Fairport’s Cropredy Convention three-day open-air music festival will celebrate its fortieth anniversary this year. A major innovation for 2019 is ‘glamping’ in pre-pitched luxury bell tents.
Cropredy yesterday announced the full line-up of acts appearing at this year’s event. Over three days (8, 9 and 10 August) Cropredy will present more than thirty hours of live music to an audience of up to 20,000 festival-goers.
Headline acts for 2019 include The Waterboys (Thursday), Frank Turner (Friday); and host band Fairport Convention (Saturday).
Other major acts include Gogol Bordello on Thursday, Seth Lakeman (Friday) and Richard Thompson (Friday).
The line-up encompasses soaring harmonies from female ensembles Wildwood Kin and Daphne’s Flight, instrumental virtuosity from Will Pound (harmonica), Eddy Jay (accordion) and Martin Simpson (guitar), and classic rock from Martin Barre and prog legends Caravan.
Lil Jim, Tors, The 4 Of Us, Wilson & Wakeman, Richard Digance, Tide Lines and Zal Cleminson’s /sin’dogs/ complete the line-up.
One-day, two-day and three-day tickets are exclusively available from Fairport’s website: www.fairportconvention.com/tickets and by phone 0844 581 1396
Thursday 8 August
Host band Fairport Convention will open the festival with a short acoustic performance then take the stage again on Saturday to play a two-hour closing set.
Multi-instrumentalist Lil Jim combines guitar, harmonica and accordion with foot percussion and vocals.
Devon indie-folk band Tors is fronted by songwriting brothers Matt and Theo Weedon, grandsons of late guitar maestro Bert Weedon.
Gogol Bordello combine elements of music, theatre, chaos and sorcery To say this is a fabulous festival act would be the grossest of understatements.
A return to Cropredy for Thursday’s headline act The Waterboys whose potent
Friday 9 August
Formed in Newry, Northern Ireland, by brothers Declan and Brendan Murphy, The 4 Of Us are known for poetic songs, harmony vocals and highly accomplished guitar.
Will Pound and Eddy Jay are, respectively, among the UK’s finest harmonica and accordion players.
Award-winning female trio Wildwood Kin play contemporary indie-folk characterised by spellbinding family harmonies.
Performing as Wilson & Wakeman, Adam Wakeman is best known as the keyboard player with Ozzy Osbourne and Black Sabbath and Damian Wilson is a songwriter and vocalist who has appeared on over seventy albums.
Pioneers of Canterbury’s prog rock scene, Caravan will be making their Cropredy debut. Their mix of psychedelia, jazz and classical music has been highly influential.
Fresh from a world tour with Robert Plant, Seth Lakeman returns to Cropredy after a ten year absence.
Guitar legend and acclaimed songwriter Richard Thompson will appear with erstwhile Fairport bandmates Dave Mattacks, Dave Pegg and Simon Nicol.
One of the finest live acts out there, Frank Turner will headline on Friday night with his band Sleeping Souls, a first visit to Cropredy by one of the UK’s most successful solo artists of the past decade.
Saturday 10 August
BAFTA nominee Richard Digance returns to his traditional Cropredy Saturday lunchtime slot.
Four-piece Tide Lines are shaped by the culture and music of the Scottish Highlands.
Daphne’s Flight features five female singer-songwriters; Christine Collister, Melanie Harrold, Julie Matthews, Helen Watson and Chris While.
Scottish singer-guitarist Zal Cleminson’s /sin’dogs/ is a new high-octane prog-metal band.
Celebrating 50 years of Jethro Tull’s music, Martin Barre’s band includes the original Tull drummer Clive Bunker.
Award-winning Martin Simpson, one of Britain’s greatest acoustic guitarists, makes his first appearance at Cropredy.
Fairport Convention and guests take the stage for their traditional two-hour-plus Saturday headline show.
If you’ve ever been to a Cropredy Festival you’ll know exactly what they do on Saturday. They gather together a bunch of former band-mates and old friends and play a mammoth set long into the darkness (subject to health and safety restrictions, of course). These days, Fairport Convention don’t need an excuse to mount a celebration but 2017 marked the band’s fiftieth anniversary and so this was the perfect opportunity to tell the band’s story in music – although not strictly in the right order. Thus we have What We Did On Our Saturday, packaged in an homage to their second album.
The album begins with their first album and (almost) their first line-up. For younger readers that was Ashley Hutchings, Simon Nicol, Richard Thompson, Iain Matthews and Judy Dyble now with Dave Mattacks on drums. They kick off with ‘Time Will Show The Wiser’ and ‘Reno Nevada’ and I was impressed at the way Richard played the sort of guitar lead appropriate to 1967. He couldn’t help himself, of course, and went off on one but I don’t suppose that anyone complained.
Chris While took over on lead vocals for ‘Suzanne’, a slightly less off-the-wall arrangement than the original. Chris does a very good Sandy Denny particularly on the rockier numbers but she’s her own woman and the grace notes and decorations are all her own. Judy and Iain get time off and the others take it in turns so the current line-up doesn’t actually appear until ‘Crazy Man Michael’ when Gerry Conway briefly wrestles the drum stool away from DM. The remainder of the first disc is taken up with selections from Liege & Lief and Full House and they keep ‘Sloth’ to under ten minutes.
The second disc opens with ‘Now Be Thankful’, a song which Chris Leslie is rapidly making his own, even though Richard elbows him off the mic on this occasion. It’s worth noting that Chris doesn’t get a break after the third track until the Fotheringay homage of ‘Ned Kelly’ and ‘Rising For The Moon’ which feature Sally Barker and PJ Wright and introduce Maartin Allcock to the stage. The latter is a feature of the revamped Fotheringay’s set but sadly, of course, Jerry Donahue isn’t available. I have to say, in passing, that Simon does a wonderful job with ‘Fotheringay’. Maart gets to lead ‘A Surfeit Of Lampreys’ and Ralph McTell takes centre stage for ‘White Dress’ but Simon keeps ‘The Hiring Fair’ for himself.
There is only one song that originates with the current line-up and that’s Chris Leslie’s ‘Our Bus Rolls On’ and now we’re on the downhill run. You know how it ends: ‘Matty Groves’ – with both drummers – and ‘Meet On The Ledge’ with everyone back on stage.
As you might imagine, I own a lot of Cropredy recordings and all have their own attractions. For me the 25th anniversary set stands out while the earlier ones: A.T.2 and The Boot have the particular ramshackle charm that we used to associate with Fairport Convention thirty-odd years ago. What We Did On Our Saturday is tight and slick without much in the way of stage chatter – an appropriately serious set to go with such a milestone in Fairport’s history. Exemplary performances as we’ve come to expect, of course, but sometimes I do miss Simon playing rhythm viola!
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I had heard of the Cropredy Festival before, and had even heard of Fairport Convention, but as I had grown up with British Heavy Metal and Rock, listening to such bands as Led Zeppelin, Black Sabbath, Judas Priest, AC/DC and the like, my experience of Folk music was limited. I remember taking a guitar to a chap in the Medway Towns for rewiring, and him telling me he would be travelling to Cropredy that summer as he always did and always had.
However, it was several years before I attended the festival at the village of Cropredy, near Banbury in Oxfordshire. I went with my wife Sue and a couple of friends; Paul Johnson of Folking.com and his partner Yvonne.
Paul had a press pass, and was kind enough to organise a guest pass for me before the event so I could help with the photos for the backstage interviews that Paul and Darren Beech, of Folking.com had arranged to do with Chris Leslie (of Fairport Convention) and Edwina Hayes.
I saw some famous people backstage (including Robert Plant of Led Zeppelin, who attends Cropredy regularly and Steve Hogarth of Marillion) which added to the excitement of the weekend. My wife was particularly taken with Edwina Hayes, purchasing her CD, and I passed her message on to Edwina herself, who told me she would be spending time with friends near the bar that evening and would be happy to sign the CD.
Unfortunately, Hurricane Bertha had decided to visit Cropredy too, spoiling that plan and sending pretty much everybody, artists included, back to their tents and campers to dry out. I have been to festivals before, including Download in 2012, and was no stranger to camping in the wet, but despite the storm our field (the newly added Field 8, to cater for the sold out show’s additional camping) did not flood, although Bertha did her best to make striking camp as unpleasant as possible on the Sunday morning.
The concert area (Field 9) has a single stage and around the perimeter are the various food stalls and other emporia. The food prices were a little on the high side, but this was expected; the quality was good, although a pizza we bought could have been passed through the machine another time, and queues got longer as the time went on (which was not surprising due to the festival selling out). We sampled the very tasty Cropredy Hop ale too.
As for the music, it was mostly very good, and I enjoyed the Chas and Dave and Marillion sets, and the Australian Pink Floyd Experience (who I have seen before in Rochester in Kent). The Waterboys were excellent, as were Edwina Hayes and Blackbeard’s Tea Party.
Fairport Convention concluded the show, and theirs was a polished performance, ending with the traditional Meet On The Ledge, their second single, released in 1968.
I didn’t see every artist, but the general atmosphere was very pleasant. The place was secure, and despite warnings of thieves operating we saw nothing to trouble us. This festival is a family event, with plenty of young people and dogs too. We took Jack, the Giant Chihuahua, who enjoyed it as much as the rest of us.
Although Bertha did her best, we all had a great time and look forward to going there again.
Ioscaid is group of young lads from counties Down, Armagh, and Derry who came together in late 2009 as a band to enter the Siansa Gael Linn competition.
Brothers Dermot and Fintan Mulholland entered Siansa the previous year in a group with Niall McCrickard and Declan Magee called Coimriú who came third that year. The following year, the 4 lads joined with Niall Murphy & Ciaran Hanna and entered Siansa under the name of ‘Ioscaid’. After the various rounds of the competition, the group were selected as one of the 8 finalists to compete in the National Concert Hall in the Grand Final of the competition. In April 2010 they made history by winning the competition and bring the trophy to Ulster!
In October 2011 they hit the UK scene after entering and winning the BBC Radio 2 Young Folk Awards which earned them a slot at Fairport’s Cropredy Convention 2012 which is where our folking “Ow R U” stalwart interviewer, Paul Johnson caught up with em backstage for a chat…
AS WINTER SETS IN BIG TIME – WE TAKE A WARM LOOK BACK TO WHEN IOSCAID – THE BBC YOUNG FOLK AWARD WINNERS SET, MESMORIZED THE CROPREDY 2012 CROWED BACK IN THAT WONDERFUL AUGUST SUMMER SUNSHINE THAT NOW SEEMS SO LONG AGO!
But they needed a lesson on the Matty Groves story first…
As well as having the best Cropredy weather for years, in 2012 and winning countless medals at the Olympics – as we basked in the glorious sunshine smiling with a pint Wadworth’s Horizon beer in a sunny Cropredy contented way – I had the pleasure of catching up with BBC young folk award winners Ioscaid (pronounced ‘Iss – Kidge’) for a chat about their success so far, but not before noticing several posters around the Cropredy site displaying Fairports Olympics results as follows
Lord Darnold – Fencing – Gold
Servant – Swimming – Gold
Maty Groves – Fencing – Did not finish!
Hiring Fair Maid – Breast Stroke Gold
So seeing that the three members of Ioscaid I was about to interview reading these posters looking totally puzzled they asked me what these were all about!!!
The interview could not start until I had recited all lyrics of Matty Groves with full explanations to these lovely young lads bless em !!!! Now they know, and I can take credit for a tiny piece of these lads musical education!! Paul Johnson
Click on the player below to listen to the interview….
Glorious weather and a great musical line-up ensured success for Fairport’s Cropredy Convention this year as music fans enjoyed themselves at the three-day Oxfordshire festival.
The organisers have now announced the dates of next year’s event. Fairport’s Cropredy Convention 2013 will be staged on Thursday 8, Friday 9 and Saturday 10 August.
Although the continuing recession hit many outdoor events in 2012, Cropredy’s ticket sales remained bouyant. And despite exceptionally wet weather recently, the 175-acre farmland site at Cropredy remained in perfect condition with no sign of the mud and flooding that caused problems and cancellations at festivals earlier this summer.
Folkings very own, Paul Johnson caught up with Dave Pegg backstage. Click the play button below to listen.
Big thanks to Dai Jeffries for the use of the photos.
“Attendance at Cropredy has held up very well given the current economic climate,” says Simon Nicol, Fairport founder-member and festival co-organiser. “Advance ticket sales were surprisingly strong and the sunshine boosted numbers over the weekend. Everything ran smoothly, the audience had a fine time, and the weather was about as good as it gets. ”
Festival Director Gareth Williams agrees: “The festival was a great success again. Were it not for the very wet weeks immediately before we opened we might have sold out. But even though there were a few tickets left at the end of the day, we are very pleased with sales this year. More importantly, though, we’re delighted our festival-goers enjoyed such a great weekend.”
This year’s festival saw Fairport Convention celebrating its forty-fifth anniversary as a band with onstage appearances from many former members, among them Richard Thompson, Ashley Hutchings, Dave Swarbrick, Dave Mattacks, Maart Allcock, and Jerry Donahue. Offspring of Fairport alumni also performed at the festival including Blair Dunlop (Ashley Hutchings’ son), Kami Thompson (Richard and Linda Thompson’s daughter) and Kristina Donahue (Jerry Donahue’s daughter).
As in previous years, Fairport’s Cropredy Convention was filmed for Sky Arts HD as part of the television channel’s festival season. The programme, due to be screened on Sky Arts 1 at 9pm on Friday 31 August 2012 and repeated 2pm on Saturday 1 September, will be fronted by celebrated music broadcaster Bob Harris OBE. “I love Cropredy,” says Mr Harris, “and I’ve been coming for years with my family. The selection of bands and great weather helped to make this year really special.”
BBC Radio Oxford attended all three days of Fairport’s Cropredy Convention. The station’s coverage culminated in a six-hour festival special on Saturday which included a live broadcast of the entire Fairport Convention set.
As most of you are fully aware by now, Fairport are celebrating their forty-fifth anniversary all this year. By Popular Request was released as a result of that and is precisely “what it says on the tin” – an album of 13 songs, voted for by the fans and rerecorded by the current line-up of Fairport Convention. The album was produced by John Gale.
Here is the track listing:
01 WALK AWHILE 4:22
02 CRAZY MAN MICHAEL 4:41
03 THE HIRING FAIR 5:42
04 THE HEXHAMSHIRE LASS 2:30
05 RED AND GOLD 6:42
06 SIR PATRICK SPENS 3:34
07 GENESIS HALL 3:29
08 FAREWELL FAREWELL 3:01
09 ROSIE 4:16
10 MATTY GROVES 5:06
11 FOTHERINGAY 3:24
12 JEWEL IN THE CROWN 3:32
13 MEET ON THE LEDGE 4:23
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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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