Megson announce autum tour

MegsonFour times nominated in the BBC Radio 2 Folk Awards, and double winners of the Spiral Earth Awards, revered duo Megson hit the road once again in 2017, with a string of dates booked across the UK through September, October and November for their Pushing On tour.

The husband and wife duo bring an infectious mix of heavenly vocals, lush harmonies and driving rhythmic guitars. Comprising Debs Hanna (Vocals, Whistle, Piano Accordion) and Stu Hanna (Guitar, Mandola, Banjo) Megson have gained fame on the British folk scene, not only for their arresting & intelligent songwriting, but for their exquisite musicianship and northern humour. As fRoots Magazine puts it, “if you don’t like the music here then you have a problem.”

Stu Hanna comments; “We’ve had a fantastic summer of festivals and now can’t wait to get back out on the road again. We’ll be heading to some of our favourite venues and also some exciting new ones too… We’re really looking forward to sharing some new songs, some old songs and even a bit of banter with folk all across the country!”

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 Megson 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.

Artists’ website: www.megsonmusic.co.uk

Tour Dates

September

8th BATH, Chapel Arts Centre, [buy tickets]
29th ROYSTON, The Old Bull [buy tickets]
30th FARINGDON OXON, All Saints Barber Rooms

October

4th BIRMINGHAM, The Red Lion Kings Heath [buy tickets]
5th CANTERBURY, The Gulbenkian Theatre [buy tickets]
6th SHREWSBURY, The Hive [buy tickets]
7th CAMBRIDGESHIRE, Toft Hall [buy tickets]

November

9th CRAWLEY, The Hawth [buy tickets]
10th LONDON, St John On Bethnal Green [buy tickets]
11th CHELTENHAM, Woodmancote Village Hall [buy tickets]
17th ROTHERHAM, Firbeck Village Hall [buy tickets]
18th MATLOCK, Imperial Rooms [buy tickets]
20th COLCHESTER, Colchester Arts Centre [buy tickets]
26th HITCHIN, The Sun Hotel [buy tickets]

Southdowns Folk Festival – first names announced

Southdowns

Planning and preparations are well under way for this year`s popular Southdowns Folk Festival which is happening in and around Bognor Regis between Thursday 21st and Sunday 24th September.

This year will see a lot more Town Centre activities with a bigger & even more spectacular dance programme, expanded delightful street markets, music workshops, sessions, singarounds, childrens’ fun & games, Sussex Young Folk Competition, Real Ale Festival and to cap it all, a very impressive line up of great headliners and superb support acts.

The Festival starts on Thursday evening 21 September in the Alexandra Theatre with the wonderful & hugely talented Steve Knightley from Show of Hands, supported by a knock-out British Americana Band, The Jigantics. Friday evening sees the welcome return after four years of one of the U.K`s very top Folk/Rock bands, Home Service with the brilliant and award-winning duo Megson providing support. On Saturday evening, one of the most exciting and dynamic bands around come to the Festival. These are the multi-award winning Scottish band Skerryvore with support from the excellent Alistair Goodwin Band. Finally, Sunday evening in the Regis Centre Studio will see the one and only Richard Digance taking the stage with support from BBC Folk Award nominated, Phillip Henry & Hannah Martin.

There`ll be loads of other great performers including a welcome back to the lovely Flossie Malavialle and for the first time at the Festival, the guitar virtuoso, Sarah McQuaid plus appearances from the Bath Young Folk Band, Steve Dan Mills, Celtic Simbel and many others.

Full Weekend Tickets for the Festival are on sale now, costing just £69 for six great evening & afternoon concerts, and if you book BY POST on or before end February, you`ll get a full 10% OFF this price! Ticket bookings and more information can be got by going to www.southdownsfolkfest.co.uk or Facebook page plus www.WeGotTickets.co.uk, and www.regiscentre.co.uk or Regis Centre Box Office (01243 861010 ) where individual evening & afternoon tickets can be booked.

SINGLES BAR 17

A round-up of recent EPs and singles

Singles Bar 17Having released their latest album, Good Times Will Come Again last year, MEGSON now lift the lead track, ‘Generation Rent’ (EDJ), as a single. A punchy protest against how today’s young generation find it impossible to get on to the property ladder, it comes as both album version and radio mix. Sandwiched in-between, there’s Morning Mist, a traditional-flavoured ballad that spotlights Debbie Hanna’s vocals, Stu providing harmony, set to a minimal acoustic guitar, and a live recording of Stu’s near six minute The Longshot, a football-themed song that celebrates striving against the odds rather than giving up, because when. there’s no hope, “ a longshot is better than none”.
http://www.megsonmusic.co.uk/

Barbara DicksonAs a prelude to her spring tour with Troy Donockley BARBARA DICKSON releases an EP of Five Songs. The opening track is the traditional ‘Palace Grand’ – although it goes by several titles – accompanied initially by piano and acoustic guitar until the strings sweep in. Next is ‘Farewell To Fiunary’ starts with bodhran and drone building via multi-tracked vocals to a magnificent finish in which you can almost hear the creaking of oars on the Sound Of Mull. ‘The Hill’ is a Dickson/Donockley original with another lush arrangement while ‘The Laird Of The Dainty Dounby’ is an all-too familiar tale of the villainy of the aristocracy. Finally we have Robin Williamson’s ‘October Song’, a nicely thoughtful setting that honours the original and boasts a pipe solo from Donockley.
http://www.barbaradickson.net/

Singles Bar 17Born in Hampshire but based in East London, THOM ASHWORTH deals in the British folk tradition, his a stripped down approach played on bass. His self-released debut EP, Everyone’s Gone To The Rapture (available as a download from his website or as a limited edition CD) offers four examples of his work. Two traditional numbers load the front end with a sonorous reading of ‘Tyne Of Harrow’ and a moody drone-like treatment of familiar folk chestnut ‘Lord Bateman’. Not strictly traditional, the EP ends in striking style with a dark, minimal and spooked version of Sidney Carter’s ominous anti-war protest song ‘Crow On The Cradle’, the percussive heavy self-penned title track initially striking a kindred note, Named after a computer game apparently, it started out with a left over verse from a track on Interregum, the Marillion-like swansong album by Ashworth’s former band, Our Lost Infantry, and grew into a comment on how technology is taking away today’s livelihoods, as it did the weavers and miners before. A name to watch.
http://thomashworth.com/

Whitney RoseWHITNEY ROSE may come from Canada, but her South Texas Suite (Six Shooter) EP celebrates her recent two month residency at Austin’s Continental Club with six songs of a Lone Star persuasion. It opens south of the border with the gorgeous Three Minute Love Affair, the sort of timeless Texicana ballad you could imagine either Marty Robbins or the Mavericks (Raul Malo produced 2016’s Heartbreak Of The Year album) doing. Four of the other tracks are also self-penned, ‘My Boots’ a playful twangy guitar Loretta Lynn-like tribute to her footwear, the steel-streaked ‘Bluebonnets For My Baby’ harking more to 60s doowop balladry, the reflective mid-tempo swayer ‘Looking Back On Luckenbach’ sounding pretty much as you might imagine from the title (Waylon’s spirit presumably hovering over the recording session) and the brief – and a touch pointless – guitars, steel, fiddle and honky tonk piano instrumental closer ‘How ‘Bout A Hand For The Band’,. The remaining number finds her in a laid back swing mood for a cover of Brennen Leigh’s ode to good old retro technology, ‘Analog’. She’s touring here in May and, on the evidence here, will be well worth catching.
http://whitneyrosemusic.com

Runaway HorseAnd while we’re musically in Austin, RUNAWAY HORSE are a trio from the same fronted by the breathily voiced Mari Tirsa, accompanied by guitarist Daniel Barrett with Rick Richards on drums. Their self-released five-track EP, Beautiful Blue, harks to cosmic Americana with songs rooted in the landscape her New Mexico raising. It’s all fairly sedate and dreamy (though closer ‘Arrive’ has a persistent percussive one foot marching beat underpinning its tinkling starry skies feel), with both opener Holy Water and the title having a gentle, hymnal quality. They’re a little bluesier on the five minute plus ‘The Well’ (the Fleetwood Mac to the Cowboy Junkies elsewhere) while the ticking rhythm of the slowly swelling ‘Once’ sees Tirsa stretching her keyboard wings to fine effect.
http://runawayhorseband.com/

VARIOUS GUISES are the duo of Blanche Ellis and Maya McCourt and Tide Take Him marks their recording debut. They mix acapella vocals with guitar and cello and a little assistance from Tom Hyatt’s piano and vocalist Dana Immanuel. The title track is a reworking of ‘What Shall We Do With The Drunken Sailor’ so that it’s no longer a shanty and instead is sung with a syncopated rhythm or slowed to a funereal pace. Tackling a song as hackneyed as this is always a risk but Various Guises really do something with it. With one more exception the songs are original ending with ‘The Sound And The Fury’ and the traditional ‘Bedlam Boys’ both of which are nicely nuts.
http://www.variousguises.co.uk/

MEGSON – Good Times Will Come Again (EDJ Records EDJ021)

Good Times Will Come AgainFor the first time in the twelve years they’ve been making music together, Teeside husband and wife duo Stu and Debbie Hanna have, in response to fan demand, recorded an album of all original material, although, as you would imagine, these are, like previous self-penned numbers still influenced by the Tyneside folk tradition and sung in a distinctive regional accent. The songs that make up Good Times Will Come Again are not autobiographical, but rather a collection of observations of the life of your average working man and woman in contemporary Britain. As such, there’s plenty of political input as subjects span the plight of Teeside steelworkers (all the more pertinent in the light of the current Tata situation), refugees and zero-hour contracts.

The album kicks off with ‘Generation Rent’, a lively mandolin-driven number about the property ladder and how, with rising house prices and static wages, the younger generation is finding it increasingly hard to get a foot on the bottom rung, condemned to rent or live with their parents, even when they have families of their own. Yet even here, they find room for wit in the lines ‘on that glorious day my darling daughter comes to say I want to introduce gran to my fella. I say go down and tell her, she’s living in the cellar.’

The musical mood takes a more melancholic tone with ‘A Prayer For Hope’, a simple guitar strummed sketch of those risking their lives to cross oceans in search of a better life, the duo’s harmonies bearing testament to their early choir days. There’s an equally sorrowful air to the traditional colours of ‘The Bonny Lad’, a number inspired by the Northumbrian pipe and fiddle tune of the same name, as a mother lays to rest her son, another victim of ‘the worst of men and all they can destroy.’

Returning to their own backyard, featuring John Parker on double bass, ‘Burn Away’ is the first of two songs addressing the Teeside steel industry, a traditional flavoured, banjo-led snapshot of the daily routine in the steelwork furnaces in which you can almost feel the heat and taste the sweat, the line ‘the day there is no use for steel will be the day the world stops turning’ a prescient rallying cry to save the homegrown industry. Debbie also takes lead on the second of the two, ‘Patterns’, a gentle ballad laced with sorrowful fiddle inspired by last year’s closure of the Redcar steelworks sung in the voice of wife offering her support to a husband struggling to find work after being made redundant, but trying to keep up his family’s spirits by not showing his despair.

Unsurprisingly the effect of unemployment and poor wages on ordinary families plays a prominent part in the songs. Sawing fiddle drives the throbbing ‘Pushing On’, Stu taking lead on a song about families working all hours just to stay afloat and how “life is surely meant for living not just coping day by day”, while ‘Zero’ is a jaunty mandola and fiddle led morris-like counting song romp about being stuck with the uncertainty of a zero hours contract.

It’s not all so downbeat. Despite its mournful tune and the sparse guitar and fiddle accompaniment, ‘Rap’er Te Bank’, the lyrics derived from the industrial dialect of the 19th century Durham pit yards and the title from the cry miners would give for the cage to be sent down the shaft to bring them to the surface, is actually a love story about one of the pit workers and the lass he meets one July day. There’s love too in ‘The Bookkeeper’, a simple acoustic ballad with Patrick Duffin on percussion that tells of a Billingham bookkeeper’s undeclared love for the chief accountant’s clerk and features the uplifting chorus of “you can put a price on gold, on almost anything for I’ve been told, but the love that the true heart holds never can be sold”. Only when he learns she’s leaving does he summon up the courage to tell, her how he feels. Whether she returns his affections is never told, but given the album’s gospel country tinged duetted closing title track, Debbie on accordion, optimism rather than seems to be in the air. Of course, paying off your debts and every man and woman standing as equals may all be pipe dreams, but without hope what would be the point of getting out of bed. Megson know there are dark clouds in the sky, but they still set their alarm clock.

Mike Davies

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 banner link 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: http://www.megsonmusic.co.uk/

‘Burn Away’ – official video:

Megson – new EP

Megson new EP live in the lounge

To celebrate their forthcoming tour Megson have released a “Pay What You Want” live compilation Megson – Live In The Lounge E.P. featuring songs from our In A Box, Longshot and On The Side albums… As the name suggests half of the EP is recorded live in their living room during the past summer, with the rest picked from live recordings over the years. Fans can pay whatever they want for the EP and is available from their BandCamp page at  www.megson.bandcamp.com

Debbie and Stu say

We had a super busy summer of festivals but now its back to business! Our Autumn tour starts in 2 weeks and we’ll be traveling from Portsmouth to County Durham with plenty of dates in between…Full details at www.megsonmusic.co.uk.

Shows are selling out and we can’t wait to get back on the road…

‘Still I Love Him’ – official video:

 

Wickham Festival 2015 – Reviewed by Simon Burch

Click on the photo below to see the full set…

Wickham 2015

Staged in a corn field and with three stages linked by alleyways of food and crafts stalls, Wickham proved to be a good nursery slope for my family of first-time festival goers: no intimidating vast crowds and a relaxed atmosphere which built steadily through what turned out to be some swelteringly hot days.

showofhands_wickham15Musically, in the main All Time Grates big top stage it was folk with a twist of vintage pop and rock: from crowd-pleasing sets by folk stars such as Seth Lakeman, Show of Hands, Eliza Carthy, Lisbee Stainton and Martin Carthy to The South – Beautiful South survivors Dave Hemmingway and Alison Wheeler – 10CC, Billy Bragg, Cockney Rebel, Wilko Johnson and The Proclaimers.

Crowd_Wickham15The crowd was an eclectic mix of folk devotees and commuter belt families, but overall the demographic was mature and knowledgeable so that at times the main stage had the contented air of a cricket match, with festival goers seated sensibly underneath sun-hats on folding chairs, sipping real ale and completing sudokus to the sound of music.

Giants@WickhamI soon found out that for a parent festivals have to be enjoyed in the round. My children weren’t there for the music, but found instead joy in the laser quest – a shoot-‘em-up inside a series of sweaty, dark inflatable tunnels – the solar-powered Groovy Movie cinema and the digital funfair, a quirky installation where gamers played Space Invaders while sitting on a stationary bike or racked up high scores by slapping two headless mannequins on their plastic buttocks in time to music.

Playbus_Wickham15After a while it became possible to enjoy the music while waiting for them to complete their activities or resisting their pleas to spend the GDP of a small country in the various food and craft stalls, simply via the proximity to the three stages, especially the acoustic stage, where a varied line-up of young up-and-comers and older veterans strummed, picked and twanged their way skilfully through a mixture of their own material and interpretations of popular classics, finding favour with a sprinkling of punters lounging back on the straw-coated ground.

At the top of the festival was the sweatier and rockier Bowman Ales Stage 2 tent – which hosted performances from Edward II, headlining prog rockers Stone Cold and Damn Beats – but I confess that, as a first-timer wanting to immerse myself in folk my visits there were fleeting so I concentrated on the main stage, where a succession of acts filled the afternoons and evenings with musical stories from every corner of Britain and beyond.

SpookyMen_Wickham15From the lilting Northumberland romance of Kathryn Tickell and the Side, to the seasoned yarns of Huw Williams and Maartin Allcock and the acapella oddness of the Spooky Men’s Chorale, it is fair to say there was something for everyone’s tastes, but the big top came into its own later on as the sun dipped behind the food stalls and the headliners took to the stage.

BillyBragg_Wickham15Among the highlights was the life-affirming return to action of Wilko Johnson, the welcome familiarity of The (Beautiful) South’s hits and the appearance of Billy Bragg, whose wit and political zeal brought Friday night to a close. The next night, Seth Lakeman gave a rollicking masterclass of modern folk rock, sweeping the audience along and raising the temperature in the big top.

Proclaimers2_Wickham15Despite the passing of years, festival headliners The Proclaimers hadn’t seemingly aged that much and their set was a polished resounding collection of love songs, devoted to Scotland as much as to the objects of their desire. The large TV screens showed that the Reid twins had their committed fans who knew all of Proclaimers1_Wickham15the words, but as the night continued, you did get the feeling that most people in the tent were waiting for their signature tune – I Would Walk 500 Mile – like a seashore full of surfers all readying themselves for the big wave that would take them right to shore.

And, duly, at about five to 11, it arrived: cueing a joyous outburst of jigs and a singalong in affected Scottish accents. This provided the most exuberant moment of the weekend, before it drew to a close with a thank you and good night, and the boys left the stage.

The third night was over, but the next day the sun again rose hot and strong. Family holiday commitments meant I had to slip away early, but in my absence the crowds returned with their chairs and sun hats, eager for more.

Simon Burch – 23 August 2015