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.
A new project to celebrate cultural diversity and highlight the plight of refugees has been launched by Shrewsbury Folk Festival.
Organisers of the annual four-day music festival have secured a £95,000 investment from Arts Council England for the 18-month Room For All initiative that will include a new music commission featuring refugee musicians and a programme of education and outreach work in the county. Shropshire Council has awarded the festival a £1,000 Arts Revenue Grant.
Room For All follows on from the festival’s successful All Together Now programme that focused on introducing a new audience to world music and dance during 2015 and 2016.
The new music commission will be led by duo O’Hooley & Tidow and an ensemble of refugee musicians and will premiere at this year’s festival.
Room For All will include performances by culturally diverse musicians at the 2017 and 2018 festival, an outreach talent development programme for young people led by inspiring artists to pass on different folk traditions and nurture new talent, music workshops in Telford schools giving young people an introduction to folk music, Indian Kathak dance workshops in schools, continued support for the Shropshire Youth Folk Ensemble and for Shropshire’s only school rapper side at Ford Trinity School, which is a legacy from All Together Now.
Festival Director Alan Surtees said the idea for Room for All came as a direct response to the racial hatred and opposition to refugees that emerged during the Brexit campaign.
“We felt so despondent and downhearted at the division, negativity and prejudice that surfaced during the campaign we decided to try and bring some decency and optimism to the plight of refugees, if only to our own small event,” he explained.
“Room for all to grow and thrive encapsulates the festival’s welcoming philosophy of celebrating diversity and fostering talent. Through this project, we are hoping to encourage understanding of different cultures in a world that can sometimes seem less that welcoming or tolerant and, with that deeper cultural understanding, we can build a better legacy for the future.”
Peter Knott, Area Director, Arts Council England, said: “We’re delighted to be investing in Shrewsbury Folk Festival’s plans to celebrate and promote cultural diversity through this new project.
“It’s essential that England’s diversity is reflected in our arts and cultural landscape, Room for All is a perfect example of how that can be done. By collaborating with traditional and refugee musicians as well as hosting workshops and promoting outreach work this project will inspire new artists and nurture talent in rural Shropshire.”
Project Manager Joy Lamont said the festival’s growing commitment to education and outreach work had been widely welcomed by the schools it had reached so far.
“We recognise that in many rural parts of Shropshire it can be hard to promote cultural diversity and understanding through the arts. Room for All aims to continue the work we started with All Together Now and provide high quality and multi cultural arts activities to schools and young people in Shropshire.”
There’s a new gang in town and if their publicity photographs are any guide they mean business. Coven combines the talents of O’Hooley & Tidow, Lady Maisery (Hazel Askew, Hannah James and Rowan Rheingans) and singer Grace Petrie. Belinda O’Hooley explains how it all came about.
“We were introduced to Grace’s work by Huw Pudner at The Valley Folk Club in Pontardawe. He was raving about her, and around the same time, Jude Abbott from the No Masters Co-op was also singing her praises. We watched some of her stuff on YouTube and thought she was such a firebrand, standing up for what she believes in and doing great things for women. We spent a summer doing the same concerts at festivals as Lady Maisery and were blown away by their live show. We got to know them along the way. Heidi and Rowan chatted about doing something as a collective at some point, and here we all are!
“Coven was Heidi’s idea. She had previously set up a Women Make Music night in Huddersfield and had experience of this sort of thing. Both Lady Maisery and Grace Petrie were well up for forming a collective with us and celebrating International Women’s Day in a series of concerts. The first Coven tour was just three dates which all sold out. The second year, we played ten dates and this year, we’ve got twelve.”
The name could be something of a hostage to fortune. Whose idea was it?
“I can’t remember who thought the name up, it wasn’t me. I think it suits us; a gaggle of witches.”
I couldn’t possibly comment on that but the press photos seem to suggest that Belinda and Heidi are the dominant force. Either that or it’s a case of big’uns in the middle and little-uns on the ends.
“Ha! I think it looks like me and Rowan have got married and the rest of Coven are our bridesmaids. Elly Lucas took the photo at Kellam Island in Sheffield. We love the way she utilises the background of a rusty metal fence with the sunlight, to create texture and atmosphere. She’s a bit good. Looking at that photo, I wouldn’t want to mess with any of us.”
Again, I couldn’t possibly comment but what can we expect from a Coven gig?
“The show consists of us performing separately in our bands and also collectively together on existing material and also songs that Coven members have brought to the group. Over the course of the last two tours, these songs have taken on a life of their own and it has been very rewarding and exciting to record them and make an EP.”
Having developed rather below the radar over the last couple of years, Coven are embarking on a fully-fledged tour in March. Can we take it that Coven will be an on-going project?
“I think all of us want Coven to be an ever developing project as we all have so much to give to it. We all seem to get on really well and there is room for creativity and expression both individually and as a collective. It helps that we all like vegan food too. Hannah James is the most wonderful vegan chef, and kept us all fed beautifully for the five days we spent at Cooper Hall, Frome recording the EP. Fay Goodridge invited us there, and through their bursary scheme, we were able to record in their extraordinary venue. This EP, recorded by me and Heidi and mixed and mastered by Neil Ferguson will be available initially exclusively on the tour”
Three of the British folk scene’s finest, most formidable and forthright female acts take to the stage to celebrate International Women’s Day 2017. BBC 6 Music favourites and BBC Radio 2 Folk Awards 2015 Best Duo nominees O’Hooley and Tidow will be joined by BBC Radio 2 Folk Award Finalists Lady Maisery and the irrepressible Leicester songwriter Grace Petrie to form Coven. This is a rare opportunity to experience these thought provoking, heartfelt, entertaining and enthralling women in one unrepeatable performance.
Coven are recording an EP for sale on the tour.
O’Hooley and Tidow: “Defiant, robust, political, northern, poetical folk music for the times we live in.” Independent
Lady Maisery: “…are women with ideas, purpose and urgency. They create powerful, enthralling work.” Songlines
Grace Petrie: “A powerful new songwriting voice.” Guardian
Their third album in as many years, after the two-handed format of The Hum and the limited hand-signed micro-release Summat’s Brewin’, the duo’s fifth studio outing, Shadows, sees them return to the fuller sound of their first two albums with a post-Bellowhead Pete Flood on drums, Andy Seward on double bass, frequent collaborator Jude Abbott providing brass and Rowan Rheingans on fiddle and viola. There’s also a, perhaps surprise, appearance from Michele Stodart of The Magic Numbers contributing electric bass guitars and Ebow.
With songs about home, the environment, nature, inspirational women and social issues, it’s familiar territory, comprising a couple of covers alongside the self-penned material, the latter including two instrumentals. But familiarity doesn’t breed complacency, and the writing and performances here as every much as impassioned as any fledgling act looking to make an impressive debut.
It opens with a love letter to their home, ‘Colne Valley Hearts’, and the strength and fortitude it instils, the songs itself beginning with birth (“smacked me head coming out, made me rugged, shoulders broad. Ready to carry, ready to work”) as Belinda provides jittery piano accompaniment to Heidi’s vocals, the chorus refrain “cold hands, warm hearts lighting up the cut tonight” as much a defiant anthem of Northern pride as “the fog on the Tyne is all mine”.
From Huddersfield, the album expands to take in the bigger picture with the first of the socio-political numbers, the trumpet-streaked ‘Made In England’. Written in response to the worrying rise of UKIP a few years back, it draws as much on music hall as it does traditional folk it’s a ‘Ballad of Britain’ for “you everyone that inhabit dear old Albion”, a rejection of the UKIP view (and that of “Mosely’s henchmen” before them) that “foreigners are thieves and perves” who just “pile ‘em high and sell ‘em cheap”, and a celebration of multiculturalism “with me ruby murray, kebab in a hurry, fags and Becks from the corner shop, head to toe in Pradamark.”
Equally pointed, based on an old Sunday School hymn titled ‘Little Reapers’ and sung with starkly interwoven voices, sombre piano ballad ‘Reapers’ is in the voice of a child and initially appears to about innocents, leading lost souls to God, but, in the second verse takes on a darker hue that explains why it is dedicated to all children abused at the hands of the Church.
