Folklaw are a folk rock band made up of Nick Gibbs, vocals, fiddle and strings, Bryn Williams, vocals and guitar, Martin Vogwell, vocals, mandolin electric guitar and banjo, Jon Dowling vocals and bass guitar, Gaz Hunt, vocals, drums and percussion, Jacquelyn Hynes Irish flute and whistle and Emi McDade, vocals and piano. They are joined on We Will Rise by Lyndon Webb on mandolin and guitars and Paul Hutchinson on accordion.
The album starts as it means to go on with the title track ‘We Will Rise’ with its upbeat tempo. There is a chance to slow down for a moment with ‘Love Again’, then it’s back to the upbeat tempo again.
Subject matter for the album is a good folk mix of suffragettes, the environment, stories of the heart, mental health and life on tour. Song writing and vocal duties are shared amongst Nick, Bryn and Martin, though I must say I think my preference edged towards Nick’s songs, especially ‘Rocks Of The Burren’ and ‘Angels Wings’.
The album is nicely produced and if you’re a fan of fiddle driven foot tapping songs, then this is an album for you.
Paul Hutchinson – The Old Push & Pull / Belshazzar’s Feast (with Paul Sartin – Faustus / Bellowhead) Lyndon Webb (The Gerry Colvin Band), Jacquelyn Hynes (EFDSS / Morley College Folk & Flute lecturer) and Emi McDade a fellow rising act who’s gig experience so far takes in everything from Ronnie Scott’s to BBC stages; all join forces as guests on FolkLaw’s latest album.
Penned in the year of the 100th anniversary of votes for women, We Will Rise is FolkLaw’s latest release. The title track charts the life and times of Mary Macarthur, who campaigned for the rights of suffragettes, and also for the Women Chainmakers of Cradley Heath and the countries first ever minimum wage. Like all good folk albums it then follows a journey, taking in stories of love and loss, the environment, and life on the road as a band – something familiar to these touring musicians who perform in concert across the U.K. and Europe.
FolkLaw are current rising stars in the folk, rock & roots scene, and pull off a rare thing in music – they are a true cross-genre band. Equally at home in music venues as they are in folk cubs, the festival scene and almost anything in between!
Uniquely, both the song writing and lead vocals are shared amongst the core band as the album progresses, and there is a depth and intensity to the vocal harmonies and instrumentation throughout the album. It’s a reflection of the bond between the band members, which envelops FolkLaw and its committed fans.
That core band have already gone from strength to strength with previous releases The Tales That They Tell and Smokey Joe, and are considered even stronger with the addition of such well respected guest musicians on this latest release. It has the band tipped for similar accolades and awards with We Will Rise.
The accordion and flute weave through the album adding a sea-faring feel to ‘Folky Pirates’, and an Irish lilt to ‘The Rocks Of The Burren’, with Paul Hutchinson (accordion) and Jacquelyn Hynes (flute/whistle) bringing nuance and glitter to these and other tracks across the album.
The composition skills of lead frontman and songwriter Nick Gibbs and producer come musical contributor, Lyndon Webb, are demonstrated in the subtle instrumentation behind tracks throughout the album.
It will come as no surprise to those that have followed the band over their ten-year career, that every voice and instrument form the “mighty wall of folk” that FolkLaw are famous for is apparent in title track ‘We Will Rise’. It’s an inspiring anthem with all the bands usual virtuoso performance, and even the mild-mannered mandolin and acoustic guitarist, Bewellian frontman, Martin Vogwell is let loose as the electric guitar soars across the instrumental break of the song.
The band don’t forgo their sensitivity and soul as the album moves on, with songs such as ‘Love Again’ and the ‘Last Days Of Summer’. Both are more acoustic in style. ‘Love Again’ is one of three songs penned and sung by Bryn Williams, and the ‘Last Days Of Summer’ sees the first use of Martin Vogwell’s voice in the lead vocal role.
Music press and music fans alike have become accustomed to the solid rhythm section upon which the unique FolkLaw sound is built. We Will Rise doesn’t disappoint in that area either with long time performer and contributor Jon Dowling playing bass guitar to Gaz Hunt’s percussion; the platform from which Hunt also sends his soaring backing vocals.
The bands coming of age is highlighted by the inclusion on the album of the final song, the other writing contribution of Martin Vogwell’s, ‘One Day At A Time’. Less secure bands might have left the track on the cutting room floor. FolkLaw however don’t shy away from either the topic of the song, mental health, or its stripped back nature. It’s a testament to the passion, ethics, and subject matters that mean so much to this band, that they can’t leave them unsung. It shows the confidence of the band in their music and their listeners, as they switch between thoughtful song and throw-yourself-about folk. They say after all that FolkLaw’s music is to get your feet tapping and your mind thinking.
We Will Rise is surely to become classic FolkLaw and seems likely to see the band do as the album suggests – and Rise.
The idea of holding a folk festival in Skegness in December probably raised a few eyebrows when it was first mooted. The suggestion that it should be held at Butlin’s may have caused a pursing of lips but it makes perfect economic sense. The artists have a major venue and a captive audience to add to a winter tour and the camp and its staff gets extra use and revenue. There are two main venues, both are very large and both were packed on Friday evening.
Entering the Pleasure Dome, sorry, Skyline Pavilion trying to figure out where everything was it was nice to be greeted by the harmonies of Said The Maiden on the Introducing Stage – the third open venue in the middle of the pavilion. It was nearly the end of their set, unfortunately, but we stayed to hear Kings Of The South Seas before insinuating ourselves into the Centre Stage for False Lights. Live, they are less reliant on Jim Moray’s synth wizardry and proved themselves to be an exceptionally good folk-rock band in the classic style. They may prefer to think of themselves as mould breakers but they are actually doing what some bands seem to have forgotten how. Their attempt to perform ‘How Can I Keep From Singing’ without PA was not a success, however; the natural acoustics of the room are not as good as they believed.
At an event like this you can’t hear everything so I was now faced with a decision – Eliza Carthy And The Wayward Band or Billy Bragg? The fact that we now had decent seats settled it and we stayed put for the first half of Eliza’s set. Her twelve piece band are set to be the next Bellowhead (whatever anybody says) and are more than up to the task. As well as old favourites, including a “duelling fiddles” interlude with Sam Sweeney in ‘My Boy Billy’, there was a new song, ‘Devil In The Woman’, slated for their first studio album. Bragg called, however, and we arrived for what seemed like the mellow end of his set with ‘Levi Stubbs’ Tears’ and ‘Greetings To The New Brunette’. No! Amongst the polemic he sang ‘Between The Wars’, still powerful and relevant, and ‘There Is Power In A Union’. I reflected that the latter needs some revision with the unions battered down. We may discover that there is power in unity. ‘A New England’ wrapped up his set perfectly.
CC Smugglers followed with the sort of set that only a band as youthful as them could have the energy to play but shouldn’t have the chops to pull off. They have played so many gigs since I first saw them, even ones they weren’t invited to, and have become so tight and slick. Richie Prynne prowled his stage like a circus ringmaster, never still and rarely silent, cajoling and haranguing the audience, the songs and even his band-mates like a true showman. If the idea of the last set of the night was to wind the audience down then CC Smugglers were not the right choice.
The first and last time I heard Moulettes was at very uncomfortable gig and I was looking forward to hearing them in a nice chair. Actually, the best seating for the band is a bean bag with a lava lamp, joss-sticks and a guy dishing out small squares of blotting paper. Sadly the only mind-altering substance available was a pint of Hobgoblin. This was the final gig of the Constellations tour and Moulettes were also previewing their new album, Preternatural, with songs which, for want of more specific titles, we’ll call ‘Octopus’, ‘Nematode’ and ‘Behemoth’. I love the sound of the band, I love their instrumentation and their style but I really don’t know what they are about a lot of the time. “Surreal dreamscapes” were mentioned and I guess that’s about right.
I chatted to Ruth Skipper after the set to ask her impressions of the festival. It turned out that they had only just arrived and gone straight on stage, which accounted for some of the sound man’s problems. At their simplest Moulettes can be two guitars, bass and fiddle but at various times will be added electric cello, bassoon, autoharp, some meaty drums and keyboards and a balance that’s right for the beginning of a song may be wrong by the end. I did discover that the band were looking forward to the water-slide and hearing more music later which proves that I have no future as an investigative reporter.
Next up were Magna Carta. Chris Simpson on-stage is pretty much the same as Chris Simpson off-stage – he’s a raconteur, discursive and philosophical and Doug Morter is his perfect right hand man. Chris has surrounded himself with some very fine musicians but the set felt loose and the decision to give Morter a solo of one of his own songs seems questionable. Back on the firmer ground of The Fields Of Eden things were much more sure-footed and ‘Airport Song’ was a nice encore.
The queue for Tom Robinson curled twice round the pavilion and things were clearly running late so what might have been another difficult decision was made easier and we settled in to hear Sam Carter. He opened his set with ‘Yellow Sign’, the song he began with when I first heard him, and I was shocked to realise that that was six years ago. He has grown as an artist so much. Just when we were settling into the style of his own songs he switched to ‘The Wife Of Ushers Well’, which he sings with False Lights, and ‘Rocking The Cradle’. He played a superb set which showed the power of one man and his guitar. Sam was probably the highlight of the weekend for me.
We got back just in time to catch the end of Tom Robinson’s set so I did get to sing ‘2-4-6-8 Motorway’ again before The Unthanks appeared on the Centre Stage. With the full ten-piece band on stage it’s easy to overlook the contribution of Niopha Keegan to the group but her trumpet playing was the fondant icing on several songs. The technical problems rolled on so The Demon Barbers XL were thirty-five minutes late on stage, almost taking the gloss off their excellent set which began with traditional songs and ended as a dance display featuring hip-hop, interpretative dance and a fearsomely fast rapper. It’s quite disconcerting to see a stage bare of wires, mic stands and other clutter but they needed all the space they could get. I got to bed by 2.00 am, more or less – it was a long day.
By midday the pace was beginning to tell and the queues for the afternoon sessions were noticeably lighter and some people I spoke to were planning a power nap in preference to more music. No such luxury for your man on the spot.
TradArrr were excellent. They can really rock and with Marion Fleetwood on lead they can turn in a bittersweet ballad like ‘My Laggan Love’ or ‘Silver Dagger’. Between them they boast five lead vocalists, a full string quartet, a keyboard player who frequently added unexpected flourishes and two drummers, one of whom plays cornet. There were hints of high camp as PJ Wright planted a foot on the foldback and Guy Fletcher prowled the stage hunched over his mandolin but they restrained themselves well. It was then a choice between waiting for Jacqui McShee’s Pentangle or scurrying off to catch The Band From County Hell – sorry Jacqui.
The Band From County Hell are a Scots/Irish group from Lincolnshire and are huge fun – ‘The Day My Granny Died’ is a song everybody should hear at least once. They have been around for a quite a while, with six albums to their credit and it seems odd that they aren’t better known – although they don’t lack for support. The first notes played by Blazin’ Fiddles were on keyboard and guitar which is, I’m sure, their little joke. It’s not logical to find them restful but they are so tight and their music is so hypnotic. I promise that I didn’t nod off but I was definitely on a different plane of existence for a lot of their excellent set.
I returned to the Introduction Stage to hear Chris Cleverley whose debut album, Apparitions, I really like. His set, mixing traditional songs and his own compositions didn’t disappoint and he’s already working in new songs including ‘All I Want’ which will send me back to Joni Mitchell’s Blue as soon as time allows. I stayed for Polly And The Billets Doux, who won the day’s vote for a main stage slot next year, and The Black Feathers, who really needed a more sympathetic environment.
The Ric Sanders’ Trio have finally come out as a fun band with their new album and set of old blues, string band and swing numbers. It might be called the Vo Fletcher Trio since it is his guitar that forms the foundation and his voice that sings the songs but when the singing stops it is Ric’s flights of instrumental fancy that take their music to another place. The album is a lot of fun and their set reflected that. Then it was decision time again. I’d been told that Fotheringay would be playing the same set that they had toured all year “only better”. That was true but I missed the excitement of the earlier gigs when the band were still finding their way into, or back into, the music. Nevertheless, theirs was the set everyone wanted to hear.
Since they lost Messrs. Knight and Zorn I really wanted to hear what Steeleye Span would do. With two new musicians to induct the answer was to go back to first principles so ‘All Things Were Quite Silent’ was followed by ‘Blackleg Miner’ and ‘Weary Cutters’ was teamed with ‘New York Girls’ featuring Maddy Prior on ukulele. And they rocked. Julian Littman added a rap to ‘Boys Of Bedlam’ and Spud Sinclair played the sort of electric guitar that we haven’t heard in the band since Bob Johnson’s time. As a final touch they closed with an a capella version of Rick Kemp’s ‘Somewhere Along The Road’.
There is no getting away from the fact that playing the final set of a festival after Steeleye Span have gone off to rapturous applause is a daunting task but Folklaw threw themselves into it with energy and aplomb. Fiddler and songwriter Nick Gibbs was joined by Gaz Hunt on a minimalist drum kit, Martin Vogwell on bass and mandolin and Bryn Williams on guitar and bodhran – not to mention crossing the venue floor on the backs of chairs! They sent the crowd off exhausted but happy.
So does a December festival work once you get over the culture shock of rocking up at 5.00 pm on a Friday in the dark? This is still Skegness and with Storm Desmond blowing around us “bracing” just didn’t begin to describe it but when the wind dropped on Sunday it was mild and pleasant. The accommodation and facilities were excellent and the unsung stars of the weekend were the Butlin’s staff who were friendly and helpful and worked long hours. However, this was folk music adapting to Butlin’s not the other way round. The artists existed in a bubble of stage/backstage/ accommodation or arrived, performed and left and there were quite a few I would have liked to have spoken to so I apologise to them. A bulletin board for messages or to arrange meetings wouldn’t take much to set up and would be a big help, too. But, yes, it works and if you have considered going but not done so I can recommend it.
After releasing his debut album, Nation’s Pride, under the name Folklaw, Nick Gibbs has now put together a full band to go with that name and progress to a second CD. The line-up comprises guitarists Bryn Williams and Lyndon Webb with Gaz Hunt and, on loan from ColvinQuarmby, Marty Fitzgibbon on backing vocals and percussion. Their sound is light enough for small venues with Gibbs’ fiddle and Webb’s mandolin providing lead lines but also robust enough for festival gigs.
All bar one of the songs are by Nick and most address social concerns, sometimes on a grand scale like ‘Bethlehem’ which considers the Israel-Palestine conflict particularly in times of the fragile ‘peace’ which is the usual state of affairs. ‘Hope And Glory’ is an apology for the years of slavery and other songs consider the flooding caused by ill-planned building and the loss of horse chestnut trees to a virus which, as with sudden oak death and ash die back, we seem powerless to defeat.
As a songwriter Nick wears his heart on his sleeve and his more personal songs like ‘Gypsy Rain’ and ‘Seeds Of Freedom’ stand out from the crowd. If he has a fault, it is that occasionally he overwrites a song – you can almost see him squeezing one more thought into a lyric when perhaps its omission would improve its flow. It’s a minor point, however, and doesn’t detract from a fine album.