Show Of Hands announce new album

Show Of Hands

With its arresting cover of a felled marionette, Battlefield Dance Floor is the 18th studio album from one of the most prized acts on the folk roots circuit.

Show of Hands’ first key release in more than three years, the 13-track album brings eight keenly awaited new songs (and a co-write) from the pen of Steve Knightley, widely acknowledged as one of the country’s most inspired and original songwriters.

Phil Beer is the ‘master decorator’ of the songs – a brilliant, consummate multi-instrumentalist while long term third member Miranda Sykes is back on board with her eloquent double bass and vocals after her sabbatical   – and Cormac Byrne and his feted percussion skills (witnessed on last autumn’s UK tour) bring a vibrant fresh dimension to the party.

Rolling Stones collaborator Matt Clifford adds his keyboard skills to some tracks and an impromptu collective known as The Bridge Hill Shanty Men are the icing on the cake, weighing in with rousing choruses.

Possibly their most commercial release to date, Battlefield Dance Floor is an exuberant, lush, full-blooded album co-produced by the in-demand Mark Tucker and Knightley – Show of Hands’ first release since 2016’s The Long Way Home.

An album of broad brushstrokes, it mixes songs of despair and displacement, emphatic songs, tongue-in-cheek songs, poignant songs and carefully chosen covers into a classic Show of Hands package with wide appeal.

Knightley is a highly talented songwriter who has a great knack in addressing serious and pertinent issues with really catchy lyrics. Top class performances are guaranteed wherever they play” – Songlines

It bursts straight in with Knightley’s ‘Lost’a slickly produced, multi-layered and poetic opener – on the surface a number inspired by the story of doomed Devon sailor Donald Crowhurst who died while competing in the 1968 single-handed, round the world Golden Globe Race –but with a deeper theme summed up by Knightley as “a maritime-themed song about masculine despair.”

Catching the listener unawares the mood swerves abruptly to the upbeat, jaunty, genre-hopping title track as Bhangra meets Morris, a seed sown by Show of Hands’ recent close encounters with Johnny Kalsi’s The Dhol Foundation.

Politics and history graduate Knightley name checks some of the greats in history (Wellington, Drake, Churchill, Monty) in this savvy song of eve-of-battle drunkenness with its catchy rugby chant style chorus. Juxtaposing battle readiness with pre-battle abandon it travels through time from the Battle of Agincourt to D-Day and is littered with clever lyrics: “It’s a ballet not a battle/A salsa not a siege” and its ‘Tomorrow it’s a battlefield/tonight it is a dance floor” refrain.

A trademark Knightley song is shaped in the sublime ‘Just Enough To Lose’ – a poignant tale of failing love delivered by his distinctive voice. “It was just between the sowing and the reaping /You told me our crop was bound to fail’, the regret underlined by Beer’s beautifully judged fiddle and Clifford’s keyboards.

Some years ago Show of Hands joined forces with exiled Chilean musicians to form the band Alianza so the theme of displacement is one well known to them and here it is explored in the Knightley-Johnny Kalsi co-write ‘Mother Tongue’, a stand-out track on the album penned soon after the 2016 Brexit referendum. The atmosphere-charged song is given a haunting, spiritual edge by the enigmatic chanting of British-Asian performer Shahid Khan.

There are songs with a lighter touch – the percussive, tongue in cheek ‘Cornish reggae’ of ‘Dreckley’, the tale of a Home Counties relationship threatened by the lure of the West Country replete with pasties and Poldark! It even includes a nod to The Great British Scone Debate – clotted cream or jam first on your Devonshire scone?!

Sykes takes lead vocal on the wry Knightley original ‘Make The Right Noises’, a cynical look at how we fake concern and enthusiasm because we think we should – concluding that ‘of the virtues sincerity is the most underrated’.

It’s over to Beer to take centre stage on a cover of Richard Shindell’s ‘Next Best Western’ – a gem of a road song which suits his voice – and flawless guitar work– perfectly while he also takes the microphone to deliver ‘My True Love’ – a gentle ballad written by Dubliner Adrian Mannering who Steve and Phil encountered on the Brighton folk scene back in their 20s.

‘You’ll Get By’ is a song of hope and reassurance for the older generation facing the array of life’s ups and downs (not just the province of the young!) and drums roll as ‘Swift And Bold’ marches in. A Knightley song written for 6 Rifles Infantry Regiment at a special celebratory concert at their Exeter HQ – at which to his surprise he was made an Honorary Rifleman – brings the battlefield back into view, with the Bridge Hill Shanty Men in full flow. Named after the regimental motto it’s a song which Steve was proud to write.

He says: “Being awarded the title of Honorary Rifleman meant I joined my grandfather and step brother in re-establishing a close relationship with the regiment.”

Steve also revisits a haunting song he first sang on Kirsty Merryn’s debut album She And I.

Merryn’s spellbinding ‘Forfarshire’ tells of lighthouse keeper’s daughter Grace Darling and her father William and Grace’s heroic rescue of shipwrecked mariners. In this version Steve is joined by Miranda and Gerry Diver, who produced Kirsty’s 2017 release. A useful man to know Gerry also plays myriad instruments on the track – mandolin, piano, fiddle, bass guitar, tenor guitar and percussion.

The album ends with ‘No Secrets’, released as a single to coincide with Show of Hands’ incredible fifth sell out of the Royal Albert Hall in 2017, celebrating 25 years of this unique band. Upbeat and breezy Steve describes it as a distillation of some sage advice given to a fellow folky on his wedding eve.

A classy cornucopia, it’s an album that successfully melds vintage Show of Hands and brand new material, infusing influences old and new and this time – as a four strong band – with even greater depth and panache.

Says Steve: “With the heartbeat and harmonies that Cormac and Miranda add, we are at last creating a sound we’ve dreamed of making for twenty five years!”

The music is sharp and the armoury is strong. Battlefield Dance Floor reinvigorates Show of Hands’ unshakeable position at the front line of folk.

Show of Hands will showcase songs from Battlefield Dance Floor on a 22-date autumn-winter tour of England and Wales (October 30-December 7). The album will be officially released on September 27, 2019 under licence to Proper Music Publishing and will be distributed by Proper Records.

Steve Knightley has said “Show of Hands is still a duo consisting of Steve and Phil. Miranda and Cormac have solo careers in their own right and whenever they join us they are always name checked as such! We are absolutely delighted to have them on board for this year’s Autumn tour and next year’s festival season.”

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Artists’ website: www.showofhands.co.uk

Tour Dates

Wednesday 30 October   Beehive, Honiton   01404 384050

Thursday 31 October   Royal Hall, Harrogate   01423 502116

Friday 1 November   Cast, Doncaster   01302 303959

Saturday 2 November Gala Theatre, Durham   03000 266600

Thursday 7 November Brangwyn Hall, Swansea  01792 475715

Friday 8 November   Bath Forum, Bath   0844 888 9991

Saturday 9 November Westlands, Yeovil   01935 422884

Wednesday 13 November  Theatre Severn, Shrewsbury
01743 281281

Thursday 14 November   Epic Studios   01603 727727

Friday 15 November   Dorking Halls, Surrey   01306 881717

Saturday 16 November  City Hall, Salisbury   01722 434434

Wednesday 20 November    New Theatre Royal, Portsmouth
023 9264 9000

Thursday 21 November   Alban Arena, St Albans  01727 844488

Friday 22 November   Union Chapel, London

Saturday 23 November   De La Warr   Pavilion, Bexhill On Sea
01424 229111

Sunday 24 November  Aylesbury Waterside Theatre  0844 8717607

Wednesday 27 November   Birmingham Town Hall  0121 780 3333

Thursday 28 November   Cheltenham Town Hall  0844 5762210

Friday 29 November   Engine Shed, Lincoln   0871 220 0260

Saturday 30 November   Leicester Haymarket Theatre 0116 2961236

Friday 6 December    Exmouth Pavilion, Devon   01395 222477

Saturday 7 December   Exmouth Pavilion, Devon  01395 222477

Here is one from the folking Archive from 2007 – one of Show of Hands oldest songs, ‘Tall Ships’ joined with ‘Adieu Sweet Lovely Nancy’ and ‘The Falmouth Packet’ to make the ‘Tall Ships Medley’.

20 years of Baring-Gould Weekend

Baring-Gould Weekend
Marilyn Tucker, Peggy Seeger, Paul Wilson

Baring-Gould Weekend
25-27 October 2019
Okehampton, Devon

It has attracted and inspired some of the biggest names in traditional folk music, and, in October, the Baring-Gould Weekend celebrates its 20th year.

Today, the folk festival takes place at venues in the Dartmoor town of Okehampton in West Devon, but for the first few years, it was held in the nearby rural villages of Lewdown and Bratton Clovelly. An odd setting for a musical festival, perhaps, but one that made perfect sense.

The Baring-Gould Folk Festival – as it was then called – was named in honour of the prolific song collector from Dartmoor, the Rev Sabine Baring-Gould. The squire and parson from Lewtrenchard (1834-1924) spent many years in the latter part of the 19th century, travelling around Devon and Cornwall, collecting traditional folk songs directly from the voices of the people who sang them.

The volume of his song collection wasn’t realised until the founders of Devon-based music and education charity, Wren Music, started to do some digging. By the time they’d reached the end of their search, Paul Wilson and Marilyn Tucker had discovered almost 1,000 songs.

The collection forms a significant part of The Full English – a national collection of traditional songs managed by the English Folk Dance and Song Society. And, says Paul:

“In terms of the melodies, it’s the most beautiful of all the song collections in England. Baring-Gould saved them, and we found them.”

Which all goes to explain why, when Wren were asked to organise a folk festival, they decided to stage it in Baring-Gould’s parish. Among the performers at that first Baring-Gould Festival in 1999 were folk grandees, Martin Carthy & Norma Waterson, Anita Best, Cyril Tawney and Newfoundland folk singer Jim Payne.

Twenty years on, and the event has evolved into the Baring-Gould Folk Weekend & Song School. The 20th anniversary event takes place at locations in Okehampton on 25-27 October, with the song school on 21-25 October.

“We quickly outgrew the villages,” said Paul. “The country lanes couldn’t cope, and neither could the pubs!”

There have been other changes along the way, too. A few years ago, the event underwent a name change to dispel any idea that it was a typical festival in a muddy field: “It’s not like any other folk festival,” said Marilyn. “Our venues offer an intimate setting so the audience is really close to the performers, and you can appear alongside the festival artists at some of the gigs.  You can sit and listen, or you can take part. And we create an orchestra and a choir over the two days that anyone can sign up to, and they get to perform at their own special concert at the weekend. It’s the spirit of the event that’s so different and unique.”

While it might not be as big as some of the UK’s other annual folk festivals, its influence in promoting traditional music and providing a stage for emerging singers can’t be over-stated. It has been the inspiration behind many of today’s brightest young folk stars, such as Sam Lee. For Sam, the Baring-Gould Folk Weekend and Song School is something of a spiritual home. He attended the song school as a student several years ago and returned as a tutor in 2014 and again in 2016.

Regulars down the years include the festival’s patron, Phil Beer, from the folk duo, Show of Hands, and legendary American folk singer-songwriter, Peggy Seeger, who is patron of Wren Music. Artists from the new folk generation who have appeared include Georgia Lewis, Lady Maisery and Jim Causley.

There’s usually a different theme to the festival each year. Last year, it featured up and coming young folk singers; this year, it has an international flavour, with the return of overseas artists who’ve appeared before with great success:  Sos Cantores from Sardinia, Dandari from Latvia, and Funi (Chris Foster and Bara Grimsdottir) from Iceland. Also lined up is Thomas McCarthy from Ireland, multi-instrumentalist Lauren Eva Ward and English folk singer James Findlay, who took the song school last year.

The school is always led by a leading personality in the world of traditional song and this year, Wren have secured Tim Van Eyken, who was one of the first to play Songman in the stage production of War Horse. After years of acting in theatre and on TV, Tim is returning to his roots as a folk singer.

“The reason the festival is going stronger than ever is because folk music is now so huge”, said Marilyn. “There’s been a folk explosion in the past few years. When we started the festival, you couldn’t find a folk club anywhere. Now they’re everywhere. And we’ve got people like Jim Causley and Sam Lee bringing it to a big new audience.

“I think traditional English folk music is in safe hands. And the Baring-Gould Weekend is playing its part in the revival.”

A Baring-Gould weekend ticket is £50, with a 4-for-3 offer. Visit the Wren Music website to book tickets and for details of all the performances and individual concert prices. www.wrenmusic.co.uk

DARIA KULESH – Earthly Delights (own label)

Earthly DelightsDaria Kulesh is a very highly-rated performer in the hallowed virtual halls of Folking.com, so I count myself as rather lucky to have got a review copy of her forthcoming CD Earthly Delights, due for release on May 31st 2019. Once again, she is supported by an impressive selection of musicians. As well as many names already familiar from her previous CDs and/or live performances (all reputable musos in their own right, of course), three tracks also feature characteristically fine fiddle from the Phil Beer (tracks 4 and 9) and Tom Kitching (track 1). Most of the production is expertly handled by Jason Emberton, who also contributes much of the accompaniment.

As you’d expect, there are several songs here that derive from Daria’s Russian and Ingush heritage and her knowledge of Slavic folklore, but this time she’s cast her nets a little wider, without compromising her ability to tell a story in song.

Here’s the track listing.

  1. Daria’s lyrics to ‘Golden Apples’, with music by Igor Devlikamov, are based on a Russian folk tale concerning the Firebird, though not the story that forms the basis of Stravinsky’s ballet. An exhilarating start to the album.
  2. ‘Quiet Joys Of Brotherhood’ is Richard Farina’s lyric to the tune better known as ‘My Lagan Love’, a glorious melody collected by Herbert Hughes in Donegal in the early 20th A sensitive reading with restrained instrumental and vocal accompaniment, rather than the full-on harmonies of Sandy Denny’s version. Closer, perhaps, to the gentle orchestration of the version recorded by Mimi Farina after Richard’s death, though Daria’s vocals are more animated and accurate in pitch. (I still love Mimi’s version, though.)
  3. ‘Shame Or Glory’ is by Daria, and makes the very valid point that a McGonagall or Florence Foster Jenkins has the same drive to create and succeed that characterize more “successful” creators, and we should respect that. The arrangement has a sort of Kurt Weill/cabaret feel that I find very appealing. I like the interplay between Jonny Dyer’s guitar and Marina Osman’s piano, too.
  4. ‘Earthly Delights’ is another of Daria’s own songs. One of the ‘delights’ of Daria’s songs for me is the way that a line will sometimes spark an unexpected association, like the echo of ‘The Two Magicians’ in ‘The Panther’, from her last CD. In this case, it’s the line “Strange fruit in the garden of earthly delights“. The subject matter is far removed from Meeropol’s protest against lynchings, being more about the message that “If seeking pleasure and following your heart doesn’t hurt, subjugate or break others…then perhaps it’s a natural way to be…?” Yet there’s something very apposite about the last verse here: “Oppressed and oppressor…One person’s wrongs are another one’s rights.” An accomplished performance of a delightful folky tune with stunning fiddle from Phil Beer.
  5. There are many Slavic folk tales about rusalki (water spirits), often translated into literature and music – Dvořák’s opera is a particular favourite of mine. Daria’s ‘Rusalka’, however, is based on a short poem of 1819 by Pushkin, as translated by John Farndon and adapted and shortened by Daria, who has set it to music. Its presentation in this slightly condensed form does it no harm at all.
  6. Daria’s ‘Vasilisa’, previously released as a single, draws its theme from a Russian fairy tale in which the heroine encounters the supernatural Baba Yaga. While the story to some extent resembles the Cinderella story, Vasilisa seems morally more ambiguous. Oddly enough, the modality of the melody makes it a highly suitable companion piece to ‘Quiet Joys Of Brotherhood’, though the instrumentation has a decidedly Asian feel.
  7. ‘Morozko’ is another of Daria’s retellings in music of a Russian folk tale, with accompaniment that stresses its Eastern European origins.
  8. ‘Cap And Bells’ is an effective setting by Joseph Sobol of a poem of W.B. Yeats, from Sobol’s theatrical cycle In The Deep Heart’s Core: A Mystic Cabaret, with most of the accompaniment carried by Marina Osman’s piano.
  9. An unexpected inclusion is Percy French’s ‘Pride Of Petravore’. I have to admit that Daria makes the best of its tortuous Irishisms, though.
  10. Daria’s ‘Made Of Light’ is, in more than one sense, a lighter song, almost a ballad, augmented by Jonny Dyer’s expressive trumpet. Lovely.
  11. ‘Greedy King’ sets Daria’s lyric to a tune by the multi-talented Jonny Dyer, and melds a Soviet joke and the story of the Wise Men of Gotham into a telling commentary on the sad state of today’s world (not to mention yesterday’s!). The lyric may sound like a counsel of despair, but musically it offers a suitably upbeat finale.

Where Long Lost Home can be seen as a very personal journey into Daria’s own family history and heritage, Earthly Delights draws on a wider range of source material that still comes over as essentially Daria: some beautiful melodies, fascinating lyrics, all exquisitely sung and adventurously arranged. If you’re not familiar with her work, this is a good place to start.

The CD will be launched at Dunton Folk on 1st June 2019.

David Harley

Artist’s website: www.daria-kulesh.co.uk

‘Golden Apples’ – official video:

ODETTE MICHELL – The Wildest Rose (Own Label)

The Wildest RoseAs previously mentioned on Folking.com, Odette Michell is following up her well-received debut EP from 2018 (By Way Of Night) with a full-length album called The Wildest Rose. The new CD will be launched at TwickFolk, held in the Cabbage Patch in Twickenham, on April 14th 2019, and is due for release on the 26th April. The launch will feature special guests Richard Lee & Phil Beer which gives you some idea of the regard in which she’s held among her fellow musicians. Talking of which, Odette’s vocals, guitar and bouzouki are more than ably supported here by Phil Beer on fiddle and backing vocals (tracks 1, 3 and 10), Stu Hanna on a variety of instruments (especially violin) and backing vocals on most tracks, and Toby Shaer on fiddle and whistle (tracks 2, 7 and 8).

Here’s the track list.

  1. If the sleeve didn’t tell me that ‘The Wildest Rose’ was written by Odette, I’d have assumed it was a traditional song I hadn’t met before: not only because of the cast of the lyrics – it seems to be a trademark of hers to write lyrics that are strongly influenced by traditional forms – but because of the shape of the very strong melody which has more than a hint of Irish. Some fine fiddling (of course) from Phil Beer here.
  2. ‘The Banks Of Annalee’ is also along traditional lines lyrically but a little more contemporary in presentation, with very striking vocal multi-tracking on the chorus, and nice doubling up between the fiddle and whistle.
  3. ‘Rolling Shores Of England’ is a nostalgic song that benefits from vocal harmony from Phil Beer.
  4. The title of ‘Bless The Ground You Grow On’ kind of speaks for itself. The vocal harmonies (which reminded me a little of Alison Krauss) and mandolin are particularly effective here.
  5. It would be a trifle perverse to make a song featuring the ‘Great Old Northern Line’ sound very traditional, I guess, and in fact this one leans a little (not too much!) towards country, but as ever, it has a very strong chorus that I could well imagine being popular in sessions. Very striking lyrics: it’s a pity there’s no lyric sheet with the CD. I almost catch myself being nostalgic for the 25 years I spent commuting on the Tube.
  6. ‘True Lovers Farewell’ is a very classy minor-key version of a song sometimes known as ‘Fare Thee Well’ or ‘Ten Thousand Miles’ or even ‘The Turtle Dove’ (under which title it was arranged by Vaughan Williams, though this is a very different reading). Beautifully sung with very tasteful guitar harmonies.
  7. ‘I Once Loved A Shepherd’ starts with striking double-tracked whistle before moving into a very accomplished story-song, though the tune is a little reminiscent of Joni Mitchell’s ‘Urge For Going’ in the chorus.
  8. There are many broadside ballads about the Gunpowder Plot, but ‘Light Up London Town’ takes a more contemporary approach, and yes, includes a strong chorus.
  9. ‘Dance Me Through The Night’ is perhaps the most ‘modern’ song here, but still fits very well in delivery and instrumentation with the rest of the CD.
  10. ‘The Eastern Seas’ could easily pass as an Irish air, and a good one at that. A lovely finish to the CD.

All in all, this is a fine collection of excellent melodies, beautifully sung and played, most of which give a nod lyrically and or melodically to UK traditional forms without straying too far into pastiche, and are notable for their irresistible choruses.

David Harley

Artist’s website: www.odettemichell.com

‘The Banks Of Annalee’ – live:

Odette Michell announces debut album

Odette Michell
Photograph by David Sell

The Wildest Rose is the enchanting debut album from Hertfordshire based folk singer-songwriter Odette Michell.

The album follows on the heels of Odette’s 2018 debut EP By Way of Night, which itself showcased a bold and emerging talent within the British folk and acoustic music scene. The EP garnered high praise and gained Odette her first national and international radio plays across the early part of 2018.   

 “…’By Way Of Night’ demonstrates a freshness and vitality enduring in English folk … it also presents a talent that English folk should not ignore”  – FolkWords, May 2018

When it came to her first full length studio album, Odette chose wisely by teaming up with acclaimed producer Stu Hanna (also one-half of the award winning folk duo Megson) and soon after released her first single; Bless The Ground You Grow’ – a “taster” for the forthcoming album – and an exciting glimpse of the shape of things to come. The single led to an exclusive premiere on Folk Radio UK and was accompanied by a stunning music video filmed on location at the legendary Chalk Horse in Oxfordshire.

Featuring on the album are exciting musical contributions from Phil Beer (one-half of the multi-award-winning acoustic folk band Show of Hands) who plays fiddle on the hearty opening title track as well as the evocative closing track ‘The Eastern Seas’ – and also lends his trademark vocals in sensitive accompaniment to Odette’s, in the third track ‘The Rolling Shores Of England’.

Fiddle/whistle player and man of the moment Toby Shaer (Cara Dillon, Sam Kelly & The Lost Boys) also lends his genius musical wizadry on three of the tracks – the rousing folk fairytale ‘The Banks of Annalee’, the upbeat ‘Light Up London Town’, (a song exploring the political climate behind the famous gunpowder plot of 1605) – and also the hauntingly beautiful ‘I Once Loved A Shepherd’.

Musically, the album covers a varied landscape – it pays homage to the natural landscape that surrounds us and explores our nation’s colourful history; and it visits the idiosyncrasies of human experience whilst veering playfully into the all but lost art of storytelling.

The Wildest Rose is a compelling, highly impressive debut that both soars and soothes, whilst effortlessly breathing fresh new life into the rich acoustic tradition that the songs themselves emerged from.

Artist’s website: https://www.odettemichell.com/

There will be an exclusive Album Launch for The Wildest Rose on Sun 14th April at 7.45pm at Twickfolk at The Cabbage Patch in Twickenham, London. Odette will be joined by special guests Phil Beer and Richard Lee.

‘Bless The Ground You Grow On’ – official video:

SHERBURN – BARTLEY – SANDERS – be.guile (own label SBS001)

be.guileIf like me, you tend to dig out the old Last Night’s Fun CD’s and wonder what would have happened if Nick Scott had been woven into a Fairy Queen folk tale, whilst being held in the arms of Chris Sherburn and turned three times into a snake, a lion and finally a suitably clothed, rather attractive and talented female fiddle playing singer in black leggings and floral dress, then you are in for a treat!

LNF always gave you a great night out, got you lost in those beautiful meandering tales such as ‘The Tinkerman’s Daughter’ and played raucous sets at the speed of a stream train. You always looked forward to Chris introducing the songs which would usually involve something Nick Scott related. From a scrapheap challenge reference as Nick assembled his pipes before a tune to Chris inviting the ladies in the audience to take Nick out on a date. In fact, the way Sherburn held the audience with his unique blend of impromptu observational banter made them much loved by festival audiences far and wide.

After the band split, Chris Sherburn and Denny Bartley did a few festival and gig appearances as a duo and recorded a CD but it always left me wondering if another trio project was ever going to be on the cards again and if so, who it was going to be with.

Well even a pair of rough old diamonds like Chris and Denny sometimes need smoothing out and polishing up a little and what better way of buffing them up than introducing the lovely and talented Emily Sanders on vocals, fiddle and viola to the fold.

It’s really thanks to Terry Oliver that this project ever came together at all. It happened back in 2016 when the new trio played a Thursday afternoon concert at the Whitby Folk Festival and it was Terry’s suggestion that they record a CD.

be.guile is a fine record, it keeps that tried and tested Sherburn – Bartley formula of vocal, guitar and Wheatsone concertina and marries it together with Emily’s lead/ vocal harmonies and fiddle. The album also has some great guests, Andy Seward, Martin Simpson and Chris Miley together with Phil Beer in control of mastering.

The track selection and placing also works really well and is listed as follows:

  1. William Taylor (feat. Andy Seward on Double Bass).
  2. Next Market Day.
  3. Sammy’s Bar.
  4. Seven Curses (Feat. Martin Simpson on Slide Guitar).
  5. Adieu Lovely Nancy.
  6. New Railroad (Feat. Martin Simpson on Slide Guitar and Andy Seward on Double Bass).
  7. The Tinkerman’s Daughter/ The Holly Bush (Andy Seward on Double Bass).
  8. Bright Blue Rose.
  9. Bantry Girtls Lament/ Bulgarian Red/The Fisherman’s Lilt (feat. Chris Miley on Snare Drum).

Like the definition, the album sets out to charm and enchant, it may deceive you in to thinking about Last Night’s Fun but its actually a new day, spent in pleasant company.

Darren Beech

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

Here is a performance from 2017 of Emily singing ‘Adieu Sweet Lovely Nancy’ from the Downend Folk Club