The abuse of children, in this case their forced migration to Commonwealth countries between 1869 and 1970, is at the heart of ‘The Dark Rolling Sea’. It’s actually a short piano instrumental that grew out of Tidow’s obsession with an instrumental passage in ‘Why Did I Leave Thee?’, a setting of a poem by child migrant Frederick Henderson, the duo set to music for last year’s Ballads Of Child Migration album. The other instrumental, a solo O’Hooley composition, is the simple but no less resonant title track, which, played on the Machynlleth Tabernacle Trust’s Steinway, she says reflects how playing piano helps express emotions she finds hard to verbalise.
It’s not all gloom. ‘Blankets’ may concern baby elephants orphaned by poachers or human-wildlife conflict (it’s inspired by the David Sheldrick Widlife Trust in Kenya), but its tremulously crooned, brass and piano slow waltz focuses on the brightly coloured blankets that give them comfort, safety and warmth. Likewise, turning to inspiring women, the uptempo ‘Beryl’ is a tribute to Beryl Burton, a Leeds cyclist who, despite chronic health problems, became a champion racing cyclist, the track taking an appropriately jaunty approach with the sort of breezy chorus Gracie Fields who have loved. This is followed by its companion piece, the piano tinkling ‘The Pixie’, another tribute (commissioned for the WWI commemoration event at 2014 Glastonbury), this time to Oxenham’s Daisy “Pixie” Daking, a dance teacher and member of the Cecil Sharp’s EFDS, who, in 1917, went to France as part of the YMCA to boost the war-weary troops’ morale by teaching them morris, sword, and country dancing, something she continued until 1919.
Of the album’s two covers, one is the strings-adorned ‘River’, Joni Mitchell’s Christmas-set bluesy regretful rumination on a lost relationship, a song they featured in last year’s winter shows in Marsden, while the other, the dreamy and rather lovely piano ballad ‘Small, Big Love’ was actually penned for them by Kathryn Williams and Graham Hardy to celebrate their wedding.
Which leaves ‘The Needle and the Hand’, a key track yet also the only number that doesn’t have an annotation in the lyric booklet. However, gradually swelling on drums and swirling strings, rhyming pewter and fuchsia and with lyrics that concern changing seasons, regeneration, tattooing – or rather beautilation – (it actually features the sound of a tattoo needle) and memory, it draws on Tidow’s own troubled childhood as seen through now adult eyes and concerns guilt, love, self-worth, self-discovery and embracing the fullness of life. These are shadows you really do want to lose and find yourself in.
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 O’HOOLEY & TIDOW 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.
What is there new to say about O’Hooley & Tidow? The Hum tour was almost over by late July and the songs well established after countless performances, although Belinda and Heidi never lose the passion in their music, and they are full of confidence. This, however, was O’H & T on their own turf at a venue full of friends and family where everyone seemed to know everyone else and if they didn’t know you they made it their business to find out. Before I’d settled down I was in conversation with the venue’s photographer and being introduced to Belinda’s father, Seamus. You don’t get that in Camden Town.
They opened with ‘The Hum’, a song that starts small and gets big, and ‘Just A Note’, another song that began with something small and says a lot. After the a capella trio of ‘Spancil Hill, ‘Teardrop’ and ‘Banjololo’ came the moment we were waiting for: the live recording of ‘Summat’s Brewin’’ for their next album. We did our best. ‘Two Mothers’ was stunning with Belinda unleashing a tidal wave of piano and Heidi clinging to the microphone stand to withstand the storm.
The second half began with more serious songs including ‘The Tallest Tree’ and ‘Peculiar Brood’ before Seamus was encouraged up on stage – it didn’t take much encouragement – to sing ‘Phil The Fluter’s Ball’ and completely steal the show. After ‘A Daytrip’ and ‘Kitsune’ they finished with ‘Like Horses’ and returned to encore with ‘Gentleman Jack’. And then…
It seemed we’d not done terribly well on ‘Summat’s Brewin’’ so we did it again, Belinda nailed the piano solo to her satisfaction and Neil Ferguson didn’t have to keep us in after school (but they’ll probably dub Coope Boyes And Simpson on later). And then … there had been a request for ‘Too Old To Dream’ so it was sung and that was a good finisher. And then … Belinda and Heidi came down on the floor to sing a beautiful and heartfelt ‘Parting Glass’ by which time the poor compère had no idea what was going on. You don’t get that in Camden Town, either.