Emma Langford Sowing Acorns

If I’m majorly disappointed by all the planned events and gigs this year done gone cancelled, probably the biggest of all was when I badgered Devizes Arts Festival into booking Limerick’s folk singer-songwriter Emma Langford. It didn’t take much convincing, just a song or two, and if you hear her new album Sowing Acorns, released yesterday, I guarantee your arm will be twisted too.

Sowing Acorns is everything I’d expect and much more. A spellbinding composition of intelligent lyrics reflecting on past, a place or observation, Emma’s mellifluous vocals and enchanting folk melodies. A magnum opus for this award-winning emerging artist who I’ve followed the progress of for many years.

It’s an album which will transport you to an Irish coastal path, a gentle zephyr as you peer out to the ocean. Port Na bPúcaí perhaps the prime example, with its chilling cello merging into the drifting poetic title track. It’s a whisk of untamed Andrea Corr blending Clannad to Mari Boine, yet somehow completely inimitable. Yet there’s astute honesty within these pieces of musical jigsaw, tales of family woe or enriching scrutiny of a lifecycle. There’s enough going on here to pull to pieces and discover alternative angles with each listen, but allowing it to drift over you is recommended, like waves upon said ocean.

But while Sowing Acorns opens acapella and drifts into traditional acoustic folk, it doesn’t rest, rather merges styles, and by the time you get to Ready Oh some nine tracks in, there’s a blithe soul pop feel, teetering do-wop, similarly the Latino marketable feel of Goodbye Hawaii. Towards the end it returns to the thoughtful prose of Emma’s sublime acoustic and feelgood Irish charm, and it ends with an ambient trance remix of the title track by Avro Party. But each and every segment, every journey this album takes you on, darker or uplifting, is expressively awe-inspiring, as if Emma pushed everything she has into this release; the definitive Emma Langford.

It is, in a word, utterly gorgeous, a definite contender for album of my year, and one I’ll be submerged in its mesmerising portrayals for a long time yet.

Click to download from Bandcamp

Keep on Running with Joe Edwards

Joe Edwards has his debut solo album, Keep on Running released this week, here’s my tuppence on it…..

Under the “write what you know,” philosophy, if I’ve been critical in the past regarding local Country-fashioned artists using cultural references alien to their natural environment, i.e. a band from Wotton Bassett crooning about boxcars and wranglers, I have to waive the argument in the case of Keep on Running, the debut solo album by Joe Edwards, of Devizes. Not because Joe is well-travelled to apt locations and it was recorded and produced at Henhouse Studios in Nashville, though he is and it was, or it’s so authentic it’s more authentic than the authentic stuff, but because, in a word, it’s so absolutely gorgeous.

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I’m going to be hard-pressed to find a different album of the year, as if this was a new Bob Dylan release the headline would be “Dylan Back on Form.” But it isn’t, and if one can rebuke Dylan as eaten by wealth and the machine he once repelled against, here, with freshness, is Highway 61 really revisited. The characters here can be akin to Dylan’s, questioning romance, bittersweet with humanity’s cruelty. Keep on Running never faulters nor diverts from its mellow method, if the tempo raises it’s only slight, and if it slips a toe under the door of rock, shards of both folk and blues roots are methodically preserved with finesse.

“…if this was a new Bob Dylan release the headline would be “Dylan Back on Form.”

When preacher Casey picks up hitchhiking Tom Joad, recently paroled from the McAlester pen in the Grapes of Wrath, Steinbeck paints a picture with his words so immaculately precise you’re in that pickup with them, sensing the raw sting of the dustbowl and the smell of the dying cornfields of Oklahoma. With every banjo riff, or twangy guitar, Joe paints a similarly genuine image of the Southern American states.

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The writing is sublime, acute blues. Characters are often despondent, impecunious and dejected. Yet this is not Springsteen’s Nebraska, somewhere they’re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible. You may be riding their train of pessimism, yet it’s not discouraging on the ear, rather selfless muse executed with such passion there’s an air uplifting, best compared with Tom Petty’s “Free Falling.”

You sense a running theme; yes, life is shit but I’m dammed if I’m going to let it piss on my chips. A feeling Joe nurtures as the album continues, reaching an apex with a track called “Don’t Let the Bastards Get you Down,” and continuing to the title track. Hereafter you understand the metaphor to “Keep on Running.” If not, the cover is a meek lino-cut akin to labelling of a Jack Daniels bottle, with a road heading off to the mountains, just to make sure.

