KATIE MELUA – Live at Methodist Central Hall, Westminster

Katie Melua and choirs
Photographs by Tony Birch

Westminster Central Hall is an impressive venue in an impressive building.  Built in 1912 the Great Central Hall has a capacity of 2,300 who sit beneath the largest self-supporting domed ceiling of its kind in Europe.  It’s a big venue that needs a big artist to fill it and Katie Melua did exactly that on December 8th  in a show that confirms she is one of the best popular singers around.  I had to check exactly how long she’s been in the public eye and was quite amazed to see that her début album Call Off The Search was released in late 2003 and there have been six more albums since.

Despite that, and the obvious loyal following she has, Katie remains a very down-to-earth performer.  There’s no big build up, no MC encouraging the audience.  Instead, as I’ve seen her do before, she quietly enters a darkened stage and starts on the first song with just her and a guitar. The audience were immediately captured, “their Katie” was back on home territory and they loved it.

Katie lets her music do the talking so there are no long stories or introductions, we didn’t get an “Hello” until after song three.  Instead we had twenty songs over two sets, and then the encores.  The show was beautifully paced with plenty of movement on the stage to break the evening up.  As well as her sole songs she had her band consisting of Tim Harries (bass),  Mark Edwards (keys), Nicky Hustinx (drums) and little brother Zurab Melua (guitar) being used in different combinations.  In addition we were also introduced to the Gori Women’s Choir from Katie’s home country of Georgia and who featured on her 2016 album In WinterThe choir consisted of fifteen members plus conductor Shalva Mosidze.  They made a wonderful contribution to the evening.

Katie MeluaWith that many people the staging had to provide a backdrop rather than completion and this was done through animations by Karni & Saul which were muted and restful.  It took me a while to get in to them but they did complement the music which was, of course, of the highest standard.  Although, as mentioned, the songs weren’t introduced most were familiar to the audience and several were greeted with applause including ‘Belfast’ from that very first album and ‘Nine Million Bicycles’.  Of course ‘Closest Thing To Crazy” made an appearance and I was half expecting a sing-a-long, but it wasn’t that kind of evening although it got a huge cheer at the end.  The audience were quite quiet, they’d come to listen, and even the one shout out was noted by Katie as being “very polite”!  Only ‘The Flood’ encouraged a slight clapping along, and that was rewarded with a smile.

In an evening of such lovely music there were some stand-outs away from the big hits.  ‘The Carol Of The Bells’ (Shchedryk) was beautifully presented with just Katie and the choir but I think it was ‘Diamonds Are Forever’; was the one that really caught me by surprise.  We’re all used to Shirley Bassey’s belting anthem to avarice but Katie turns it into a rather bittersweet song of somebody who has probably learnt the hard way that men are not to be trusted so only diamonds give the permanence she seeks.  The evening ended with a well deserved call for an encore and ‘What A Wonderful World’ was a suitable choice, greeted with a standing ovation.  It was a wonderful evening that left a very satisfied audience who will no doubt be back for more in the future.

Before finishing, there are several mentions to be made.  Support came from London based Keeva, who impressed me with her soulful voice and good presentation of her songs.  She’s somebody who is now on my watch list to see again.   Bryony October did an excellent job on sound balancing, at times, sixteen voices and five instruments none of which ever dominated.  Thanks are also due to Sue Harris at Republicmedia for her help and chasing down the photo pass, and to the staff at Central Hall who were unfailingly helpful throughout.

Tony Birch

 Artist website: http://katiemelua.com/

Katie Melua and The Gori Womens Choir – ‘Carol Of The Bells’:

TRADARRR – Further Tales Of Love! Death! And Treachery! (Hedge Of Sound HOS25)

Further TalesBetween their first and second albums Mark Jolley left has Tradarrr to be replaced by Tim Harries (more serious folk-rock credentials) and Phil Bond has moved on with his place taken by singer, fiddler and pianist Gemma Shirley. Thus Further Tales Of Love! Death! And Treachery! sees a seven-piece band plundering the English folk tradition even further.

This is straight down-the-line folk-rock – no Ralph Vaughn Williams or Oliver Goldsmith this time and individual members of the band have taken songs and done their own thing with them rather like Steeleye Span in their pomp. Some of the songs are perhaps not very well-known. Greg Cave reworks ‘The Bonny Lass Of Anglesey’ as Martin Carthy did forty years ago. ‘Dream Not Of Love’ was collected by John Clare and adapted by Cave and Guy Stevens as was ‘The Crafty Lover’. Similarly, Cave amalgamates several variants of ‘The Bailiff’s Daughter Of Islington’ and throws in a Stones’ riff for good measure.

The material that is more familiar can come as bit of a surprise. ‘Rap Her To Bank’ is now almost pretty – just don’t let the Wilson Family hear it – and if I didn’t know better I’d say that Pete Scrowther and PJ Wright didn’t really understand what the song was about but the final verse is a protest at the closure of the mines so I know that’s wrong. Instead of a song of anger at a tragedy it is here presented as something like a lament but with Mark Stevens’ cornet and Wright’s electric guitar giving it an edge. It took me a couple of plays to get into it but I think I understand what they’re doing now. Marion Fleetwood’s interpretation of ‘The Cuckoo’s Nest’ is quite sensuous – we all know that it’s about sex but it’s not always presented quite so blatantly.

‘Lowlands Of Holland’ and ‘Spencer The Rover’ are pretty faithful adaptations but the instrumental set ‘Madame Bonaparte/The Golden Eagle’ gives the rock part of the band free rein. PJ describes Further Tales Of Love! Death! And Treachery! as “still with the silly name but a serious bid, musically” – he knows that I really don’t like the band’s name – and I can’t argue with any of that.

Dai Jeffries

Artists’ website: https://www.facebook.com/tradarrr/

‘The Bonny Lass Of Anglesey’ – live rehearsal:

The Steeleye Span 45th Anniversary folking Interview

Steeleye Span 45th Anniversary Tour at G-Live

With a career that has taken in an astounding six decades, Steeleye Span is not just a legendary name in British music but also a link to the classic days of rock and folk music. Contemporaries of the likes of Led Zeppelin and Fairport Convention, they have gone on to change the face of folk music forever, taking it from small clubs and festivals into the world of chart topping albums and international tours.

Part of that incredible story has been the individuals that have contributed to the band’s history. Steeleye Span has provided a home for a long list of some of the world’s finest musicians. The current line up of Maddy Prior, Rick Kemp, Liam Genockey, Julian Littman, Pete Zorn and Jessie May Smart along with older names such as Martin Carthy, John Kirkpatrick, Tim Harries, Bob Johnson and most recently Peter Knight have all woven their heraldry into the historical fabric of the folk-rock tapestry.

Paul Johnson and I recently caught up with current band members Maddy Prior, Julian Littman, Peter Zorn and  Jessie May Smart during the 45th Anniversary Tour at G-Live in Guildford to celebrate this 45 year landmark.  Click the play button below to listen to the interview.

The video below celebrates the bands most recent album Wintersmith which was recorded in collaboration with Sir Terry Pratchett at the end of 2013. The album is based on Pratchett’s Wintersmith novel, which subject matter is completely appropriate for Steeleye, in its tales of ancient rituals and secret folk dances that perfectly complement their previous work whilst taking the band off again in a new and exciting prog-rock direction.

Darren Beech – folkmaster@folking.com

JIM MORAY – Skulk (NIBL013)

Perhaps its Moray’s numerous tales of brushes with death on previous recordings that inspired him to use the collective noun for foxes ‘Skulk’ as the title of his latest CD. Or maybe you’ve just seen the series “Whitechapel” on TV? Whatever the reason, his opening choice of song “The Captain’s Apprentice” is a brooding piece of work that would settle comfortably alongside any recording by June Tabor and I certainly applaud the unsettling choice of piano chords on a stark background of saxophone used for its texture rather than as a melody. This really is an unpretentious, Gothic piece of dramatic theatre that wouldn’t sound out of place as the soundtrack to a David Lynch or David Cronenberg movie and will doubtless send shivers down the spine of anyone who purports to have a soul. For this track alone I’d personally give the album a ten but than that would be to dismiss this young man’s ability to turn his hand to more or less any genre of music he cares to utilise for his excursions. He makes no bones that the ‘traditional’ emphasis of his outpourings is his main preference of ingredient but in using a heady mixture of jazz, rock and classical the scatter-gun approach will hopefully expand the confines an audience made-up of primarily ‘folk’ music enthusiasts. This album may not be to everyone’s taste; perhaps a little too maudlin for most but I urge you to think again because any ‘craftsman’ that can make you go straight to your computer to check out the original version of Anais Mitchell’s (www.youtube.com/watch?v=0IOeGyD4zUA) “If It’s True” has done his job superbly well. I’d finally like to credit the tremendous sleeve photos of Sorrel The Fox (held with loving care by Moray) taken by the ever imaginative David Angel. If you’re an animal lover or just love good music you’ll love this recording.


Artist Web link: http://jimmoray.co.uk/

“Already, one of the great album releases of 2012!” folking.com