O’Hooley & Tidow bring WinterFolk to Bethnal Green

O'Hooley & Tiidow

O’Hooley & Tidow in concert at St John on Bethnal Green Church, East London – Saturday 15th December

Join ‘one of British Folk’s mightiest combinations’ (MOJO), O’Hooley & Tidow, for an evening of beautifully performed original, contemporary, and traditional winter songs from their latest album WinterFolk Vol 1, produced with BBC Radio 2 Folk Award winner Ben Walker.

Nominated this year for the fourth time in the BBC Radio 2 Folk Awards, and described by the Guardian as ‘exceptional songwriters’, Belinda and Heidi’s powerful, deeply moving, and soulful performances are infused with an honesty and empathy that will disarm the hardest of hearts.

‘They sing together in the way families do…like The Coppers or The Watersons’ Tom Robinson, 6 Music

Advance tickets and details available via www.folkonmonday.co.uk

‘Beryl’ – live:

GRACE PETRIE – Queer As Folk (own label)

Queer As FolkThe only time I saw Grace Petrie on stage, I was bowled over. I bought an EP and was impressed by that. Always her own person and doing things her way, Grace could now be on the verge of a breakthrough. Thanks to a Kickstarter campaign, Queer As Folk is a properly funded album produced by Matthew Daly, who also plays drums, and mixed by Neil Ferguson. Some stellar friends joined her: Miranda Sykes on bass, Hannah James on accordion, Nancy Kerr on fiddle, Belinda O’Hooley on piano and Caitlin Field on bass and percussion. Grace is powerful enough on her own but this gathering pushes her on to another level.

Queer As Folk opens with ‘A Young Woman’s Tale’, a remarkably understated take on Ian Campbell’s ‘Old Man’s Song’ dragged into the 21st century. Its quietness adds to the power of Grace’s words but up next comes an up-tempo reading of Graham Moore’s ‘Tom Paine’s Bones’, its pace suggesting a sense of impatience and leaving the listener breathless. ‘This House’ concerns the death of a father, whether Grace’s own we are not told, full of a sense of emptiness like the house he’s left behind. ‘Baby Blue’ is about love betrayed and the powerful ‘Pride’ puts it into context and is where the band comes into its own.

These two songs lead into the superb ‘Black Tie’, which takes the form of a postcard to Grace’s teenage self, reassuring her that it all will work out and containing one of the best rhymes of the year. Grace is affirming her identity here as if we were in any doubt about it. It would be a great single except that it wouldn’t get radio play – the rhyme I mentioned would see to that.

The other cover is ‘Beeswing’. I tend to get a bit protective about Richard Thompson songs but Grace doesn’t need to make many changes except to lose the word “man”. But, and it’s a big but, she misses out the verse about marrying Romany Brown. Why? Is L all right but not B? That’s a disappointment. Nancy and Caitlin give it a folky swing on fiddle and bodhran and it’s one of the best arrangements of the song I’ve heard.

We’re back to politics with ‘Farewell To Welfare’, a song with a really powerful wrap-up but then ‘Iago’ seems to contradict ‘Black Tie’ and I’m still figuring that one out. The closer, ‘Northbound’, sets the life of an itinerant musician to a rocking country beat and is a great way for the record to sign off. Queer As Folk may well turn out to be one of my albums of the year – it’s not perfect but it’s not far off.

Dai Jeffries

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artist’s website: www.gracepetrie.com

‘Iago’ – live:

O’HOOLEY & TIDOW – Winterfolk Vol 1 (No Masters NMCD51)

WinterFolkMy first Christmas review of the year, it seems to have become de rigueur now that at some point the great and good of the contemporary British folk scene should release an album of festive material. Kate Rusby’s third is due shortly, last year it was Cara Dillon’s turn and now Belinda and Heidi get in on the act. However, being who they are, this isn’t your usual tidings of comfort and joy as they turn a musical eye on the darker corners of the yuletide season. Case in point being a rework of ‘One More Xmas’ from their 2010 album Silent June which offsets a poignant reminiscence of childhood and memories of mum with scenes of domestic abuse, the new version featuring string arrangement for cello and violin with Chumbawamba’s Jude Abbott on swelling flugelhorn solo.

On a similarly poignant, sung unaccompanied, the self-penned ‘Winter Folk Carol’ serves reminder of the need to connect with others, especially at Christmas, and to remember those displaced by war, homelessness, family issues, debt and bereavement as the sing “may there always be a hand to hold”.

A mix of originals, traditional and covers, there’s a couple of other revisits to past work. ‘The Last Polar Bear’ originally appeared on 2012’s The Fragile, restyled here with a more stately, contemplative arrangement anchored by Jo Silverston’s cello and reworked lyrics focusing on loss and loneliness, Likewise, ‘Calling Me’ is another from that same album and also concerns being alone with its hints of death in “Mother Nature’s fingers reaching for my own.”

The starkly sung, cello drone ‘Whitehorn’ goes further back to when O’Hooley was part of Rachel Unthank & The Winterset, the song written for the 2007 album The Bairns and being based on the true story of her Irish great grandmother, the title referring to the tree under which her stillborn babies, being denied a Catholic burial, were laid to rest.

Originally performed by Belinda on her 2013 Lullabies tour with Jackie Oates, the unaccompanied ‘Wexford Lullaby’, written by John Renbourn, is based on the 12th century ‘Wexford Carol’. There’s also two actual traditional carols, first up being a magnificent classical instrumental reading of the 16th Century ‘The Coventry Carol’, recorded in one take with O’Hooley playing the Steinway grand piano at the Museum of Art in Machynlleth. The other, drawing on the duo’s German and Irish heritage and sung in both German and English, is a haunting take on the evergreen ‘Stille Nacht’, dedicated to those babies under the whitehorn. It also rounds off the album with a brief reprise, recorded as they warmed up, Heidi distantly humming the refrain and Belinda tracing out a minimal piano accompaniment.

As mentioned, there’s also covers, the album opening with Steve Ashley’s suitably invitation to break out the ‘Fire & Wine’ with the heralding of winter, while, a staple of the duo’s WinterFolk shows, opening a cappella, Richard Thompson’s ‘We Sing Hallelujah’ strikes a jubilant and joyous complete with tumbling brass from Abbott.

The final number is their arrangement of the song voted Britain’s all time Christmas favourite, ‘Fairytale Of New York’. Previously covered by the likes of Christy Moore, Ronan Keating and Maire Brennan, Razorlight, Amy Macdonald, Damien Dempsey and Sinead O’Connor, The Wurzels and, god help us, Tony Hadley, none sound remotely like this, slow seven-minute version with its strings accompanied waltz on which they do, as the press release puts it, wraps fairy lights around the words.

They’re out on this year’s WinterFolk tour from the start of December and I’d imagine pretty much everything here will feature prominently in the set. If you can’t make a gig, treat yourself to an early present and grab mince pie, a glass of mulled wine and settle back with a copy of the CD.

Mike Davies

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artists’ website: www.ohooleyandtidow.com

‘Fairytale Of New York’ – live:

The Passerine to make its debut at Shrewsbury Folk Festival

Passerine

Refugees and migrant musicians from Sudan, Egypt, Iran, Pakistan, Israel and India have been named in the line up of a new world music ensemble that will make its debut at this year’s Shrewsbury Folk Festival.

The Passerine band, led by folk duo O’Hooley & Tidow, will present fresh arrangements of new and traditional music that will explore and celebrate diverse world cultures during its premiere on the festival’s Bellstone stage on Sunday August 27.

The musicians involved in The Passerine are:

– Belinda O’Hooley (UK/Ireland) – musical director/vocals/piano/accordion

– Heidi Tidow (UK/Ireland/Germany) – musical director/vocals/foot percussion

– Sarah Yaseen (UK/Pakistan) – vocals/guitar/darbouka

– Shurooq Abu Nas (Sudan) – vocals

– Avital Raz (Israel) – vocals/guitar/tampura/glockenspiel

– Arian Sadr – (Iran) – daf/goblet drum

– Mina Salama – (Egypt) – oud/ney/vocals/nailute/kawala/duduk/kanun/mandolin/udu-drum

– Vijay Venkat – (India) – violin/flute

– Performance poet Dean Atta (UK/Jamaica/Cyprus) will join the ensemble as narrator and relate new and existing work at the performance.

The Passerine, which means songbird, is one strand of the festival’s Room for All project that will celebrate cultural diversity and highlight the plight of refugees and immigrants. Room for All came as a direct response to the racial hatred and opposition to refugees, migrants and other cultures that emerged during the Brexit campaign.

Belinda O’Hooley said: “The musicians have been handpicked by us. We all have a story about how we came to be in England and how our ethnicity has shaped our experiences and lives; whether we were born here to migrant parents or migrated here ourselves.”

Heidi Tidow added: “The Passerine will include stories of flight to safer havens, away from conflict and political oppression, as well as the experience of xenophobia and racial prejudice within the UK. Above all, however, it will be a celebration of the wide-ranging and amazing culture in the UK today.”

Room for All also includes a programme of education and outreach work in the rural county that has relatively little exposure to world music and dance. It is being part funded by a £95,000 investment from Arts Council England. Shropshire Council has awarded the festival a £1,000 Arts Revenue Grant. It follows on from the festival’s successful All Together Now programme that focused on introducing a new audience to world music and dance during 2015 and 2016.

This year’s festival is from August 25 to 28 at the West Mid Showground and tickets are available at  www.shrewsburyfolkfestival.co.uk

Belinda and Heidi introduce The Passerine:

COVEN live at the West End Centre, Aldershot

Coven
Photograph by Dai Jeffries

Coven aren’t so much a group as a collective made up of three elements. On the one hand there is the musical delicacy of Lady Maisery and on the other the homespun Yorkshire charm that O’Hooley & Tidow exploit. In the middle is Grace Petrie, a thorn between two roses, and more of her anon.

They originally came together three years ago to celebrate International Women’s Day, which coincidentally was the date of this event, and their show still has that as its central theme.  Lady Maisery opened with ‘Sing For The Morning’ from their latest album followed by ‘Portland Town’, a remarkable arrangement featuring fiddle and feet before finishing with ‘The Crow On The Cradle’.

Next came Grace Petrie who I hadn’t heard before. She’s something of a fire-brand and the wit of her stage chat carries over into her writing. Her first song, ‘A Revolutionary In The Wrong Time’, describes her career: “not folky enough for Whitby; not cool enough for Cambridge” is her self-deprecating description. The second song, written for her niece Ivy, describes rushing away from Glastonbury to be home for her arrival. It is probably the most unsentimental sentimental song you’ll hear and Grace wrapped up her set with her contender for the new national anthem, ‘God Save The Hungry’. I really liked her and her crusade to prove that there are still protest singers around – and that there is still a need for them.

Belinda and Heidi chose three songs about inspiring women: ‘Beryl’ and ‘The Pixie’ from Shadows and ‘Too Old To Dream’ from their first album. Three songs about three very different women in very different circumstances.

Coven only sang six songs as a unit, the six that appear on their EP, ‘Unholy Choir’, and I found that a little disappointing. The first of these closed the first half: Rowan Rheingans’ new setting of ‘Bread And Roses’ which dispenses with the martial rhythm of the more usual version.

The second set followed a slightly different pattern. O’Hooley & Tidow opened with ‘Gentleman Jack’ and ‘The Needle & The Hand’ before bringing the whole group together for ‘Coil & Spring’. Lady Maisery did likewise with ‘Quiet Joys Of Brotherhood’ and ‘Order And Chaos’ before ‘This Woman’s Work’. Grace’s two solos led into ‘If There’s A Fire In Your Heart’ to close the show.

Well, of course, there were two encores; The Roches’ ‘Quittin’ Time’ and ‘Never Turning Back’ and Coven really gave us our money’s worth with a show that lasted well over two hours and never outstayed its welcome. There are five gigs left on this tour and that will be it until next year unless the rumours of summer festivals are true. Don’t say we didn’t warn you.

Dai Jeffries

Artists’ websites: http://ohooleyandtidow.com/
https://www.ladymaisery.com/about
http://gracepetrie.com/

Venue website: https://hampshireculturaltrust.org.uk/

‘This Woman’s Work’:

COVEN – Unholy Choir (own label COVENCD01)

Unholy ChoirIn case you haven’t been paying attention, let me explain. Coven combines the prodigious talents of Belinda O’Hooley and Heidi Tidow, Lady Maisery (Hazel Askew, Hannah James and Rowan Rheingans) and Grace Petrie. They have worked together, when commitments permit, for about three years having got together for International Women’s Day but Unholy Choir is the first time they have recorded. A word of warning, though, this six-track EP will only be available at gigs on their tour starting on March 1st.

Much of the material is drawn from back catalogues but these are all new recordings that combine the power of six voices and their instrumental skills. The opening track is ‘Coil & Spring’, written by O’Hooley and Tidow with the assistance of Boff Whalley about the Pussy Riot protest. I must have chosen itself as it gives the EP its title. Next is ‘Bread & Roses’. Rowan has given the song a new tune which makes it less of a march with a much more English feel. An inspired move.

‘This Woman’s Work’ is an obvious choice and Kate Bush’s song gives the group something to get their musical teeth into but, being old and male, I prefer ‘Quitting Time’ by the late Maggie Roche. Its footloose feel is enhanced by Belinda’s rolling piano but softened by the sweetness of six voices in harmony. Grace wrote ‘If There’s A Fire In Your Heart’ and she sings it an appropriately confrontational style. The message is simple: get out there and do something, however small.

The final track was recorded live. It’s Pat Humphries’ anthemic ‘Never Turning Back’. It’s a song I didn’t know from a writer I hadn’t heard of but I wasn’t surprised to learn that Pat knew Pete Seeger. Coven sing it a capella (the way Pat does) using the natural acoustics of Cooper Hall where they made the record and it brings the set to a rousing, optimistic close.

You have twelve chances this year to hear Coven live and acquire a copy of Unholy Choir. Don’t miss out.

Dai Jeffries

Tickets: www.ohooleyandtidow.com/gigs

‘This Woman’s Work’ live: