Welcome to the 2017 Folking Awards. Last year’s inaugural poll was such a success that we had to do it again. The nominations, in eight categories, come from our ever-expanding team of writers and were wrangled into shape with sweat, tears and not a little blood by the Folkmeister and the Editor.
There are five nominees in each category, all of whom have been featured in the pages of folking.com in 2016.
As with the format last year, all are winners in our eyes. However, its not just down to what we think, so again, there will be a public vote to decide the overall winner of each category.
Soloist Of The Year
Cathryn Craig & Brian Willoughby
Ange Hardy & Lukas Drinkwater
O’Hooley & Tidow
Show Of Hands
Afro Celt Sound System
Harp And A Monkey
Nancy Kerr and The Sweet Visitor Band
Best Live Act
The James Brothers
Robb Johnson and the My Best Regards Band
Sam Kelly & The Lost Boys
Mad Dog Mcrea
Tall Tales & Rumours – Luke Jackson Ballads Of The Broken Few – Seth Lakeman/Wildwood Kin Preternatural – Moulettes Somewhere Between – Steve Pledger Dodgy Bastards – Steeleye Span
Rising Star Act
The Brewer’s Daughter
Said The Maiden
Emily Mae Winters
Best International Act
The public vote closed Midday Saturday 22 April 2017 and the winners have now been announced HERE
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.
What comes across so strikingly from an evening with Amy Wadge and Luke Jackson is their natural rapport. Both are hugely talented songwriters, singers and musicians with a constant drive to create new music. They work effortlessly well together and although they like to pass the occasional comment on their age gap, it’s plainly not all that relevant to them.
Wadge and Jackson are near the end of this year’s two-hander tour, cramming 15 dates into 3 weeks. No surprise that Wadge, taking the stage first, admits to feeling rather exhausted – although you’d never know it from the gusto and attack of her performance. She ploughs straight in with ‘Always’, ‘Scream’ and ‘Free Fall’, accompanying herself on guitar or on keyboards.
Luke Jackson joins Wadge for the first of the evening’s duets, ‘Thinking Out Loud’, the 2016 Grammy-award winner, co-written by Wadge with Ed Sheeran. It’s the song that made her an overnight success after 20-odd years of striving. Wadge appears to wear success lightly and with unaffected charm. Her between-songs chat is hugely entertaining, with a seemingly bottomless well of anecdotes that feel cosy and intimate, even when dropping stellar music business names.
The other thing of note is Wadge’s songs themselves, often with threads of personal experience woven throughout them. It’s this that really elevates them, making an emotional connection with the listener. She presents a new song, a kind of working-parent blues: a touching apology to her children, acknowledging that the need to follow one’s dreams is not always compatible with the demands of parenthood. Then there’s ‘One Last Dance’, a beautiful song with an equally inspirational source in her remarkable grandparents. There was definitely something in my eye during this one. The final song of her set is rooted in her mother’s illness, whilst also being a tribute to the strength of anyone struggling with life’s obstacles.
Having followed Luke Jackson’s musical progress for a few years, somehow tonight is the first time I’ve managed to see him live. His voice has matured, becoming richer and, thankfully, losing a few youthful quirks. His quiet confidence and talent simply shine out: he’s so firmly in control of his vocals and his guitar, changing pacing and volume with enviably fluid ease. An a capella verse of ‘Ain’t No Trouble’ builds into a bluesy roll. Slowing down only slightly, he segues straight into ‘Sister’, plucking effortlessly at his guitar with his right hand whilst his left-hand finger-clicks to mark the rhythm.
Amy Wadge returns, duetting with Jackson on ‘Finding Home’, a song written during their last tour, followed by the choppy ‘Is It Me?’ and ‘Better Man’. Finally, the pair move on to ‘Lucy And Her Camera’, an older Jackson song which he’s only recently recorded.
