John Smith unveils debut single from new album

John Smith

John Smith had just announced the release of his new album Hummingbird.  It features appearances from Cara Dillon, John McCusker and Ben Nicholls, and will be released on October 5th on his own Commoner Records (via Thirty Tigers worldwide).  He had also announced a huge UK headline tour (29 dates throughout October & November), and made the track ‘Willy Moore’, taken from Hummingbird, available to stream now.

An independent musician who has toured the world for almost fifteen years with his guitar and suitcase, he has independently released five albums, supported the likes of Ben Howard and Damien Rice, won critical acclaim in the UK and abroad, and performed a session guitarist and singer for the likes of Joan Baez, Lisa Hannigan and Martin Simpson.

Following his performance last weekend at the Cambridge Folk Festival, and having been played for the first time last night by Mark Radcliffe on the BBC Radio 2 Folk Show, John Smith can today reveal ‘Willy Moore’, the first song from his soon to be announced new album.

Recorded at Sam Lakeman’s Somerset studio in March, John explains how the track came into his life.

“Collected in Harry Smith’s Anthology Of American Folk Music, no-one knows who wrote it, but it’s probably from the early 20th century.  I first heard this performed by the gentleman genius Wizz Jones. It’s a heart-breaking account of two young lovers’ tragedy.”

Listen to ‘Willy Moore’ here:

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).

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Artist’s website: https://www.johnsmithjohnsmith.com/

Live Dates

04 October Aberdeen The Lemon Tree
05 October Ullapool Guitar Festival
10 October Cork  IE Coughlan’s
11 October Cork IE Coughlan’s
12 October Limerick IE Dolan’s
13 October Dublin IE Unitarian Church
14 October Bangor NI Studio Theatre
17 October Chipping Norton The Theatre
20 October Whitby Musicport Festival
21 October Liverpool St George’s Hall
22 October Gateshead Sage Gateshead
24 October Leeds The Wardrobe
25 October Sheffield Picture House Social
26 October Thames Ditton The Ram Club
30 October Newbury Arlington Arts Centre

01 November Bury The Met Arts Centre
02 November Scunthorpe Cafe Indiependent
03 November Halifax Square Chapel
04 November York The Crescent
07 November Middlesbrough Town Hall
09 November Bristol Rough Trade
10 November Plymouth Barbican Theatre
11 November Dartmouth The Flavel
12 November Exeter Phoenix
14 November Southampton The Brook
15 November London St Pancras NEW Church (Bloomsbury)
16 November Brighton Unitarian Church
17 November Guildford St Mary’s Church

Cara Dillon & Sam Lakeman headline ‘Folk Day’ at Stogumber Festival

Stogumber Festival7th – 9th September 2018

Stogumber Festival has announced that 4 excellent gigs will feature on ‘Folk Day’, Saturday 8th September, which is a major element of this year’s event. Headlining the day will be the outstanding Cara Dillon, a 2018 BBC Folk Singer of the Year nominee, who will perform with along with her husband Sam Lakeman. Other sessions will be by indie-folk band Velvet & Stone whose songs combine haunting soundscapes with catchy pop hooks to give beautiful take on the traditional genre; Kate Griffin & Ford Collier, a duo who explore contemporary folk with influences ranging from Celtic to Bluegrass; and Gathering Tides, a band which weaves together folk, jazz, rock and more to provide a unique experience.

Set between Exmoor and the Quantock Hills, this pretty West Somerset village provides an intimate environment in which to enjoy superb live music.

Full information and tickets from www.stogumberfestival.com

CARA DILLON – Live at Kings Place, Kings Cross, 22 February 2018

Cara Dillon
Photograph by Mike Wistow

The venue was stunning. Clean wooden floors, a delicate bar, someone selling programmes (for Barry Cryer in Hall One), what I can only call an ‘older audience’. There’s a civilised aspect to folk in a place like this that I’m simply not used to. This was a Christmas present. A trip to London with tickets for Cara Dillon in concert. A fascinating experience in that I normally watch folk music in small halls/arts centres or in fields at festivals. But it felt good.

And the music, ah the voice. Three of the band walked on stage, Cara Dillon in the centre, a couple of empty microphones either side, then piano to the left and violin to the right. And a voice like an angel, prickling the back of the neck, even when it became the voice of a lonely angel. About four songs in there was a wee technical hitch, which left Dillon to sing an impromptu unaccompanied solo while they fixed it. If anyone in the sold out hall had dropped a pin you’d have heard it, so rapt were the audience by the song.

By now the stage was full – a bass and second guitar giving a deeper sound to the music. ‘The Leaving Song’ written by Dillon was a delight, the story of a living wake (a ‘wake’ for those alive but being seen for the last time before they left for America or elsewhere) with gems of detail such as hobnail boots sparking on the stone floor as they danced and then the quiet as the family realised Dillon’s great great uncle, who was leaving, had slipped quietly out the back to avoid final farewells.

The second half had no technical hitches and took off into the skies. Dillon returned from break with ‘Both Sides The Tweed’ and the live version knocked the socks off the recording on the new CD. ‘Lake Side Swans’ was written after seeing the posture of the refugee boy a couple of years ago face down on the beach. Dillon said, “The image stayed with me and I wrote this”. This is what we need our folk singers for – to capture those moments where we share our humanity else we’d otherwise forget it in a world of instant electronic images supplanted one after another.

The set moved on with ‘Blackwater Side’, ‘If I Prove False’ – a stunning duet with John Smith and a refrain you couldn’t help but join in gently with “Who’s gonna kiss your pretty little lips……if I prove false to thee”. Then 2009’s ‘Hill of Thieves’ and the powerful ‘Black is the Colour of My True Love’s Hair’ from 2002.

If the first half lost a little of its flow because of the technical problems and clicks on the guitars, the second half showed us why Cara Dillon, with band, is one of the classic folk singers of the modern age. She finished with two more songs from the new album, Wanderer, before concluding appropriately enough with ‘Parting Glass’.

Mike Wistow

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: http://www.caradillon.co.uk/

‘The Parting Glass’:

CARA DILLON – Wanderer (Charcoal CHARCD009)

WandererFollowing last year’s release of her first Christmas album, Upon A Winter’s Night, Dillon returns to secular form with a predominantly traditional collection, again produced by and featuring husband Sam Lakeman.

Pivoting around an underlying theme of transition and departure, whether that be through emigration or the search for love, it keeps the instrumentation spare and intimate, predominantly built around Lakeman’s piano and/or acoustic guitar, but also with occasional contributions from Ben Nicholls on double bass, Niall Murphy on fiddle and both John Smith and Justin Adams on acoustic and electric guitar, respectively.

There are two original numbers, the first up being the piano-accompanied ‘The Leaving Song’, inspired by “living wakes” held for those about to emigrate in pre-war Co.Derry with its lyric about a mother bidding farewell to a son seeking his fortunes in some other land, with a reminder that he can always find his way home. The other, the penultimate track, the simply styled metaphorical ‘Lakeside Swans’ touches a similar note, here concerning migrants and refugees and the decision to leave their homes.

There’s also a cover, the album’s final track being their dreamily lovely piano-led arrangement of ‘Dubhdara’, the slow-swaying sailing out Celtic anthem written by Shaun Davey for his 1985 album Granuaile.

The remaining seven numbers are all traditional, some familiar, others less so, case in point being the opening Ulster thoughts of home folk song ‘The Tern And The Swallow’ with its references to Lough Neagh, the largest freshwater lake in Northern Ireland, and Slieve Gallion, the mountain in Co. Londonderry. Also with their roots in Derry and nostalgia for home, ‘The Banks Of The Foyle’ concerns a girl forced to leave her true love by cruel misfortune but then learning he’s remained constant in her absence, while, featuring just Dillon and Lakeman’s guitar, ‘The Faughan Side’ conjures memories of an emigrant to America of happy days spent by the bridge of Drumahoe over the titular river.

A fine, yearningly crestfallen reading of the much recorded ‘Blackwater Side’ leads the charge for the better known songs, with its tale of a young lad lying his way into a maiden’s bed with false promises. This is complemented by ‘Both Sides Of The Tweed’, a traditional number given a makeover by Dick Gaughan, here presented in simple style with Dillon’s pure vocals and Lakeman’s piano. She’s joined by Kris Drever who duets and plays guitar for ‘Sailor Boy’, the album’s obligatory death song (you know the plot, maiden dies from grief when her sailor lover drowns) with Murphy on wheezing fiddle. Which just leaves a haunted interpretation of ‘The Banks Of The Bann’, which, combining emigration and thwarted love and arranged for piano and fiddle, is fittingly set to the tune of ‘Lord Of All Hopefulness’.

Her most reflective and most musically introspective album to date, the spare arrangements putting the spotlight on her warm, crystal clear vocals, it is arguably also the best of her career.

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.

Artist’s website: www.caradillon.co.uk

Promo video:

SAM KELLY & THE LOST BOYS – Pretty Peggy (Navigator NAVIGATOR 102)

Pretty PeggyBased in Bristol, but born in Norfolk, Kelly stakes a claim for a Best Album nomination in next year’s Radio 2 Folk Awards to add to this year’s Horizon win. Backed by his six-piece live band, comprising Jamie Francis on banjo, fiddler/guitarist Ciaran Algar, percussionist Evan Carson, Graham Coe on cello with Toby Shaer and Archie Churchill-Moss providing woodwind and melodeon, respectively, Pretty Peggy their first album together, also features contributions from folk stalwarts Cara Dillon, Damien O’Kane, Mike McGoldrick and Geoff Lakeman.

Save for three numbers, all the material is traditional, refashioned and refurbished, opening with a rousing haul away tempo take of the whaling shanty ‘Greenland Whale’ that can’t help but bring Seth Lakeman to mind. Dillon and McGoldrick’s Uillean pipes complement ‘Bonnie Lass Of Fyvie’, the pretty Peggy-o of the title, a jaunty Celtic-hued version that successfully avoids sounding like any of the many previous recordings.

A tale of lost childhood love regret, the equally lively, thigh-slapping, fiddle-driven ‘Angeline The Baker’ has Appalachian roots and then comes the first of the original numbers, ‘When The Rievers Call’, a Jamie Francis song about the raids on the Scottish borders during the middle ages featuring, unsurprisingly, some fiery banjo work and again recalling that Seth Lakeman sound.

Returning to the traditional repertoire and featuring O’Kane on electric tenor guitar with a melodeon solo, ‘If I Were A Blackbird’ is a lovely, lilting and gently ripping take on the Irish love song, reversing the lyric’s genders and set to a tune based around Chris Wood’s ‘Ville De Quebec’. This is followed by the darkly menacing ‘The Shining Ship’, a suitably spooked and nervy six minute tale, sung in low, at times whispery tones with swirling sonics, of a woman lured aboard a ghost ship by her long lost lover and based on the 17th century Scottish ballad ‘Demon Lover’.

Featuring himself on piano and Shaer on fiddle, the only Kelly original is ‘Chasing Shadows’, another lively tune about understanding that “the deepest dark comes just before the dawn”, and one of the more contemporary sounding tracks. Then comes the comic relief, ‘The Close Shave’ being New Zealand singer Bob Bickerton’s variation of the traditional romp, ‘Barrack Street’, about a gold miner relieved of his treasure by a man posing as a woman.

The obligatory instrumental track comes with ‘Shy Guy’s Serve’, a jaunty fiddle medley of Shaer’s ‘Josh’s Slip’ and Algar’s ‘Rookery Lane’, before they dig into the more obscure pages of the Dylan songbook and turn up the volume for ‘Crash On The Levee’, a punchy and driving version of ‘Down In The Flood’ off The Basement Tapes. The penultimate number is another traditional English folk song, drums, fiddles and flutes pumping along sexually euphemistic ‘The Keeper’ with its call and response derry derry down chorus, the album ending with the intitially subdued but gradually gatheringly strident strains of The Rose, Kelly’s translation of the French song ‘Le Beau Rosier’, originally by Belgian outfit Naragonia with whom he played mandolin last year.

Having practised his art as a youngster singing to the family’s cows, in 2012 Kelly was a finalist for Britain’s Got Talent (the one won by Pudsey), at which time he said “I don’t want to make a mediocre album of covers just to sell as many as possible on the back of BGT…musical integrity is really important to me.” He’s clearly lived up to his words.

Mike Davies

Paul Johnson and Darren Beech caught up with Sam backstage at Cropredy 2018. It was the last interview of the weekend and a lot of fun! Have a listen below:

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the SAM KELLY & THE LOST BOYS – Pretty Peggy link to be taken to our associated partner Amazon’s website. 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.

ORDER – [CD]

Artists’ website: www.samkelly.org

‘Angeline The Baker’:

GEOFF LAKEMAN – After All These Years (own label GLAK-01)

After All These YearsGeoff Lakeman isn’t quite as famous as his sons but he is a much regarded singer and songwriter, particularly in the West Country. At 69 Geoff has finally succumbed to the temptation to record an album, After All These Years, produced by son Sean. Geoff usually performs solo with concertina but with friends and family like his it must have been impossible to resist getting them on board, although the contributions of Jim Causley, Cara Dillon, Kathryn Roberts, Sam Kelly, Ben Nicholls, Jamie Francis, Seth Lakeman and Nic Jones are commendably restrained except when it comes to choruses. Geoff himself has the voice of, if not a young man, then a young man who has seen a bit of life – strong and characterful.

If you were a folk club regular in the sixties and seventies you will be entirely at home with this set. Not that Geoff is locked in the past as his cover of Reg Meuross’ ‘England Green & England Grey’ proves but the mix of material is such that if you don’t care for a particular song you’ll like the next one.

The set opens with ‘The Farmer’s Song’. It was written by Roger Bryant but easily could be one of Geoff’s as he demonstrates with the next track, ‘Tie ’Em Up’. Both are about the decline of traditional rural industries and while both writers were preoccupied with the plight of Devon and Cornwall the same stories are true all around the country. ‘Rule And Rant’ is a bit of obscure Cornish history involving an ingenious mine rescue. The traditional songs include ‘Ye Lovers All’, a song of romantic teasing from Ulster, the well-known ‘Jim Jones’ and ‘The Green Cockade’ a Cornish version of the song that may have arrived from Ireland and ‘Bonny Irish Maid’ – there’s a pattern developing here.

There are a couple of oddities. The first is the original version of ‘Galway Bay’ – not that song and certainly not the celebrated parody (I confess that I was rather hoping for that) – and the closing ‘Doggie Song’. This is the sort of encore that you’ll still find in folk clubs and probably means a lot more in Cornwall but is best not recorded. That aside, this is a splendid album to unwind with, think about and sing along to.

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.geofflakeman.co.uk

‘Tie ‘Em Up’ – live: