Shrewsbury Folk Festival has added a host of new acts to its line up as organisers reveal ticket sales are already surpassing 2018 levels.
Renowned singer songwriter Andy Fairweather Low and the Low Riders will make a return with a special show featuring the Hi Riders Soul Revue. Scottish supergroup Capercaillie and American trio Birds Of Chicago are also new to the bill of the four-day festival that takes place at the West Mid Showground from August 23 to 26.
This year’s festival will feature a special day of programming on the festival’s Pengwern Stage by duo Chris While and Julie Matthews to celebrate 25 years of their musical relationship. They have chosen Blair Dunlop, Burden Of Paradise, singer songwriter Charlie Dore and former Fairground Attraction lead singer Eddi Reader to perform on Sunday August 25, which will be topped off with a show by the While & Matthews Big Band.
Other new artists signed up included Áine Tyrrell, AKA Trio, Boxwood Chessmen and the Exmouth Shanty Men. Dance groups confirmed so far are Whapweasel, the John Spiers Ceilidh Band and Relentless. There will also be performances from the Corryvrechan Scottish Dance Display Team.
Already announced for the 2019 event were Kate Rusby, Oysterband, Martyn Joseph, Daphne’s Flight, Skerryvore, Daphne’s Flight, Gary Stewart’s Graceland, Phil Beer Band, Steve Knightley, Merry Hell, Edgelarks, Grace Petrie and many more.
The festival’s first tier of adult weekend tickets sold out in less than five minutes after they went on sale on December 1. It is now selling weekend tickets at its third price tier. Day tickets are also available.
Festival Director Sandra Surtees said: “Last year our weekend tickets sold out a month before the festival and many people were disappointed they couldn’t come for all four days despite regular warnings that we were going to sell out.
“We have sold more to date in 2019 than we had by the same time last year so, as ever, our advice is to book as early as possible. There’s so much more than just music for people to enjoy including dances, music and other workshops, great food and drink and a brilliant atmosphere!”
The festival, now regarded as one of the most popular UK folk events, has four main music stages, a dance tent with a programme including ceilidhs, workshops and dance shows, children and youth festivals, workshops, craft fair, food village, real ale, cocktail and gin bars and on-site camping and glamping. There are also fringe events at local pubs with dance displays in the town centre and a parade through the streets on the Saturday afternoon.
Although she never really attained the stardom predicted for her when she released ‘Pilot Of The Airwaves’ back in 1979, the Pinner-born singer’s not exactly done too badly for herself, sustaining a successful career over the years as an actress, producer and songwriter, as well as regularly releasing albums and performing live. This, her eighth album, is particularly personal, the title track referring to how, to test whether the milk had turned sour, her father would simply take a swig and approach he, an ever optimistic widower, apparently applied to the women in his life. As the title suggests, family loom large too in ‘Looking Like My Mother, Acting Like My Dad’, a song and arrangement that, especially in Dore’s husky quiver, feels very much of the 30s or 40s (possibly down to its homespun recording), while album closer, ‘Cradle Song’, brings together a transcription of a piano instrumental written by her mother as a young child and an old cassette recording of her father reading his poems.
Although ‘Three A Penny’, a three-part harmony unaccompanied (save for barely discernible keyboard) number about the culture of cheap downloading, and featuring O’Hooley & Tidow, clearly comes from the very heart of a working musician, elsewhere, personal resonances are more open to interpretation. Sketched out on sparse piano notes, opening number, ‘All These Things’, another pre-war sounding track with co-producer Julian Litman on Indian harmonium, is about the hopes and heartbreak of IVF, ‘Born Yesterday’ a love letter from a new mother to her young child and ‘Firewater’, a guitar rippling, viola accompanied song about falling for a handsome man with a brilliant mind who, unfortunately, also happens to be a career drunk.
Perhaps not unsurprisingly, death makes an appearance, conceived as an unwanted salesman peddling his wares to her father and brother on the defiant ‘Stare You Down’ and, equally poignantly, at the core of ‘Please Don’t Let Me Be Promoted’, a strings arrangement in which the euphemism of the title and recalling the passing of her mother when Dore was 15 rejects the idea of being taken to a better place in favour of staying on the shop floor a little longer.
The remaining number, the tumbling, chorus-catchy ‘Best Man For The Job’ featuring harmonium and Dobro with Reg Meuross and Jess Vincent guesting on vocals, recounts the ironically titled tale of a neglected wife warning husbands that if they don’t tend the garden then weeds and discontent may grow and lead others to cultivate it instead.
Often fuzzily warm, sometimes playful, sometimes touching, but always immensely listenable, you really should pour a couple of pints.
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I suppose it must be at least 20 years since I saw a live performance (I believe it was The Hope & Anchor in Islington) by Charlie Dore. Things haven’t changed much in as much that I think she’s still one of this country’s finest singer/songwriters including previous hits “Pilot Of The Airwaves” and Jimmy Nail’s “Aint No Doubt”. Coming from a lady who is versed in the arts of both music and theatre her lyrics are wordy and enjoyable and, at the end of the day set out to ‘entertain’…if that’s not too dirty a word? If proof were needed then check out “A Man Walks Into A Bar” where the song makes you listen by bringing you in on the joke. This may not be a laugh out loud set-piece but by its very nature the title draws your attention to what lies beneath the headline.
A bit like a Derrin Brown inspired Saatchi & Saatchi subliminal advert these songs pack a powerful punch that will linger long after the last syllable has been uttered. It’s this engaging skill as a songwriter that will bring wry smiles and knowing nods to their subject matter including difficult step-children “Milk Teeth” and the infidelity inspired hot club jazz of “His Wife” that makes the listener feel like an investor in a magical ‘words factory’. A round of applause must also go to Dore’s sterling band of musicians including multi-instrumentalist Julian Littman (now also a member of Steeleye Span), Dudley Phillips (double bass) and strings maestro Jake Walker. This is the real deal for those that like their ‘folk’ roots with a little more edge.
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Whisper this, but I hadn’t been to for twenty years. I had felt it was getting too big for my personal comfort – when I first went there was one campsite, now there are seven – but an insistent invitation drew me back this year. In fact what are bigger are the camper vans, the folding chairs and, dare I say, the waistlines. We older and …er…more substantial punters do like our comforts. Some aspects of the festival are more technological and sophisticated. The bar is a marvel of mobile opulence although initially no more efficient than in the days when there was one Wadsworth’s lorry, lots of barrels and one choice of beer. That’s no reflection on the brilliant bar-staff, by the way, but logistics do sometimes let the side down.
An innovation during my absence is the big screen which, in between displaying safety information, “televises” the show. It can be a boon for those at the top of the field although it’s often obscured by a forest of flagpoles. The interesting thing is that even down the hill at the front, unless you’re actually leaning on the pit barrier, you find yourself watching the screen, not the performers. Sure, you get 10 foot high images of John Tams’ face and Graeme Taylor’s plectrum technique but it feels wrong. If they could just pipe it into the cable TV network we wouldn’t actually have to go there. Er…maybe not.
Everything else is pretty much the same. The stewards are unobtrusive, laid-back and helpful and with road closures around the site their help was invaluable. The familiar spirit of the festival remains. Two examples that I heard about: one couple left their car keys in the door when they went to bed and woke to find the car locked and the keys safely guarded and a purse containing credit cards and a good deal of money was lost overnight and returned intact the following day. I’m not sure where else that would happen. T-shirts remain the badges of identification and mutual recognition although in general clothes are less outré – that goes with the Aldi and Tesco carrier bags. There are still more food concessions than can you eat from without the aid of a tapeworm, lots of silly hats to buy and, increasingly important as one gets older, civilised toilets. Don’t laugh, it’s important. And despite promising myself that I wouldn’t visit the CD store, I failed to keep my promise.
The rain loitered with intent on Thursday afternoon but stayed away as Fairport Convention opened the proceedings with a short and none too serious acoustic set followed by Katriona Gilmore & Jamie Roberts and Blair Dunlop. Hearing ‘Walk Awhile’ as the second song really sets you up for the weekend. Bob Harris introduced Home Service as the evening’s compère, John Tams, was too modest to introduce himself. It is so good to have the band back together although it has to be said that their failure to invite Bill Caddick to return raises awkward questions. Their set was familiar material – new boy Paul Archibald had to learn another back catalogue after all – and, in the current climate, it was impossible to listen to ‘Alright Jack’ and ‘Sorrow’ without reflecting on how little things have changed.
Hayseed Dixie might be considered a one trick pony but they perform the trick very well, although I have my reservations about their interpretations of ‘Bohemian Rhapsody’ and ‘Strawberry Fields Forever’. A couple of serious moments were hidden in the rockgrass but I’m not sure if anybody noticed. They had a lot of fans at the festival, particularly among those who found Home Service too intellectually challenging to actually bother listening to. UB40 closed the day – slick, professional and, I have to admit, not my thing at all.
Before it actually opens to the public the arena is rather eerie. I watched Seasick Steve sound-checking with his pounding drums reverberating around the empty site. Steve was Friday’s headliner and I still can’t make up my mind whether he’s the great original everyone reckons he is or a charming old fraud. Don’t get me wrong, I love his music, but I don’t buy into his story. If I’m right he’s only following in the tradition of Bob Dylan who, in his early days, fed interviewers the most outrageous lies and watched them lap up everything he said. Listen to Folksinger’s Choice for prima facie evidence.
Moore Moss Rutter provided a suitably relaxed start to Friday, another day when the weather couldn’t make its mind up. The Travelling Band began with a Blind Lemon Jefferson tune which felt like a smart move. They moved on to their own material variously augmented by viola, cello and brass and played an exciting set which was also VERY loud. I rather liked them despite that but the contrast in approach was hard on Steve Tilston who had to follow them. I also like Steve and his partnership with The Durbevilles feels like a very natural match on a song like ‘Jackaranda’. This was a good set and The Oxenhope EP was one of my purchases. Charlie Dore provided yet more country-style music – the theme of the day, it seems. I found her set rather relaxing which was good for the late afternoon slot but I confess that I was waiting for The Dylan Project.
Like his hero, Steve Gibbons is seventy this year. How did that happen? Everything about him is unique from his look to his guitar style and the way he used to make Keith Richards appear the picture of robust good health. They played a tight set with none of Steve’s extemporising as they mixed the downbeat – ‘Dark Eyes’, ‘Sweetheart Like You’ and ‘Cold Irons Bound’ – with the simpler sentiments of ‘Tonight I’ll Be Staying Here With You’ and ‘Rainy Day Women #12 & 35’. ‘Gotta Serve Somebody’ seemed a most appropriate choice given the events of the preceding week.
The Urban Folk Quartet was another band who benefited from my visit to the record stall but they had released a live album at a special Cropredy price and I wasn’t about to pass that up. UFQ are another band who have found a new approach to traditional music. Frank Moon’s oud features heavily, Joe Broughton seems to play more guitar than fiddle but who’s counting, Paloma Trigas is a bundle of energy and Tom Chapman joins a small roster of singing percussionists. If you haven’t heard them yet, you really should.
The Coral: ahead of their time or brilliantly retro? They included ‘Ticket To Ride’ in a spectacular show of their 21st century rock and would have made a better final act. It was unfortunate that there was a delay before Seasick Steve took to the stage. There was none of the redneck southerner schtick you get on TV and he seemed rather low key. I chose to watch him from the top of the field to see how he would work with such a big crowd and sad to say people around me were drifting away into the cold night long before the end of his set. I’d like to see him live in a smaller, more intimate, venue but so meteoric has been his rise to fame that he doesn’t play small gigs any more.
Richard Digance is a fixture as Saturday’s opener. Part comic, part social commentator and all warm-up man he did a superb job, getting the crowd on its feet doing silly things and listening to some serious songs – ‘Jobs’ is absolutely brilliant. It’s a combination that pulled the audience together and pointed it in the right direction. Next up, it was lovely finally to see The Shee on stage: fiddles, flute, mandolin, accordion, harp and voices performing their mixture of Scottish and American music and songs. I like the way they wear their posh frocks on stage, too.
Blockheads without Ian Dury: does it work? Well, the sun came out and England won a test match while they were on stage so I guess it does. The band isn’t exactly the same, inevitably, but in Derek “The Draw” Hussey they have a suitably eccentric lead vocalist who doesn’t attempt to imitate Dury but manages to channel his attitude. Songs like ‘Inbetweenies’ and ‘What A Waste!’ have been part of the band’s DNA for so long that they can’t fail to sound good.
My live experience of Lau suggested that they could be even louder than The Blockheads but the festival sound crew just about kept them in check. Martin Green seems to have more equipment every time I see the band – now he has a keyboard to go with his accordion and pedals adding new textures to Lau’s sound palette. The accordion was frequently used as a bass instrument with Martin playing a melody on the keyboard.
A decade ago Jim Lockhart introduced me to the art of ligging Dublin-style. This involved more pints of stout than I care to remember, being invited to a couple’s engagement party and being told by a lady with the reddest hair I’ve ever seen that my destiny was linked with the sea. As the ferry back from Rosslare didn’t sink I haven’t taken her too seriously. At the time Jim was head of production at RTÉ 2fm but in his previous life he played keyboards and flute with Horslips. Sadly they broke up before I had chance to hear them live which made their performance at Cropredy something of a milestone for me. Yes, Horslips are back, although Johnny Fean’s brother Ray now sits in for drummer Eamonn Carr. The outrageous stage clothes are gone and the band is rather more soberly dressed now but can still play those hits: ‘Dearg Doom’, ‘Trouble With A Capital T’, ‘Charolais’ and ‘Mad Pat’ as well as the soaring instrumentals from The Book Of Invasions. It was a moment of magic.
I’ve tried listening to Badly Drawn Boy several times and it hasn’t worked. He has one great song, ‘Born In The UK’, but that’s not enough to hold my interest. My opinion was not helped by the fact that Horslips were cut short while Bad milked a smattering of applause for two encores. Look, this is personal recollection and I’ll be as partisan as I like, OK?
A typical Saturday set by Fairport Convention consists of some compulsory songs, explorations of the byways of their back catalogue and a succession of alumni and friends doing their thing. This wasn’t typical. Its centrepiece was a complete “Babbacombe” Lee which occupied a third of the programme and, of course, there’s a new album to promote which doesn’t leave a lot of time. They opened with ‘Walk Awhile’ and closed with ‘Who Knows Where The Time Goes’, ‘Matty Groves’ and ‘Meet On The Ledge’. ‘Crazy Man Michael’, ‘Honour And Praise’, ‘Mr Lacey’ and ‘The Hiring Fair’ were the other oldies. Ralph McTell dropped in for a couple of songs and PJ Wright and Phil Bond augmented Fairport when lead guitar and keyboards were required but otherwise the band stood up to be counted. I’m glad I heard “Babbacombe” Lee having managed to miss it on the spring tour and the use of films on the big screen added an extra something to the show. ‘Matty Groves’ was illustrated by a video featuring Barbie and Ken and what appeared to be a meerkat in a submarine – it was late, I’d had a beer or two: who knows what I saw?
So, has Cropredy grown too big? Yes, I think it has but I’ll qualify that by saying that the infrastructure is quite capable of coping with the 20,000 people who turn up each year. But on Saturday afternoon it was almost impossible to move around the field without kicking, jostling or stepping on someone and it was impossible to sit quietly and mind one’s own business without being kicked, jostled or stepped on. Thursday has now grown into an official day and the fringe occupies two pubs in the village. It may be time to consider a second stage. I would have been more than happy to see some of the acts play a second set in a smaller venue or some of the fringe artists accommodated there. It would take the pressure off the main area and restore the relaxed atmosphere that existed back in the eighties. I missed that.
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