The 2018 Folking Awards

Welcome to the 2018 Folking Awards and thank you again to everyone who participated last year. The nominations, in eight categories, come from our ever-expanding team of writers and were wrangled into shape with considered argument and arm-wrestling by the Folkmeister and the Editor.

There are five nominees in each category, all of whom have impressed our writers during 2017.

As with the format last year, all are winners in our eyes, as are quite a few who didn’t make the short list. However, it’s not just down to what we think, so again, there will be a public vote to decide the overall winner of each category.

*The Public Vote for each category will close at 9.00pm on Sunday 1st April (GMT+1).


Soloist Of The Year

 Jon Boden
Ange Hardy
Daria Kulesh
Richard Thompson
Chris Wood


Public Vote

*And the winner is: Open envelope!

 


Best Duo

Kate & Raphael
O’Hooley & Tidow
Kathryn Roberts & Sean Lakeman
Laura Smyth & Ted Kemp
Winter Wilson


Public Vote

*And the winner is: Open envelope!

 


Best Band

Sam Kelly & The Lost Boys
Merry Hell
Peter Knight’s Gigspanner
Police Dog Hogan
The Unthanks


Public Vote

*And the winner is: Open envelope!

 


Best Live Act

CC Smugglers
Eliza Carthy & The Wayward Band
Fairport Convention
Lau
Merry Hell


Public Vote

*And the winner is: Open envelope!

 


Best Album

Bring Back Home – Ange Hardy
Pretty Peggy – Sam Kelly & The Lost Boys
Long Lost Home – Daria Kulesh
A Pocket Of Wind Resistance – Karine Polwart/Pippa Murphy
Strangers – The Young ‘Uns


Public Vote

*And the winner is: Open envelope!

 


Best Musician

Kevin Crawford
Seth Lakeman
Richard Thompson
Karen Tweed
Ryan Young


Public Vote

*And the winner is: Open envelope!

 


Rising Star

Sam Brothers
Siobhan Miller
Jack Rutter
Sound Of The Sirens
The Trials Of Cato


Public Vote

*And the winner is: Open envelope!!

 


Best International Artist

Rodney Crowell
Anna Coogan
Michael McDermott
Le Vent Du Nord
The Wailin’ Jennys


Public Vote

*And the winner is: Open envelope!

 


If you would like to consider ordering a copy of an album for any of our award winners (in CD or Vinyl), download an album or track or just listen to snippets of selected songs (track previews are usually on the download page) then click below to be taken to our associated partner Amazon’s website. Use the left and right arrows to scroll.

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.

Folkies 2018

CHRIS WOOD – So Much To Defend (RUF RUFCD014)

So Much To DefendChris Wood’s fifth solo album comes across as a model of restraint on first hearing but first hearings can be deceptive. So Much To Defend is an album made up in part of little lives – people who are not even just about managing. There are bigger stories, too, but even these are told in small, personal ways.

The opening title track is a series of vignettes, snapshots of urban life. Some of the characters – Sharon, Maureen and Victoria, for example – are doing all right in their own terms while Bella, Terry and Thomas are struggling with zero-hours contracts, redundancy and unemployment. But Abigail likes her tuna steak “ever so slightly charred” and Svetlana works the night. Everyone has so much to defend even when they have almost nothing. Yes, it is actually a big story.

‘This Love Won’t Let You Fail’ is song for everyone leaving home and the love in question is  that of the mothers who stand and watch them go, worrying all the time. Chris describes ‘Only A Friendly’ as a love song but it’s an oddly tawdry one as Ebbsfleet United lose again. Both are universal stories told in small personal ways.

‘The Flail’ and a setting of Housman’s ‘1887’ are concerned with history. The flail represents the politicians, the police and the media who feed us their version of history; think Hillsborough. Here Chris reminds us to remember what really happened. The latter is a rather acid meditation on monarchy – 1887 was Victoria’s golden jubilee and Housman remembers the men who died to save the queen. I’m still making up my mind about ‘Strange Cadence’ and ‘The Shallow End’. They both seem to be warning us of the siren voices that tell us to be good little consumers and toe the official line but all four of these songs encourage us to question everything we’re told. With ‘More Fool Me’, Chris looks at his own career at the time when there is less money in the music business than when he started and the final ‘You May Stand Mute’ is another of his quasi-hymn tunes with a message that I’m still deciphering.

So Much To Defend is sometimes stark; just voice and one or two instruments, mostly guitars with occasional banjo so Martin Butler’s piano is the only instrument on ‘1887’ although in contrast, Justin Mitchell adds a haunting flugelhorn to ‘Strange Cadence’ and Gary Walsh’s Hammond organ provides another texture to ‘This Love Won’t Let You Fail’. The songs can stand on their own merits and when it comes to live performances Chris and his guitar are all they will need.

Dai Jeffries

Artist’s website: http://chriswoodmusic.co.uk/

Chris has just sent us this video for ‘This Love Won’t Let You Fail’:

And here’s an old favourite live at the BBC Folk Awards:

THE SHEE – Continuum (Shee Records SHEE4)

ContinuumThe concept behind Continuum, supported by Celtic Connections, was to celebrate their tenth anniversary by having each of them commission a musician of their choice to write a piece of music for the album. That’s only half the story, of course, for the band had then to arrange the music for six players and write some pieces to bind the whole thing together.

The opening song is ‘From The Shadows’ by Laura-Beth Salter. It’s a powerful call to arms to … ah, well. It could be a feminist piece, the logical first thought, but it could be a warning to the rich and powerful that the poor and oppressed aren’t going to take it any more. Next come two atmospheric pieces by Kathryn Tickell; one evoking the borders and the other with a Scandinavian feel. The playing, needless to say, is exquisite.

Rachel Newton commissioned Karine Polwart and the result is ‘Song For Mary’. The Mary in question is Mary Brooksbank, composer of ‘The Jute Mill Song’ and an archive recording of one verse forms the introduction. We’re not told that it’s Mary herself but I’d like to think it is. Amy Thatcher naturally turned to a box-player and who better than Andy Cutting? Olivia Ross’ choice was Chris Wood who shares the credit for ‘Cradle Song’ with lyricist Hugh Lupton. The Shee turns what could be a pretty little song into something quite strange so you’re not sure whether this a mother singing to her baby from the safety of a warm fireside or struggling home from the storm outside.

Laura-Beth, Amy and Shona Mooney provide the next two tune sets with Shona responsible for the wonderfully titled ‘The Vampire Rabbit Of Newcastle’. Olivia wrote ‘Precious Tears’, a song for children – possibly the band members’ own – and Brian Finnegan wrote a trio of tunes with Lillias- Kinsman-Blake’s flute and a journey through India in mind. Finally, we have Martin Simpson’s song for his mother. ‘Dance With Me’ might be seen as the companion-piece to ‘Never Any Good’. Laura-Beth sings it and plays mandolin where Martin would use guitar and the band play what is almost an orchestral accompaniment.

Continuum is a monument to musical collaboration and the exchange of ideas but more than that, it is a tribute to six exceptionally talented musicians.

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.

Artists’ website: https://theshee.com/

‘Ower Late For The Lasses/Sheepolska’ and more with Kathryn Tickell live at Celtic Connections 2016:

Top composers join The Shee to celebrate ten years

Top composers join The Shee to celebrate ten years
Photograph by David Boni

Multi instrumentalists and festival favourites, The Shee, have reached the ten-year milestone in their action-packed career, and intend to celebrate by creating a brand new body of original work.

Following three albums and a hectic touring schedule, the six members of the band have each approached a composer hero to write an original piece of music ahead of a prestigious premiere at Celtic Connections 2016.

The composers will then join The Shee on stage to introduce their piece and perform with the band as each is performed for the first time.

The composers are, in alphabetical order:

Andy Cutting
Brian Finnegan
Karine Polwart
Martin Simpson
Kathryn Tickell
Chris Wood   

The Shee’s accordionist, Amy Thatcher, said: ‘We can’t quite believe our luck: we’re getting some of the most influential musicians and composers on the current British folk scene to write original music for us. It’s going to be an incredible experience, and the perfect way to celebrate ten years of making music as The Shee.’

Following the premiere at Celtic Connections on 15 January 2016, the band will head back to the studio to work on a new album for release later that year.

Artists’ website: theshee.com  

DAVID GIBB and ELLY LUCAS – Old Chairs To Mend (Hairpin Records 002)

David Gibb and Elly Lucas are an exciting young duo who play a mixture of original and re‐worked traditional folk material. They hail from Derbyshire in the Midlands and have previously toured the UK extensively as part of David Gibb & The Pony Club.

David plays the guitars, melodeon and sings; Elly plays fiddle, viola and also sings. From these minimal resources, the twosome produce distinctive vocal leads, haunting harmonies and a quite dense instrumental sound. Their singing is simple and unadorned ‐ check out Elly’s wistful vocal on ‘Blacksmith’ from their début album ‘Old Chairs To Mend’ below:

The pair were chosen as finalists in the prestigious BBC Young Folk Awards 2011 and, on the road, have supported such acts as Cara Dillon, Chris Wood,Coope, Boyes and Simpson, Jez Lowe, and Megson.

In early 2011, they released their first EP, entitled ‘Three Children Sliding On The Ice’, garnering praise and national airplay from the likes of the Mike Harding Show (BBC Radio 2) : Mike Harding says ‘I was very impressed’.

‘Old Chairs To Mend’ is the brand new spanking new album from David Gibb and Elly Lucas and although we have not heard the album in full, we loved the snippets from the Amazon web link below – folking.com

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 Web link: http://www.gibbandlucas.co.uk/

Karen Tweed – Essentially Invisible to the Eye

ESSENTIALLY INVISIBLE TO THE EYE is Karen Tweed’s latest recording and, in being entirely solo, is a departure from her extensive collaborative work which has dominated her career since the early 1990s.

Born in London in 1963 to an Irish mother and English father, Karen took up the accordion at the age of eleven. Since turning professional in the late 1980s, she has appeared on over thirty albums from her early days with The Kathryn Tickell Band to being a founding member of the pioneering all female Poozies, through the Anglo-Swedish ensemble SWAP, American collaboration Undertoe with Stuart Kenney, Marko Packard and Rodney Miller, to The Two Duos Quartet with Andy Cutting, Chris Wood and Ian Carr. Karen’s duo work with Ian Carr, Andy Cutting and also Roger Wilson and John Dipper has left many an audience mesmerised at her breathtaking musicianship, while her trios with Hannah James and Becky Price in Hell Said The Duchess and with Carolyn Robson and Kevin Dempsey are more examples of her diversity and creativity.

Her larger scale projects include Circa Compania, a 14-piece all-singing, all-dancing tour-de-force and The No 1 Ladies Accordion Orchestra where she has brought together accordionists from all over the UK. More recently she has been Musical Director of ‘Land of Liberty’ a community play directed by Philip Parr of Parrabola and her duo work includes singers Jackie Oates, Kevin Dempsey and Johnny Coppin. Karen’s teaming up with highly respected Finnish pianist and composer Timo Alakotila to form May Monday led to phenomenal praise and accolades for their artistic grace, beauty and breaking down of musical barriers.

Her playing has been described as mercurial, soulful, effervescent and sensitive, while as a teacher, she’s proved to be an inspirational and encouraging role model, whether teaching university students performance and arrangement skills or leading accordion workshops and master classes.

ESSENTIALLY INVISIBLE TO THE EYE, produced by Bruce Molsky, brings all of these influences and ideas from her career so far together and illustrates just how dynamic, sensual, joyful and inspirational she can be. Karen often cites those she has worked with as major influences and inspiration and this fine recording shows how she continues to incorporate and further develop those ideas. Following conversations with Bruce, Colum Sands and Lorraine Carpenter, Karen began to think about a solo project and their thoughts that her music could be seen as songs or stories without words rather than a collection of tunes, sparked off the seed for this CD.

Bruce Molsky was the perfect choice as producer, because of his diverse and superb skills as a musician and his understanding of storytelling through traditional song. The CD has five tracks, all solo accordion but performed as a suite of Karen’s much loved collections of tunes, a blend of original and traditional and intended to be played as one, taking the listener on a lyrical journey, sometimes autobiographical, sometimes whimsical but illustrating how much the accordion has become Karen’s voice and pen and muse.

ESSENTIALLY INVISIBLE TO THE EYE is possibly Karen’s most emotive work to date and will be toured in its entirety in 2012.

For more information and the latest tour news, please visit: www.karentweed.com