical performance with the energy of a piston engine, the Urban Folk Quartet opened with “Long Time Traveller” an earthy, rich hewing of ancient wood and soil. There is plenty here with fiddle, guitar, banjo and some serious percussion that extends it’s grasp into those areas between experiences that spread beyond geographical boundaries. Awfully tongue-in-cheek with their prowess there is so much to like whether it’s Dan Walsh’s clambering and speeding “Whiplash Reel” (after what we presume is an intense Indian car journey) or a three piece tune that celebrates the experience of joining (and then running away) from the circus; there are many things to be happy with and many subject matters to get lost in. “The “Whiplash Reel” rolls off the banjo almost effortlessly and sings of unfamiliar streets, the song is layered like a strata of land that bristles with India’s many precious metals perhaps inviting you for a prospect of your own.

Enjoyable and reaching for those places you didn’t know existed, the Urban Folk Quartet are another band to add to your list, https://theufq.com/

There were many other sets we enjoyed at Beardy too. There was a rare appearance by Richard Digance, comedian and singer who sand many from his repetoire “What’s the use of anything?”, “Jack of all trades” and “Sod’s Law.” An all-round entertainer, Digance explained the showbiz world and where he feels he fits in it, it was surely entertaining to realise where all those daytime TV guitar numbers had come from. Grace Petrie was a force of nature. We hadn’t seen a full set of hers until this time (previously caught her as part of the Coven) so it was a joy to hear a strongly political (but often personal) voice to the mix of proceedings here. Extremely self-aware (her musing about just how “left” she is is telling, and something I battle with myself) she was a thundering cannon on these thoughts in “Nobody Knows I’m a Fraud” before launching into “Ivy” a runaway hit of her set (and would have been at the festival were it not for the Graceland set). Her self and being is held up for all to see, a heartfelt performer that laments her lack of finding a particular niche but exhibits the qualities of freedom and break from tradition that much folk shys away from.

We also enjoyed the continuing success of Kim Lowings, which was seen even more here and the comedic but vivid waves of tunes from the Jaywalkers who supplied not only the offbeat, unexpected numbers around burnt chilli and a “Mountain Chicken” but also a very fine cover of “Tainted Love.” Bright and piercing like an arrow of light, they are a quality act. Other musicians of note were Roberts & Lakeman, Skinner & Twitch, and Jim Moray but there are too many to mention here.

Beardy Folk was an incredible success. A good opener with a recognisable and varied type of artist, an open location with a complimentary sound setup.

Keep your eyes to their website ahead of their festival I’m sure will be happening same time next year! https://www.beardyfolkfestival.co.uk/

 

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Acoustic Festival Folk Music Folk Stories PR Singer-Songwriter Trad Covers

Derby Folk Festival – A Roundup – October 2017

Hi everyone. Quite a bit of time has passed since my last festival post and as the cold sets in to it’s fullest we have snow as far as the eye can see (well it is here). Before the hot rays return I wanted to bring you a roundup of some of the things that we saw at Derby Folk Festival a few months back (ESPECIALLY AS THE LINEUP FOR 2018 is looking pretty colossal!)

Derby is quite a central place and relatively easy to get to, so we do enjoy travelling down and seeing what is happening.

For those who have not managed to get there yet, it is a friendly festival wit  venues that aren’t too far from each other, and always a good and varied lineup across the range of Folk genres and popularity. We think in all ways it gets the balance good for an inner-city festival).  There is also ceilidh, often some dance workshop and plenty of public displays too that make it a fun few days.

Thinking about Derby Folk Festival, the first rather small (but important) point to note is the Main Marquee. Every year its a sight to see. It’s a big space sitting in the very heart of Derby’s art quarter which ends up weathering an potential weather storms at the quite late time of year. In 2016, the rain fell and got everywhere. Let us say the Marquee seemed to take a bit of a battering and the Gods seemed displeased. This year the Marquee is reinforced, looks a lot more solid like a great metal tree awaiting the harshest of elements. Unfortunately (or fortunately) the weather didn’t come so it wasn’t put to the test. It still looked great though.

Another thing about the festival is there is plenty to see, some cool food vans, many great bands and the lovely yearly addition of Adverse Camber (more on them later). Apologies if you or your band are not mentioned below, we have taken a chance to highlight some of the lesser-known artists this year. The rest of you, I will catch up with you shortly I am sure!

So.. lets get to the music! Rather than go day-by-day, let me point out some of the great stuff that springs to mind that I would recommend and makes the festival special.

 

Rusty Shackle

A young folk bicep of a group flexing their musical muscles, “Rusty Shackle” is an energetic start to the festival. From Wales, the groups comes across as a sometimes understated indie voice, sometimes a fine mirror to Billie Joe Armstrong; either way they have an incredibly broad range.  One minute it is the broad anthem of “King Creole”, a song of self worry and ruin, the next it is a surprising medley of numbers including the wonder of “Touch My Bum” (The Cheeky Girls) which got a few nods of recognition. They certainly have a sense of humour too, and it is this fresh-faced, joy and fun that make them a very good gateway to folk for a young crowd; they are a veritable folk aperitif. Other fast and melodic numbers include the quite sweet number “3AM” with a welcome bit of banjo riffing, the denser more urban and expansive “When the Morning Comes”, and a personal favourite “Down to the Valley” that reminds of the best of 80s pop in a direct collision with Show of Hands at the top of their game.

It is all a sweet sound indeed with electric guitar, fiddle, banjo and drums and trumpet laying down spritley, rocking and seriously entertaining set of tunes you should check out. They are also a pretty industrious bunch being on an extensive tour so see their website and perhaps check them out here.

 

The Rheingan Sisters

A duo of artists that spring to mind the Rheingan Sisters’. We see one of their sets (they actually have two different sets over the festival), and are on very good form,

Fantastic as always with excellent fiddle technicality and songs of evocative soundscapes, we caught them as they were trialling some new material much of which revolved around French bal music and other influences from the region. They did “Cuckoo” from their “Already Home” album as well and this was rich and deep as ever. This allows us to lose ourselves in the ballroom amongst the party of strings. One of their new numbers took us into the depths of forests, in a sweeping and glorious portrayal of environmental destruction, and this was our favourite. Epic and contained like a jack-in-the-box, the Rheingans continue to impress and make a mark. We are just a little dismayed we did not catch their full set (our fault, nowhere elses). Details of their projects can be found here.

Adverse Camber – Dreaming The Nightfield

Burning brightly from a number of past intriguing shows, Adverse Camber return to Derby Folk Festival with performance, story and song about the old book of tales written in Middle Welsh, the Mabinogi. We have seen them on more than one occasion and the fire is still there in their performances. It is quite a treat to see something drawing on old history and myths from our own isles, and I am saying this absolutely loving the older shows from Persia (the Shahnameh show the other year) and their more Nordic sagas.

It is a warming experience for Derby to let the Storytelling in, after all stories and myth aren’t everyone’s cup of tea. Whichever side one falls on, here it certainly adds to the variety of what is on show and delivers a quieter (but not too much!), individual first night at the festival. It is quite a sensory, word-spinning reflection of a show and as such it brings a different kind of wonder to the corner of the Guildhall for a night.

Telling some stories of the fair and just lord of Gwnedd, Math fab Mathonwy, Pryderi the lord of Dyfed, a magician  (Gwydion), heroes (Lleu Llaw Gyffes) and a woman made of flowers (Blodeuwedd) there are lots of enchanting tales, and as with many stories from history; usually a moral involved (especially with Blodeuwedd). The wonders keep coming.Whether it is (literally) magic mushrooms transforming into golden shields, a plot involving the theft of especially tasty pigs or (my personal favourite) the part where the great lord transforms his son into a series of animals (and learns the creatures’ natures) there is a lot to digest, and like a fine stew more the better for it. The three storytellers Stacey Blythe, Lynne Denman, and Michael Harvey all have their time to shine as musicians and singers in turn with Michael Harvey taking the lead with recounting the stories. The music is stirring and the stage evolves alongside the story which is a pretty special thing to see.

What happens is that throughout the show the cast carry and assemble of series of sticks in what at first seems like a kind of sculpture maze, but it becomes apparent that it is forming the aspects of the stories so the sticks are representing either creatures, mountains or even dead soldiers. The movement of the sticks actually grounds the play and connects the artists to the environment, the touch of dynamism is welcome and it is intriguing to see how the sticks assemble together and actually balance. It is a pleasure to see the company’s continued creative use of set pieces in their shows.

Alongside Naomi Wilds (producer) they have put together a close to home, wondrous series of stories that will leave you wanting more of the magic and more of the myth from those rainy, misty Welsh valleys. We heartily recommend, as of the time of writing there are two more dates coming early 2018 for the show if you can make them, have a look here.

Robyn Johnson

Robyn Johnson joins a (growing) list of female acoustic musicians this year who are convincing me that you do not necessarily need a full band to create a good variety of songs and feelings. Admittedly and embarrassingly at time we at FP find solo guitar acoustic artists a little wanting and numbing. Of course there are always exceptions, and this is not knocking guitars of any shape or size, we just require more convincing. Let us say however that this year we have come to out senses a little bit more on this issue.

Under the banner of Village Folk (excellent hosts in and and out of the Derby Folk Festival, see here), Robyn emerges riding a midnight blues train that has a few folk-town stops along the way. Johnson played some delightfully understated and rhythmic entries such as “Say it with wine”, a lyrically break-dancing tune that wears a bit of a Country and Western hat. Sweet and vulnerable it probes modern living and anxieties in what is an essential piece of acoustic listening. There is also the exploratory, evocative “midnight ramble” which Johnson plays to warmed up, appreciative and rapt audience. Midnight Ramble has particular interest due to it being written about the characterful characters and experiences gathered while the inner town of Derby late on a Friday night, it has everything “Gypsies selling roses”, propositioning men, and a swirling blues ambience.

“Plastic Bag Fairy” is a demonstration of Johnson’s excellent acoustic guitar times and tones; as the first song she wrote it is interesting to see how it contrasts with the rest of her set. Slightly more optimistic and sunny, it shows the good in people who have little to live on. Ending on “Pour Me” is the striking of a match to a can of gasoline as a finisher that refuses to take things slowly.

An intriguing addition to Derby Folk. Worthy and in a way delightfully low-key, her songwriting left an impression with us. Check out her Mixcloud of recordings here.

Kim Lowings and the Greenwood Band

Pretty much the highlight for us and several others at the festival, Kim Lowings and the Greenwood Band had been on our cards for a good while, but we hadn’t seen them live until now.

The band has a good sound and a nice range of instruments. Lowings herself has a distinctive and clear voice and it was all enhanced by the Guildhall’s  acoustics. The joyful thing about Lowings and the Greenwood is that they have a playful aura which they cast on to several oldies giving them continued leases of life. Their version of “The Cuckoo” was rather special, and their take on “Oh the Wind and Rain” leaves you wanting more.

We do not want to go into too much detail here, except to say they are an entertaining and rich sound experience, and that  for you should check out our other blogpost here about their latest album “Wild & Wicked Youth” here. Take a look at Kim Lowings and the Greenwood’s site here.

Kirsty Merryn

Kirsty Merryn was a very welcome addition.

Recently basking in the sunshine from her debut album “She & I” (it is very, very good) she had a chance to perform in Derby Cathedral to an attentive audience. Performing her numbers solo without band accompaniment, Merryn brought a touch of class. At one point she was brought a bouquet of flowers (this has happened a lot while we have been on the road recently), adding even more colour to her flourishing, piano led set. Some songs she shared included ghostly tale “Without Grace” about Grace and William Darling and a tall lighthouse, “The Birds of May” had a strong stillness to it’s sound, like a pagoda next to a small pond of bright koi. This was a general theme and feeling throughout the set; Merryn provokes with a powerful front and a quiet strength that shatters aggravating noises around. She is a fantastic role model in this regard that men and women could look to equally. She also previewed a love song to the sea that she was working on which was exciting to hear. Usually she is the support for Show of Hands, and in a way she is a perfect foil to their louder more anthem-fuelled sounds. They both share a sense of wonder in people and musically approach their reflections on them from different angles.

Like Kim Edgar but earlier in furrowing her own path, Kirsty Merryn is on an upward trajectory. Check out the video below, her website here and keep tuning in for more writing about her in the near future.

Oka Vanga

Oka Vanga are another group for which we have been acquainted with for a while. We reviewed their latest album, “Dance of the Copper Trail” and found it, “An incredibly listenable album that is tightly managed and has a pretty rich, consistent sound” here, Suffice to say they did not disappoint in person either. Playing some material from their EP, as well as some other acoustic wonders (bolstered by some great double bass) like “The Devil’s Tide,” an exciting, interesting song about a female pirate.

Hosted by live music aficionados, “Village Folk.” they brought a Western charm with their tales of birds, trains and magical trees. The set was punctuated by a heartfelt and warm few songs by Dave Sudbury. He sang “The King of Rome”, and we cried a lot. Fantastic to see him and the friendly reception that he got with the generous applause and acknowledgement. Here is Oka Vanga’s website.

There were many big names at Derby too including  Show of Hands, Oysterband, Roberts & Lakeman, and Leveret too which were fabulous to hear while we were moving from place to place. The schedule is enormous, detailed and leaves you with choices to make but in the best possible way.

“Derby Folk is good value, convenient and friendly with good systems for putting the audience close up to both big and upcoming stars of the folk and roots circuit.”

 

This trend of encouraging this myriad of folk names continues for 2018 as some due to be attending include: Lady Maisery, Eliza Carthy and the Wayward Band, Sam Kelly & The Lost Boys and many, many more. The tickets are available here and more information about the Festival as a whole here,

This coming year the festival will be running from 4-7 October 2018.

There will be an extra concert on the Thursday compared to previous years (see the site for details). 

 

 

 

Categories
Album/EP Reviews British Energetic Trad Covers

Kim Lowings and the Greenwood – Wild & Wicked Youth – A Review

FANCOURT MUSIC

Album Release: 8 September 2017

I continue to wade through folk CD reviews as there are many.

The next artist I would like to talk about is Kim Lowings and the Greenwood and their release “Wild & Wicked Youth.”

Let me just say to start and paint a picture; Kim Lowings has a great folk song voice. Somewhat Traditional yet quite invigorating her confidence has come a long way in recent years and after a few years of paying in she is cashing in and sounds exquisite (unlike pensions funds). With this experience she seems to be building a committed and loyal following on the road, but then as a fellow Midlander I will of course hold a little bias.

Even though I live in South Yorkshire, I more a Midlander than a part of the scenery in Yorkshire. After all, I lived for quite a while in Worcestershire in my youth, and well.. lets be fair.. I can’t be considered a Yorkshireman until I’ve lived in Sheffield for a hundred years, have donned (more) tweed and participated in the Henderson’s Relish Ritual.. and even then they might stop me at the last moment for refusing to call a bread roll what it is. But, bias aside, Kim Lowings has created and participated something rather good here. In a straight-talking and melodic fashion, she has brought an album of unpretentious joy with a “logwood pile” sturdiness that has folk at it’s heart. If indeed it has folk at heart, it has got some powerful arteries to pump around the lifeblood of this album.

After all, it is an energetic one. The album isn’t running at breakneck speed, but it powers through like a well-tuned engine in the hands of a professional. I particularly love the sound production on this album as Dave Draper has managed to preserve the lyrics at forefront in all their clarity but there is no neglect of the full instrumental picture. Just as the high rising tide of the sea is nothing without the sound of it hitting and chopping the shore, the deeply pleasant double-bass, percussion and strings crash together like the turning of Poseidon’s right hand and sound delightful. The band consisting of Kim Lowings, Andrew Lowings (guitar, bouzouki, bodhran, backing), Dave Sutherland (double bass, backing), Tim Rogers (Cajon, percussion, drum kit) and guests Lewis Jones, Shannon Johnson and Ami Opprenova have taken this sound mix to more than a handful of traditional songs and added something rather spicy to the musical stew.

Quite tricky, and quite risky as fans of the trad don’t always like things being changed about or altered, but folk music to me is essentially adding, taking away and reinterpreting what has gone before. This album does do it incredibly well too, the songs within are strongly recognisable, Lowings et al have done more than retain the essence of the songs. If we consider it like adding cheese to a mashed potato (pretty delicious), the original is not lost; there is just something else in the mix (and the naysayer who disapproves has probably added it in other potato pie contexts). As we shall see of the songs there is a lot of substance and a lot to enjoy. On a side note the photography on this album (Miss Whittington’s Photography) will be identifiable to many folk listeners in style. This is because it’s fantastic, powerful, mythological and intriguing all at once. But what of the music?

Lowings does not hang about on this disc. The opener “In Spirit” is rather raucously pop though decidedly folk in it’s themes of the ocean and natural environment. Tinged with mythology  she has (as she has done later too) mixed the two genres as effectively as one the colours on a fiendish Rubiks Cube. A good indicator for things to come, Lowings voice starts and deliciously hangs on the words, like dropping brown sugar cubes into a a sensuous, fresh coffee. Then the song takes on an unexpected bounce, the potential for the solemn becomes a determined pop hook with incredible punch, imagine a cat dancing around as milk is poured into it’s saucer. Drums hotly pepper the song as she sings about “Daniel the fisherman”, with a deft lightness of touch “My heart belongs on land, my soul longs for the sea.” No dirges or naval curses here.

Like the previously entry by Kim and the Greenwood “Historia”, I find these artists they have a certain mutant superpower for doing full-throated, unafraid, and self assured versions of well known songs from yore. On “Historia” there was a simplicity and honesty to Lowing’s version of “Dark-Eyed Sailor” but here instead we get a knee-slapping, barn-on-fire take of “The Cuckoo.” Don’t get me wrong, I love the more stripped back Mountain versions of this song (and particularly like the Rheinghans Sisters’ take), but unlike the drive for technical beauty of the former, Lowings is the fun and tumble companion, crooning away with the energy of a woman possessed, and possibly on a good roll of poker cards.

The band also (aptly as we are near Halloween) attempt one of the more gruesome, spooky versions of Two Sisters, “Oh the Wind and Rain.” Complete with dark story and a fiddler who a bit short of cash, we learn how following murder he decides to make a violin out of the main subject’s bones and hair (I haven’t got to this point yet myself, I must add). Lowings’ enjoys herself on this track and it does that fantastic phenomenon of folk where the assuring, light and chipper number stands at an equal contrast to the grim meaning and content of the lyrics. Quite strong and authoritative, especially on the anthem-like chorus there is also an great aura of emotion in her voice. There are many other moments of joy too on the album.

Lowing’s take on, “Away ye Merry Lassies” (a song about witches just on a night out, not doing any evil stuff) is pretty solid and joyous as it goes. On listen you get images of how (if it wasn’t relatively contemporary) it might be the old-time, folk equivalent  “It’s Raining Men” or a Beyonce track on a medieval hen night. I picture the night involving a wheel of cheese and someone falling into a muddy goat pen after some serious intoxication; but that is just my imagination run wild, I can’t say I’ve been on a hens night. I’m sometimes mistaken as a serious man, but I would have to be a machine not to enjoy Lowings’ take on the lighter side (of the dark side), and to make it clear this is a compliment, many a night in my youth I could feel the curtain of stress float away when the Weather Girls gave me a storm update.

As an album, energy runs right through. It feels like Lowings and the Greenwood have tamed the heat of the blacksmith irons; it is not rushed but as a chicken pecks at it’s mountain of feed, the CD continues with it’s shiny eyes fixed on the prize. The best example of when the album takes a sideways step is “Firestone”, a number with a piano that is strangely sad yet exuberant. It has dashings of Kim Edgar’s in it with Lowings voice touching the far reaches of a wide oak’s canopy, a delight from start to finish.

“Wild & Wicked Youth” is a great addition to their discography and it is undoubtedly a step up from “Historia.” The album has some excellent production and the CD bursts at the seams with an energetic yet charming character, it is a flock of  Will-o’-the-wisps circling the folk forest, climbing and dancing, never stopping.

Check out her website for details on getting the album, here.

If you want more convincing, see the videos below!