SINGLES BAR 31 A round-up of recent EPs and singles

Singles Bar 31Special Commissions is just that, a set of songs written or recorded by JIM CAUSLEY, for one-off projects and left in search of a home. ‘City Of  Trees’ is about Exeter and initially sounds very folky but Jim cleverly quotes other bits of music as he writes about wassailing and oak-apple day. Tony Deane, of ‘Following The Old ‘Oss’ fame, wrote ‘Diamond Of The Moor’ about a murder and possible miscarriage of justice on Bodmin Moor in 1844 and ‘Green Lanes’ was written to accompany a series of talks by Valerie Belsey, the country’s leading expect on the subject.

Inevitably there is a Charles Causley poem, ‘On The Border’, written for an event in Launceston. Its richness sent me for checking for the names of other musicians but this is all Jim’s work although producer Mark Tucker may have had something to do with making it so. ‘Pride Of The Moor’ concerns the Devon tin-mining industry, less celebrated than its western neighbour while ‘Glorious Devon Morning’ is a paean of praise for Jim’s native county – written by a Scot.

Finally we have ‘Unearthed Theme’ one of sixty-something songs written for the Villages In Action’s Unearth scheme. This one is used to top and tail each show to explain to audiences what these strange people are doing in their village. It also exemplifies much of Jim Causley’s work – celebrating “this wonderful place we call home”. The Special Commisions EP is available exclusively from
www.jimcausley.co.uk

DARIA KULESH continues her series of seasonal EP releases with Summer Delights which features her regular collaborators, Jonny Dyer, Marina Osman and Tristan Seume. This begins with a rather nice take on ‘Like An Old Fashioned Waltz’ –it’s hard to tell who’s doing what. Is that Jonny or Tristan on guitar; Jonny or Marina on keys? Whichever, Daria gives the song the same distant, romantic feeling that informed the best of Long Lost Home. From then on it’s all Russian. ‘Mokhnatyi Shmel’ is a piano-driven and madly operatic song … about a bumblebee; ‘Rusalka’ is a long-time favourite from Kara’s first album and still present in the new band’s repertoire and ‘Perevoz Dounya Derzhala’ is another big, vibrant song and that is definitely Marina on piano. It doesn’t matter what it’s about, it sounds wonderful. These releases are available only from Daria on subscription: visit her website to find out more.
www.daria-kulesh.co.uk

It’s funny how popular ‘Jolene’ has become over recent years and it’s the first track on The Undercover EP by MAZ O’CONNOR, a set of her favourite covers. She must have been a hell of a woman to put Dolly Parton in the shade! Second up is a gorgeous version of Paul Simon’s ‘Kathy’s Song’ with echoey fingerpicked guitar and a slight reverb on Maz’s multi-tracked vocals. Green Day’s ‘Good Riddance’ is third, opportune as the Donald flies in, followed by ‘Don’t Think Twice It’s Alright’ sung with an air of resignation that tugs at the heartstrings as she mixes old and new. Maz does the choir bit on ‘You Can’t Always Get What You Want’ which raises a smile. ‘Stay With Me’ is the Sam Smith song, not the Faces’ rocker, which would have been too much to ask for and the set closes with ‘Wonderful World, a difficult song to do anything new with but Maz just about pulls it off. This is a really nice set.
http://mazoconnor.com/

‘Air Fàir An Là ft Sian’ is a new single by folk/electronica band NITEWORKS. The words were written by Màiri nighean Alasdair Ruaidh on the Isle Of Skye in the 17th century. Sian are a trio of female Gaelic singers who specialise in the songs of female Gaelic bards which might make them something of a niche market but the addition of Niteworks’ traditional instruments and modern techno sounds opens it up to a wider audience.
www.niteworksband.com

STEAMCHICKEN are working on a new album and from it comes ‘Violet Lane’ a wonderfully off-the-wall Victorian tale of working girls who take the law into their own hands when faced with violence. A blend of folk and swing, it will available to download this week. Violet Lane is in Croydon, by the way. Who knew?
http://www.steamchicken.co.uk

‘The Ballad Of Davey Graham’ is a title to stop any music-lover in his tracks. TOM BAXTER wrote it for the unveiling of a blue plaque in honour of the guitarist. It takes a gifted, and perhaps brave, man to attempt to emulate Graham’s unique guitar style and unconventional song structures and Tom rises to the challenge with considerable aplomb. The track will be found on his forthcoming album, The Other Side Of Blue.
https://www.tombaxter.com/

LOZT are a duo comprising Tom Ryder, of whom we have written before, and Lauren Scudder who is new to us. I Want You is their debut EP; a sophisticated mix of folk, pop and soulful singer-songwriter. The title track, which is third up, is decorated with treated instruments but it is dominated by acoustic guitar. The opener is ‘Change My Mind’ followed by ‘Quake’ which benefits from a remix to close the set.
https://www.loztmusic.com/

Six is the new EP from LEATHER’O, a follow-up to Five, obviously. They describe their music as alt-Celtic/Gypsy and pride themselves on their energy but someone should have pressed the loud pedal in the studio or on the mixing desk. The balance is great and Angela Gordon’s vocals don’t get lost on ‘False Lady’ or ‘Black Is The Colour’.   ‘Risipit/Bim Bim Hora’ is all gypsy fiddle and is absolutely splendid proving how well Leather’o can play as does the closing ‘Weasel Set’ but, please, turn it up a bit next time.
www.yorkcelticband.co.uk

SIMEON is a young acoustic singer-songwriter with a voice that can be soft and gentle or bend steel as the occasion demands. ‘Ground Down’ is the first single taken from her forthcoming EP A Serpentines Curve. Although she’s been working and recording for a while her profile isn’t what you’d call high. We don’t think it will stay that way for long.
http://simeonturtle.com

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.

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Folkies 2018

THE DARIA KULESH QUARTET talk to Folking

Daria Kulesh Quartet
Photograph by Jason Emberton

For their many fans there is sadness at the news that the latest iteration of Kara has disbanded. With the plan not quite coming together, both Phil Underwood and Pete Morton have had to take their leave to continue with other projects with founding members Daria Kulesh and Kate Rouse enthusiastic to focus on new music. Daria goes back to the beginning of the story.

“I started my musical journey as part of Kara and then, on a whim, decided to release my solo album, Eternal Child, and thought it would just be a little vanity project. Then Long Lost Home was an epic project for me and I really poured all my heart and soul into it and hopefully it’s paid off. The last year has been really incredible on the back of that release and all my adventures and journeys that went with it. Effectively Daria Kulesh has become a thing – I don’t even really know who she is any more – and that has taken over from Kara.

“It was following Kara’s gig at The Troubadour that Pete said it really should be about my leading the band. I was quite excited about working with Pete and sharing the spotlight but what he felt was that I needed to be a mean diva with a mean band backing me.” Pete always had a neat turn of phrase.

The first recruit to the new line-up was pianist Marina Osman. “We’ve known each other for a long time. We were doing some covers…” At this point Daria interrupts to explain that the episode in question was too embarrassing to talk about and then proceeded to explain that they were doing Lady Gaga covers. Marina finally gets a word in again. “It was a great experience but Daria had some much creativeness in her that she could not do just simple covers…and she decided to be a diva.”

Marina starts to explain that they have been working together as a duo on “the Russian project” and Daria leaps in again. “There is just so much serendipity in all of this. Marina and I were, not exactly out of touch, but we hadn’t done anything together for quite a while.” And now it gets complicated – let’s see if I’ve got it. Daria’s song ‘The Moon And The Pilot’ went viral after her appearance on the BBC World Service and her name was out there in Russia and Ingushetia. The presenter also suggested her for an event at Pushkin House, the Russian Cultural Centre, performing music that is virtually unknown in the UK.

“Marina and I learned thirty minutes of material for this event and the director of Pushkin House immediately rebooked us for a full set so we started work on a set of Russian film songs and some Russian folk classics. We kept getting repeat bookings and started mixing it up with some original material and then Marina had a little jam with Kara at The Troubadour. That was when Pete told me she was gold dust and to get her in my band.”

The fourth member of the new band is guitarist Tristan Seume who also works with Jackie Oates and admits to combining classical guitar lessons with busking Levellers’ songs in an underpass. I get the impression that Tristan knows pretty much everybody but how did he end up here?

“I got an email from Kate just over a year ago, asking me if I’d like to try out for a band. I was flattered to get an invitation but at the time I was so committed elsewhere that I left it in my unread folder because I wanted to write a nice, polite, thoughtful response but it just slipped further down my to-do list. Fast forward a year and a change of circumstances and I was going through unread emails and decided to respond to it. Because I was in a silly mood I thought I’d write something just to say ‘for what it’s worth I’ve got some time on my hands’. Within an hour I got a response from Kate.”

Prior to the formal interview, I’d watched the band at work, developing a new arrangement of Daria’s single ‘Vasilisa’ and working on a new song, ‘Pride Of Petravore’, a Percy French piece that had been suggested by Pete. Daria knew the song; Kate knew it in a different key, because Kara had performed it as an instrumental, but neither Tristan nor Marina knew it at all. Within about thirty minutes they had it ready to take into the studio to record a demo. That is the measure of the new band. The interesting thing is that Kate seems to be the one with the ability to sift through all the ideas and pull together the best ones.

“It’s my background”, she says modestly. “I’ve always been arranging my own parts and perhaps hearing things in a slightly different way. I’m the one more familiar with the Kara material but we’ve all learned lessons and become more aware about refining the music in a certain way. Someone needs to say ‘I think it should be this’ and not be shy about it. Plus the dulcimer is a big part of the band and I’m a bit protective about it.

The name of the new line-up was, for a while, a matter for debate. It might have been The Daria Kulesh Band or Daria Kulesh And Friends. I made several suggestions that were, quite rightly, rejected but they have now settled on The Daria Kulesh Quartet. Daria and Marina have recorded some new tracks which may figure on a Vasilisa EP and the new band has spent time in the studio preparing for their first gigs in the new year. It’s all very exciting and I’m looking forward to the finished product.

Dai Jeffries

Artists’ website: http://www.daria-kulesh.co.uk/

‘Pride Of Petravore’:

SINGLES BAR 25

A round-up of recent EPs and singles with compliments of the season

Singles Bar 25WOLFNOTE are a new trio from Berkshire making their debut with an EP, Frightened Of Your Own F#. The three female members, Bex, Gill and Ceri, have strong voices and harmonise well and between them play guitar, violin, cello, dulcimer and recorders and their silent partner, Mike, plays guitar, bass and cajon. The record starts with a cover of Dylan’s ‘Girl From The North Country’ taken a little more quickly than most people do – it can drag, sometimes. The other songs are originals and ‘Love And Light’ is particularly good. The production is excellent, concentrating on the voices with the instrumental leads clear and bright. A name to watch.
https://www.facebook.com/wolfnoteband/

‘The Tug Of The Moon’ is the first single to be taken from If We Dig Any Deeper It Could Get Dangerous, the forthcoming album by SARAH McQUAID. This could be the only song ever inspired by Newton’s third law of motion and its effect on sidereal time.  Behind the science is the thought that we are all spinning towards the end of the universe and perhaps we should make the most of our time. Sarah creates a wonderful sound with fingerpicked electric guitar drenched in reverb.
www.sarahmcquaid.com

While her new band settles in DARIA KULESH releases a single supported by two of her duo partners, Jonny Dyer and Marina Osman. ‘Vasilisa’ is an old Russian fairy tale from a book that Daria read as a child and still has. The story contains certain elements of Cinderella but far nastier and involves a supposedly deadly errand, the famous witch Baba Yaga and some unpleasant deaths. It has the mysterious air of Daria’s other Russian adaptations with the drone of a shruti box, dramatic piano, percussion and bouzouki.
http://www.daria-kulesh.co.uk/

It’s that time of year, so folk have been getting into the festive mood for seasonal singles. First up comes the rather lovely download (from the usual sources) only ‘What Will Christmas Be’, a melancholic piano (Danny Mitchell) and cello (Chelsea McGough) ballad duet from BEN GLOVER and NATALIE SCHLAB about absence and loss at a time traditionally about being together, set off with a final peal of bells.
https://www.benglover.co.uk/

Season Bright is a seasonal EP from EMILY EWING & ROBERT LANE. Robert is well known to folking readers and Emily is a singer-songwriter with a download EP to her name and a growing reputation. The lead tracks begins with Robert and Emily lamenting the fact that they’ll be spending Christmas alone (surely not) and moves on to the exhortation to “keep your loved ones near” over some lovely ringing electric guitar. The other tracks are the guitar-led ‘Get You’ and ‘Own It’, built around Emily’s piano. Available from iTunes.
http://www.robertlanemusic.co.uk/

Jo Whitby aka LAURENCE MADE ME CRY mirrors the mood with her download single ‘It’s Not You, It’s Christmas’ (from her bandcamp site), a slow walking fuzzed reverb guitar (sounding like a kazoo on acid) and drums ditty about choosing to spend the festivities alone at home, although she still wishes everyone seasonal cheer.
http://laurencemademecry.com/

SKINNY LISTER also get into the act with ‘Christmas Calls’ (XtraMile), an epic sounding arms-linked swayalong anthem very much in the Pogues ‘Fairytale’ mould, complete with military drums, bells and whistles.
http://skinnylister.com/

From last year’s Edison Gloriette album, JESS MORGAN releases download Jay Chakravorty remix of the Moonstruck-inspired ‘Come To The Opera With Me Loretta’ (Drabant Music) that removes the piano, putting more focus on the vocals and giving it an anthemic seasonal synths and drums shimmer makeover.
http://www.jessmorgan.co.uk/

Away from the holly and ivy,Yorkshire’s FRAN WYBURN self-releases ‘Foolish Sea’, George Birkett’s fingerpicking and Rachel Brown’s cello backdropping her pure, little girl vocals on a quirky tale of unrequited love that serves as a taster to her forthcoming album.
http://www.franwyburn.com/

There is not so much Christmas spirit but an awful lot of pain in ‘Love Left Lost’, the second single from Brighton-based singer-songwriter JOSH McGOVERN. Quite which subterranean depths that voice comes from is hard to say but the tragedy is delivered over minimal acoustic and with soulful backing vocals on the choruses.
https://www.facebook.com/Joshmmusic

To mark the twentieth anniversary of the death of blues guitarist LUTHER ALLISON Ruf records have released a limited edition eleven disc box set of his later work. As a taster there is a 7” vinyl single: ‘You Can’t Always Get What You Want’ and ‘Night Life’. The lead track starts with a deceptively simple Hammond organ and Luther waits until the chorus comes round for the band to kick in and then it takes off with some wonderful “doo-de-doo” backing vocals.
http://www.rufrecords.de

THE COMPANY OF PLAYERS – Shakespeare Songs (own label)

Shakespeare SongsThe Company of Players is an assemblage of young musicians brought together at the behest of Jess Distill of Said The Maiden, in order to celebrate the 400th anniversary of Shakespeare’s death in 2016 by putting together some songs related to his life and work. And one of the fruits of that collaboration is the CD Shakespeare Songs. Participants are Jess Distill (vocals, flute, Shruti box – a drone instrument somewhat like a harmonium), Hannah Elizabeth (vocals, violin), Kathy Pilkinton (vocals, clarinet, spoons, mandolin), Sam Kelly (vocals, acoustic guitar, mandolin, percussion), Kelly Oliver (vocals, acoustic guitar, harmonica), Lukas Drinkwater (vocals, electric guitar, double bass), Chris Cleverley (vocals, acoustic guitar, banjo), Kim Lowings (vocals, dulcimer, piano), Minnie Birch (vocals, acoustic guitar) and Daria Kulesh (vocals).

And a very interesting set it is, too. Knowing nothing of the project, I was, I suppose, expecting performances of songs that actually feature in Shakespeare plays (‘The Willow Song’, for example) or settings of his words, possibly accompanied by instruments from the period – which would have been fine by me! – but there are no lutes or viols here, and the range of material is both wider and in many cases more modern than I expected.

Track listing:

  1. ‘Black Spirits’, by Kathy Pilkinton, takes its title and lyrical content from Macbeth: specifically, Act I Scene I, and Act IV Scene I, taken verbatim from speeches by the Three Witches. It starts with minor-key, dirge-like close harmonies from Said The Maiden over an instrumental drone, then picks up the pace with percussion from Sam Kelly, while the harmonies of Jess, Hannah and Kathy are augmented by the voices of Sam, Chris, Kelly and Minnie.
  2. Minnie Birch’s ‘Up And Down’ borrows ideas and imagery from Midsummer’s Night Dream, and even the chorus is based (though not verbatim) on the words of Puck:
    Up and down, up and down,
    I will lead them up and down
    .’
    The sound, however, is very ‘modern folk’. In fact, it reminded me a little of Megan Henwood, which is certainly not a complaint. A very pretty tune.
  3. ‘Gather Round’, by Kim Lowings, draws on ideas and imagery from The Tempest. However, the expression is unashamedly modern, and would not sound out of place on Radio 2. (Hey, that’s not a criticism: I often listen to Radio 2!)
  4. While the title of Chris Cleverley’s ‘But Thinking Makes It So’ comes from Hamlet, Prince of Denmark – “for there is nothing either good or bad, but thinking makes it so” the song seems to be a more general musing on the human condition and psychological frailty, no doubt influenced by the well-known soliloquy. Very attractive.
  5. In contrast, ‘Method In The Madness’, by Jess Distill and Kim Lowings, is clearly based on Hamlet (perhaps somewhat influenced by the Icelandic Amlóði or the Amleth of Saxo Grammaticus, somewhat less conflicted precursors of Shakespeare’s Prince of Denmark). It’s curious that such a dark, corpse-strewn play should attract such light music. While this doesn’t have the levity of Adam McNaughtan’s ‘Oor Hamlet’ (chanted or sung to ‘The Mason’s Apron’), its sprightly tune, married to instrumentation that would not be out of place at a bluegrass festival, could certainly be described as toe-tapping. In fact, the tune would fit nicely into that group of American songs including ‘The Roving Gambler’, ‘Poor Ellen Smith’, and ‘Going Across The Mountain’. I’m almost tempted to describe it as fun.
  6. ‘Song Of The Philomel’ is a gentle song by Kim Lowings: the slightly archaic expression in the lyrics recalls Titania’s lullaby in A Midsummer Night’s Dream. (Philomel is both an old name for the nightingale and a 19th-century instrument somewhat related to the violin, though Hannah’s fiddle here doesn’t have the philomel’s shrill tone.) I particularly like this track.
  7. ‘Interval’ is a brief instrumental track, not listed in the sleeve notes or lyric booklet, but its mournful, slightly dissonant tone serves very appropriately as an introduction to the next track, ‘Lady Macbeth Of Mtensk’. Amusingly, the press release ascribes its inclusion to Midsummer’s Eve mischief-making by the Fairy Queen and her followers. However, there’s nothing light-hearted about either track.
  8. Daria Kulesh’s ‘Lady Macbeth Of Mtensk’ draws its story, as the title suggests, from the novella Lady Macbeth Of The Mtsensk District by Nikolai Leskov (and the source of an opera by Shostakovich), rather than directly from Shakespeare. Darla’s dramatic delivery of a melody fittingly reminiscent of Russian folk music is almost operatic in its intensity.
    By the way, the Russian word прощай, which appears several times in the lyric, generally means something like ‘farewell’ or ‘goodbye forever’, but can also mean something like ‘forgive’, which perhaps echoes the more sympathetic portrayal of Katerina in Shostakovich’s opera. Just a thought.
  9. ‘You Needs Must Be Strangers’ takes verses from Sir Thomas More. The authorship of this play is, to say the least, complicated. But it is generally accepted that 147 lines added to the play in 1603 were contributed by Shakespeare in his own handwriting. Its meditation on the plight of the exile has an all-too-apposite resonance in the 21st century, reminding me a little of Martin Thomas’s ‘The Exile’.
  10. ‘It Was A Lover And His Lass’, by Hannah Elizabeth, sets the song from As You Like It described by Touchstone as “untuneable”, though Hannah’s setting (like Thomas Morley’s long before it) disproves that description. A great tune, though the extended playout is a little overlong for my taste.
  11. The lyric to ‘Jessica’s Sonnet’ is actually not quite a sonnet, but then it isn’t by Shakespeare either, being credited to Kelly Davis, Kim Lowings and Sam Kelly. It does, however, represent the thoughts of Jessica, the daughter of The Merchant Of Venice, just before she elopes with Lorenzo. The vocals are credited to Sam and Chris, but there’s a strong female vocal there, too, plus other harmonies that seem to be from the whole Company.

This certainly isn’t the sort of music I was expecting, but I certainly can’t say I was in the least disappointed by what I heard. Good solo and harmony vocals, excellent instrumental work where technique serves the interests of the songs but never overshadow them, and some very attractive tunes. If you’re among the many people who were completely put off The Bard by unimaginative English lessons, don’t let that put you off this take on his life and work. And if you love Shakespeare but are open to alternative ‘takes’ like West Side Story you may well like this.

It’s certainly staying on my iPod.

David Harley

Artist’s website: www.facebook.com/TheCompanyofPlayers

‘Method In The Madness’ – live:

DARIA KULESH & JONNY DYER – live at The Troubadour

Daria Kulesh
Photograph by Tony Birch

The Troubadour is one of the iconic venues in the country. Founded in 1954, it still occupies the coffee shop in Old Brompton Road near Earl’s Court where it started. It has played host to most of the greats on the folk scene, many before anyone else had heard of them. I say that because this was my first visit – it being in That Lunnon and me a country boy – and also Daria and Jonny’s debut performance there. And, as Daria pointed out in her introduction  to ‘Distant Love’, the first time that a song in the Ingush language had been sung on that stage.

They followed ‘Distant Love’ with Daria’s greatest hit, The Moon And The Pilot’, with Daria, resplendent in black and gold, at her expressive best. Then came something new.  Daria and Jonny were premiering some new songs – not a follow-up to Long Lost Home – but covers of some of the singers and songwriters who have graced this stage. What better place to air them first?

Photograph by Tony Birch

The first of them was ‘Blowin’ In The Wind’, a song that is so well known that no-one sings it any more. Daria gives a new innocence over some absolutely delicious rolling guitar figures from Jonny. After ‘Amanat’ came ‘Masters Of War’ with Daria playing pulsing shruti and a mini-tambourine strapped to her foot. It is a song that is rapidly becoming relevant once more and one that is very important to Daria; there was a palpable anger in her performance. After ‘Panther’ (modesty forbids me from quoting her introduction) came ‘Northern Sky’. Most singers covering Nick Drake try to find the inner fragility of this notoriously reticent man. The original version of the song is drenched with arrangements that Nick himself disliked but which give it a power but Jonny reduced the arrangement to just a keyboard part and Daria turned it into a torch song. It might be considered revolutionary but it is quite magnificent.

Three more songs from Long Lost Home: ‘Untangle My Bones’, ‘Tamara’ and ‘Only Begun’ followed before they tackled the big one: ‘Who Knows Where The Time Goes?’. Here’s another song that has been sung thousands of times over the years but, over Jonny’s guitar, Daria managed to instil something of herself into it, which is no mean achievement. They encored with another song associated with Sandy Denny, ‘Quiet Joys Of Brotherhood’, with attention drawn to the line “love is lord of all”. It brought the set to a reflective end – another old song that is still important and relevant.

Dai Jeffries

Artists’ website: http://www.daria-kulesh.co.uk/with-jonny-dyer/

‘Amanat’ when it was new – live: