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.

SONGDOG – Joy Street (Junkyard Songs JSLPCD17)

Joy StreetI became a convert to Welsh poet-novelist-playwright Lyndon Morgans’ often talk-sing vocal style and deeply poetic narrative lyrics with the band’s second album and have not been disappointed since. Joy Street, his seventh release, doesn’t break the spell. Produced by Nigel Stonier and featuring backing trio of Karl Woodward on piano, mandolin and banjo, drummer and accordionist Dave Paterson and Jasper Salmon on violin, Morgans is in an atypically upbeat mood, not just lyrically but musically too, with ‘It’s Not A Love Thing’ a joyful, bouncy fiddle-led pop-folk number sung without any mannerisms and one of several to feature Thea Gilmore on backing vocals. The same verve spills over into ‘Raise Your Glass In Praise’, a six and a half minute celebration of an eclectic list of things that ring his bell, ranging from jelly beans, mist over meadows, Blonde On Blonde and hot Soho nights to grassed over graves, empty fairgrounds and “all the lips I kissed on my way to you”. It even has a catchy refrain.

Not, of course, that he’s forsaken his familiar melancholy. Despite the title, the simply fingerpicked, sparsely accompanied ‘Joy Street’ itself is weighed with reflective regret (“they fight and laugh and bluff, mourn the old neighbourhood gone and stuff, look back on the lives they’re gonna lose soon enough”) as is the accordion and fiddle carousel-waltzing ‘A Ukulele Whizz Looks Back’ with its barroom conversations between old friends about memories of times, songs and women past (“in the headlights swimming on my bedroom wall I see us playing in the lane till it got too dark to see the ball, didn’t think we’d ever grow old”)… and ,of course, some ukulele.

Memories, the passing years and romances lost to time also inform the ‘The Old Superhero’ with its swayalong cabaret-tinged chorus (and subtle nods to Cohen and Bowie) featuring vocals from James Trott, Anna Zweck, , Biff Roxby, James Kelly and Alyss McBirney, the musical box flavours of the valedictory memories of youthful romance in ‘Amen, Baby, Amen’ featuring Margit van der Zwan on cello,. Likewise, ‘The Dry Wind of Oblivion’, a theatrical styled number that nods to his Jacques Brel influences as he sings “you bit down to my heart and left it beating in a bowl, my blood still dribbling down your chin as you started on my soul.”

Heading into the final stretch, you’ll probably get a good idea of the mood in ‘Razor-Wire and Tinsel’ from the title, reminding me slightly of those talked type songs Steve Harley once did, Woodward on harmonica and Jimmy Forres providing the contemplative electric guitar solo for a slow march rhythm in service of yet another look back into the heart’s bruised past as he muses on how “sometimes you can be so unhappy having the time of your life”.

Despite telling a tale of doomed holiday romance, ‘Helldorado’ is a more musically upbeat track with, as you might surmise, a Texicana flavour to its acoustic guitars, squeezebox and Liz Armour’s horns, while, every bit as downcast as it suggests, ‘Love Dies Petal By Petal’, is a forlorn gradually swelling acoustic ballad anchored by a lonely drum beat about a love withered by whiskey and blow, its air of resigned acceptance summed up in the line about how “now it’s just the corners of your mouth that smile hello” as he pleads “I’m not a bad man anymore.”

It ends on a final note of desperately trying to regain a love lost or thrown away with ‘All Those Afternoons’, a wistful la la la punctuating Cohenesque lines like “be my nemesis, my gaoler, my catastrophe, my bane, I’d love you to forget me and then remember me again” and how “we’re all traitors to someone or to something in the end.”

He calls Joy Street a place “where life happens, any human highway or byway”. You should take a stroll, it’s superbly well paved.

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).

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‘Smoke-Rings & Shaving Cuts’ – live:

THEA GILMORE – The Counterweight (Cooking Vinyl COOKCD668)

CounterweightThea Gilmore described herself like this “Some people write me off as some waily folky woman……Other people think I’m rock. In terms of an image, if you want to be cold and corporate about it, it’s hard to decide who my target market is. There isn’t one. There is no box that I can be put in” She has been described by Uncut magazine as “The best British singer-songwriter of the last ten years – and then some”. Her new album, The Counterweight is released on June 2nd.

Is it folk? Even with my fairly eclectic and inclusive categorization of folk, probably not. Is it Americana? There are shadows of Americana but Gilmore is very much a UK songwriter and they are no more than shadows. Does it matter? Not at all, this is just a damned good album from someone who can’t be put in a box.

The album has tracks which are more electric than some of Gilmore’s previous. The single ‘New’ premiered on Ken Bruce’s show and ‘Sounds Good to Me’ has been getting some airplay on Radio 2. The opening track ‘Fall Together’ has a great vocal set against a simple piano before the wider band joins in, initially gently and then strongly – the kind of territory inhabited by Annie Lennox at her best (Listen also to ‘Slow Fade to Black’ for an equally lovely vocal.) It’s a stunning opener to the album and you’d normally want to link to it after the review – but there’s an even better song.

The album was recorded during spring and summer 2016 and in between the opening and closing tracks are a number that are simultaneously timeless and linked to the specifics of last summer. ‘Reconcile’ – with a gem of a line about needing “a mortgage for your coffee”, references to instagram, and “a road ahead/there’s a watershed” – was developed as Britain voted to leave the EU; ‘Johnny Gets A Gun’ recorded on June 16th shortly after the hate crime of the Orlando nightclub shooting. The light-hearted and self-knowing optimism of ‘Another Damn Love Song’ “How did I get here/How did I find you/How did a skeptic go so wrong” with its up tempo chorus. ‘Here’s to You’ is the penultimate song, another element of redressing the balance from the blows of 2016 “Raise a glass to alchemy/another one to unity/….there’s always strength in numbers/but there’s divinity in two/here’s to lovers and here’s to you

‘The War’ provides the album with its title of The Counterweight. As Gilmore reflected on the events of the summer, they became the inspiration for this final track. Have a look at the video below on YouTube and you’ll see the references to Jo Cox MP, murdered on June 16th. But the war “isn’t out there” – the song is also about what’s inside us and what we can do ourselves.

Take a look at that box on your desk

Take a look at that heart in your chest
Take a look at those thoughts in your head
The war’s already here……….
It’s so easy to hide
Behind imagined Ironsides
Nostalgic and misty eyed
When the wolf’s at the door
In the time of hate
Throw down the counterweight
Tear up that flag and say
You’re worthy of more

Gilmore’s website notes: “The track is also possibly the mission statement of the album, a call-to-arms on the negativity and bleakness of the 2017 social terrain mesmerized by fake news and futility. The Counterweight tries to be exactly that. A redressing of the balance, a tool of pressure, an exertion of opposite force and as such, a flag of hope.”

The musical style may not be what we’ve traditionally seen as folk, but the themes are – and our times are changing.

Mike Wistow

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.

Artist’s website: https://theagilmore.net

NIGEL STONIER – Love And Work (Shameless SHAME017)

Love And WorkNigel Stonier is probably best known as a producer and a man who writes songs with and for other people so it came as a surprise to discover that Love And Work is his sixth solo album but not that it’s a work of great class.

I suppose that you would describe Nigel’s music as sophisticated pop-rock but don’t be put off if you think that sounds a bit MOR. It isn’t. Nigel is a multi-instrumentalist and a witty songwriter and his wit extends to his arrangements. Take the single ‘You Need Love’. Nigel says that he didn’t want it to sound too sweet so asked James Hallawell to impersonate Al Kooper’s Hammond style – and then topped it off with as fine a Dylan harmonica impersonation as you could wish to hear. It only lasts a few seconds but it’s just perfect.

It is inevitable that Nigel is a bit of a musical magpie given that he’s worked alongside Thea Gilmore, Robert Plant, Gretchen Peters and Fairport Convention among others – things are bound to rub off. He’s no mere copyist, though, and everything undergoes a transformative process. You might say that the opener, ‘Ready To Begin’, is Byrds-like but it’s not really; it just embodies the spirit of Roger McGuinn’s guitar. ‘You Breathe New Life Into Me’ features a pulsing mellotron which Nigel describes as “Strawberry Fields” and it is but it gives the feeling of bellows on a pump organ, breathing life into the song.

Other top tracks are ‘Turnaround Town’ – lots of clever words that I haven’t figured out yet – and ‘Work In Progress’ and I really like the last track. ‘The Extra Song’ is just that and Nigel ropes in his children, Asher and Egan on percussion, fiddle and vocals. The cover doesn’t tell you that they are aged five and ten and you wouldn’t know it to listen There’s a lot of talent in that family. The icing on the cake of that particular song is Nigel’s wife Thea Gilmore playing whistle on the coda. Love And Work is a brilliant, clever album.

Dai Jeffries

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.

Artist’s website: http://www.nigelstonier.com/

Videos of Nigel are about as rare as rocking horse droppings but we couldn’t resist this one:

Thea Gilmore announces new album and single

Thea Gilmore

Thea Gilmore has announced the release of her new album The Counterweight, which will be released June 2nd through Cooking Vinyl. The first single to be taken from the album, the rallying anthem ‘Sounds Good To Me’, is out now.

“I like to think of it as a bit of an anarchist’s polka…” says Thea of the single. “Calling the dispossessed, the downtrodden, the weary to arms. Lighting a fire… remembering there’s more than one way to live and who wants to walk when you can dance!”

It’s been 13 years and eight albums since Thea released Avalanche, her critically acclaimed fifth release and the album deemed to be her breakthrough record. The then 23-year-old was writing with a fire inside her post 9/11 about global anxiety and the increasingly vacuous celebrity culture.

Calling upon the spirit of this predecessor, Thea is back with the album she feels follows it. Having never entirely lost her voice of protest, on subsequent albums Thea was looking inward more, singing songs about the depression she had been diagnosed with, love songs in uncertain times and songs about parenthood.

Now though, she is back with The Counterweight, an album full of passion and fire inside to protest, and an album that echoes the rapid change in our social and political landscape that 2016 brought with it.

When finishing the album in September, Thea was forced to look back at the spring and summer recording period and the tumultuous times that happened throughout the year including working on ‘Reconcile’ as Britain voted to leave the EU, and recording ‘Johnny Gets A Gun’ three days after the Orlando shooting.

That day was also most harrowingly of all, the day when the world was watching the tragedy of Jo Cox’s murder unfold and at the very eleventh hour became the inspiration for the final track ‘The War’, with the first and last verses directly referencing her.

Thea quotes “I was throwing a cautionary message in a bottle into the shifting tide, but also singing a reminder that acts of kindness and humanity are never in vain: ‘You can cut that stem, but wild flowers grow again, all you can do is just tend to them and know that you tried’”

“I’d finished the album pretty much. All the shit that had gone down in 2016, the world changing moments… everything had shifted and this song fell out of me on one of the last mix days. The first and last verses directly reference Jo Cox and in between. I like to think it shines a light on these dark days, but also offers hope.”

The track is also possibly the mission statement of the album, going to war on the negativity and bleakness of the current world mesmerized by fake news and futility.

The Counterweight tries to be exactly that. A redressing of the balance, a tool of pressure, an exertion of opposite force and as such, a flag of hope.

Thea Gilmore will be heading out on a UK headline tour to support the album, with full details to be announced soon.

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.

Artist’s website: https://theagilmore.net/

THEA GILMORE – Ghosts & Graffiti (FullFill Records FCCD 165)

THEA GILMORE Ghosts&GraffitiA mixed bag, jam packed with 20 tracks from the talented Miss Thea Gilmore. Some older tracks and some brand new tracks to encounter. The songs are often woven around intelligent, inventive and sometimes just plain strange lyrics; as in the case of “Razor Valentine”.

Not all the tracks hit the mark in my opinion, but there is such a rich selection that a small wobble here and there is no big deal. There are an array of guest artists on the album, such as Joan Baez, King Creosote and The Waterboys, adding variety and counterbalance to the songs. From upbeat rocking style to mournful ballad (and even, dare I say it, folk) [yes, you dare – Editor], this album covers the ground in style.

It’s incredible to think that some of the tracks on this album stretch back some 17 years and yet still come over as relevant. Age has not dated them.

Stand out tracks, for me? The opener ‘Copper’, ‘Start as We Mean to Go On’, ‘Coming Back to You’ ‘Razor Valentine’, ‘Sol Invictus’ and ‘Wrong with You’. Plenty of other goodies in the bag, but these are the tracks that pressed my buttons on the first play.

So if you acquire this CD you are getting a potted history of Thea Gilmore’s musical work, with the added bonus of new tracks. Plus a glossy booklet which has an introduction by the author Neil Gaiman, who became a fan of Thea Gilmore in the early years.

So, a thumbs up for Ghosts & Graffiti. Well worth the money in your pocket or adding to your birthday list.

Ron D Bowes

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.

Artist’s website: www.theagilmore.net

‘Coming Back To You’ – the official video: