A unique collaboration between folk legends Peter Knight and John Spiers, seen for the first time at FolkEast 2016, will return to the fast-rising East Anglian festival this August.
The three day festival at the glorious 300-acre Suffolk estate of 16th century Glemham Hall witnessed the debut performance of the pair on the Broad Roots stage on opening night last year – an undisputed highlight of the event.
In its sixth year, FolkEast will be packing a punch with an eclectic line up of folk and world music acts including BBC award-winning headliners Jon Boden and Sam Kelly and The Lost Boys, 2017 BBC Radio 2 Folk Awards nominees Nancy Kerr, Kris Drever and Dorset duo Ninebarrow and of course FolkEast’s irrepressible patrons The Young’uns.
New names announced include the mighty Martin Simpson, the ace guitarist and songwriter who skilfully melds British and American roots music and has been nominated an astounding 23 times in the Radio 2 Folk Awards as well as top traditional English folk singer Fay Hield, India Electric Co, Ben Savage & Hannah Sanders, popular Cambridge-based band The Willows, Basque folk music band Korrontzi and many more.
Peter Knight and John Spiers live at FolkEast 2016:
TICKETS: Advance weekend tickets are available price £115 (adult), £100 (full time students, senior citizens) and £70 for Youth tickets (12-17 year old) which must be purchased with an adult ticket. Family weekend tickets for two adults and two 12-17 year olds are £342. A great offer sees free admission for children aged 11 and under; camping is £12 per tent with a £24 charge for campervans and caravans.
Instar is term given to an intermediate stage of an animal’s life-cycle, most usually applied to insects. It explains the rather disconcerting cover image and suggests that Nancy may one day make an album called Imago. This is complex album with roots in the natural world and the Sweet Liberties project and as its title indicates it’s about transition and impermanence whether by natural processes or by man’s intervention.
I’ll start in the middle with ‘Fragile Water’ which is one of the album’s key songs. It’s derived from/inspired by ‘The Great Selkie Of Sule Skerrie’ and from that starting point it looks at our perception of ourselves – our self-identity, if you will. It’s also a superb piece of writing; words that are simultaneously simple and complex with a beautiful tune. Before that ‘Written On My Skin’ is a song about blood. “Last night I ran with Reynardine” is the opening line as Nancy invokes a symbol from the tradition that everyone will recognise but it’s really about sexual assault and alludes to the fact that acts of parliament are written on vellum – supposedly a symbol of permanence.
The Sweet Visitor Band on the album are Tom Wright, James Fagen, Rowan Rheingans, Tim Yates and Greg Russell – all five sing and three are multi-instrumentalists as is Nancy herself. CJ Hillman guests on three tracks and this line-up could be termed folk-rock – sometimes it leans that way – but can also be quiet and delicate.
I was fortunate enough to hear Nancy and the band on the final date of their recent tour and the insight gained from hearing her talk about her influences is so important. Three books inspired the music: Common Ground by Rob Cowen, Helen Mcdonald’s H Is For Hawk and George Monbiot’s Feral – if you want to dig deeper there is your reading list.
I can honestly say that there isn’t a song here that I’d skip over. There’s the folky humour of ‘Farewell Stony Ground’ vainly trying to conceal a serious point and ‘Oh England What Seeds’ about the Tolpuddle Martyrs but also for all the people that the Empire transported around the world. ‘Gingerbread’ is their Christmas single and even that has a down-side and ‘Crow’s Wing’ was inspired by seeing a peregrine falcon in the middle of Sheffield. This is definitely a candidate for album of the year.
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 NANCY KERR – Instar 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.
The first time I heard Nancy Kerr play she was sitting primly on stage alongside Eliza Carthy. How things have changed: now she’s front and centre, mistress of her stage with a superb band behind her. The Sweet Visitor Band is a fluid entity. With James Fagan at home on child care duty Greg Russell took the lead guitar role and, this being the last gig of the tour, Hannah Martin stepped in for the very busy Rowan Rheingans – what a super-sub she is. Tom Wright on drums, guitar and pedal steel and Tim Yates on double bass remain in place. In most bands you might call them the engine room but they are much more that.
This tour was to promote Nancy’s new album, Instar, a complex work and Nancy did acknowledge that it was good of us to turn out to hear what was essentially a bunch of new songs. They opened with ‘Farewell Stony Ground’ from the new album, the story of a man who set up a car park on a piece of waste ground and took the public’s money for fifteen years. An urban myth? Can we be sure? The song is a perfect slice of English folk-rock in contrast to the title track which starts with a jazzy feel from the drums.
The band is remarkably flexible. At quiet points, the harmonies of Nancy and Hannah dominated minimal accompaniment; in full-on mode with five voices together and every else going full blast, comparisons with the folk-rock bands of the early seventies are inevitable.
Highlights – I looked at my notes and thought ‘that was good, so was that…’ but ‘Fragile Water’ with Hannah on banjo stands out as does the chugging rhythm of ‘Light Rolls Home’, a song written about Nancy’s end of Sheffield. They closed the first set with their Christmas single, ‘Gingerbread’, not the happiest song as Nancy conceded but it has a hummable tune if you don’t concentrate too hard on the words. The other side, ‘It Was Red’, was the first encore. ‘Kingdom’, which opened the second set, was one of several songs written for Sweet Liberties which appear in new clothes on Instar and is another storming almost-rocker.
It was an excellent show: powerful, thought-provoking, sometimes angry sometimes tender and I do have to give a cheer for the Westy which continues to book the best of folk music acts. It’s great to have such a venue a couple of miles from our front door.
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 Nancy Kerr 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.
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 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 SWEET LIBERTIES – Nancy Kerr 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.
I 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.
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 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 ANGE HARDY & LUKAS DRINKWATER – Findings 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.
Following the considerable success of The Full English album and touring band, which she assembled, singer Fay Hield is due to release her 3rd solo album, Old Adam on Soundpost Records on 12th February 2016 and will tour in February and March too. Meanwhile, a digital single, taken from the album, featuring ‘Willow Glen’ and ‘Green Gravel’ is now available.
Old Adam is a fresh and original exploration of how we use stories and music to understand what it means to be human and combines not only Fay’s gift for unearthing striking material but also her distinctive and naturalistic delivery of it. These qualities have won her critical acclaim for her previous solo albums (Looking Glass in 2010 and Orfeo in 2012, both on Topic Records) including several BBC Radio 2 Folk Awards and a nomination for Folk Singer of the Year. Continue reading Fay Hield Announces Details of New Album