Steve Harley & Cockney Rebel and Los Pacaminos featuring Paul Young, are among the star names being added to next year’s Gate To Southwell Festival in rural Nottinghamshire (June 6th to 9th). Joining an already eclectic international line-up that includes Sam Kelly & The Lost Boys, Skipinnish, Nancy Kerr, Blue Rose Code, Gordie MacKeeman & His Rhythm Boys and many more brilliant folk roots and acoustic music artists, Los Pacaminos and Steve Harley will headline the festival on Thursday and Friday respectively.
Paul Young, one of the UK’s best-loved vocalists (‘Wherever I Lay My Hat’, ‘Love Of The Common People’, ‘Every Time You Go Away’) has been the charismatic front-man and guitarist of the highly-entertaining Tex-Mex show band Los Pacaminos since 1993: “It’s real bar room stuff: foot stompers, not too many slow songs – a real party atmosphere”. Steve Harley – famous for worldwide hits such as ‘Judy Teen’, ‘Mr Soft’, ‘Sebastian’ and ‘Make Me Smile (Come Up And See Me)’ – has been performing for almost 50 years, producing a series of great albums such as Cockney Rebel’s The Human Menagerie and The Psychomodo. ‘Make Me Smile (Come Up And See Me)’ was a global Number One in 1975. Both artists will be playing Southwell for the first time.
The increasingly-popular four day music festival at Southwell Racecourse will welcome back folk singer and activist Grace Petrie, California blues rocker Joshua Cook, trad supergroup The Tweed Project, the bluegrass-meets-country-soul-meets-punk sounds of Louisiana’s Truckstop Honeymoon, and the multi-instrumental virtuosity of Ranagri. Plus BBC Young Folk Award winners Josie Duncan & Pablo Lafuente, fantastic dance band Blackbeard’s Tea Party, famous punk veterans Otway & Barrett, Nottingham’s own gypsy jazz hot clubbers Maniere Des Bohemiens, world-fusion crowd favourites The Activators, the highly-acclaimed Bird In The Belly folk collective, the rich harmonies of Norwich’s Alden Patterson & Dashwood and the sweetly addictive songs of pop rockers Morrissey & Marshall.
In the great Southwell tradition of celebratory events such as Dylan@75 and the Summer Of Love, there’ll be a Woodstock@50 concert on the Saturday afternoon followed by Sunjay’s Tribute To Buddy Holly on the Sunday. Plus there’s a special Continental event featuring diverse European acts such as brilliant Spanish Basque folk dance band Korrontzi, the beautiful Dutch harmonies of SYA (Suddenly Years Align) and French-born festival favourite Flossie Malavialle.
Alongside all this there’ll be a family-friendly, something-for-everyone mix of pub gigs, ceilidhs, fine food stalls, dance displays, music workshops, beer and cider festivals and top class children’s entertainment (including the return of genius juggler Dan The Hat).
Bargain priced Tier One tickets are now on sale from www.gtsf.uk. Plan ahead for summer 2019 and grab yourself a New Year bargain.
Welcome to the 2018 Folking Awards and thank you again to everyone who participated last year. The nominations, in eight categories, come from our ever-expanding team of writers and were wrangled into shape with considered argument and arm-wrestling by the Folkmeister and the Editor.
There are five nominees in each category, all of whom have impressed our writers during 2017.
As with the format last year, all are winners in our eyes, as are quite a few who didn’t make the short list. However, it’s not just down to what we think, so again, there will be a public vote to decide the overall winner of each category.
*The Public Vote for each category will close at 9.00pm on Sunday 1st April (GMT+1).
Soloist Of The Year
Battling snow and ice on tour for the past week has clearly taken a toll on this group of musicians (amongst many others no doubt), but that won’t stop them putting on a storming show this evening.
Support act, Honey And The Bear (aka Jon Hart & Lucy Sampson) deliver a half-hour set of earwormy, catchy songs, culminating in ‘William’ from their 2016 EP, About Time Too and the galloping, riffling ‘Wristburner’. Their slightly low-key stage presence belies their lively, well-crafted and perfectly performed music. And it turns out that there’s so much more to this versatile duo: manning the merch stall, driving the van and even providing the evening’s sound tech. Headliners, book them now, while you can.
A short while later, the seven-piece line-up of Sam Kelly & The Lost Boys fills the stage as percussionist Evan Carson sets a grinding groove for the first song, ‘Hickathrift’, the tale of a legendary Norfolk giant-killer.
With so many big, sing-along tunes on both the band’s albums to date, from ‘The Golden Vanity’ via the deceptively jolly ‘Angeline The Baker’, the call-and-response of ‘The Keeper’ or the barrelling ‘Jolly Waggoners’, featuring a frenzied banjo part from Jamie Francis, it’s blindingly obvious why this band is such a festival success.
Then there’s the dry, irreverent and often charmingly unfiltered humour that allows them to respect what they do without being in thrall to it. If you’re after reverential folk that won’t poke fun at the often ludicrous and/or plain old sexist scenarios of some songs, this might not be the band for you. If you want a solid, tight set of superb musicians who know how to have a good time, then they’re a must-see.
Still, it’s not all wall-to-wall party. The well-paced set contains many quieter moments, such as the tender rendition of ‘If I Were A Blackbird’, and Cornish ballad ‘Grwello Glaw’ (‘Let It Rain’). Originating from Kelly’s time with The Changing Room, it’s an appropriate choice for a St Piran’s Day gig. (Also, we’re told, it will be the first dance the band plays for Hart and Sampson’s wedding in June. Altogether now: aaahhh!).
A rather different sound comes with ‘The Shiny Ship’, an effect-laden track from the Pretty Peggy album that has been reworked for the live environment. Carson’s shimmering cymbals and hard rapping drum offset Graham Coe’s shoulder-slung, psychedelic, droning cello to create an atmosphere of moody mystery.
For the family members present in the audience, Kelly dedicates a cover of Dire Straits’ ‘Sultans Of Swing’ which starts leisurely before building into a floorshaker. Finishing with Archie Moss’s melodeon leading the mischievous cross-dressing tale, ‘The Close Shave’ and buffered by tunes from Ciaran Algar and Toby Shaer, the set ends on a whirling high.
As the audience erupts in appreciation, the band returns in typically self-deprecating fashion. “The dressing room was locked” deadpans Algar. Meanwhile, there are two clear contenders for an encore among the crowd. Carson holds a vote, defying Algar’s sardonic, “This is not a democracy”. 48% want ‘The Chain’, but 52% are pro ‘Greenland Whale’, so there it is. Luckily, this is one vote that doesn’t cause deep or lasting division, as we all sing happily together before going our separate ways home.
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Based in Bristol, but born in Norfolk, Kelly stakes a claim for a Best Album nomination in next year’s Radio 2 Folk Awards to add to this year’s Horizon win. Backed by his six-piece live band, comprising Jamie Francis on banjo, fiddler/guitarist Ciaran Algar, percussionist Evan Carson, Graham Coe on cello with Toby Shaer and Archie Churchill-Moss providing woodwind and melodeon, respectively, Pretty Peggy their first album together, also features contributions from folk stalwarts Cara Dillon, Damien O’Kane, Mike McGoldrick and Geoff Lakeman.
Save for three numbers, all the material is traditional, refashioned and refurbished, opening with a rousing haul away tempo take of the whaling shanty ‘Greenland Whale’ that can’t help but bring Seth Lakeman to mind. Dillon and McGoldrick’s Uillean pipes complement ‘Bonnie Lass Of Fyvie’, the pretty Peggy-o of the title, a jaunty Celtic-hued version that successfully avoids sounding like any of the many previous recordings.
A tale of lost childhood love regret, the equally lively, thigh-slapping, fiddle-driven ‘Angeline The Baker’ has Appalachian roots and then comes the first of the original numbers, ‘When The Rievers Call’, a Jamie Francis song about the raids on the Scottish borders during the middle ages featuring, unsurprisingly, some fiery banjo work and again recalling that Seth Lakeman sound.
Returning to the traditional repertoire and featuring O’Kane on electric tenor guitar with a melodeon solo, ‘If I Were A Blackbird’ is a lovely, lilting and gently ripping take on the Irish love song, reversing the lyric’s genders and set to a tune based around Chris Wood’s ‘Ville De Quebec’. This is followed by the darkly menacing ‘The Shining Ship’, a suitably spooked and nervy six minute tale, sung in low, at times whispery tones with swirling sonics, of a woman lured aboard a ghost ship by her long lost lover and based on the 17th century Scottish ballad ‘Demon Lover’.
Featuring himself on piano and Shaer on fiddle, the only Kelly original is ‘Chasing Shadows’, another lively tune about understanding that “the deepest dark comes just before the dawn”, and one of the more contemporary sounding tracks. Then comes the comic relief, ‘The Close Shave’ being New Zealand singer Bob Bickerton’s variation of the traditional romp, ‘Barrack Street’, about a gold miner relieved of his treasure by a man posing as a woman.
The obligatory instrumental track comes with ‘Shy Guy’s Serve’, a jaunty fiddle medley of Shaer’s ‘Josh’s Slip’ and Algar’s ‘Rookery Lane’, before they dig into the more obscure pages of the Dylan songbook and turn up the volume for ‘Crash On The Levee’, a punchy and driving version of ‘Down In The Flood’ off The Basement Tapes. The penultimate number is another traditional English folk song, drums, fiddles and flutes pumping along sexually euphemistic ‘The Keeper’ with its call and response derry derry down chorus, the album ending with the intitially subdued but gradually gatheringly strident strains of The Rose, Kelly’s translation of the French song ‘Le Beau Rosier’, originally by Belgian outfit Naragonia with whom he played mandolin last year.
Having practised his art as a youngster singing to the family’s cows, in 2012 Kelly was a finalist for Britain’s Got Talent (the one won by Pudsey), at which time he said “I don’t want to make a mediocre album of covers just to sell as many as possible on the back of BGT…musical integrity is really important to me.” He’s clearly lived up to his words.
Paul Johnson and Darren Beech caught up with Sam backstage at Cropredy 2018. It was the last interview of the weekend and a lot of fun! Have a listen below:
If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the SAM KELLY & THE LOST BOYS – Pretty Peggy link to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.
Pretty Peggy, the much-anticipated second album from Sam Kelly and the Lost Boys is released on 6th October, so Folking.com caught up with Sam, freshly arrived back at home in Cornwall, to find out more.
“I’ve not been back for about two months”, Sam admits, as The Lost Boys have busy been cementing their award-winning position as a firm festival crowd favourite, gigging every weekend over the summer.
“We’re having loads of fun doing it and having a great time and I think that comes across in the live shows”, says Sam, conceding that it’s not necessarily the healthiest of lifestyles and he’s “always one of the last to quit and go to bed”.
Still, it must be nice to get home and recharge, sit around in your pants, catch a bit of rubbish tv, maybe read a book or play a video game? Well, yes. Except that what was meant to be a brief respite before the album launch will, for Sam, revolve around moving house instead. So much for relaxing. Fortunately, though, Sam sounds as though he’s taking this, and everything else, pretty much in his stride.
Remarkably, it’s already two years since The Lost Boys’ debut album was released. Although an acclaimed album, in retrospect it seems that the band was still finding its feet.
“With the first album it was obvious that we were going to call it The Lost Boys as an introduction to the band.
“I always wanted to get a band together. I always heard songs with a full band arrangement in my head. At first we couldn’t afford to do other than a trio: we could all go in one car – nice and easy! There was always going to be a full band when I could afford it – and when I met the right musicians. I wanted it to be collaborative, not a ‘backing band’”.
Looking back, Sam reflects on the less-than-ideal recording conditions. A piecemeal affair, fitting around the band members’ day jobs and wherever they could set up their equipment, it involved such unglamorous distractions as having to wait for Gatwick planes to pass overhead between takes.
“With the first album, there was no other way of doing it. We were all working full-time. It broke the immersion in the process.
“I was pleased [with the album], but it felt quite rushed compared to this album, and the EP we did at around that same time, Spokes. Listening back, Spokes better represented the band’s sound. I would change lots in terms of the nitty gritty – mixes – and, also, some of the songs didn’t quite reach their potential, as they’d been in my head. It’s all part of the learning process”.
Additionally, as the album was effectively a calling card to attract bookings, it tried to capture something like the band’s live sound, leaving little room for studio ingenuity.
When it came to recording Pretty Peggy, however, the band opted for a dedicated period of studio time, staying there full-time so that they could all concentrate fully on it and be more experimental. Not that getting all seven band members together was a simple business.
“We only had two rehearsals with everyone together, it’s so difficult to get time. It was at Jamie’s parents’ in Cumbria – which is a hefty drive from Cornwall – so there was not much chance to get together and write. We worked on a few of the tracks while chilling at festivals. Stuff happens organically like that, but it can’t always, because you can’t always find the time”.
Just as well, then, that they have an established habit of recording demos as they go along, working on songs, thrashing out the basics of tempo and arrangement. It helps speed up the recording process, which is useful considering the expense of studio time.
“This was all recorded in Cornwall in two weeks. We all had the time booked off and knew most of the songs anyway. We sat down and allowed ourselves to be creative for a couple of weeks. The tracks are presented in a way that suits each track more. We had more time to step back and listen to what each song needed.
“Everyone has been involved in the creative process, in recording, instrumentation-wise, orchestration-wise. We lost our inhibitions of trying to do only what we can do live.
“All my favourite albums are the ones that treated the recorded format as a separate art form. On the folk scene this is perhaps done less often, but that’s ok, too: people want to capture particular kinds of sound. But if the album’s treated as a separate thing, it’s different and exciting when you see it live: it’s a different show, wondering how they are going to do that live”.
From squeaky chairs, reverse voices and a fire extinguisher, to grand piano strings plucked with a plectrum, everyone has had a hand in offering up ideas and suggestions for the final mix. The Lost Boys are keen to emphasise their collaborative efforts and have clearly had fun exploring the studio’s possibilities for “headphone moments”.
“My favourite album is Grace by Jeff Buckley. I still listen to it through studio monitors and notice little things I never noticed before. There are little “Easter eggs” buried in the mix”.
Sam, Graham Coe and Jamie Francis also produced the album, allowing them full control over their sound and their treasure hunt of Easter eggs. Sam says he would prefer an external producer – Gerry Diver’s name comes up – but opted to self-produce this time rather than risk hiring someone who wasn’t quite right, given the short timescales involved. Sam enjoys producing, though, and is proud of his production duties for The Company Of Players, whose album is due for release next year.
Working with The Changing Room’s Tanya Brittain gave Sam the inspiration and confidence to ask for musical contributions from guest artists, including Mike McGoldrick, who, following a spectacularly late-night Costa Del Folk jam session, set his fee at “50p and a can of Red Stripe”. Cara Dillon added beautiful harmonies and vocals to ‘Bonnie Lass Of Fyvie’ (the source of the album’s title) and Damien O’Kane provided hot guitar on ‘If I Were A Blackbird’. Geoff Lakeman, dropping by to hang out as the studio was close to home, ended up supplying virtuoso spoons on ‘Angeline The Baker’.
“I didn’t realise then how willing people are to play on things. I forget that these people are all in it for the love of the music. All the people I’ve met on the folk scene are so supportive of young people and of the next generation coming through. It’s very inspiring. It’s the opposite of ‘never meet your heroes’”.
All these factors lend Pretty Peggy an added richness and depth of sound. It’s a heavier, altogether meatier album than the first one, but it’s evident that ‘Chasing Shadows’, the lead single, is quite different in tone. Consciously attempting to make something with greater mainstream appeal, the band then found that the 4-and-a-half-minute track couldn’t easily be edited for airplay. But with some radio play already, it still stands every chance of opening-up The Lost Boys to a wider audience.
Rooted in personal experience, ‘Chasing Shadows’ steps away from traditional third-person storytelling songs, evoking instead a contemporary, emotional mood.
“I’m not a prolific writer, I have lots of ideas that don’t materialise into full-blooded songs. But that one just came out. I didn’t think ‘I’ll write a song for a friend’. I was just moved by what happened and wrote it. If it helps someone stop doing something silly…” Only after he said this, did we realise it was World Suicide Prevention Day, adding a topicality to Sam’s words.”
It’s that ability to combine personal, contemporary songs with traditional material and have them sit seamlessly together that Sam most admires in his favourite songwriters, such as Chris Wood, Chris Drever and Karine Polwart.
For now, as the band prepares to tour the album in November and December, with a second leg to follow early in 2018, The Lost Boys are already beginning to think ahead to the next album. They know it will take time to come to fruition and they fully intend it to be another step forward in working together as a unit.
“We have big plans for next year to get together and write a whole new album with everyone involved in that process, to see what we come up with”.
So, the band continues to evolve and, despite his protestations that he is bad at planning ahead, there are clearly plenty of longer-term ambitions bubbling in the mind of Sam Kelly. He has the confidence and assurance of one who has come a very long way in a few short, hectic years. This is a young man determined to savour every moment and treat everything as a learning opportunity.
“I’m conscious of not looking too far ahead, and enjoying the present. When I first started, I was always looking forward to the next thing, but then I realised that gigs and things were going past too fast.
“I think back to when we first started playing 20-30 minute sets at our first festivals. We were keen to prove ourselves and worked on creating dynamic sets, hoping to blow the crowds away and win the audience onto our side. Now we like to have lots of fun and play up-tempo things to get people dancing. But we’re not really trying to please anyone but ourselves.
“We have more creative freedom because we’re not trying to please anyone. We’re known in the folk scene now and are more comfortable with where we are and what we’re doing. We’ve got a licence to be more experimental and creative with the music. It has been a kind of growth and realisation process.
“There’s always going to be something else I want to do, some other goal: wanting to be the best musician you can be.
“I’ve learned to trust my own ideas more. Even if I make a mistake, it’s my mistake. I would rather make things that are maybe not as successful or popular, but I can be proud of it because it’s mine”.
Having proved his credentials in the folk world, he has nurtured the band he always wanted and achieved goals he once considered unimaginable, let alone attainable. And it feels like he’s only just getting started.
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Folk By The Oak were thrilled to announce the addition of acoustic blues legend Eric Bibb to our line-up last week, and can now confirm that instrumental folk supergroup Leveret will open the Main Stage.
There’s more news for the Acorn stage too, including a welcome return for the incredibly talented Sam Kelly, this time with The Lost Boys, plus Patch & The Giant and Fara joining the bill.
Now… while we have your attention… there’s just a few days left to get your tickets for the best price! Early bird tickets have been selling like hotcakes, but we are keeping prices at £33 per adult and £94 for the family ticket until midnight 31 January.