“Yet this is not Springsteen’s Nebraska, somewhere they’re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible.”

After the title track, there’s a road ballad in true Americana style, the venerable symbolism for changing your life, which is never a negative notion. If the finale then spells the most adroit blues tune, “Mine oh Mine,” the beginnings, “Beth’s Song” and “Cross the Line” herald the better country-inspired ones, but between them, an insolvent blues tune, “Capital Blues,” as a beguiling teaser for what’s to come. In contrast the achingly poignant, “Gambler” is perhaps the most accomplished bluegrass, filled by a tormented soul pouring his heart out for want of an extra six dollars.

It flows so incredibly well, George Harrison well, though, like a concept album of the 1970s it’s a single unit to be heard complete. This doesn’t prove a problem; you’re engaged throughout and wouldn’t dare press pause.

Nothing is tentative about Keep on Running; you get the sense Joe is deliberate in where he wants to take you. Despite remaining faithful to the formulae set by Guthrie and continued by Dylan, Segar and Lynyrd Skynyrd, where nothing is experimental, nothing is cliché either. One listen and you’ve entered a grimy western saloon, biker citizens pause shooting pool to glare, and a cowgirl in daisy dukes and a red chequered shirt tied at the waist welcomes you, piercingly.

“It flows so incredibly well, George Harrison well.”

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There is no in-your-face blast of sound, it traipses mellowly, and Joe executes his vocals with a whisper, as though he’s pouring a heartfelt secret to you alone, and for that you’re honoured; you should be. This is sweltering Sunday morning music, preferably slouching in a rocking chair on the veranda of a log cabin, sipping whiskey and rye, plucking a banjo. Though the least I can do right now is watch Oh Brother Where Art Thou!

Keep on Running is available now, here, and on Joe’s Bandcamp page, here.


© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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PREVIEW: Bradford Roots Music Festival 17th – 19th January 2020 @ Wiltshire Music Centre, Bradford

Andy Fawthrop

If you’re looking for a whole week-end of music-based events, with lots of sessions for children too, then you should do yourself a favour and head over to Bradford-On-Avon. It’s a bit out of D-Town I know, but it doesn’t take long to just tootle over to the really splendid Wiltshire Music Centre.

Now in its eighth year, Bradford Roots Music Festival, now extended to three days, is all about two things – showcasing the vast array of musical talent that has any connection with Bradford, and raising (lots of) money for good causes. This year’s beneficiaries will be Dorothy House Hospice, Zone Club (creative club for disabled young adults) and Wiltshire Music Centre. All the artists play for nothing and the event is administered and operated wholly by volunteers. That way all the funds raised go to the good causes.

This year’s event starts next Friday night (17th Jan) with a concert featuring Louie Millar, Crossing The Rockies and Verdisa. This concert is almost sold out, so get your skates on!

Then the main two-day Festival spreads itself across Saturday and Sunday from 11am each day. Saturday’s programme goes through till 10pm, and Sunday’s programme finishes at 4pm. There are four stages in operation, including the superb main WMC auditorium. Over the two days there are more than fifty different acts scheduled to play, including music concerts, shanty sessions, children’s concerts, jazz, blues, poetry, morris dancing and much more.

Particular acts to look out for are The Magnificent AK47, Will Lawton & The Alchemists, Lee Broderick, Billy In The Lowground, and The Yirdbards, although there’s so much going on that it almost seems invidious to pick out individual artists.

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Apart from all the music events, there are several spaces given over to craft workshops, merchandising, tarot readings, a Peculiar Gin Company gin bar, a Box Steam main bar and an artisan fair. Just outside there’s a huge marquee hosting JC’s Kitchen, which runs all weekend serving hot drinks and great array of home-cooked food.

I can’t recommend this event highly enough – there genuinely is something for everyone to enjoy, with great food, great beer and a great atmosphere. It’s superb value for money and there’s plenty to do and see for children and for adults. If you’ve never been, I urge you to check it out. You can buy tickets online, or on the door. Day tickets for Saturday or Sunday are available, as well as a 2-day Weekender Ticket.

The Wiltshire Music Centre is also a superb venue in its own right, hosting a year-round programme of top UK and international artists from all genres – classical, folk, blues etc. Worth checking out if you are after top-class entertainment.


