Kathryn Roberts and Sean Lakeman announce new album and spring tour

Kathryn Roberts and Sean Lakeman

Duos come and duos go. And some nurture and fine tune their art and watch it grow into something totally original, captivating and award-winning. Bonded by an unseen alchemy, Kathryn Roberts and Sean Lakeman have entwined their professional and personal relationship into an enviable class act of imaginative songwriting and musicianship.

The Dartmoor-based husband and wife have twice won the coveted Best Duo title at the BBC Radio 2 Folk Awards (2016 and 2013), consistently delivering assured, distinctive performances whether live or recorded.

Over two decades of performance they have never been trapped in a groove – always bold and innovative, mixing traditional song arrangements with (increasingly) their self-penned material which reels from the bitter to the sweet, the wry to the sad, the political to the passive, across folk, rock, country and blues genres.

A deft acoustic and electric guitarist and slick producer, Lakeman’s feted skills are matched by the exquisite voice and fluid piano and flute playing of Barnsley-born Roberts.

After a break to have their twin girls the former Equation band members returned in fine form with two acclaimed albums – Hidden People  (2012) followed by Tomorrow Will Follow Today (2015). The 2012 release included their outstanding song about the South Yorkshire 1980s miners’ strike ‘The Ballad Of Andy Jacobs’, nominated for Best Original Track at the 2013 BBC Radio 2 Folk Awards.

Personae, their landmark fifth studio album is an eclectic emotional see-saw of material, melding ten tracks of traditional ballads and their own versatile material, not surprisingly produced by Sean.

The album opens with a rousing, percussive folk-rock version of the Child Ballad ‘The Knight’s Ghost’, with Sam Kelly on guest vocals.

It leads straight into one of the stand-out tracks of the album – the plaintive original song ‘Independence’, about the relationship between parent and child and finding your way in the world, with its Kate Bush echoes.

The inspiration for their songs is often unexpected and quirky. ‘Tribute Of Hands’ is a fast-moving original song for a city – the giant-killing legend of the founding of the Flemish city of Antwerp.

Kathryn’s sublime vocal tackles Sandy Denny’s strong and elusive torch song ‘Solo’ in the one cover on the album – her favourite Denny song from the time she joined the Fotheringay reunion line-up in 2015. The mood then flips completely with the jaunty tongue-in-cheek Roberts/Lakeman number ‘The Poison Club’ – shades of Sergeant Pepper delicately laced with cyanide, arsenic and hemlock!

The poetic Seasons is an arresting short journey mirroring love with the turn of the calendar and the duo again unearth unusual subject matter with ‘The Street Of The Cats Who Dance’, inspired by the true story of a change of Breton law in 1772 when they ceased using a pack of English Mastiffs to police the nightly curfew in St Malo after the grizzly death of a naval officer.

Two contrasting songs bound by a common theme follow – Kathryn’s multi-tracked voice telling the story of ‘Boney’s Defeat ‘before moving to the duo’s wonderful country-style song about another St Helena resident.

While Tomorrow Will Follow Today featured ‘52 Hertz’ a song about a lonely misfit whale -here they revisit the animal world with ‘Old, Old, Old’, a quirky anthem written from the perspective of the 185 year-old giant Seychelles tortoise Jonathan with Seth Lakeman adding his fiddling skills.

The album closes with the beautiful and enigmatic ‘Goddess Made Flesh’. Asking the question “was she an icon or was she a fraud?” it’s a pensive piece rueing the loss of many young talented performers and wondering how their lives may have unfolded.

Once again Roberts & Lakeman have created an album by turns curious, thought-provoking, moving and magical – a complete cornucopia astutely delivered by one of the most intriguing, uninhibited and popular duos on the scene. Most definitely not personae non gratae.

Personae is released on the Iscream label on March 9th and distributed by Proper Records.

If you would like to order a copy of an album (in CD or Vinyl format), download one or just listen to snippets of selected tracks (track previews are usually on the download page) then click below 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.

Artists’ website: https://www.kathrynrobertsandseanlakeman.com/

‘Solo’ – live:

Tour Dates


15 – Milton Keynes – The Stables – 01908 280800 / www.stables.org

16 – Banbury – The Mill Arts Centre – 01295 279002 / www.themillartscentre.co.uk

17 – Southport – The Atkinson – 01704 533333 / www.theatkinson.co.uk

18 – Scarborough – The Crescent – 01723 384500 / www.woodendcreative.co.uk

19 – Edinburgh – The Traverse Theatre – 0131 2283223 / www.traverse.co.uk

21 – Gateshead – The Sage – 0191 4434661 / www.sagegateshead.com

22 – Workington – The Carnegie Theatre – 01900 602122 / www.carnegietheatre.co.uk

23 – Barnsley – The Civic – 01226 327000 / www.barnsleycivic.co.uk

24 – Bury – The Met – 0161 7612216 / www.themet.biz

25 – Bristol – The Station – 0117 2034040 / www.colstonhall.org


19 – Birmingham – The Mac – 0121 4463232 / www.macbirmingham.co.uk

20 – Stamford – Arts Centre – 01780 763203 / www.stamfordartscentre.com

21 – London – Cecil Sharp House – 0207 74852206 / www.cecilsharphouse.org

22 – Alfriston – The Old Chapel – 01323 731750 / www.spyboy.co.uk

24 – Cambridge – Junction – 01223 511511 / www.junction.co.uk

25 – Aldershot – West End Centre – 01252 330040 / www.hampshireculturaltrust.co.uk

26 – Brighton – Komedia – 01273 647100 / www.komedia.co.uk

27 – Southampton – Hanger Farm Arts Centre – 023 8066 7683 / www.hangerfarm.co.uk

28 – Marlborough – Marlborough Folk and Roots – 01672 512465 /www.marlboroughfolk-roots.co.uk

29 – Barry – Barry Island Social Club – 01446 735173 / www.barryislandssc.co.uk


3 – Exeter – Phoenix – 01392 667080 / www.exeterphoenix.org.uk

4 – Falmouth – The Poly – 01326 319464 / www.thepoly.org

5 – Torrington – The Plough Arts – 01805 624624 / www.theploughartscentre.org.uk

6 – Street – Strode Theatre – 01458 442846 / http://www.strodetheatre.org.uk/

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 (in CD or Vinyl format), download one or just listen to snippets of selected tracks (track previews are usually on the download page) then click below 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.

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

‘Tie ‘Em Up’ – live:

CARA DILLON – Upon A Winter’s Night (Charcoal CHARCCD008)

upon a winter's nightIn the absence this year of a new Kate Rusby festive collection for folk fans to warm their chilly cockles, Cara Dillon, aided and abetted by husband, musical partner and producer Sam Lakeman, steps up to the seasonal plate for her first Christmas offering, Upon A Winter’s Night, an 11-string stockingsworth of traditional nuggets, hymns and originals.

It’s one of the latter, the title track, written by Sam and Noah Lakeman, that kicks things off, a jaunty Nativity scene setter that also features Uilleann pipes, Luke Daniels on accordion and Kathryn Roberts on backing vocals. There’s three other originals, Cara and Sam providing the piano backed ‘Standing By My Christmas Tree’ with its interpolation of ‘Silent Night’ and bells-pealing keyboard notes as well as the simply arranged lullaby closer ‘Mother Mary’, he on acoustic guitar and she joined on vocals in the final refrains by a family affair of Colm, Noah and Elizabeth Lakeman. The third is Sam’s own instrumental contribution, a lively woodland romp with ‘The Huntsman’, again featuring Jarlath Henderson on Uilleann pipes and Daniels on accordion alongside fiddle from Niall Murphy and James Fagan’s bouzouki with Ben Nicholls providing stalwart bass.

The other numbers are the couple’s arrangements of, by and large, very familiar seasonal tunes, first up, introduced by Murphy’s fiddle sounding like a hunting horn, being a traditional folk-sounding reading of ‘The Wexford Carol’ that gathers to fulsome fiddle finale. Rather less known, based on a traditional Polish carol, ‘Infant Holy, Infant Lowly’ is another lowing lullaby and introduces John Smith on guitar. Considerably better known is the evergreen ‘The Holly and the Ivy’, here taken at a swayalong tempo on the back of fiddle, pipes and accordion and featuring guest viocals from both Roberts and Sam’s father, Geoff.

By contrast, while often given a rousing chorus flourish, here ‘O Come O Come Emmanuel’ is an altogether more contemplative affair etched out by just her voice and Sam’s piano, a fine companion piece to the wholly a capella ‘O Holy Night’, Adolphe Adams’ 19th century setting and translation of a French poem (Midnight Christians) on which she duets with older sister Mary, their version joining a list that includes Mariah Carey, Celine Dion, Bing Crosby and, more recently, Ellie Goulding.

This is, in turn, followed by another breath of fresh winter air with ‘Mary Bore A Son To God’, one of the earliest known Irish language carols and sung here in the original Gaelic (‘Rug Muire Mac Do Dhia’),a slightly softer reading than that previously done by Horslips with Henderson’s Wilson taking the fiddle parts.

Finally, once whisperingly recorded by Bono, there’s another traditional Irish carol, ‘The Darkest Midnight’, which taken from the Kilmore Carols collection of South Wexford (albeit a trimmed down version) is again arranged for just her voice and Sam’s acoustic guitar and piano, another lovely grace note to a collection that very much has its mind set on celebrating the real meaning of Christmas. A touch more contemplative than Rusby’s South Yorkshire offerings perhaps, but likely to prove an equally enduring bauble on folk’s festive fir.

Mike Davies

If you would like to order a copy of an album (in CD or Vinyl format), download one or just listen to snippets of selected tracks (track previews are usually on the download page) then click below 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.

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

ANGE HARDY & LUKAS DRINKWATER – Findings (Story Records STREC1662)

FindingsI can’t decide if I’m more impressed by the quantity or the quality of Ange Hardy’s work. The ink is barely dry on Esteesee, her 2015 exploration of Samuel Taylor Coleridge and she’s back with her fourth album formalising her work in partnership with Lukas Drinkwater. Findings is a term for the linking pieces in jewellery that join the settings and stones together – Ange knows about this stuff – and provides the theme of this album. And I do find it refreshing to find a themed album that sticks to its central idea all the way through without forcing it down your throat. For that alone Findings is a wonderful record.

In the opening track, ‘The Call/Daughters Of Watchet/Caturn’s Night’, the link is the railway that linked Watchet to the mines of the Brendon Hills but it is also four love stories. The final track, ‘Fall Away’ returns to Watchet and the four daughters of the town now that the mines and the railway and the fishing are gone. Findings mixes original and traditional material, often in one song. So ‘The Pleading Sister’ builds a song around the single verse of ‘Little Boy Blue’ and ‘Bonny Lighter-Boy’ sets a new tune to a traditional set of words.

The (more or less) traditional pieces are ‘The Trees They Do Grow High’, ‘The Berkshire Tragedy’ and ‘The Parting Lullaby’ and I can tell that you’re working out the findings each of these songs. The original songs cover a multitude of relationships but I will single out ‘Invisible Child’ as a masterful example of Ange and Lukas’ songwriting – simple and direct but powerful and moving.

Sometimes Ange and Lukas perform alone but there is a small band of Archie Churchill-Moss, Ciaran Algar and Evan Carson with additional vocals from Nancy Kerr, Kathryn Roberts and Steve Pledger. Even so, the accompaniments are restrained and the songs are out front where they should be. Not to belittle its predecessors but Findings could be Ange’s best album.

Dai Jeffries

Some copies of Findings carry a sticker which can be matched with another to win a (possibly) fabulous prize. Mine reads PHMOI. If you have the matching half, please let me know and we can split the loot.

If you would like to order a copy of an album (in CD or Vinyl format), download one or just listen to snippets of selected tracks (track previews are usually on the download page) then click below 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.

Artists’ website: www.angehardy.com

Welcome To The Folkies

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.

Welcome To The Folkies

Soloist Of The Year

Steve Tilston
Sam Carter
Kathryn Roberts
Steve Knightley
Ange Hardy

Best Duo

Phillip Henry & Hannah Martin
India Electric Co.
Show Of Hands
Kathryn Roberts & Sean Lakeman

Best Band

Blackbeard’s Tea Party
Eliza Carthy & The Wayward Band
False Lights
Merry Hell

Best Live Act

The Demon Barbers XL
Blackbeard’s Tea Party
Eliza Carthy & The Wayward Band
CC Smugglers

Best Album

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

Best Musician

Dan Walsh
Peter Knight
P.J. Wright
Chris Leslie
Kris Drever

Folking’s Rising Star

Will Varley
Sam Kelly
Wes Finch
India Electric Co.
Chris Cleverley

Best International Artist

Gretchen Peters
Tom Russell
Gandalf Murphy And The Slambovian Circus Of Dreams
Justin Townes Earle
Los Lobos

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).

The Public Vote closed Sunday 28 February at 20.00 hours and “The Folking Winners” have now been announced here at: http://folking.com/the-folking-winners/

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 type what you are looking for in the search bar above.

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

Fotheringay – live Under The Bridge, Chelsea

Photograph by Dai Jeffries
Photograph by Dai Jeffries

I saw the original Fotheringay just once at a rain-swept festival which was abandoned by the artists, the crowd and the organiser in more or less that order. The sight of that spotlit stage shining in the gloom of a Yorkshire summer remains in my mind’s eye. So when I heard that a new line-up was being put together I had mixed feelings.

With all due respect to Jerry Donahue, Gerry Conway and Pat Donaldson can a Fotheringay with neither Sandy Denny nor Trevor Lucas be anything more than a façade, however good the substitutes are? The three survivors have enjoyed long and distinguished careers in bands and as go-to sidesmen but Fotheringay was Trevor and Sandy’s band. That this is a great band goes without saying. PJ Wright and Sally Barker singing ‘I Don’t Believe You’ rocked and Jerry and PJ’s guitar/pedal steel duet on ‘It’ll Take A Long Time’ was sweetness itself. But was this really Fotheringay?

What persuaded me that the answer is “yes” is the genuine emotion engendered in both the performers and the audience. One young man, who probably wasn’t even born when Sandy died, stammered out his thanks to Sally as he left. “It’s the legacy”, she observed. So, yes, this is really Fotheringay.

They began with ‘Nothing More’ as if to deny the fact of the band’s demise forty-five years ago. There is more. They followed that with ‘The Sea’, ‘The Ballad Of Ned Kelly’ and ‘Winter Winds’ – the order in which they appeared on Fotheringay’s first album – perhaps settling the nerves that they all admitted to – this was only their third gig, after all. It says a lot that Sandy is played by both Sally Barker and Kathryn Roberts, either of whom could fill the role alone. Kathryn handles the piano songs but also brings the textures of flute and woodwind to the sound. Sally has Sandy’s rockier side absolutely nailed and her reading of ‘John The Gun’ is superb.

PJ Wright takes the Trevor Lucas role. He has the rumbling voice and plays pedal steel which Sandy loved. He restored ‘Knights Of The Road’, first heard on Fairport Convention’s Rosie, to Fotheringay’s repertoire and now I want to hear him sing ‘The Plainsman’.

The first set ended with a long, flowing ‘Banks Of The Nile’ and they returned for the second with renewed vigour. ‘Bold Jack Donahue’ was first followed by ‘The Way I Feel’ featuring a bass solo from Donaldson which segued into a duet with Conway and then a superb version of ‘Solo’. ‘Too Much Of Nothing’ was the second Dylan cover and the set ended with ‘Late November’ and a singalong ‘Peace In The End’ before the encore, a rocking ‘Memphis Tennessee’.

Photograph by Dai Jeffries
Photograph by Dai Jeffries

The evening was opened by Fabian Holland who started with two numbers from his debut album before turning to ‘Four Inch Screen’ from his second CD, A Day Like Tomorrow, following that with ‘The List’ and an attention grabbing ‘Nobody’s Fault But Mine’. Opening this show might seem like a thankless task but this audience was friendly and receptive and judging by the rate he was shifting CDs he made the right impression.

Dai Jeffries

Performance: 19th June 2015