Further names have been announced for Beverley Folk Festival 2017, including renowned Scottish singer Eddi Reader.
Starting as a busker and folk club performer, Eddi has led a remarkable carrier, with membership of Fairground Attraction bringing her into the limelight, with the single ‘Perfect’ and parent album First Of A Million Kisses both topping the British charts. Over the years she has assimilated a wide range of musical styles, making them her own. In 2003 she released an album of the classic Songs Of Robert Burns which garnered international acclaim and was awarded an MBE in 2006 for services to singing.
Announcing this latest signing for 2017, chairman Matt Snowden said: “We are delighted to be welcoming Eddi Reader to Beverley. Every year we carry out surveys with festival revellers to find out what they liked about the event, what we could improve upon and who they would like to see perform at the festival in the future. With this years feedback we kept seeing her name repeated where people were asked to suggest future bookings. We are therefore proud to announce that ‘you asked – we listened’ and Eddi Reader will be one of our 2017 headliners. We hope all those who asked for her will join us next year, and many more besides, to see this magnificent and naturally gifted singer perform on our main stage.”
But the latest festival sign-ups don’t stop there. Alongside a whole host of previously announced names, such as folk legends Martin and Eliza Carthy, Henry Priestman, former Bellowhead front-man Jon Boden, False Lights and more, Beverley Folk Festival is also proud to announce the following exciting additions to the line-up:
Moore, Moss and Rutter are a trio of musicians who are reworking traditional native English tunes and songs into something far more contemporary. They aim to breathe life back into ancient material through complex arrangement, virtuosic musicianship, powerful aesthetic and an ear for detail. Individually the three are respected artists who have worked with some of the best in the business, but together they make music that is described by Songlines Magazine as ‘achingly beautiful’.
Dallahan are one of the fastest rising forces on the international folk circuit; heavily rooted in traditional Irish music, but with hugely diverse backgrounds and influences. They call on their mixed Irish, Scottish and Hungarian heritage to create a unique and seamless musical montage, drawing in influences from jazz, funk, pop and classical music.
Heidi Talbot has been described by the New York Times as having “a voice that is both awestruck and tender”. The County Kildare singer / songwriter now resides in Scotland with her musical partner and husband John McCusker. She will be performing from her latest solo album ‘Here We Go, 1, 2, 3’, which traverses oceans and musical styles – from folk, through Americana, to classic pop, and back again.
Dan Walsh is one of the finest banjo players in the UK as well as being a superb singer, songwriter and guitarist, Dan Walsh is described as ‘the real deal’ (UNCUT). Nominated in 2016 for Musician of the Year at the BBC Radio 2 Folk Awards, his eclectic and innovative approach has led to many exciting collaborations alongside his solo work, with three critically acclaimed solo albums along the way.
Edwina Hayes is a Yorkshire based singer songwriter described by Nanci Griffith as “The Sweetest Voice in England”, with whom she has toured the UK by invitation three times. Her version of Randy Newman’s ‘Feels Like Home’ was featured in the major motion picture ‘My Sister’s Keeper’ earning her numerous new fans. With fans that include Michael Parkinson and Bob Harris, she has opened shows for many legends including Jools Holland, Van Morrison and Barbara Dickson.
Rachel Croft is a York-based musician and songwriter, who plays as one half of the Croft and Mullen jazz and soul band. Songwriting influences include Eva Cassidy, Joni Mitchell, Ray LaMontagne and Matt Corby to name a few, focusing on complex vocal melodies to a background of finger-picked acoustic guitar.
With a line-up of such talent already taking shape, festival organisers are urging audiences to buy their 2017 tickets now at a discounted price.
Mr Snowden explained: “We are currently running our Autumn Gold ticket deal, which means a full weekend ticket is available for £100 – at least £20 off the final price. As with every year we aim to have not just world class music from outstanding professionals, but also many other artists, including new young voices and established folk clubs, alongside literature, poetry, film, dance and comedy.”
Festival organisers aim to have at least 100 artists performing at the Friday to Sunday event, totalling a collective 100-plus hours of entertainment across multiple stages. With this range available, they hope there will be something for everyone with a few surprises along the way.
Tickets for Beverley Folk Festival 2017 are currently on sale as part of a special Autumn Gold deal of £100 for a full weekend ticket via www.beverleyfestival.com. Children aged under 12 get in free and individual day tickets will be released soon. More names will be announced in the coming months as we get close to the festival.
With Oscar fever rising to a climax it’s time to say “Welcome To The Folkies” – the 2016 Folking Awards. We’ve sifted through the albums and performances of 2015 – always a long and difficult task punctuated by bouts of thumb-wrestling to settle disputes. Adopting the pattern followed by everyone else, here, in no order of precedence, are our nominations. With the exception of one category we have restricted our choices to British acts.
All nominations are 2016 Folking Awards winners.
Soloist Of The Year
Phillip Henry & Hannah Martin
India Electric Co.
Show Of Hands
Kathryn Roberts & Sean Lakeman
Blackbeard’s Tea Party
Eliza Carthy & The Wayward Band
Best Live Act
The Demon Barbers XL
Blackbeard’s Tea Party
Eliza Carthy & The Wayward Band
Layers Of Ages – Peter Knight’s Gigspanner Head Heart Hand – Megan Henwood The Girl I Left Behind Me – India Electric Co. It’s Not Your Gold Shall Me Entice – Elle Osborne Disco At The Tavern – The Demon Barbers
Folking’s Rising Star
India Electric Co.
Best International Artist
Gandalf Murphy And The Slambovian Circus Of Dreams
Justin Townes Earle
To give the awards a further edge, we opened the vote to our visitors and run a public poll in all of the 8 categories (as listed above).
If you would like to order a copy of an album (in CD or Vinyl) of any of the artists featured here, download an album or track or just listen to snippets of selected tracks (track previews are usually on the download page) then type what you are looking for in the search bar above to be taken to that relevant page via 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.
The idea of holding a folk festival in Skegness in December probably raised a few eyebrows when it was first mooted. The suggestion that it should be held at Butlin’s may have caused a pursing of lips but it makes perfect economic sense. The artists have a major venue and a captive audience to add to a winter tour and the camp and its staff gets extra use and revenue. There are two main venues, both are very large and both were packed on Friday evening.
Entering the Pleasure Dome, sorry, Skyline Pavilion trying to figure out where everything was it was nice to be greeted by the harmonies of Said The Maiden on the Introducing Stage – the third open venue in the middle of the pavilion. It was nearly the end of their set, unfortunately, but we stayed to hear Kings Of The South Seas before insinuating ourselves into the Centre Stage for False Lights. Live, they are less reliant on Jim Moray’s synth wizardry and proved themselves to be an exceptionally good folk-rock band in the classic style. They may prefer to think of themselves as mould breakers but they are actually doing what some bands seem to have forgotten how. Their attempt to perform ‘How Can I Keep From Singing’ without PA was not a success, however; the natural acoustics of the room are not as good as they believed.
At an event like this you can’t hear everything so I was now faced with a decision – Eliza Carthy And The Wayward Band or Billy Bragg? The fact that we now had decent seats settled it and we stayed put for the first half of Eliza’s set. Her twelve piece band are set to be the next Bellowhead (whatever anybody says) and are more than up to the task. As well as old favourites, including a “duelling fiddles” interlude with Sam Sweeney in ‘My Boy Billy’, there was a new song, ‘Devil In The Woman’, slated for their first studio album. Bragg called, however, and we arrived for what seemed like the mellow end of his set with ‘Levi Stubbs’ Tears’ and ‘Greetings To The New Brunette’. No! Amongst the polemic he sang ‘Between The Wars’, still powerful and relevant, and ‘There Is Power In A Union’. I reflected that the latter needs some revision with the unions battered down. We may discover that there is power in unity. ‘A New England’ wrapped up his set perfectly.
CC Smugglers followed with the sort of set that only a band as youthful as them could have the energy to play but shouldn’t have the chops to pull off. They have played so many gigs since I first saw them, even ones they weren’t invited to, and have become so tight and slick. Richie Prynne prowled his stage like a circus ringmaster, never still and rarely silent, cajoling and haranguing the audience, the songs and even his band-mates like a true showman. If the idea of the last set of the night was to wind the audience down then CC Smugglers were not the right choice.
The first and last time I heard Moulettes was at very uncomfortable gig and I was looking forward to hearing them in a nice chair. Actually, the best seating for the band is a bean bag with a lava lamp, joss-sticks and a guy dishing out small squares of blotting paper. Sadly the only mind-altering substance available was a pint of Hobgoblin. This was the final gig of the Constellations tour and Moulettes were also previewing their new album, Preternatural, with songs which, for want of more specific titles, we’ll call ‘Octopus’, ‘Nematode’ and ‘Behemoth’. I love the sound of the band, I love their instrumentation and their style but I really don’t know what they are about a lot of the time. “Surreal dreamscapes” were mentioned and I guess that’s about right.
I chatted to Ruth Skipper after the set to ask her impressions of the festival. It turned out that they had only just arrived and gone straight on stage, which accounted for some of the sound man’s problems. At their simplest Moulettes can be two guitars, bass and fiddle but at various times will be added electric cello, bassoon, autoharp, some meaty drums and keyboards and a balance that’s right for the beginning of a song may be wrong by the end. I did discover that the band were looking forward to the water-slide and hearing more music later which proves that I have no future as an investigative reporter.
Next up were Magna Carta. Chris Simpson on-stage is pretty much the same as Chris Simpson off-stage – he’s a raconteur, discursive and philosophical and Doug Morter is his perfect right hand man. Chris has surrounded himself with some very fine musicians but the set felt loose and the decision to give Morter a solo of one of his own songs seems questionable. Back on the firmer ground of The Fields Of Eden things were much more sure-footed and ‘Airport Song’ was a nice encore.
The queue for Tom Robinson curled twice round the pavilion and things were clearly running late so what might have been another difficult decision was made easier and we settled in to hear Sam Carter. He opened his set with ‘Yellow Sign’, the song he began with when I first heard him, and I was shocked to realise that that was six years ago. He has grown as an artist so much. Just when we were settling into the style of his own songs he switched to ‘The Wife Of Ushers Well’, which he sings with False Lights, and ‘Rocking The Cradle’. He played a superb set which showed the power of one man and his guitar. Sam was probably the highlight of the weekend for me.
We got back just in time to catch the end of Tom Robinson’s set so I did get to sing ‘2-4-6-8 Motorway’ again before The Unthanks appeared on the Centre Stage. With the full ten-piece band on stage it’s easy to overlook the contribution of Niopha Keegan to the group but her trumpet playing was the fondant icing on several songs. The technical problems rolled on so The Demon Barbers XL were thirty-five minutes late on stage, almost taking the gloss off their excellent set which began with traditional songs and ended as a dance display featuring hip-hop, interpretative dance and a fearsomely fast rapper. It’s quite disconcerting to see a stage bare of wires, mic stands and other clutter but they needed all the space they could get. I got to bed by 2.00 am, more or less – it was a long day.
By midday the pace was beginning to tell and the queues for the afternoon sessions were noticeably lighter and some people I spoke to were planning a power nap in preference to more music. No such luxury for your man on the spot.
TradArrr were excellent. They can really rock and with Marion Fleetwood on lead they can turn in a bittersweet ballad like ‘My Laggan Love’ or ‘Silver Dagger’. Between them they boast five lead vocalists, a full string quartet, a keyboard player who frequently added unexpected flourishes and two drummers, one of whom plays cornet. There were hints of high camp as PJ Wright planted a foot on the foldback and Guy Fletcher prowled the stage hunched over his mandolin but they restrained themselves well. It was then a choice between waiting for Jacqui McShee’s Pentangle or scurrying off to catch The Band From County Hell – sorry Jacqui.
The Band From County Hell are a Scots/Irish group from Lincolnshire and are huge fun – ‘The Day My Granny Died’ is a song everybody should hear at least once. They have been around for a quite a while, with six albums to their credit and it seems odd that they aren’t better known – although they don’t lack for support. The first notes played by Blazin’ Fiddles were on keyboard and guitar which is, I’m sure, their little joke. It’s not logical to find them restful but they are so tight and their music is so hypnotic. I promise that I didn’t nod off but I was definitely on a different plane of existence for a lot of their excellent set.
I returned to the Introduction Stage to hear Chris Cleverley whose debut album, Apparitions, I really like. His set, mixing traditional songs and his own compositions didn’t disappoint and he’s already working in new songs including ‘All I Want’ which will send me back to Joni Mitchell’s Blue as soon as time allows. I stayed for Polly And The Billets Doux, who won the day’s vote for a main stage slot next year, and The Black Feathers, who really needed a more sympathetic environment.
The Ric Sanders’ Trio have finally come out as a fun band with their new album and set of old blues, string band and swing numbers. It might be called the Vo Fletcher Trio since it is his guitar that forms the foundation and his voice that sings the songs but when the singing stops it is Ric’s flights of instrumental fancy that take their music to another place. The album is a lot of fun and their set reflected that. Then it was decision time again. I’d been told that Fotheringay would be playing the same set that they had toured all year “only better”. That was true but I missed the excitement of the earlier gigs when the band were still finding their way into, or back into, the music. Nevertheless, theirs was the set everyone wanted to hear.
Since they lost Messrs. Knight and Zorn I really wanted to hear what Steeleye Span would do. With two new musicians to induct the answer was to go back to first principles so ‘All Things Were Quite Silent’ was followed by ‘Blackleg Miner’ and ‘Weary Cutters’ was teamed with ‘New York Girls’ featuring Maddy Prior on ukulele. And they rocked. Julian Littman added a rap to ‘Boys Of Bedlam’ and Spud Sinclair played the sort of electric guitar that we haven’t heard in the band since Bob Johnson’s time. As a final touch they closed with an a capella version of Rick Kemp’s ‘Somewhere Along The Road’.
There is no getting away from the fact that playing the final set of a festival after Steeleye Span have gone off to rapturous applause is a daunting task but Folklaw threw themselves into it with energy and aplomb. Fiddler and songwriter Nick Gibbs was joined by Gaz Hunt on a minimalist drum kit, Martin Vogwell on bass and mandolin and Bryn Williams on guitar and bodhran – not to mention crossing the venue floor on the backs of chairs! They sent the crowd off exhausted but happy.
So does a December festival work once you get over the culture shock of rocking up at 5.00 pm on a Friday in the dark? This is still Skegness and with Storm Desmond blowing around us “bracing” just didn’t begin to describe it but when the wind dropped on Sunday it was mild and pleasant. The accommodation and facilities were excellent and the unsung stars of the weekend were the Butlin’s staff who were friendly and helpful and worked long hours. However, this was folk music adapting to Butlin’s not the other way round. The artists existed in a bubble of stage/backstage/ accommodation or arrived, performed and left and there were quite a few I would have liked to have spoken to so I apologise to them. A bulletin board for messages or to arrange meetings wouldn’t take much to set up and would be a big help, too. But, yes, it works and if you have considered going but not done so I can recommend it.
Shrewsbury Folk Festival has announced the first artists on its 2015 line up as it prepares for earlybird tickets to go on sale on December 1.
Canadian folk royalty La Bottine Souriante and top Irish accordionist Sharon Shannon will make their first appearances at the four-day event at the Greenhous West Mid Showground in Berwick Road from August 28 to 31.
Sharon, who has performed with The Waterboys, will join other headliners including Oysterband, Kate Rusby, John Jones & the Reluctant Ramblers, the high energy Peatbog Faeries, Nancy Kerr and the Sweet Visitor Band, Mawkin, False Lights – the new band of Jim Moray and Sam Carter – and festival patron Steve Knightley from Show of Hands at the festival.
Other artists signed up include: O’Hooley & Tidow, world music duo Catrin Finch & Seckou Keita, Ukulele Orchestra of Great Britain, The Wilsons, The Young’uns, New Rope String Band, Ross Ainslie & Jarlath Henderson, Lucy Ward, Patsy Reid, Jack Harris, The Willows, Gren Bartley, The Roaring Trowmen, Winter Wilson, Teacups, Fran McGillivray and Mike Burke, Granny’s Attic, Mary Humphreys & Anahata, The Boundless Brothers and Paula Ryan.
Special performances will come from Oysterband frontman and festival patron John Jones with The Oxford Girl show, and Folk Nations – a British Council musical collaboration featuring British and South Asian artists.
As ever, Shrewsbury will open its doors to a number of overseas artists with unique Australian group The Spooky Men’s Chorale making a welcome return. Canadian bands Ten Strings and a Goatskin and Gordie MacKeeman and his Rhythm Boys have been signed up along with the Barra MacNeils.
Following on from the success of last year’s visiting venue The Peace Tent, there will be a special Peace concert during the festival weekend. Additional artists on the line up will be revealed in the coming months.
The festival has five music venues, a dance tent, runs more than 100 workshops, a popular children’s festival, a dedicated youth programme for 12 to 17-year-olds, onsite camping, a craft fair and food village.
Festival Director Alan Surtees said: “We are still working on the line up and will reveal more exciting artists in the coming months but we are delighted to already have a diverse and creative line up.
“We are very pleased to have secured La Bottine Souriante as their appearances in the UK are rare! It will be the first Shrewsbury festival for Sharon Shannon as well and it will be great to welcome back favourites like Kate Rusby and Oysterband.”
Mr Surtees added: “As our regular festivalgoers know, we aim to offer you old favourites alongside new names and mixes traditional and contemporary folk and acoustic music.
“Shrewsbury has a reputation for inventive programming and coupled with the excellent location and facilities we have and the added extras of the dance programme, and children and young people’s festivals, we can guarantee a great weekend for everyone.”
The earlybird offer ticket lasts until March 31. Adult weekend tickets are £125 until then. Day tickets start at £34 for adults.
Children under four go free and family tickets are available. Onsite camping is available to all weekend ticket holders at £25 per adult.