Talisk announce UK tour dates


Mohsen Amini, current (and youngest ever) holder of BBC Radio 2 Folk Awards coveted ‘Musician of the Year’ title will head out on the road with Scotland’s celebrated Talisk trio in April.

The nine date tour (April 24-May 3) which opens in the Scottish Highlands and ends at Edinburgh’s Queens Hall, will see the Glasgow-based concertina maestro, ‘splendidly expressive’ fiddler Hayley Keenan and gifted guitarist Graeme Armstrong showcasing their latest acclaimed album Beyond, released last year, as well as new material.

Described by Glasgow Herald as “a rockin’ powerhouse” Talisk are one of the most exciting acts on the UK folk scene, renowned for their innovative, high energy instrumental music.

In just five years they have pinned themselves firmly on the acoustic music map, winning the 2015 BBC Radio 2 Young Folk Award and the 2017 Scots Trad Music Awards ‘Folk Band of the Year’ gong as well as being nominated for the 2017 BBC Radio 2 Folk Awards Horizon title – for best emerging act. They have won over festival audiences around the world from Denmark’s Tonder to WOMAD, the Philadelphia Folk Festival, Milwaukee Irish Festival and Canada’s Celtic Colours.

Their debut album Abyss was shortlisted for Album of the Year at the 2016 Scots Trad Music Awards but they came of age with 2018’s Beyond, bursting with their dynamic, feelgood, slickly crafted, self-penned tunes. The esteemed Songlines magazine gave it a 5* ‘Top of the World’ review, praising the band as “incredibly infectious and endearing –fresh, invigorating, accomplished and playfully frisky”.

Fuelled by their global travels, the frenetic, driving rhythms, vibrancy and versatility were tempered with soothing, gentle textures as they took listeners on a roller coaster journey from Montreal to Ohio, Serbia to Nova Scotia and home to Scotland. The track ‘Farewell’ saw the addition of vocals provided by some of UK folk’s biggest names, working as a huge choral collective.

The pedigree of this folk/trad trio is undeniable and their live dates unmissable. Opening on April 24 at Ullapool’s Ceilidh Place the tour will take Talisk to Cumbria, Cornwall, Lancashire, Oxfordshire, Wales and London’s St John on Bethnal Green 19th century church.

Artists’ website:  http://www.talisk.co.uk/

‘Echo’ – live:



 24th: ULLAPOOL – The Ceilidh Place
Box Office: 01854 612 103

26th – WHITEHAVEN – Rosehill Theatre
Box Office: 01946 692422

28th – FALMOUTH – The Tolmen Centre
Box Office: 01326 341353

29th – NETTLEBED – Nettlebed Village Club
Tickets: 01628 636620

30th – LONDON – St. John on Bethnal Green
Sam Lee (Promoter): 07967 485708


1st – CARDIFF – Acapela Studio
Box Office: 029 2089 0862

2nd – YSTRADGYNLAIS (Swansea) – The Welfare
Box Office: 01639 843163

3rd – EDINBURGH – Queens Hall
Box Office: 0131 668 2019

11th– BURY – The Met (Big Whistle Festival)
Box Office: 0161 761 2216

Beau announces 50th anniversary album


On April 18th way back in 1969, Trevor Midgley completed the recording of his debut Beau album for John Peel’s Dandelion label.

On Thursday, 18th April 2019 to celebrate the occasion, Cherry Red Records are releasing Damascus Road, a brand new 50th Anniversary set of songs.

Damascus Road will be available from download sites around the world (including of course iTunes and the Amazons), and will also stream on Spotify, Deezer and all other popular streaming services and Folking will be writing a review.

As always, the news agenda has come up trumps (no pun intended!), inspiring songs about demagoguery, diplomacy, the casting couch, Masonic influence, and a whole host of other topics.

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

‘Demagogue Rules’ – official video:

Grace Petrie announces headline tour

Grace Petrie

Fresh from a successful UK arena tour supporting Frank Turner, protest singer, LGBTQ+ activist, folk singer, socialist and social commentator Grace Petrie announces her own headline tour through Spring 2019.

Smart, witty, a talented lyricist and an electrifying live performer, Grace can take the most hostile room and by the end of the night they will be singing along, “Stand up today that we might save tomorrow!

Grace has been writing, recording and touring relentlessly, racking up tour supports with Emmy the Great, Billy Bragg, Frank Turner and more, and has also made her mark in the comedy scene supporting comedians Robin Ince and Josie Long.  She’s appeared at Glastonbury four times at the invitation of Billy Bragg, as well as an eclectic genre-crossing mix of festivals Latitude, Musicport, Bliss-fields, Shrewsbury Folk Festival, Greenbelt and more including of course Cambridge Folk Festival.  She has collaborated with some of the most respected names in folk, including Leon Rosselson, Roy Bailey and Peggy Seeger; quietly becoming one of the most respected songwriters working today. A frequent guest on BBC Radio 4’s The Now Show, Grace has appeared on Channel 4’s Random Acts, had plays on BBC 6 Music and BBC Radio 2 and has been featured in The Guardian, The Independent On Sunday’s 2013 Pink List of influential LGBT figures; and been nominated for Diva Magazine’s 2018 Activist Award.

In May 2018 a Kickstarter campaign for her first full studio album, after five previous available-at-gig-only albums.  She raised £10,000 in just 24 hours and went on to achieve £18.000 in the two-week campaign.  The album, Queer As Folk, was released in September 2018 and has received acclaim in the UK media, whilst also being named a top 10 Folk Album of 2018 by Mojo magazine.

Artist’s website: http://gracepetrie.com/

‘Black Tie’ – official video:

Tour Dates

Thursday 11th April – The Spirit Store, Dundalk
Friday 12th April – DC Music Club, Dublin
Saturday 13th April – Accidental Theatre, Belfast
Saturday 20th April – All Hallows Church, Leeds
Thursday 25th April – The Met, Bury, Greater Manchester
Friday 26th April – The Old Cinema Launderette, Durham
Saturday 27th April – The Ropewalk, Barton-on-Humber
Tuesday 30th April – The Junction, Cambridge
Wednesday 1st May – South Street Arts Centre, Reading
Thursday 2nd May – Cecil Sharp House, Camden, London
Friday 3rd May – Whitehouse Sessions at Ashburton Arts Centre, Devon
Saturday 4th May – Bristol Folk Festival
Sunday 5th May – May Day Festival of Solidarity, Barnsley
Tuesday 7th May – The Prince Albert, Stroud in support of Stroud Foodbank
Thursday 9th May – Black Swan Folk Club, York
Friday 10th May – Midlands Arts Centre, Birmingham
Saturday 11th May – Trelawnyd Memorial Hall, North Wales
Sunday 12th May – The Music Room, Liverpool Philharmonic
Friday 17th May – The Dissection Room, Summerhall, Edinburgh
Saturday 18th May – Oran Mor, Glasgow

Peter Knight’s Gigspanner to play Lichfield Arts

Peter Knght's Gigspanner

Lichfield Guildhall – Saturday April 20th – 8.00pm

Known for his work with Steeleye Span, Feast of Fiddles, and a number of other projects, Peter Knight blends his own open-minded approach to modern technology, with a deep understanding and love for the tradition, to bring new life to older tunes, and his own compositions, which range across the genres of folk, celtic, traditional, rock, and more modern, ambient sounds.

Peter received ‘Best Musician’ in the inaugural folking.com Awards in 2016 and their 2015 album Layers Of Ages featured on Album of the Year listings for The Telegraph, R2 magazine and BBC Radio. Peter is joined by Roger Flack on guitar and Sacha Trochet on percussion, both of whom are powerful and intelligent musicians in their own right.

The trio have a growing reputation as one of the most innovative acts on the folk/roots scene, dismantling the traditional and reassembling it in an intriguing, imaginative and beautiful way. They have played at the Guildhall before, and proved popular, with their music being the perfect match for the grandeur and acoustics of the room.

A Lichfield Arts Spokesman said ‘The music that is created by Peter Knight and Gigspanner is surprising, tuneful and always something special. No two gigs are the same, with music and styles changing regularly, which is what happens when you put three musicians of this calibre together. Gigspanner have played Lichfield Guildhall many times in the past, and have always been a very popular draw, so we would suggest that if you want to hear music that takes old sounds in new directions, buy your tickets soon’.

Tickets for what promises to be a special night of music making are £16.00, £14.40 for members of Lichfield Arts and £8.00 for under 16’s. For further information, and to book tickets visit www.lichfieldarts.org.uk, phone (01543) 262223, or call into the Lichfield Arts Box Office in Donegal House on Bore Street.

‘Urban’s Reel’ (somewhere in France):

Davy Graham – more re-releases

Davy Graham

David Michael Gordon “Davey” Graham (originally spelled Davy Graham) (26 November 1940 – 15 December 2008) was born in Leicestershire, to a Guyanese mother and a Scottish father. He learnt to play the piano and harmonica as a child and then took up the classical guitar at the age of 12. As a teenager he was strongly influenced by the folk guitar player Steve Benbow, who had travelled widely and played a guitar style influenced by Moroccan music. Graham was one of the most influential figures in the 1960s British Folk Revival. He inspired many famous practitioners of the fingerstyle acoustic guitar such as Bert Jansch, Ralph McTell, Martin Carthy, Paul Simon, John Martyn and indeed Jimmy Page. Graham is probably best known for his acoustic instrumental ‘Anji’ and for popularizing DADGAD tuning, later widely adopted by many acoustic guitarists. Not one to be categorised Graham could be seen as a true World music artist covering the genres of folk, blues and jazz.

Following the 2017 rerelease of Folk, Blues & Beyond and Large As Life And Twice As Natural, 2019 will see the reissue of Midnight Man and Hat, available on CD and vinyl.


When Davy Graham’s previous album, “Folk, Blues and Beyond…”, was issued by Decca in 1965, it collected praises from many people and for many different reasons. The Folk press (almost to a critic) hailed its release as an event of major importance; but then, so did most of the Rhythm-and-Blues publications. Guitarists bought it, listening to the solos and accompaniments with considerable excitement – and some of them even began to follow Davy around, studying his methods and technique. (So far without being able to emulate him). Meanwhile, copies of the record were usually to be found lying in the backs of those dusty, message-covered vans that beat groups use to travel from one job to another. And, finally, and certainly the most satisfying praise of all, a general audience of fans bought it in sufficient quantities to make the need for this second album an inevitability …

Since making the first album, Davy has been actively changing and extending himself musically – several results of which can be heard within these newer performances. He has been travelling again (to Ibiza, then through the Aegean and on to Constantinople), listening carefully to all the musical sounds en route. He has been deeply engrossed in the writings of Ouspensky. And – in bizarre contrast – he has been experimenting with an amplifier to put a different sound into two or three of his solos. Also, he has been absorbing some unusual (for him, at least) sources of inspiration (i.e. The Beatles, Oscar Brown, Jnr. and Jimmy Hughes), letting his own imagination first of all combine with, and then gradually take over from an initial curiosity. I think such involvements have been, if somewhat surprisingly, a great success; as have his experiments with conventional blues and modern jazz pieces, and – of course – the incredible excursion with Lalo Schifrin’s ‘The Fakir’, which seems fairly certain to become the instrumental ‘hit’ on this album … just as ‘Maajun’ was on the previous one.

If anything, and in conclusion, I would say that the second Davy Graham album (here enclosed) is more extrovert and more aggressive, musically, than the first was; although I realise this could be the logical result of his increased experience and growing maturity as an artist. However, I don’t believe it will disappoint any of his original fans; and it ought to bring him plenty of new ones… together with several more guitarists who want to know how to manage to do all he does during ‘The Fakir’!

© 1966. The Decca Record Company Limited, London Ray Horricks


Somewhere in Notting Hill,

May 4, 1969.

Dear Ray,

The selections on this album are intended to please not only Blues and Folk fans but all those of the New Breed who are just taking up modern music.

I get many requests for guitar pieces from ‘classical’ listeners, so I have included a few finger-busters for them. The two pieces by Oliver Hunt and Stan Watson respectively have never been recorded before. And the adaptation of the Purcell hornpipe is entirely my own. For the next album, there is a Latin piece I would like to do, and also a 14th Century pavan for guitar: but we can discuss these at a later date.

There are also two Muddy Waters’ numbers here (both actually written by Willie Dixon, the giant bass-player who resided at the “Trois Mailletz” in Paris with Memphis Slim in the early Sixties.) And there are two songs by Paul Simon. Paul is a good friend of mine and these are two of his best.

The aim on all my discs, as you know better than anyone, has been to make ‘Music’ a sufficiently attractive title in itself, and to draw some of those music lovers who previously thought jazz and folk-forms and classical things to be irreconcilable elements. And I predict there will be many more musical revolutions in the near future. I myself would like to explore spirituals a lot more in the next few years. And – if I get the time – I would like to follow up two more projects. One is another trip to the East. Another is an album of some ‘pop’ favourites of mine, backed by an orchestra. Pieces like ‘No Milk Today’, ‘Eleanor Rigby’, ‘A Whiter Shade of Pale’, ‘Daydream’ and something featuring electric blues guitar – dig Lonnie Johnson on ‘Drunk Again’ by the way.

You ask me about my Eastern modes and studies of Indian music. Well, firstly, I am the originator of the modal tuning DADGAD – that is, bass-string first. Also, Indian harmonics are extremely difficult to hear unless you are in a room with a spherical dome-shape, and even then you should not be more than 3 or 4 feet from the instrument. One’s listening progress may be learnt from being able to hear on the high strings the 9th or sub-mediant RE, the 5th, SOL in a major oriental piece, and from being able to hear the flatted 5th in a minor piece. (Electrification, of course, and feedback, have made it almost impossible for the ‘teeny-popsters’ to understand Ravi and Ali Akbar, and there’s even the danger of their ears for music being destroyed altogether.

My best,


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‘Anji’ – it has to be, even if someone can’t spell it: