The City Roots Festival shakes open its umbrella (and hauls on its snow boots) for a second year of folk and roots events. As before, a loose collection of venues and artists are brought under the festival banner, from the already-scheduled to the specially commissioned.
New this year is an extended, two-week timespan. With something happening just about every evening and a few of the daytimes too, is there enough to keep fans busy? Well, it is hard to imagine it being a destination for the whole festival fortnight. But for those within travelling distance (admittedly a pretty wide area) – or those who don’t enjoy the whole festival experience – coming along to individual events seems to work well enough. The potential downside of this is that it tends to favour bigger names who might be touring here anyway. The challenge remains, as ever, to expose upcoming acts to wider audiences.
Inevitably, it’s also harder to keep up continuity across a multi-venue, multiple day festival. Branding is generally more visible this year, which is a definite plus. Some of the artists, though, seem barely aware that they are part of the festival – at least they don’t mention it. In fact, one act, busy lamenting a lack of inclusion (so far) in the summer Cambridge Folk Festival schedule, seems blissfully unaware that they are part of the winter one!
Last year’s closing acts, Sona Jobarteh and Muntu Valdo open the festival this time, bringing welcome African warmth. Haitian voudou from Chouk Bwa Libète goes head to head with a live interview at the University Union with Wilko Johnson. Other acts featuring in the main line-up include Megson, Tom Robinson, Rich Hall, Wildwood Kin and Ward Thomas. As with traditional festivals, there are overlaps, forcing a decision about which act to see!
Although headline acts have been flagged up for some time, a lot more, smaller, ‘fringe’ gigs are still being announced right up to the last minute. This means keeping in constant contact with the website is essential, to pick up on late changes. A lot of the smaller events are admirably free of charge too, cementing the impression of a confident local music-making community.
A family fun day at the Guildhall hosts live acts, children’s activities and a well-attended ukulele workshop. It’s heartening to see so many youngsters taking up their brightly coloured ukes. The downside is that they missed out on a superbly intimate follow-up gig by Muntu Valdo in the hall next door.
In this vast space, his tiny colourfully-dressed figure is surrounded by pedals, coaxing unexpected sounds from his guitars and building up intricate loops. He delivers an impeccable slide blues with an unmistakeably African slant – oh, and he plays a mean harmonica, too. It’s like watching Jimi Hendrix play a Sunday afternoon tea dance: thrilling and strange. As the sun streams in through the civic stained glass, it’s tempting to run out and drag the shoppers in from the streets outside to make them listen to this highly original talent.
Barbara Wibbelmann delivers some fine a capella Gaelic songs and finishes, accompanied by Quentin Rea on guitar, with a delightful ‘La Vie En Rose’. Martin Baxter’s Alternative Arrangements lend some mid-afternoon Americana as well as an upbeat ‘John Barleycorn’. The miles of empty space between seating and stage finally makes sense as ceilidh band Frog On A Bike whip up the dancers to wrap up the afternoon.
Buskers too, are apparently abroad on this cold and sunny day but, despite several slogs around town, they remain stubbornly invisible. Only stalwart singer-songwriter Matt Hammond can be found chilling his fingers, engaging passers-by with his percussive guitar style and promoting his new single, ‘Skylines’.
One of the hazards of a winter festival is always going to be inclement weather and, as with most of the rest of the country, the big hit of snow takes its toll on players and audiences alike. Still with a few line-up tweaks, it seems that all the shows go ahead, which is very impressive.
Following an afternoon masterclass in Miller’s Music shop, CC Smugglers (currently crowdfunding their new album), squash themselves into a tiny corner of the 1815 bar on a snowy evening. Playing a relaxed, mainly acoustic set, this cheery crew deliver their own bluesy, skiffly songs with some great join-in choruses, alongside lounge standards. The keyboard player in particular brings a distinct jazz style to the set, as a small crowd of Lindy Hoppers push back the chairs to whirl around the floor.
SJ Mortimer (now also performing with Morganway) And Her Flying Pigs bring lashings of country, the monthly New Routes night at the Junction features several Americana artists, and traditional music goes on in pubs and clubs across the city. Even the serious business of making a living is once again the subject of a workshop day to encourage musicians to focus further than the next creative impulse.
With such diversity of music to choose from, with venues from snug to cavernous, seated or standing, the organisers have plainly tried to cater for many tastes within the broad spectrum of folk and roots. There is something for everyone here and, as well as the national/international artists, it’s a valuable reminder of what incredible home-grow talents exist across the Eastern region at the moment. See you in 2019!
Vibrant Nashville-based Americana duo The Grahams (pronounced Grams) announce extensive February-March 2018 UK tour previewing material from two eagerly anticipated projects due later this year – their new studio album produced by Richard Swift (Black Keys, Arcs, Shins), and continuing their adventurous exploration of the USA – this time around on two wheels – the soundtrack to their new feature length documentary Love & Distortion.
In the Fall of 2016, while the country reels from a seemingly unstoppable vortex of disorientation, musicians & lifelong soulmates The Grahams, set out on a spectacular motorcycle expedition across America’s time warped Route 66. Amidst the neon, the romance, the heat, the music and the sheer power of nostalgia, The Grahams explore the concept of “real” America with the eccentric and notorious characters who live and work in the strange and mysterious world that is Route 66.
Featuring a surreal soundtrack with contributions from Nashville’s finest; Elizabeth Cook, Aaron Lee Tasjan, Dylan LeBlanc, Chuck Mead, Lilly Hiatt, The Grahams and many more, Love & Distortion is not a travel guide or a musical biopic. This feature length documentary, which follows The Grahams down the Mother Road, is an unconventional narrative weaving in and out of moments and realities that can be found in the various sub-cultures of America’s Main Street.
On the first taster from the soundtrack, which will only be available as a limited edition 7” single at UK shows, until the full soundtrack’s official release later this year, The Grahams interpret The Pretenders’ ‘Don’t Get Me Wrong’, a Top 10 hit on both sides of the Atlantic in 1986, and Mazzy Star’s 1994 cult classic ‘Fade Into You’.
Last year I was a Cropredy virgin, but this year on THAT field in August, I knew what the score was. Well, until I tried to do the camping and putting up the tent thing! Every year will bring new things I guess!
Arriving at the Folkmaster’s abode on Wednesday 9th August, things were in full swing for the journey to meet the other Folkingdotcommers in Tesco car park, on the outskirts of Banbury, early the following morning. The kitchen sink was being loaded into the Folkmaster’s car in an orderly fashion, and it was suggested that if I hadn’t bought wellies with me, that I should go out and buy some. Talk about the 11th hour, I found a store and paid for them at 5.29pm when the store closed at 5.30! I was a bit anxious at this point as surely it wasn’t going to rain? I don’t do wet camping, I don’t do camping generally!
Sparrow spit early Thursday morning came, and off we went to Banbury. Not a bad journey, although I slept most of it! (NO – I wasn’t driving)! We all arrived at mostly the same time, Paul, Jonny Mac, No Chance and ourselves were too early for breakfast, so spent some money in Tesco, before we had breakfast. Full English were ordered by all but 2 of us, and then off we set, into the midst of Cropredy bound Festival goers. All wanting to get the best fields and parking. Last year I remember the queues, but this year was plain sailing. We soon found out why, because loads of others had started out before us, so we should have forgone breakfast! We were shepherded in to Field 7B, ended up right in the middle of the field, miles away from the few loos and the even fewer showers. I was panicking already!
Tent time. Paul was in his van, so all he had to do was connect his awning. Few minutes and he was ready. No Chance had a smaller tent and he knew what he was doing, Folkmaster had a new tent which was an air based one, so he got his instructions out and sorted his out, Johnny Mac was ably putting his tent up, and there was little old me, with a new tent. Poles and all.
I tried, dear readers, I really did. The lads were brilliant though, and thank them all for it. It was suggested I wore my new wellies, as mud could well be present, due to the onslaught of rain in the days leading up to the Festival. Visions of Glastonbury encroached in my mind……
We were a bit early when finished, as we couldn’t get into the arena field until 2pm, so were twiddling our thumbs for a while. The usual banter flowed. We were expecting another member of the Folking team – Paul Johnson – but he was nowhere to be seen or heard, so we did the Chariots Of Fire walk with our chairs and bags and waited for the gates to open. On the way there, we were serenaded by medieval musicians, Myal Pyper, who were a delight to listen to.
We finally got in, and headed for our usual spot. Looking at the Stage we headed left, near Leon’s food stall, always a lovely experience to savour their food. The queue for Fairport merchandise was already growing rapidly and that did not stop all day and evening. The staff in that tent were heroes! It was the same the following day!
4pm finally arrived and Fairport Acoustic opened the Festival. Riotous applause from the crowd, a full packed arena, for the Thursday is not what usually happens apparently. A mostly cracking line up and one that I didn’t want to miss. Feast Of Fiddles came next featuring an array of the best fiddle musicians this country has produced, such as Peter Knight of Gigspanner, Hugh Crabtree – melodeon player with attitude, Garry Blakeley, Tom Leary, Ian Cutler, Brian O’Neill and Fairport’s own superb fiddler – Chris Leslie. Phil Beer, Marion Fleetwood and Sophie Crabtree came on later on in the set to enhance the line-up, totalling nine fiddle players! Legendary drummer Dave Mattocks was over from America, Martin Vincent and Dave Harding on guitars and Alan Whetton on sax and keyboards. Awesome!
Show of Hands next – favourites of mine, they played an absolutely blinding set. Highlight was their rendition of Don Henley’s classic – ‘Boys Of Summer’. The whole field was talking about how fab it was.
Chris While guested for ‘Dark Fields’ and it was indeed a lovely occasion to witness her singing on this again. Phil told us that he will be virtually taking next summer off to revive his Folkboat activities, which is why this year they have so many festivals booked and Steve will be doing solo work next summer. Really enjoyed the whole set.
Eventually we met up with our lost team mate – Paul Johnson – who had had a nightmare putting up his tent apparently, and his mobility scooter had a flat battery. Could only happen to Paul!
Next up – The Trevor Horn Band – consisting of three producers – Trevor Horn, Steve Lipson and Lol Crème (of Godley & Crème) who had played and or produced songs for other artists. A kind of covers set but all perfectly connected to these three fine producers. They sounded good too. They got the crowd going and singing along to numbers we all knew, such as ‘Two Tribes’, ‘Relax,’ ‘Video Killed The Radio Star’, ‘Rubber Bullets’ etc. They have over 200 hit singles and albums to choose from and it was very pleasant and lively set. Nice mix.
Headliners for Thursday evening were The Divine Comedy. Frontman Neil Hannon came on and his first sentence had the ‘f’ word in it. He seemed star struck initially about the big crowd and following Trevor Horn and Lol Crème. He didn’t do it for me but I hear that they went down well with some people.
Friday came and rain was forecast. Oh no!! Kick off was at midday after the gates being opened at 11am for the festival goers.
Paul Johnson tests the folking digital interview recorder on Paul Miles, the original co-founder of folking.com – its quite funny so we have kept it in…
Josie Duncan & Pablo LaFuente (2017 BBC Radio 2 Young Folk Award Winners) opened up the proceedings and I could see why they had won this accolade. Scottish traditional, Gaelic, and other influences, songs from the mines and cotton mills. They have played some well-known festivals including Cambridge and in their short time together, are certainly making a mark for themselves.
Another favourite of mine – Gerry Colvin Band – delighted the crowd, for those that were aware of his music and for those that didn’t. A cracking set from Gerry and the Band. Gerry is a delight to watch and although is so hyper, can sing, play and write a fab song. Particularly ‘Watching Feathers Fall’ from his Colvin/Quarmby days. Nick Quarmby, Gerry’s sidekick who left us last year, would have been so proud of Gerry taking centre stage at Cropredy. Gerry gained a lot of fans during that set.
A Cropredy moment for me was asking Gerry later, as I came across him backstage, how he felt and could obviously tell he was ecstatically happy, he said he had met Pet Clark. She spoke to him and said get out of her dressing room. I’m sure he was joking, he usually is!!
Quill were a new name to me. Quite Gothic and I thought the lead singer Joy had a little Kate Bush about her. They have been going since the 70’s, have loyal audiences, and are amazing story-tellers. Really enjoyed them.
Darren Beech and Paul Johnson caught up with Joy from Quill shortly after the set. The Elephant in the Room EP that Joy discusses in the interview will be released on the 23rd of August.
Next up Gigspanner, who a lot of folks were waiting to see (especially the folkmaster, the editor Dai Jeffries and Paul Johnson who are huge fans). While I admire their immense talent, I am not a huge fan myself, but respect that Peter Knight and the Big Band are all superb musicians. They are a little too trad for me.
CC Smugglers were another new one on me, and were superb, in my eyes. The effervescence of the lead singer was palpable and infectious. His shirt was wet through by the time he finished. The rain had arrived by this time but didn’t dampen theirs or the audience’s spirits. CC Smugglers are a band of buskers, who had come together, to form this band. They have even performed at Glastonbury! Definitely ones to watch.
Darren Beech and Paul Johnson caught up with Chris on the Friday.
The annual Chris Leslie Cropredy interview has become a bit of a tradition for us at folking.com and Chris tells us that he looks forward to it as much as we do.
Click the play button below to take a listen.
The absolutely brilliant Pierce Brothers twins came on to a stunning welcome. They were so happy to be there and in tears of happiness! Great guys, great musicians, great energy and great stage presence. So glad the organisers brought them back after last year’s success. Something that is rarely done two years on the trot. I hope they make it third time lucky.
The amazing event of having Petula Clark attend her first festival ever at Cropredy was certainly a scoop. A favourite of my mothers, she would have loved it. Pet at 84 years of age looked and danced as though she was in her 50’s. She sounded great. She performed her hits pitch perfect and aired some numbers from her new album – From Now On, Awesome. She had the crowd eating out of her hand, and they all sang along. A very special moment. Pet did say at the end of her set that she had enjoyed it immensely, and she certainly seemed to have done so, from the audience’s point of view.
Headliner for Friday evening was the Folk Rock Legend Richard Thompson OBE. A co-founder of Fairport in the 60’s he helped pioneer British Folk Rock. He is known as one of the world’s most critically acclaimed and prolific songwriters. He didn’t disappoint. Just amazing. You would have thought four guitarists were on the stage and it was only him, doing it all. His fingers were a blur as he worked so fast. I had the pleasure of meeting Richard at the signing his new album – Acoustic Classic 2, and he was very quiet and unassuming, and lovely to talk to. No ego at all.
I will say at this point that compere for the weekend was Anthony John Clarke, who did a marvellous job of introducing artists and keeping dedications flowing and read them out to the audience. Excellent choice for an MC.
Richard Digance was missed from his usual spot on kicking off proceedings on the Saturday, but he sent a message to say he was busy touring and not to forget his album and books in the merchandise tent. When he came on to the big screens, the audience applauded him, even though it was a pre-recorded message. Lovely.
Richard’s slot was taken by the Ashley Hutchings Morris On Band, who did a marvellous job of performing some classics from the Morris On album, and we had Morris Dancers dancing on stage to complete the scene. Hankies were at the ready and the audience took part in what is usually Richard Digance’s attempt at getting the whole crowd to wave hankies Morris style! A superb sight to see.
Next up ex-Fairport member Judy Dyble and the Band Of Perfect Strangers who took us on a musical journey, ending with her promoting her autobiography – An Accidental Musician – published last year.
Plainsong included another ex-Fairport Member – Iain Matthews and was formed 45 years ago. A very pleasant set, and Iain obviously has his fans.
I then went to try and find a shower, hopefully no queues at this time, so sadly I missed most of the Cats In Space set. I could hear them from afar, but they were visual, and glad I could see even a short bit. Surprisingly only formed last year, they were a tight knit of pop rock genre. All six of them. I enjoyed what I saw. Blew a few cobwebs away!
Marillion followed. Not my cup of tea, but they clearly had their fans there, and were enjoyed by them.
Scottish multi award winning singer-songwriter Dougie McLean OBE followed. He has a global following. I hadn’t seen him before, and certainly did enjoy his set. Full of stories and song, and lots of audience participation. Particularly on his ‘Caledonia’, which has a high regard in Scotland. He also has a Lifetime Achievement Award from the BBC Radio 2 Folk Awards. Superb.
Now was the time for the BIG set!!! Three hours of Fairport and friends. And what a gift to us!!
Difficult to put this all into words as to how the atmosphere of what it was. You just had to be there. Fairport’s Golden Anniversary and an extremely emotional crowd.
Their guests came on during the course of the evening. The wonderful Chris While who picked up the vocal batton for Come All Ye, The Deserter, Tam Lin and Who Knows Where the Time Goes. Richard Thompson came back into the set after the early years stint for Walk Awhile, Poor Will and the Jolly Hangman, Sloth, Now Be Thankful and Sir Patrick Spens. As did Judy Dyble for I Don’t Know Where I Stand andIain Matthews for Time Will Show The Wiser, Reno Nevada and Suzanne in the early years opening piece. Ralph McTell sang us a version of ‘White Dress’ which was the song Dave Swarbrick wrote for Sandy Denny. That was Ralph’s only contribution, which was a shame as he is a great favourite of the Cropredy crowd. All the Folking Team gave a big cheer and Paul Miles kept saying I love him, I love him I don’t know how many times, bless him! Don’t we all!
Former Fairport member Maartin Allcock dazzled us with A Surfeit of Lampreys and Jewel in the Crown with his playing and that electric blue suit . He looked very dapper. We had Sally Barker who also sang ‘Rising For The Moon’, Ashley Hutchings, Dave Mattacks joining Gerry Conway on drums and percussion. Such a wealth of talent, emotion and music was enjoyed by all. The finale of ‘Meet On The Ledge’ had the audience spilling tears all over the now dry grass.
You came, we saw, and you conquered Fairport and all. Congratulations on your Golden Anniversary can’t wait for next year for the start of a new decade.
All Jean Camp’s Cropredy 2017 photos can be viewed HERE
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Squelch… Wickham Festival finally kicked off to a great start with sets from Low, Barker, Morris & Tunstall which sounds like a firm of solicitors instead of musical, dance and poetry partners in festival law; Andy Fairweather Low, Les Barker, the Wickham Morris Sides and KT Tunstall.
Now tell me… where are you going to get a “bend me, shake me, a sermon from the church of the holy undecided, a strip the willow and a black horse and a cherry tree all the the same place!
Here is the moment when the sun came out and everyone forgot about the thirteen days of rain that fell on the site the day before it opened which caused the “elf and safety” three hours delayed start.
The main Thursday night event on the All Time Grates Stage was 10CC, who played all their hits, which they performed as a masterclass in song-writing. They even offered us the following words of wisdom from their extensive mantra…
Life is a minestrone
Served up with parmesan cheese
Death is a cold Lasagne
Suspended in deep freeze …
Friday afternoon had a definite garden party feel that went off with a Wizz, bang and Spooky side-splitting Tickell. It all started with the legendary Wizz Jones who rolled out all his hits including ‘When I Leave Berlin’ which Bruce Springsteen covered.
TheSpooky Men’s Chorale followed, the Antipodean Blue Mountain settlers, that worry local livestock to such a degree that the local farmers club together to pay for their international tours (so long as they agree to do reworked Abba and Bee Gees choral arrangements). Luckily, Kathryn Tickell was there to restore order, Northumbrian Pipe Style, who together with The Side brought Wickham back into the hear and now with evocative slow airs that could break your heart one minute and then fling you seamlessly into life-affirming jigs and reels the next.
In between Tickell and the Spookies (great idea for a band name!) I managed to dash across to the Hapi Stage to catch a bit of the fab Portsmouth based band Bemis. I also managed to grab a copy of their excellent new album A World of Difference that I encourage you all to go and check out for free here
There was barely enough time for a quick change over before it was pedal to metal down the West Country highway in search of Fishy Friends, Seth Lakeman and Show of Hands. All three did the West Country proud and I think its was a great bit of programming to put Port Isaac’s Fisherman’s Friends, Seth Lakeman and Show of Hands all on the same stage and evening bill.
Here is my favourite moment of Friday night, when Show of Hands treated us to a slowed down version of the Don Henley classic “Boys of Summer” . Hope you enjoy it as much as I did.
Saturday opened with more Wickham Festival goodies… Alas, Tim Brooke-Taylor, Graeme Garden, and Bill Oddie didn’t make it for the reunion but folk legends, Steve Tilston & Jez Lowe turned up on the All Time Grates Stage in the afternoon. Then it was a quick hop and skip across to the Hapi Stage for a blistering set from Gilmore & Roberts with festival energy in a bakers bun-dance. Then back again to the All Time Grates Stage as master Dhol drummer, Johnny Kalsi fired up the furnaces of the drums of the mighty Dhol Foundation to create a high-energy, pulsating folking brilliant musical soundscape of Punjabi beat, rhythm and intensity.
If that was not enough excitement for one day, there was a just enough time to sponge down before the main evening event of the big punk-folk-rock 3. I’m sure you will all know who they all are, as the Saturday evening, three in a row line-up, for many, was one of the dream festival programming highlights of this year (dreamt up by the mind of that festival organising genius, Mr Peter Chegwyn) which even included a returning Chopper as part of the Oysterband mix. For those who have not worked it out, it was of course The Men They Couldn’t Hang, Oysterband and The Levellers. I also legged it across to the Hapi Stage to see some of my old matesChris Sherburn & Denny Bartley set with the lovely Emily.
Time had flown by and before anyone knew it, it was “Sunday folk fun-day” and the fourth day of Wickham.
I’ll start with Ray “Chopper” Cooper who opened on the Hapi stage…
Fay Hield then blew in with the Hurricane Party on the All Time Grates Stage and Glasgow boys Imar followed and got the main stage dancing. Wickham festival favourite Duncan Chisholmfollowed with his Gathering before the afternoon slot was brought to a riotous close with Tankus The Henge (a great festival band).
LAU opened the Sunday evening slot which felt like a kaleidoscope of colour washing over the All Time Grates Stage. The power went off at one point so we even got a couple of un-amped numbers.
The finale for me was the crowned Queen of the Wickham Festival crowd, Eliza Carthy with Sam Sweeney & the rest of her merry Wayward Band. Unfortunately, I had to leave early so missed the Peatbog Faeries set but Eliza said that they tore the place apart, so I have been lamenting the early departure ever since.
I was bitten by a Ferocious Dog on the way out and am looking forward to repeating the experience at one of their other gigs soon.
What comes across so strikingly from an evening with Amy Wadge and Luke Jackson is their natural rapport. Both are hugely talented songwriters, singers and musicians with a constant drive to create new music. They work effortlessly well together and although they like to pass the occasional comment on their age gap, it’s plainly not all that relevant to them.
Wadge and Jackson are near the end of this year’s two-hander tour, cramming 15 dates into 3 weeks. No surprise that Wadge, taking the stage first, admits to feeling rather exhausted – although you’d never know it from the gusto and attack of her performance. She ploughs straight in with ‘Always’, ‘Scream’ and ‘Free Fall’, accompanying herself on guitar or on keyboards.
Luke Jackson joins Wadge for the first of the evening’s duets, ‘Thinking Out Loud’, the 2016 Grammy-award winner, co-written by Wadge with Ed Sheeran. It’s the song that made her an overnight success after 20-odd years of striving. Wadge appears to wear success lightly and with unaffected charm. Her between-songs chat is hugely entertaining, with a seemingly bottomless well of anecdotes that feel cosy and intimate, even when dropping stellar music business names.
The other thing of note is Wadge’s songs themselves, often with threads of personal experience woven throughout them. It’s this that really elevates them, making an emotional connection with the listener. She presents a new song, a kind of working-parent blues: a touching apology to her children, acknowledging that the need to follow one’s dreams is not always compatible with the demands of parenthood. Then there’s ‘One Last Dance’, a beautiful song with an equally inspirational source in her remarkable grandparents. There was definitely something in my eye during this one. The final song of her set is rooted in her mother’s illness, whilst also being a tribute to the strength of anyone struggling with life’s obstacles.
Having followed Luke Jackson’s musical progress for a few years, somehow tonight is the first time I’ve managed to see him live. His voice has matured, becoming richer and, thankfully, losing a few youthful quirks. His quiet confidence and talent simply shine out: he’s so firmly in control of his vocals and his guitar, changing pacing and volume with enviably fluid ease. An a capella verse of ‘Ain’t No Trouble’ builds into a bluesy roll. Slowing down only slightly, he segues straight into ‘Sister’, plucking effortlessly at his guitar with his right hand whilst his left-hand finger-clicks to mark the rhythm.
Amy Wadge returns, duetting with Jackson on ‘Finding Home’, a song written during their last tour, followed by the choppy ‘Is It Me?’ and ‘Better Man’. Finally, the pair move on to ‘Lucy And Her Camera’, an older Jackson song which he’s only recently recorded.
Back on his own again, Jackson runs through ‘Aunt Sally’ and ‘Kansas’, each song prefaced with funny, self-deprecating tales about how they came to be written. Jackson also somehow breathes freshness and meaning into Simon & Garfunkel’s ‘Bridge Over Troubled Water’ – no mean feat with such a very well-worn song. The set closes with Jackson stepping out front of stage to encourage a bit of crowd participation in the chorus of ‘On The Road’.
Wadge, who earlier provided a spiky piano accompaniment to expose the raw beauty of the Manic Street Preachers’ ‘Design For Life’ stripped of its rock bombast, joins Jackson one last time as the pair encore with a country-tinged take on Prince’s ‘Purple Rain’.
At time of writing, the tour is over and the pair are off to different destinations in the USA, but their social media suggests they’re keen to do it all again next year. With such a dynamic, creative and yet thoroughly level-headed and likeable duo, that’s got to be a fixture for the diary.
The 2017 inaugural City Roots Festival is kind of like an expansion pack for the Cambridge Folk Festival: a winter top-up with lots of bonus features. Aiming to expand the relationship between folk/roots music and the city, the Folk Festival organisers lined up a diverse roster of artists over one week at assorted venues across the city.
Home-grown talent Steven James Adams opened the week with his new band The French Drops, providing witty and lively songs with a conscience. Then there was a choice between Mary Chapin Carpenter (with Edale’s finest, Bella Hardy, in support) with her classic country-infused songs or the edgier sounds of Jim Moray.
A day of workshops on working in the music industry, hosted by Anglia Ruskin University’s music department, was considered, by one attendee at least, to have been very useful. The evening could be rounded off in the evening by some folk club sessions in the Cambridge University Union Bar, or at The Transatlantic Sessions, a melting pot of Celtic and Americana sounds. Or, like me, you might choose to take in an entertaining evening in the company of singer-songwriters Amy Wadge and Luke Jackson.
Replicating the Folk Festival’s “up & coming” stage, The Den, at local venue CB2, was a two-night showcase including Janet Devlin, SJ Mortimer, Honey and the Bear, Mortal Tides, Ben Smith and Jimmy Brewer, and Kerry Devine.
The riotous Mad Dog McCrea returned as headliners, following their support slot for New Model Army just a few months ago. Noble Jacks, their support act, look like being a band worth watching, too. On a completely different tack, skilful guitar playing with a twist was provided by Paolo Angelli & Derek Gripper.
On the final day, the bitter sleet was braved by a staunch group of great musicians who’d rashly agreed to busk around the city, including five-piece band Morganway, Pat Crilly & Greg Camburn, Ben Smith & Jimmy Brewer (whose delicious harmonies almost made it feel like summertime: almost) and guitarist Matt Hammond. And these were just the ones I managed to see, so my apologies to those I missed out. Luckily, there was a warm welcome from the folk clubs inside the Union Bar, a place to retreat and thaw out red-raw fingers to play some fine indoor sets, too.
Sadly, the headliner for the closing night, Salif Keita cancelled due to illness, but Sona Jobarteh stepped up, with Muntu Valdo in support.
There is no question about the quality and diversity of the artists taking part, and Cambridge has the range of venue sizes to manage internationally renowned stars and breakthrough acts. Just a bit of housekeeping needs attention, if – as the organisers hope – this is to become an annual event. Several gigs had no visible City Roots branding at all, leaving a lack of any feeling of cohesion that an umbrella, multi-venue festival like this really needs. In established Cambridge tradition, laminated posters were cable-tied to railings around town and local press published articles, but details of updates to the schedule were often only sketchily available online, like the re-organisation of some of the final day activities. Attention to small details like these would make big improvements to the overall experience, but there’s no doubt that City Roots will be a welcome addition to the festival calendar.