The West End Centre unveils its autumn programme

West End Centre

The autumn programme at the West End Centre kicks-off in September with Leveret, a unique collaboration between three of England’s finest folk musicians, Andy Cutting, Sam Sweeney and Rob Harbron. Leveret’s music is firmly rooted in the English tradition but with a sound that is fresh and new.

Next up is Molotov Jukebox, a London six-piece who deliver an accordion, Balkan fiddle, and Latin trumpet mix. Having racked up hundreds of festival appearances including Glastonbury, Eurosonic and Womad, the band are guaranteed to get the crowd moving at every raucous show.

Closing-off September, Sam Carter performs at the West End Centre. Since being named Best Newcomer at the 2010 BBC Radio 2 Folk Awards, Sam Carter has been stirring audiences from Camden to Canada and has been described as ‘the finest English-style finger-picking guitarist’.

The October line-up sees two of the UK’s finest and most prolific songwriters Kris Drever and Boo Hewerdine take the stage. Touring together for the first time in over three years, 2018 finds both artists on top form, with Kris having won the BBC Folk Awards Best Singer award and both performers releasing music which is widely considered to be their best work so far.

Later in the month, the West End Centre welcomes folk legends guitarist/singer Martin Carthy and squeezebox virtuoso/singer John Kirkpatrick – long-time collaborators in a variety of seminal musical projects: from John’s iconic 1976 Morris tunes album Plain Capers through Steeleye Span to Brass Monkey. The evening is certain to be a memorable occasion.

In the first of five gigs in November, Mabon start the busy programme. Led by Jamie Smith on accordion, Mabon play music that draws inspiration directly from the traditional folk music of the Celtic countries. They combine recognisable British forms of jigs and reels with Breton ‘an dro’, French ‘mazurka’ and Galician ‘muinera’ bass (upright and electric).

Next on the programme is Evening Star – a band formed by six of the most original musicians from France, Italy, Spain and the UK who play traditional dance music influenced by the spirit of free improvisation, pop and 21st century sound.

Newcastle’s Holy Moly & The Crackers continue the up-beat theme. With their high octane ‘Gypsy Folk Rock’ set, this seven-piece band returns to Aldershot after two sell-out shows last year. Wowing their raucous and ever-expanding fan-base with instrument-swapping, squeezebox-growling, fiddle-shredding, brass-howling hoe-downs, the group have been able to hone a sound that is organic and invigorating – forged in the sweat and heat of the live show.

Moore Moss Rutter are next on the line-up. It’s been three years since the release of the band’s second studio album ‘II’ – and there’s a heightened sense of anticipation around the reunion of Tom Moore (fiddle, viola), Archie Churchill-Moss (melodeon) and Jack Rutter (guitar). The trio won the 2011 BBC Radio 2 Young Folk Award.

Completing November’s programme is Chris Wood – an exceptional songwriter whose music reveals his love for the un-official history of the English-speaking people. With gentle intelligence he weaves the tradition with his own contemporary parables.

Early December sees East London five-piece folk band Stick In The Wheel at the West End Centre. Headed by singer Nicola Kearey, and guitarist/producer Ian Carter, their debut From Here (2015) was fRoots magazine Album of the Year and a MOJO Folk Album of the Year. They have also received four BBC Folk Award nominations since their inception in 2013. Known for Kearey’s fierce, authentic delivery, this is culturally and politically switched-on music with its roots firmly embedded in the genre’s traditional, working-class heritage.

Oxfordshire-raised, Cheshire-based singer and songwriter Thea Gilmore has gained global acclaim for making music not only of extraordinary beauty, but of rare honesty and insight. In 2009, Thea released Strange Communion an album that included ‘That’ll Be Christmas’ which became the most played festive song on BBC Radio 2 that year

A few days before Christmas, CoCo And The Butterfields come to the West End Centre. They are an indie-pop/folk band, from Canterbury, Kent. Since their inception in 2012, CoCo And The Butterfields have spent much of their time on the road, touring the UK and Europe, selling out headline shows and featuring at many major festivals.

Barney Jeavons, Director of Aldershot’s West End Centre told us:

“We have a tremendous line-up at the West End Centre this autumn – from traditional folk artists through to roots-based contemporary bands. Don’t miss the opportunity to see both up-and-coming and well-known acts in a celebration of some the UK’s best folk and roots music.”

For more information and bookings visit www.westendcentre.co.uk or call 01252 330040.

STICK IN THE WHEEL – Follow Them True (From Here)

Follow Them TrueLet me start by confessing that I never quite took to their hugely acclaimed 2015 debut, but the arrival of their English Folk Field Recordings collaborative project prompted a reassessment and, with the arrival of their own second album, I’ve become a decided convert.

I won’t bother going over the usual stuff regarding their no-nonsense raw and unvarnished approach to folk, whether it be traditional numbers or their own, or singer Nicola Kearey’s abrasive in your face East End vocals, both of which firmly set them apart from their peers, rather let’s address what they’ve done with it this time around, introducing new electronic sounds but still balancing familiar and more obscure traditional numbers with self-penned material focused around those on the peripheries of society, rituals, the way the past repeats itself and the power to change ourselves and the world in which we live.

That idea of breaking free of the cycle underpins the album’s uncompromising, forceful opening stomp ‘Over Again’, Simon Foote’s thumping bass drum beat underpinning Ian Carter’s urgent circling resonator guitar riff as Kearey raises blisters on the la la la la chorus. The first of the traditional numbers comes with the ‘Weaving Song’, a Scottish ballad celebrating the weaver’s craftsmanship taken, on acoustic guitar and Ellie Wilson’s fiddle, at a similarly jaunty pace as when Sandra Kerr (mother of Nancy) and John Faulkner performed it on Bagpuss back in 1974.

Alternating sources again, built on a slow, stately melody, Kearey’s echoey vocals accompanied by deep and heady accordion drone and violin, ‘Witch Bottle’ is an original number that takes its title from a 17th century ritual about stoneware containers used to ward off spells, which, in turn, heralds the clumping, breathless pace of the recorder and fiddle lashed ‘White Copper Alley’, a 19th century account of a woman who, driven to prostitution, steals one of her clients’ watch and wallet to buy medicine for her sick son, the track coming to strikingly abrupt halt on the word “dead”.

Taken at a slow, almost funereal march and heavily electronic with Fran Foote’s accordion drone, the haunting title track ballad follows, making effective use of Autotune on Kearey’s voice even if it does slightly obscure the lyrics, which, in the line about “when the hour is come”, seem to be about death. The vocals are again treated on ‘100,000 Years’ to give them a distant, echoey feel in keeping with the brooding sonic aura engendered by the handclap percussion and the unsettling swirls of guitar, drone, violin, keys and recorder.

As any good folkie knows, the ‘Abbots Bromley Horn Dance’ is a traditional dance tune, one of the oldest known, a jig that gradually builds in tempo and here given a fairly straightforward treatment, although the fiddle-led galumphing and whistle does remind me of Stackridge.

Like the album opener, the traditional highwayman song ‘Roving Blade’ is another urgent rhythm driven by Carter’s nervy riffs and Kearey’s forceful delivery, but then the ambience changes dramatically for what is possibly the album’s most striking number. Although the title and idea are similar, ‘Unquiet Grave’ is not the much-covered traditional song but a band original sung, essentially about remembering the buried past, unaccompanied as Kearey takes on the voice of a corpse unable to rest because of the feet trampling the earth above them, unable to move and wasting away “day by sorry day”. It is, quite, simply, one of the most chilling songs I’ve ever heard.

It’s back to tradition, in form and inspiration if not actuality, for the story-song ‘Blind Beggar Of Bethnal Green’, an acoustic waltzing number (the title part referencing the famous East End pub where Ronnie Kray murdered George Cornell) retelling the legend of how Simon de Montford, a local knight, was blinded in a battle and subsequently became a beggar until found and taken in by a noblewoman, whom he married and with whom he had a daughter, Besse.

The last of the original numbers, ‘Red Carnation’, a sparse reverb and emotion-soaked song of farewell, is sandwiched between two traditional tunes. The first, the call and response shanty ‘Poor Old Horse’ is sung a cappella, Kearey providing the verses and everyone joining rowdily in for the chorus response, the album ending on an electronic fog of pulsing synth and claps like firewood crackles enshrouding the distant ghostly vocals as they dismantle ‘As I Roved Out’ and recraft it for a post-apocalypse folk vision. In speaking of the idea behind the album Kearey talks about thematically focusing on “English stuff”, because it’s weird, dark, surprising, unashamedly odd and has a personality of its own. She could equally be describing the band.

Mike Davies

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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.stickinthewheel.com

‘As I Roved Out’ – official video:

VARIOUS – From Here: English Folk Field Recordings (From Here Sitw005)

From HereThey may be newcomers to the scene, but Stick In The Wheel are certainly making their mark, not just with their own recordings and associated artifacts, but in their involvement with the folk world in general, and the traditional in particular.

Band members Ian Carter and Nicola Kearey serve as curators, collaborators and producers for this collection of new live recordings by both the great and good and some of the lesser known luminaries in the genre. The remit for those involved was to record songs that explored either place or their musical identity, culminating in a gathering of field recordings captured in locations as diverse as a stone cottage in Edale, a bank vault and a garden at Robin Hood’s Bay using just two stereo microphones and with no subsequent overdubs.

As you would imagine, the tracks are stark and raw, first up being ‘Bedfordshire May Carol’, chosen by performer Jack Sharp, leader of psych-folk outfit Wolf People, as it supposedly originated just a few miles from where he grew up. Next up, Eliza Carthy leads a flurry of more familiar names with a self-penned number, ‘The Sea’, a new setting of the broadside ballad found in Manchester’s Chetham Library and featuring on her current album, the initial pizzicato fiddle giving way to more robust playing. She’s followed by one of the veterans of English folk, John Kirkpatrick, applying his accordion to a song from his lengthy repertoire and a folk club staple ‘Here’s Adieu To Old England’, while his sometimes musical partner, Martin Carthy, also chose a number he’s recently reintroduced back into his sets, ‘The Bedmaking’, a familiar tale of the abused and cast aside servant girl. fingerpicked here to a halting rhythm.

Sandwiched in-between is one of the rising stars of the few folk firmament, the Peak District’s Bella Hardy, who went to 19th century collection The Ballads and Songs of Derbyshire for ‘The Ballad of Hugh Stenson’, setting it to a more upbeat tune than the hymnal adapted by Jon Tams, while, another member of folk royalty, Jon Boden puts his squeezebox to work on a contemplative take on 19th century drinking song ‘Fathom The Bowl’.

There’s a couple of spokes from the Wheel, both unaccompanied, Kearey delivering glottal version of the much covered ‘Georgie’ and Fran Foote ‘The Irish Girl’. They’re not the only numbers to be sung naked as it were. BritFolk alumnus Lisa Knapp has a lovely treatment of the tumblingly melodious ‘Lavender Song’, while, also from the female side, Fay Hield tips the hat to Annie Briggs with her choice of ‘Bonny Boy’.

On the other side of a capella gender fence, Geordie folkie Stew Simpson mines his Newcastle roots for ‘Eh Aww Ah Cud Hew’ (which the accompanying booklet helpfully translates as “Oh Yes, I Could Pick At The Coals”), Sam Lee turns the evergreen ‘Wild Rover’ on its head to transform it into a slow, sad lament rather than more familiar rollicking rouser of Dubliners and Pogues note, and, from Wales, a deep-voiced Men Diamler closes the album with ‘1848 (Sunset Beauregard)’, a self-penned political protest ballad about Tory policies. The remaining unaccompanied track is actually a duet, Peta Webb and Ken Hall joining voices for an Irish in London in the 50s marriage of Ewan MacColl’s ‘Just A Note’, about the building of the M1, and Bob Davenport’s account of the dangers of ‘Wild Wild Whiskey’.

The three remaining tracks are all instrumentals. Bristol’s acoustic instrumental quartet Spiro are the only band on the collection and provide their self-penned ‘Lost In Fishponds’, apparently about getting lost en route to a gig, joined here by North Wales violinist Madame Česki, while Sam Sweeney brings his fiddle to bear on two tunes. ‘Bagpipers’, one of the first things he played with his band Leveret, and ‘Mount Hills’, an English dance tune from the 17th century. Which leaves Cumbrian concertina maestro Rob Harbron to provide the third with a pairing of ‘Young Collins’, a Costwolds’ tune learned from Alistair Anderson, and, another from the Morris tradition, ‘Getting Up The Stairs’, which, by way of a pleasing synchronicity, he actually learned by way of John Kirkpatrick on the influential Morris On album.

It more than does the job it set out to achieve, and, likely to loom large in end of year awards, fully warrants a place in any traditional folk fan’s collection.

Mike Davies

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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.stickinthewheel.com

Stew Simpson – ‘Eh Aww Ah Cud Hew’:

Stick In The Wheel – debut album

Stick In The Wheel - debut album

Stick In The Wheel’s debut album From Here is a raw, fresh take on English Folk music. Their now-trademark abrasive delivery of both original and traditional tracks, is not bland retroism, or empty nostalgia, but a voice linking now to then. Addressing issues that still have relevance today, re-visiting traditions long-lost, as well as those disappearing right before us, in a way that has more in common with Sleaford Mods than with Bellowhead. A thousand miles away from waistcoats and wistful ladies, the songs are roughed up down dark alleys with lyrics that are direct, honest, and caustic, but also eloquently poetic. The band is spearheaded by Nicola Kearey’s fierce uncompromising vocal delivery, accompanied by Fran Foote’s harmony vocal and underpinned by sparse taut arrangements. From Here follows a handful of acclaimed EPs and a recent 7” released through Static Caravan this spring.

Brought up in the thriving culture of working class London and cutting their teeth in its diverse musical landscape (Dobro player Ian also producing music for GhostPoet, Context and for labels such as XL, Brownswood and Cosmic Bridge), they now bring those influences and attitudes to their traditional music. Stripped back to their bare components, the songs speak for themselves without ornament. With plaudits pouring in for their early releases from Tom Robinson, John Kennedy, Mark Radcliffe, Gideon Coe, Joe Boyd, Jack Sharp (Wolf People) and Om Unit, these are aggressive and intentionally raw recordings, cobbled together in warehouses, kitchens, and wherever they can, telling tales of everyday life: carboot-swindlers, lorry drivers and London rioters, sitting seamlessly against traditional songs of prisons, hammer-wielding blacksmiths and 18th century madhouses. Lead singer Nicola Kearey comments:

“We see this music as part of our culture, we’re not pretending to be chimney sweeps or 17th century dandies. A lot of people are really disconnected from their past, and this is part of what we’re addressing – getting people to reconnect with it, and realise there are parallels to be drawn from life 100 or 200 years ago. We make this music because we have to.”

Whether these be tracks like the hard and rhythmical ‘Common Ground’, which addresses the continual erosion of people’s rights (recorded in a warehouse amongst pallets and boxes on a cold October night) or starkly beautiful ‘Hasp’ and its use of a tethered horse as a metaphor for societal shackles and loss of liberty, an acerbic bite threads everything together. The album finishes with three ghostly, atmospheric tracks. ‘By Of River is based on a chance meeting with Alan Moore and his book Voice of the Fire. It starts a trio of songs about a procession of lost people, mysterious rituals, and the remains of a past culture, with ‘Who Knows’ and a soundscape reprise closing the album.

Stick In The Wheel are the most relevant and vital band in the UK right now. It’s not about genres or labels any more, it’s about standing up and being counted. From Here is an important cornerstone in England’s musical lineage, with a proud rallying cry that’s impossible to ignore.

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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.stickinthewheel.com

VARIOUS ARTISTS – Folk Awards 2015 (Proper PROPERFOLK16)

FolkAwards2015It’s that time again when the folk world looks back and hands out gongs to the great and good while conspiracy theories abound. Actually there have been far fewer of those this year; the detractors must have finally decided that the BBC keeps the names of the voters secret to avoid them being showered by gifts of Rolexes and vintage champagne in attempts to win approval. As if!

All in all, we’re looking back on a vintage year. I listen to more new music than the average punter and I’d heard only ten of the twenty-three tracks chosen to represent 2014 in this collection, so I’m clearly not trying hard enough. As ever the double-CD is well programmed by the four compilers – this is not just an audio catalogue: it has to stand as a listenable collection in its own right, which it does.

The opener is the sprightly ‘Moorlough Mary’ by Cara Dillon which breaks the ice nicely. Next is ‘It Would Not Be A Rose’ from Josienne Clarke & Ben Walker sounding rather more bitter taken out of the context of their album. You might expect The Will Pound Band to rock the rafters but the selection here is the rather down-beat ‘Jimmy Ward’s’ given a bluesy, slightly jazzy persona. That eases into Jez Lowe’s almost lullaby ‘The Pitmen Poets’ and a traditional Gaelic song from Cruinn. By now you’re settled back into your armchair and drifting, only to snapped back to wakefullness by Nancy Kerr’s ‘Never Ever Lay Them Down’ a super song from an album that has somehow managed to elude me so far.

The first set closes with The Young’Uns’ ‘John Hill’ with its borrowed tune and piano sounding almost like a hymn and second opens with the similarly powerful but restrained ‘Waking Dreams (Awake, Awake)’ from Martin & Eliza Carthy. Then, from out of nowhere, comes Naomi Bedford with ‘The Spider And The Wolf’, a song written by her partner Paul Simmonds and taken from her album A History Of Insolence. The other in-yer-face track here is ‘Bedlam’ by Stick In The Wheel and if you haven’t heard them yet you’re in for treat and you won’t be able to forget ‘I Saw The Dead’ by Martin Green with Becky Unthank in a hurry either.

Finally we have the four nominees for The Young Folk Award: Talisk, Wildwood Kin, Roseanne Reid and Cup O’Joe. Impossible to say who the winner will be but I’d like to hear more of Roseanne Reid.

Dai Jeffries