Back on his own again, Jackson runs through ‘Aunt Sally’ and ‘Kansas’, each song prefaced with funny, self-deprecating tales about how they came to be written. Jackson also somehow breathes freshness and meaning into Simon & Garfunkel’s ‘Bridge Over Troubled Water’ – no mean feat with such a very well-worn song. The set closes with Jackson stepping out front of stage to encourage a bit of crowd participation in the chorus of ‘On The Road’.
Wadge, who earlier provided a spiky piano accompaniment to expose the raw beauty of the Manic Street Preachers’ ‘Design For Life’ stripped of its rock bombast, joins Jackson one last time as the pair encore with a country-tinged take on Prince’s ‘Purple Rain’.
At time of writing, the tour is over and the pair are off to different destinations in the USA, but their social media suggests they’re keen to do it all again next year. With such a dynamic, creative and yet thoroughly level-headed and likeable duo, that’s got to be a fixture for the diary.
If you would like to order a copy of the one of the albums (in CD or Vinyl), download them or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the AMY WADGE 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 Tall Tales And Rumours, Luke Jackson’s latest [CD]
The 2017 inaugural City Roots Festival is kind of like an expansion pack for the Cambridge Folk Festival: a winter top-up with lots of bonus features. Aiming to expand the relationship between folk/roots music and the city, the Folk Festival organisers lined up a diverse roster of artists over one week at assorted venues across the city.
Home-grown talent Steven James Adams opened the week with his new band The French Drops, providing witty and lively songs with a conscience. Then there was a choice between Mary Chapin Carpenter (with Edale’s finest, Bella Hardy, in support) with her classic country-infused songs or the edgier sounds of Jim Moray.
A day of workshops on working in the music industry, hosted by Anglia Ruskin University’s music department, was considered, by one attendee at least, to have been very useful. The evening could be rounded off in the evening by some folk club sessions in the Cambridge University Union Bar, or at The Transatlantic Sessions, a melting pot of Celtic and Americana sounds. Or, like me, you might choose to take in an entertaining evening in the company of singer-songwriters Amy Wadge and Luke Jackson.
Replicating the Folk Festival’s “up & coming” stage, The Den, at local venue CB2, was a two-night showcase including Janet Devlin, SJ Mortimer, Honey and the Bear, Mortal Tides, Ben Smith and Jimmy Brewer, and Kerry Devine.
The riotous Mad Dog McCrea returned as headliners, following their support slot for New Model Army just a few months ago. Noble Jacks, their support act, look like being a band worth watching, too. On a completely different tack, skilful guitar playing with a twist was provided by Paolo Angelli & Derek Gripper.
On the final day, the bitter sleet was braved by a staunch group of great musicians who’d rashly agreed to busk around the city, including five-piece band Morganway, Pat Crilly & Greg Camburn, Ben Smith & Jimmy Brewer (whose delicious harmonies almost made it feel like summertime: almost) and guitarist Matt Hammond. And these were just the ones I managed to see, so my apologies to those I missed out. Luckily, there was a warm welcome from the folk clubs inside the Union Bar, a place to retreat and thaw out red-raw fingers to play some fine indoor sets, too.
Sadly, the headliner for the closing night, Salif Keita cancelled due to illness, but Sona Jobarteh stepped up, with Muntu Valdo in support.
There is no question about the quality and diversity of the artists taking part, and Cambridge has the range of venue sizes to manage internationally renowned stars and breakthrough acts. Just a bit of housekeeping needs attention, if – as the organisers hope – this is to become an annual event. Several gigs had no visible City Roots branding at all, leaving a lack of any feeling of cohesion that an umbrella, multi-venue festival like this really needs. In established Cambridge tradition, laminated posters were cable-tied to railings around town and local press published articles, but details of updates to the schedule were often only sketchily available online, like the re-organisation of some of the final day activities. Attention to small details like these would make big improvements to the overall experience, but there’s no doubt that City Roots will be a welcome addition to the festival calendar.
I never fail to be impressed by Luke Jackson. He is still only in his early twenties, has a voice that many more experienced singers would kill for and writes songs of such wisdom and perception. Tall Tales And Rumours is his fourth studio album and he’s only just started.
The album opens with the extraordinary ‘The Man That Never Was’ with just Luke’s soulful gospel-tinged voice. The song was inspired by Glen Campbell’s struggle with Alzheimer’s Disease; he was beginning to forget everything except his music. “No man is empty, not all is lost / You may find him in a melody” is the final couplet and you almost want to stop there and think about it. Luke doesn’t want that, however, and he segues straight into ‘Treat Me Mean, Keep Me Keen’, a complete contrast as he tells of a culture clash with his American girlfriend that is finally resolved through music.
About now you start wondering how much of this is real and how much is imagination. ‘Finding Home’ is clearly about life on the road so perhaps the rocker ‘Anything But Fate’ is its imaginative counterpoint. So where did ‘Leather & Chrome’ come from? It’s about a man fulfilling his father’s dream by building a motorbike and riding it to California to rest his head on Venice Beach. I’m pretty sure Luke hasn’t done that. ‘Aunt Sally’ lies somewhere between reality and imagination – she is a real character but Luke speculates on her fate and attacks the system that “sold her down a river on a raft of broken dreams”.
Luke continues to employ Andy Sharps on bass and Connor Downs’ on percussion and the three of them make a mighty sound when they need to. In contrast, Luke can sound fragile and vulnerable as he does on the tragic ‘That’s All Folks’. Amy Wadge appears as guest vocalist on ‘Finding Home’ but she is the only addition to the gang of three that made This Family Tree.
The final track is the part blues, part rock ‘On The Road’ as Luke seems to accept that this will be his life for the foreseeable future and he can live with that. So can we.
If you would like to order a copy of the one of the albums (in CD or Vinyl), download them or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the Luke Jackson 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.
Some young artists arrive on the scene seemingly from nowhere and disappear just as quickly. Others stay and grow and fine tune their craft. Kent’s Luke Jackson is definitely a keeper. Few would argue that he is one of the most exciting singer songwriters and live performers out there – totally unafraid to stray across genres, always delivering top notch original material and still only 22.
He first started making waves when barely a teenager, hitting the acoustic ground running. Belying his years with his a powerful, distinctive voice and songwriting prowess way beyond his years his debut album More Than Boys was judged outstanding by many critics and triggered a double nomination at the 2013 BBC Radio 2 Folk Awards (Young Folk Award and Horizon Award for Best Emerging Act). Continue reading Luke Jackson – new album
Land Of Hope & Fury is a collection of contemporary protest songs – a compilation inspired by the realisation on May 8th 2015 of the enormity of what the British people had done. Not just the greedy and the fascists but also those too pusillanimous to stand up for what they actually believe in. We can thank Stevie and Jamie Freeman for the work that went into putting it together.
The album opens quietly with Luke Jackson’s ‘Forgotten Voices’, the story of an old soldier left on the scrapheap feeling that his voice counts for nothing. It may be better to protest by whispering in someone’s ear than screaming in their face and even Mark Chadwick is quite restrained but I kept having the feeling that what the record needed was one really good rant. Moulettes’ ‘Lullaby’ is a lovely song but it’s somewhat opaque in this context. ‘The Hum’, from O’Hooley & Tidow’s third album takes a positive line, one that’s on the side of working people. OK, it sticks it to the aspirational middle class but that’s almost incidental.
Lucy Ward’s ‘Bigger Than That’ is a real killer track – still quiet but with uncompromising lyrics and ‘Filthy Lucre’ by The Mountain Firework Company does the same to the sound of a hillbilly banjo. There are excellent songs from Phil Jones, Will Varley and Chris T-T and Plumhall’s ‘Never Forget My Name’ serves as a warning to the slavers and taskmasters and Grace Petrie’s ‘If There’s A Fire In Your Heart’ acts as a rallying cry.
So, this is a really good collection of songs for our troubled times but, you know what, it still needs one really good rant.