Noble Jacks at Devizes Arts Festival

Gasp at the audacity of a press release which spoke of “an ingenious blend of rap and hip hop,” which it really did, is to ponder any art deemed a ‘hybrid genre’ was likely at one point in time adjoined and hardly “ingeniously blended,’ rather reunited!

The most ludicrous of these could well be folk-rock, though compared to my press release’s wordplay abomination this wonky amalgam has matured over time making it seem a more palatable reunification, but it is, in essence, just as nonsensical; especially when you consider every musical genre derives from folk, particularly rock.

Folk-rock was originally coined to pigeonhole The Byrds in the sixties; a hippy band’s escape clause from the sickly bubble-gum pop churned by the industry. Over time it has assisted in driving a separation between the kind of ill-conceived “frumpy” folk upholding traditional values and instrumentation against a wilder, edgier and electronic side; enter alternative folk.

But the story doesn’t end at the division widened by the frenzied, bottle-throwing punkish folk of The Pouges, as last night The Devizes Arts Festival welcomed Brighton-based Noble Jacks to grace the Corn Exchange, and they received an upstanding and faddish reception; hold your hat, though Andy has been on the Art Festival trail, covering its performances with gusto, other than his photographic skills, we gave him the night off, and unfortunately you have my insane waffling to deal with!

But my point is, my eclectic taste doesn’t condone silly pigeonholing, I only use it to best define a sound, and for Noble Jacks folk-rock is best. Though their sound harnesses freshness, the type of awakening of an acceptable form of the frenzied folk of yore, as indie-pop has recently done to convert the wilder post punk eras of goth and emo. If Mumford and Sons are kingpin and Crowded House opened that door, Noble Jacks are relatively younger guys, welcoming something indie-pop into their style too.

I’d liken Noble Jacks more to our local sound of Concrete Prairie, yet Jacks avoids their darker subject matter. This was feelgood, and refined with proficiency; a folk-rock universal adaptor, the kind matured and would be placed equally well at a steaming drunken cider festival, rowdy pub gig, or a more conventional wedding function or family fun day. It worked on all levels; a perfect balance wherever you were to place it, they have a natural ability to raise the roof, without it sounding commercialised too, which is nice, and it was nice too!

Acoustic and electric guitars, bassist and drummer, the setup of this astounding four-piece was standard issue, it was in their usage of them and their delivery which shone. The frontman affixed a harmonica occasionally, but most audience appreciation was shown upon his switch to fiddle for some mind-blowing hillbilly instrumentals; and I had to agree. Mostly the originals, I believe, were those embracing the contemporary indie feel, the toe-tapping instrumentals roused the crowd and showed off Noble Jack’s diversity. They also had covers, particularly notable Charlie Daniels Band’s The Devil Went Down to Georgia. That was a pure knockout.

On their third album, this nod to bluegrass, melting pot of all Americana against a backdrop of British folk and garnished in contemporary indie values is a delightful working formula taking the nation by storm. For Noble Jacks it felt they relished every moment of this gig, professionally executed backstories and subtle stage banter, there was nothing to dislike here, that would have been impossible. A most enjoyable evening’s entertainment from the Arts Festival, clearly having a top year.