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Award-Winning Limerick Folk Artist, Emma Langford, to Appear at Devizes Arts Festival

I reckon I’ve been honourable to The Devizes Arts Festival, as in their excitement they’ve often accidently divulged a booking they’d rather have kept secret, and I’ve not yet let the cat out of the bag until they want it unzipped! Said excitement, though, is symbolic of their passion to bring us a wonderfully diverse roster.

For this one I’ve been equally as thrilled, and glad to be the one to broadcast the news; yes, with their permission! Aptly perhaps, as I’m proud it was my suggestion and I’m so glad they took heed.

So, it gives me great pleasure to announce folk singer-songwriter Emma Langford is to appear at this summer’s Arts Festival. From Limerick in South-West Ireland, Emma has gone from strength to strength. But to start at the beginning of our association; it’s been well over a decade since I got chatting to her father, Des, and in sharing a love of comic art, we’ve been online friends since. Call me archaic, but while you can meet lots of people online which the book of face terms “friends,” you have to wonder if they really constitute “friends,” I mean, if you’ve never met them in person. Des is the exception to that rule.

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It was around 2016 when he sent me a video of his daughter singing, yet if I went around telling people “listen to my mate’s daughter sing,” it sounds cringeworthily like I was pushing it only for this reason. I bid you listen to her songs; clearly, it’s not just me saying how utterly fantastic she is. Emma has received unwavering acclaim internationally, after a whirlwind 100-date promotional tour across Austria, Denmark, Germany, Switzerland, the UK and Ireland, to launch her 2017 debut album, Quiet Giant. The Irish Times described Quiet Giant as ‘music that weaves a spell as you listen to it… An enduring piece of work’. Ireland’s state broadcaster RTÉ Radio 1 presented Emma with the Best Emerging Artist award at their inaugural Folk Awards in October 2018. She also made her debut appearance in the USA this August, on the Snug Stage at Milwaukee Irish Fest.

Emma possesses a distinct natural tone and resonance that is truly breath-taking. Quiet Giant features stunning full-band arrangements for ten self-penned songs, and following the album’s Irish release, she was invited to launch it internationally with Germany’s Irish Folk Festival tour. In Devizine’s infancy reviewed Quiet Giant, suggesting it’s “a suave survey of dignity and passionate despondency with uplifting string arrangements and traditional Irish folk values.” I worthlessly tried to find a tenacious link to Devizes to justify reviewing it on our local website. I just wanted to get the message across, as I compared her to Andrea Corr, or a young Kirsty McColl.

But, being as it’s said Emma’s “spell-binding” sound is made to be heard live, be it solo or with a full complement of musicians, I took steps to try to bring her to town for a gig, but it fell through. The promoters were in awe though, told me she really needs to head for London for maximum exposure; “she’s too darn good for Devizes,” I was told! Pleased to say, we’ve no need to worry, thanks to the Arts Festival, and I look forward to this with bells on.

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Emma is a prolific artist, recently collaborating locally on projects with musicians, theatre-makers and aerial-dance performers. This summer’s show should align with her highly-anticipated new album.

The Arts Festival had their final committee meeting of the year at the beginning of the month. “The 2020 programme is nearly there,” they say, “although there are some threads to be tied up. We can assure you that it will be as good as (or maybe even better than) 2019.” Other acts already leaked are London’s Tankus the Henge, who describe their sound as “five-wheeled, funk fuelled, open top, custom paint job, rock ‘n’ roll jalopy that comes careering around the corner on a tranquil summer’s day, ruining the silence and disturbing the bats.” Performing comedy for less-than-perfect parents, The Scummy Mummies are also confirmed, along with San Francisco born jazz pianist and composer The Darius Brubeck Quartet.

Roll on summer, roll on!


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Minions, and Mr Tea’s Mutiny

Put the kettle on; Balkan gypsy ska here in Bristol, Mutiny, the new album from Mr Tea & The Minions is a favourite for my best album of the year, with a top hat on.

Impressionable, I creaked the door on a near-expired student party, where a cocktail of Cinzano and shrooms polished off the amateur bassist, and he hung unconscious half off the edge of a sofa in his own puke. I witnessed scholar deprivation; comatose youth, crusty dreadlocks matted into a teetering Christmas tree, and a random arm draped over a guitar amp, howling feedback. I gulped, no partygoer standing, but an erratic noise of a “Red Roses For Me” cassette whirling. Sounds blessing such a character-building eye-opener makes you reconsider your loathing for a particular genre of music.

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Until then, my presumption of folk music was pruned from an overwhelming desire to hold primary school sweetheart, Trudi’s hand, and the only foreseeable method to achieve it; to opt for country dancing. Ever frustrated to find myself partnered with dowdy Emma instead, I guess it rubbed a revulsion for frumpy folk music, with its delicate romances of falling autumn leaves and daisies dancing in a spring zephyr. It can be nauseating, symbolic of my failure to caress Trudi’s nail-bitten digits.

The epiphany dusted, I bought the Pouges long-player, shaking my preconception solo until crusties like The Levellers came onto the scene, boiling the realisation folk doesn’t have to be frumpy, in fact, it’s an epoch, a people’s music, and the roots of all that followed owe it. But if that era of recklessly launching yourself around, knocking down parent’s ornaments and calling it dancing has come of age, and if the Pouges are now acceptable, seasonally, (they stole the best Christmas song slot from a band in tartan trozzers and platform shoes after all,) I say unto thee, Mr Tea & the Minions; it’s my new favourite thing.

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It’s not an awkward mesh of Despicable Me and the A-Team, rather a contemporary Bristol based, female-fronted six-piece ska-post-punk-folk Balkan-inspired riot, and their new album, Mutiny is beyond blooming gorgeous. Constructed out of lead vocalist and controller of “shaky things,” Elle Ashwell, drummer Fabian Huss, guitarists James Pemberton, James Tomlinson and James (Fold) Talbot on bass, with manager Lucy Razz on violin, they formed six years ago through James’ love of Balkan music. With the edges polished by collaborating with DJ Howla, and James’ professed love of tea, Mr Tea & The Minions was born, a name which they say was “a joke that was never meant to go so far.”

As Balkan, it’s fresh, electrifying and wonderfully danceable. Elle’s gritty shrill is apt and uplifting, the theme is often invitingly saucy, awakeningly tangible, sometimes metaphorically current affairs, but it hardly wanes in energy, and if it does you know it’s building to something. Mutiny is ten songs of splendour, drizzly evening enriching with a gypsy spin. It’s a warm musky pub of yore, where a furtive crusty band jams and you spill your cider on a scraggy dog. It also riffs like ska, boils like The Levellers and rinses fresher than Shane MacGowan on his best hair day.

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The Eye of the Storm, like the title track, and Pandemonium are the Fruit Pastels, breezier tempo tunes like the beautifully crafted The Spider and The Fly stun you in anticipation of the melody, but no single tune stands alone, there’s a flow of prog-rock, and if it starts and ends with a little “meow,” it’s never completely nonsensical. Lyrics are sublimely executed, mostly evocative, but dashed with fun. There’s really nought bad I could say about this unique album, I’ll be dancing to it for the foreseeable future, maybe even look up Trudi on Facebook, she can’t still bite her nails.

Somebody local book these, pl-weaseeee; the Southgate or Barge would suit to a, pardon the pun, tea. Yet times are looking good for this madcap band, on the verge of another spectacular festival season and numerous gigs on tour, our closest to date is the Prince Albert Stroud Nov 22nd, Bocabar in Glastonbury on the 9th, or recommended homecoming at the Old Market Assembly, Bristol on 30th Nov. Failing this, try the Mutiny for size.

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© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Thank You, Jamie R Hawkins

If all products are carefully marketed towards a specific target audience, none I feel, are as precise as boxes of chocolates. The whole idea of taking an everyday item, the sort you might shout to your driver as he approaches the garage, “and get us a Twix,” when stuck in a box suddenly becomes a rare treat, gifted by an acquaintance for a special occasion. It’s vital you pick the correct box to suit the message; while a Dairy Box says “happy birthday, Gran,” Milk Tray says “get your kit off love!”

Connotations all in the packaging and advertising, push comes to shove, they’re the same bloody thing, but last thing you want is to hand your gran some Milk Tray. Often, it’s fallacious, a Flake is the most unsuitable chocolate bar to eat in the tub, no matter what the telly might tell you. That’s why you have to hand it to the Cadbury’s Roses ad campaign, for while it’s not the best box of chocolates, it is somewhere in the top five. But it’s the across-the-board implications; anyone can buy a box for anyone, for any reason; it’s choco impartial. Buy Roses if you don’t want the receiver to assume you see them like your grandparent, or you want to snog their face off until sore. “It’s just to say thank you;” yeah, yeah, clever bastards.

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New single out from Jamie R Hawkins then, unless you’d rather me waffle about chocolate? It’s like Roses though, it’s a universal thank you, for friendship, and while it may not the best Jamie R Hawkins song, it just rocked up somewhere in the top five. Though Jamie has pre-set his bar high, and if his May single, Welcome to the Family was quirkily agreeable, Thank You, Friend harks back to the classic sentiments we love Mr Hawkins for. Diluted, this song is more general and will infectiously touch all who hear it, as concentrate it profoundly assesses what a friend is, and how they’re capable of helping, in a manner The Beatles only skimmed the surface of.

Another perfect production for Phil Cooper; Jamie is on top form. “I never fail to be amazed,” he sings, “That what defeats me leaves you totally unfazed, it’s almost like I’m lacking in, the thing that makes you so alive, and it’s so good to know you’re always on my side.” Just one of the beautifully rendered verses of this fantastic song which undoubtedly showcases Jamie’s brilliance of song-writing, and with conviction he chants his own words of a song dedicated to his brother with unequalled passion.

It made me think of a time he was supporting a gig at the Cons Club; I drove out of the carpark to see him perched on the wall. Offered him a lift, he was only heading for the British, but jumped in. A handshake would’ve sufficed, but Jamie gave us a man-hug; one of the marvellous reasons why I love writing Devizine, I’ll locally praise what needs to be praised, slag off what needs to be slagged, but it’s also clear most recipients don’t view me as “the evil press,” but as a friend. And it’d be virtually impossible, I’d wager, to deliberately make yourself an enemy of Jamie, unless you’re the jealous sort of song-writer, struggling to compose a song a quarter as good as this one.

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He’s here, he’s there, he’s at the White Bear this Sunday afternoon, catch him when you can, it never gets tiresome despite the fact Jamie does our circuit regularly, like a J S Lowry painting, the songs he weaves always have something different you may not have picked up on before, and his new ones, well, get better and better. This new track is available today through all the music sites. iTunes is too Thornton’s for me, spotty-thigh or whatchamacallit is too, well, Haribo; here’s the Bandcamp link, it’s this old timer’s Dairy Box!


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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A Scandal with Tamsin Quin!

There are two sides to every story. We’ve heard Dolly’s angle since 1973, imagine if Jolene had her say. Traditionally, like gallant fables, songs seldom back the underdog, the aberrant. Particularly the rounded narrative of folk or country, usually tales culturally able to be retold, optimistically.

If the last local singer-songwriter you’d expect to be exploring darker tenets is Tamsin Quin, think again. Akin to Springsteen’s Nebraska, in so much it summons no such communal feeling, rather Scandal, the new single from our illustrious local songstress is secluded in a room of a distant, shady and enigmatic place.

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Image: Nick Padmore

A song of who the cap fits, of watching your own back. Tamsin advises “there’s criminals in the shadows, pull your friends a little closer.” But cross examines her own persuasions and faith in the notion, maybe, “we’re all scoundrels deep down inside.”

It’s as if the darker depths of Tamsin’s acute words in previous songs have come to detonation; executed sublimely, and produced with eminence by Phil Cooper. Scandal, out next Friday (30th August) is whole new level of excellence for this already blossoming star. I congratulated her, as vocally it sounds deeper and much more refined than anything before. Is that what she was hoping for?

“Yep,” she responds as ardently as the same ol’ Tammy, “I was totally going for the dark country vibes. Phil did such a great job producing it; I’m really pleased with the outcome. I hope its dramatic!”

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Tis indeed, like Wynette at her darkest; she builds tension around the breakfast table, the penny drops as to why Billie Joe Macalister jumped off the Tallahatchie Bridge and the protagonist attempts to hide her secret affair. “So,” I asked, “this is for a forthcoming album? Can we expect the others to be similar, or am I divulging too much?!”

“I’m aiming for a new album next year. The plan is for another single in October, then a single in February, and the album in April.” Tamsin expands the answer, “not all of the songs are this dark, although I am working on another haunting one at the moment, but the whole album feels a lot more mature that Gypsy Blood. I feel like I’ve grown into myself, and I’m writing what I want to write, instead of what I think the crowd will love. Writing more for myself I guess, although I really hope others really like it too.”

That personal enlightenment brews Tamsin’s poise when performing live, “writing things for yourself does tend to give you a little more confidence in delivery. Which I guess gives other people faith that its good, if you have faith in yourself and your work.”

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Image: Nick Padmore

I’m certain when reviewing Gypsy Blood, I suggested Tamsin sounded more mature, guessing both are a natural progression, though. “Guess you gotta grow up somewhen!” she laughs. I think you never stop learning and growing artistically, until, perhaps you reach a pinnacle and it doesn’t sound so progressive. Does she fear ever reaching that age where they say, “old Tamsin, just going through the motions?”

After stressing the importance to her of critical feedback, she laughed at the notion. “I guess that’s where the whole ‘writing for yourself’ thing comes in, because if you like your songs then you won’t care what people are saying.” I suspect that time is a long way off, Scandal in a nutshell is poignant, emotive and, perhaps an unanticipated gift to our music scene, and based upon it, I hold my breath for the album.

 

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Click for Tamsin’s Facebook page and like for updates and gigs!


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Chippenham Folk Festival –-Friday – Monday 24th – 27th May

The Biggest Little Festival In Wiltshire

By Andy Fawthrop

Chippenham Folk Festival has just finished for another year, so it’s good time to round up just how good this event is, and why it’ll be worth going again next year.

The Festival, including its early incarnation at Lacock, is now in its 48th year, and always held over the Whit Bank Holiday week-end. If you’re not familiar with it and have never been, let me explain just how big and amazing this whole thing is. First of all, it takes over the whole town – every possible venue, both indoors and outdoors is used – Island Park (including a temporary Big Top and many food and other stalls), The Neeld, Masonic Centre, Olympiad, Constitutional Hall, pubs, clubs – you name it. It includes whole streams of activities for children, for music concerts, for storytelling, for folk dance, for Morris, for ceilidhs and for many other activities. There is a small shopping village selling a wide range of clothes and crafts, drinks, and street food. On Bank Holiday Monday there’s also a special market in the High Street. There are literally hundreds of formal performances and displays, open mic & busking, tutorials, workshops, interviews – which means you can either just sit back and be entertained, or you can join in and get completely involved.

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There’s extensive onsite camping facilities or, like myself, you can just drive in and park every day. Hotels and B&Bs in and around the town are booked out months in advance, so popular is the festival.

You can either buy tickets for the whole week-end (with or without camping), for single days, or just for individual events. There’s a Box Office onsite during the festival, or online via the website.

Next year’s event is already booked into the calendar from 22nd May to 25th May 2020, and early tickets are already available.

The good thing about this massive range of activity is that there really is something for everyone, no matter what you’re interested in. And not everything is ticketed. You’ll need to pay to get into the main venues, but there’s plenty in and around the town happening in the streets that’s completely free.

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This year’s event, the last to be organised by Bob & Gill Berry (who also run Devizes Folk Club), was as just as good as ever, and the crowds were out in force, packing out many of the venues. I was lucky enough myself to be MC’ing several music events, and so got to see some fine performances close up on the stages. Stand-out performances for me were from The Wilsons, Granny’s Attic, Jack Rutter, Winter Wilson, Bob Fox, Sally Ironmonger, The Often Herd, Greg Russell, Jim Causely and Keith Donnelly, but it’s genuinely hard to pick out real stars from amongst so many young and talented performers. And it was really good to see so much youthful and emerging new talent, not just the old hands and established stars.

I ran into many people I knew, several of whom had never been before, and who were amazed at how much stuff was going on across the town.

So if you’ve never been, make a note in your diary to go next year and see what all the fuss is about!

 

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The Yirdbards @ The Cellar Bar, Swan Hotel, Bradford; Original Multi-media Entertainment – In A Folk Club?

by Andy Fawthrop

 

What else are you going to do on a Tuesday night if you’re after some top-notch musical entertainment? There was nothing happening (musically) in Devizes that night, so a venture out into the wild and woolly West into the splendid old town of Bradford on Avon was called for.

The venue was the Cellar Bar in the Swan Hotel, right in the middle of town. The place is now a regular haunt for all types of music – jazz, folk, blues, poetry, Irish traditional, with each one settling into a regular weekly or monthly slot. James Sullivan-Tailyour has been the landlord here for a few years now, and has done much to support and promote regular musical (and other) events in the pub/ hotel, and in the town generally. The beer’s not great (it’s a Greene King place) but they do excellent Thai & fusion food in the restaurant.

Tuesday nights are given over to Bradford Folk Club, but don’t be fooled by the title. Whilst there is certainly some traditional and contemporary folk stuff performed, it’s more of a general Acoustic Club where pretty much anything goes. Three or four Tuesdays a month it’s an Open Mic affair, but once or twice a month there’s a guest act. The great thing is that it’s FREE to get in (although they do charge you an arm and a leg to get out!) Joking aside, they pass round the glass half way through the performance for contributions. What that means in practice is that you only pay what you think the music’s worth. Surprisingly, or perhaps not surprisingly, people tend to very much like what they hear, going by the average amount that they put in. “Playing for the door” is still very much alive and well.

But to the music – last week it was the turn of local group The Yirdbards. Yes I did spell that right, and it may just be deliberate. The “Yirds” (as everyone knows them) consist of some pretty damn fine musicians – Iona Hassan on fiddle, Verity Sharp on fiddle and cello, Patrick Randall on guitar/ mandolin/ accordion/ whistle and the irrepressible Paul Darby on guitar and vocals. You might recognise Verity in particular, as she’s a regular presenter on BBC Radio 3 and Radio 4.

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Whilst the Yirds can knock out some damn good traditional folk songs and tunes (some great jigs and reels), they also tend to showcase quite a bit of contemporary writing from such songsmiths as Paul Metzers and Peter Please, and they’re not above writing and arranging their own material.

Last Tuesday they presented a complete show (the acoustic equivalent of a triple-disc concept album) entitled “Great Clattinger.” It chronicled the seasons and the farming year of that place, the wildflower meadows, the people and the traditions. Surprisingly it was a multi-media affair, featuring tapes, songs, spoken word, and instrumental passages. Many of the words were taken from the writer Elspeth Huxley (who lived there in the 70s) and Joan Ody (who farmed there for nearly 40 years in the earlier part of the 20th century) describing country ways & customs, and the resistance to those who wanted to exploit the land for commercial gravel extraction.

Thanks to their efforts, Clattinger Farm is now owned by Wiltshire Wildlife Trust, and is designated a Site of Special Scientific Interest. All very “worthy” of course, but the music had to speak for itself, and it soared way above that. The Cellar Bar was packed out and the whole performance went down a storm – superb musicianship, well sung and well presented by four great performers.

It wasn’t rock n’ roll, and this music wouldn’t be for everyone, but if you’d been there you would have been amazed at the variety and quality of the performance. Simply stunning.

Next gigs coming up @ Bradford Folk Club:

• Tuesday 26th March Reg Meuross – singer/ songwriter/ story-teller
• Tuesday 30th April Lightgarden – Eastern influences, Mongolian overtone singing
• Tuesday 28th May Jackie & Felix Byrne –contemporary & tradition folk

 

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In Review: The Bradford Roots Music Festival 2019

By Andy Fawthrop

 

Bit out of D-Town I know, but it doesn’t take long to just tootle over to Bradford, and the really splendid Wiltshire Music Centre. I mean – it’s not as far as Tibet is it?

Now in its seventh year, Bradford Roots Music Festival, now extended to three days, is all about two things – showcasing the vast array of musical talent that has any connection with Bradford, and raising (lots of) money for good causes. This year’s beneficiaries were Dorothy House Hospice, Zone Club (creative club for disabled young adults) and Wiltshire Music Centre. All the artists play for nothing and the event is administered and operated wholly by volunteers. That way all the funds raised go to the good causes.

So it’s a local (indoor) festival for local people. But this is not Royston Vasey, it’s Bradford.

And what a lot you get for your investment in a weekend ticket! I counted over fifty performances and workshops you could have attended if you’d really put your mind to it. I had to skip Saturday evening’s offerings (due to the small matter of Mr Wakeman’s KGB putting on a little show back in The Vize), but I still managed to sample more than 30 acts for myself. Once the WMC have given over the building to the Festival organisers for the weekend, the place is utterly transformed. Apart from four different performing stages (including the massive and superb main auditorium), there are several spaces given over to craft workshops, merchandising, tarot readings, a gin and prosecco bar, a main bar and an artisan fair. Just outside there’s a huge marquee hosting Hartley Farm Shop & Kitchen, which runs all weekend serving hot drinks and great array of home-cooked food.

But the music is the main thing. So many acts to choose from, and so difficult to highlight only a few from such a talented array of performers. But here goes: the stand-out acts for me (in no particular order) were:
• A Night In The Blind House – a rock and indie covers band
• Georgia Lewis – a stunning singer, multi-instrumentalist and folk artist
• The Hazir Ensemble – playing some stunning music from the Middle East & Turkey
• Lightgarden – original material from the UK, Russia and beyond, including Mongolian Overtone chanting (don’t ask – you have to hear it & you’ll be amazed)
• Rockpipes – a Bristol-based Celtic rock band featuring bagpipes (honestly!) as their lead instruments. Sounds mad, but it worked!
• The Bumnotes – an 8-piece acapella close-harmony group singing Barbershop

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Over three days I think I heard music from Africa, the USA, Crete, Turkey, Mongolia, the UK and – yes I know I said it wasn’t that far – even Tibet!! There was rock, blues, folk, country, bluegrass, barbershop, choral, jazz, singer/ songwriter, world – you name it!

The Festival is now over for another year but will be happening again next January. I can’t recommend this event highly enough – there genuinely is something for everyone to enjoy, with great food, great beer and a great atmosphere. It’s superb value for money and there’s plenty to do and see for children and for adults. If you’ve never been, I urge you to check it out for next year.

The Wiltshire Music Centre is also a superb venue in its own right, hosting a year-round programme of top UK and international artists from all genres – classical, folk, blues etc. Worth checking out if you are after top-class entertainment.

 

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Emma Langford and the Quiet Giant

Ever had the awkward scenario where a acquaintance posts a song with a caption, “this is my daughter singing,” you feel obliged to listen, humour their parental pride and bend the truth that you reckon it’s awesome?! This was NOT one of those occasions.

 

I’ve been an online friend with Des for many-a-year; we share a love of comics and cartoons. He’s an exceptionally talented artist and sign-writer; his cartoon frescos adorn his hometown of Limerick, in school playgrounds and on shop windows. I was honoured when Des contributed a cover for my charity-based anthology book, “I am not Frazzle;” it became an iconic image in Devizes.

 

Never more apparent that creative talent filters through the generations; from the moment I clicked on that link and heard Emma’s voice, I was in love with her music. Renowned in Limerick, I’m dedicated to switching as many as I can onto this, I’d shout it from the highest mountain, if we had any here; the folk-rock pop of Emma Langford is simply sublime.

 

So while I could’ve approached this by hiding our friendship to promote Emma’s latest album, Quiet Giant, and try to find a tenacious link between her and Wiltshire, not to unhinge the tenet this website is of locally produced talent, I’d rather be honest. Plus, in this era of YouTube, you can judge for yourself from the couple of videos below; I ain’t a fibber.

 

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Akin to Andrea Corr or a young Kirsty McColl, Quiet Giant is Emma Langford, refined to perfection; nothing here is left to chance. Released on the 18th October, I confirm a crashing symbol and delicate piano opens ten tracks of absolute gorgeousness. All songs are written by Emma with a sophisticated, evocative narrative. It eases you in with certain grace, a couple of earnest mellow songs; the folky title track and smooth jazzy Sandman insure you’ve made the right choice for your listening pleasure.

 

Then Peter Hanagan’s Double bass and fiddles by Tadhg Murphy up the tempo for Closed Book, a storming tune skilfully separating honourable people from the general, ostensibly an effective running theme throughout Quiet Giant which makes its hauntingly nimble quality so endearing.

Emma Langford and her accomplished collective, aforementioned Peter and Tadhg, plus particular prestige for Cellist Alec Brown and pianist Hannah Nic Gearailt, insightfully have produced something special; Quiet Giant is a suave survey of dignity and passionate despondency with uplifting string arrangements and traditional Irish folk values, all wrapped in the wonderful cover art of Jacob Stack; you’d be sorry to have missed it.

 

When I heard Emma had a gig in Bristol and was looking for another date in London a few months ago, I attempted to hassle known local music promoters into booking her for a gig in Devizes, hoping it’d be a halfway house. But Emma explained she only had two days here, still she seemed keen to visit us. The promoters were in awe, told me she really needs to head for London for maximum exposure, “she’s too darn good for Devizes,” I was told!

So then I worried I was being selfish, trying to hook her into our tiny market town just so I can hear her live when they were right, she needs, and she did play a gig in London. Next time it’s bookmarked; I’m bunking the next day off work!

 

Order the pre-release of Quiet Giant here on Bandcamp; out on 18th October.

Like her Facebook page for more information and updates.

 

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