Wickham have just announced that The South and Steve Harley & Cockney Rebel are among the latest acts confirmed for this year’s Festival.
Also recently confirmed are singer-songwriters Reg Meuross and Jim Malcolm; Scottish duo Saltfishforty; the wonderful Mary Coughlan from Ireland; and great live bands Police Dog Hogan, The Outcast Band and Merry Hell.
They join a top-class line-up already announced including Squeeze; John Illsley of Dire Straits; The Richard Thompson Trio; Kate Rusby; Show of Hands; Tom Robinson + Band; The Undertones; The Red Hot Chilli Pipers; Jon Boden & The Remnant Kings; The Blues Band; Martyn Joseph; Flook; Drever McCusker Woomble; Tankus The Henge; The Dhol Foundation; Ferocious Dog; Skipinnish; The Pierce Brothers; Mad Dog McCrea; Daori Farrell; Imar; Talisk; Boo Hewerdine; Gaz Brookfield; Roy Bailey; Maggie Bell & Dave Kelly; and many more.
Richard Thompson Trio
Steve Harley & Cockney Rebel
Show Of Hands
John Illsley of Dire Straits
Tom Robinson & Band
The Blues Band
The Dhol Foundation
The Red Hot Chilli Pipers
Jon Boden & The Remnant Kings
Tankus the Henge
Mad Dog Mcrea
Gaz Brookfield & The Company of Thieves
Gordie MacKeeman & his Rhythm Boys
The Electric Swing Circus
Drever McCusker Woomble
Maggie Bell & Dave Kelly
The East Pointers
The Gerry Colvin Band
The Emily Askew Band
More artists T.B.C
Above and below are a couple of special moments captured from last years festival courtesy of the folking video archive:
Sweet Liberties, originally a commission by the EFDSS and Folk at the Oak, in partnership with the House of Commons, to mark the 2015: Anniversaries: Parliament in the Making, this has now expanded to become a 14-track album featuring a varied line up of folk musicians in celebration of 800 years in the pursuit of democracy.
Some of the names will be familiar, others less so, but all contribute thoughtful and relevant songs touching on various aspects of the overall topic. I am assuming that everyone listed in the credits (which includes Nancy Kerr and Patsy Reid on violin, Nick Cooke on melodeon) played on all (or most) of the songs, the writers themselves handling the vocals, perhaps the best known being Martyn Joseph who contributes three of his own numbers, the first, featuring fingerpicked guitar and violin, a revisiting of ‘Dic Penderyn’ from his Evolved album, the story of the 1831 Merthyr Riots and the man hung for a crime he could not have committed. The second, a duet with Sam Carter, is also one from the back catalogue, ‘Twelve Years Old’, from Songs For The Coming Home, inspired by the 1833 Factory Act and framed as a conversation between two children a hundred years apart. His third, ‘Nye’, is a new song written for the project, a fingerpicked, violin-accompanied tribute to those who work in the NHS and to its founder, fellow Welshman, Aneurin Bevan.
The album opens with ‘Kingdom’, the first of four songs by 2015’s BBC Folk Singer of the Year, Nancy Kerr, a traditional styled solo acoustic number that takes Magna Carta as a springboard to address the ownership and management of land for profit and the subsequent loss of habitat. Coloured by violin, ‘Seven Notes’ is another traditional framed track, one which uses the image of the migrating cuckoo as a poetic metaphor for colonialist history, setting it in an experiment in musical patterns to represent multicultural Britain.
Rather more jaunty, the waltzing, melodeon-led Music Hall-like ‘Lila’ (the only song not to also feature on her new Instar album) connects the suffragette movement with the abolition of slavery through its twin subjects, Adelaide-born Muriel Lila Matters, who took to a hot air balloon to scatter Votes for Women leaflets over Parliament, and Mary Prince, an eighteenth century Bermudian whose autobiography offered a narrative of slavery. Her fourth contribution, the spare, melodeon, violin and guitar accompanied ‘Written On My Skin’, again draws on metaphor and nature imagery (here a hunted fox) on a song in memory of women forced to resort to the Human Rights Act to have their sexual assault cases justly tried.
A relatively new voice on the British contemporary folk scene, Maz O’Connor also has four credits, all new recordings, kicking off with the violin-backed ‘Rich Man’s Hill’ which, inspired by the 1601 Poor Law and concerning the widening gap between the haves and have nots,, tells of a homeless man in London who believes that, if he works hard enough, he too can get himself a mansion. The one track to address democracy directly, ‘This Old House’ (a nod the Palace of Westminster) is a playful take on democracy and compromise framed in the context of a couple redecorating and patching up their shared house, pizzicato violin driving along the chorus.
Featuring nimble fingerpicked guitar and violin, ‘Broad Waters’, as the title suggests, concerns the 1985 killing of PC Keith Blakelock on the Broadwater Farm estate and the subsequent police fitting up of three innocent men for his murder, and is set as a dialogue between a police officer pressuring a young boy into testifying against Winston Silcott. Her last track, backed by just acoustic guitar, the plaintive ‘Broken Things’, also concerns social justice, here, borrowing the opening of Wilfred Owen’s Anthem For Doomed Youth, a lament for the decline of the trade union movement, focusing on the Miners’ Strikes of 1984 and, in particular, the death of David Jones during violence on a picket line.
Which leaves Sam Carter who, like Joseph, provides three numbers. Echoing Kerr, ‘Am I Not A Man?’ also addresses slavery a waltzing number inspired by freed slaves organisation Sons of Africa whose campaigning contributed to the Abolition of Slavery Act, drawing for its details on the slave autobiography Interesting Narrative Of The Life Of Olaudah Equiano.
His two other songs come at the back end of the album, the first being the lurching cabaret-styled ‘Dark Days’, a straightforward state of the nation comment with gyspy violin accompaniment, proceedings closing with the folksy salvationist hymn ‘One More River’, a return to the theme of slavery that sounds a personal note in that his great great aunt married the son of a fugitive Virginian slave, sun in his voice as he contemplates fleeing to England, ending in an unaccompanied chorus by Carter and, presumably, his three female associates.
Featuring none of the bombast or flagwaving that would likely characterise an American equivalent, this is both a damn fine album and a salient reminder of the liberties we so often fail to hold dear.
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.
Welsh singer songwriter Martyn Joseph, “one of acoustic music’s most original voices”, had the honour of being nominated at the AIM Independent Music Awards at The Brewery in London this week – in the closely contested category of Hardest Working Band or Artist.
Known for his astute songs of compassion, and as one of the finest live acts on the circuit, Martyn was the sole representative of the folk roots scene at the Awards ceremony, facing strong competition from artists from the R ‘n’ B, rap and indie worlds. The award was clinched by singer songwriter Darren Hayman but Martyn was proud to be a flag bearer for the tradition.
“It was an honour to be the voice of folk within the wide cacophony of so many other musical genres and among some incredible artists. It was a fantastic night for independent music.”
Adele, Stormzy, Roisin Murphy and Slade were among the night’s winners.
It’s not hard to see why Martyn earned the nomination, having played over 140 shows and Festivals across the UK, Canada, USA & Europe in the last year including his own event PipeFest. He’s released two albums (Sanctuary and Sanctuary Acoustic) and taken part in the English Folk Dance & Song Society (EFDSS) Sweet Liberties project, as well as developing his own UK based charity, Let Yourself Trust, which has been supporting grassroots projects in Palestine, Guatemala, Uganda, Canada & the UK.
Long known for his humanitarian work, in the past 12 months he has travelled to Palestine with volunteers to help rebuild a demolished family home and to Guatemala, leading a 25-strong team in the building of a music centre for a Children’s Village. Last year also saw him playing a show in Swansea homeless shelter Zac’s Place with Bob Harris OBE (patron of Let Yourself Trust) to celebrate raising £16,000 for their work in the first half of 2015. At the start of 2016 he presented a Let Yourself Trust cheque for £18,000 to the charity Advantage Africa and last September he ran his first 10k race to raise further funds.
A previous winner of the Best Male Artist title in the BBC Welsh Music Awards, Joseph’s story (three decades of performance, half a million album sales and 32 album releases) continues to grow and connect on both sides of the Atlantic.
He will shortly embark on a tour of USA and Canada before returning for a UK tour in November/December.
If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the Martyn Joseph 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.
Children’s projects in Palestine and Guatemala are first beneficiaries
LYT now turns its attentions to a Swansea charity
The charitable trust launched by popular Welsh singer songwriter Martyn Joseph, has raised nearly £50,000 in its first year.
Cardiff-based Joseph last year fulfilled a long-held ambition to launch his own trust to benefit both global charities and grass roots “people” projects in the UK and beyond with legendary broadcaster Bob Harris becoming patron.
A gifted guitar player with a juggernaut voice, Joseph’s performances have taken him from arts centres in his native Wales to a 5,000 strong crowd at the Royal Albert Hall.
But in a career spanning three decades with sales of over a quarter of a million albums, Joseph has perhaps become as well known for his worldwide humanitarian work as for his powerful performances and high level connectivity with audiences on both sides of the Atlantic.
Named after one of his recent songs on the Songs for the Coming Home album, the Let Yourself Trust launched in the UK last June with three special fundraising performances over one weekend in Cardiff (Norwegian Church) Milton Keynes (The Stables) and Lancaster (Ashton Memorial). To mark the launch Martyn released an 11-track album Kiss the World Beautiful – Songs for the Let Yourself Trust with fresh recordings of some of his most affecting political and social justice songs and a striking new song Luxury of Despair, inspired by his recent visits to refugee camps. Continue reading MARTYN JOSEPH’S GLOBAL LET YOURSELF TRUST RAISES NEARLY £50,000 IN FIRST YEAR
After 30 plus years of making music you would be forgiven for thinking an artist would plateau at some point, happy to remain within familiar boundaries of the singer/songwriter, the man, voice and guitar. However , that is most assuredly not the case here !. Whatever preconceptions there are of what to expect ignore them, they will be way off the mark; I know mine were.