Mawkin at Cecil Sharp House 11/11/15

Folk music, Live reviews, , , , , , ,

Cecil Sharp House’s 2015 programme of concerts continues to excel with a cracking performance from Mawkin. Formed in 2002 as a three-piece, Mawkn evolved into a five-piece band offering a rousing brand of folk-rock.

The set is heavily dominated by material from their great new album The Ties That Bind, released in July. And they deliver us a nice mix of traditional English tunes and songs, some original compositions as well as the odd little nuggets from America and Sweden. Unlike some folk acts who feel compelled to unearth out ever more obscure traditional songs, Mawkin don’t shy away from performing some really well known traditional material, songs like Birds Upon a Tree, which they got everyone singing along to, and Searching for Lambs, both of which appear on their new album.

Vocals are shared between guitarist David Delarre, who takes the bulk of the singing duties, and his brother (and the band’s hugely talented fiddle-player) James. The latter I wouldn’t have minded hearing a little bit more of. He has a really engaging vocal delivery – a sort of 90s indie meets English folk. The musicianship is superb, particularly the interplay on stage between fiddler, James Delarre, and melodeon player, Nick Cooke. At one point, the rest of the band leave the stage while these two let rip on a couple of instrumentals.

While many of the rockier contemporary folk acts have gone for the box-style cajun percussion rather than drums these days, Lee Richardson unashamedly plumps for the full drum kit. And not only does he use it to make some of the faster folk numbers really rock, he also creates some spookily atmospheric soundscapes with it. At times he reminded me of Martin Lamble’s playing on Fairport’s “A Sailors Life” – the track that started off the whole drums-on-English-folk-songs thing back in the late 60s.

Mawkin have been making music for well over a decade now and while there probably weren’t more than thirty people here tonight, the noise the audience made in showing their appreciation was testimony to just how well this band was received. Deservedly so.

Setlist:
I Can Hew Boys
Skymningspolskan / Betsy Likens
My Love Farewell
Wreckers
Envikens Waltz
Duo
Searching For Lambs
Andro / Lang Stayed Away
Birds Upon a Tree
Jolly Well Drunk
Song On The Times
The Frenchy Set
Shanghai Brown
Merry Mawkin / Peacock Follow The Hen
Young May Moon

http://www.mawkin.co.uk/

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Marina Florance at The Islington (Emerging Talent Showcase) 4/11/15

Folk music, Live reviews, , , , , , , ,

For sheer passion in terms of promoting new artists, there cannot be many outfits to beat Folkstock, the small “boutique” record label that’s helped bring a number of acts to wider attention. Tonight’s event in Islington is one of two nights that are being hosted under Folkstock’s “Emerging Artists” banner as part of the London Folk & Roots Festival. All of the acts showcased in the two live shows also feature on Folkstock’s “Downtown” album, which has a track contributed from each of the artists. Tonight the theme is Americana and we hear from three solo acts: Katie Rae, Marina Florance and Ben Smith as well as the headliners, five-piece band, Fred’s House.

With many artists you have a pretty rough idea of what they are going to sound like and a reasonable guess at what their musical style is going to be as soon as they take the stage. When the engaging but down-to-earth singer-guitarist, Marina Florance, takes the stage I have very little idea what to expect. But wow what an incredible, incredible voice. And in a strong field tonight, for me, she is the stand-out act of the evening. Florance came to live performance late in life but has been receiving plaudits wherever she’s played and sung. Her rich, heartfelt, expressive voice has been compared to everything from Stevie Nicks to Johnny Cash and is a joy to listen to, both on the more mournful, melancholic countrified numbers like Little Black Cloud (her contribution on the Downtown compilation CD) as well as the raunchier, bluesier songs like Big Legged Woman (from her latest EP: Triple A Side). Some great luscious, dexterous acoustic guitar-playing, too, compliments her voice perfectly. You can catch a video of her and the previous act, Kaity Rae, here

The only downside of an event like tonight is that when you do come across an emerging talent like Florance, you don’t quite get to hear enough of them before it’s time for the next act. Before she leaves the stage, however, the next artist, Ben Smith, joins her for a couple of songs. They make for a powerful musical combination and it’s gratifying to discover Smith plays on a couple of tracks on Florance’s latest EP.

She is the oldest of our emerging talent acts tonight by some way. But whoever said there was any age limit on when an artist can emerge: Marina Florance – I’m a fan!

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http://www.marinaflorance.com/

Greg Russell and Rex Preston at The Green Note 2/11/15

Folk music, Live reviews, , , , , , ,

The folk world thrives on the sort of musical partnerships and band formations that are perhaps far more promiscuous than in the rock world. Part of this is down to simple economics. Folk gigs rarely command the sort of fees that are ever going to allow an artist to tour for a couple of months then spend the rest of the year snorting cocaine at some sun-kissed poolside in LA (even if they wanted to). So it is not at all uncommon for folk artists, even as part of a really well-established project, to work in different permutations with different sets of musicians throughout the year. But much of it, I suspect, is also down to a simple and addictive love of playing and singing. Both of tonight’s performers have made a real impact in recent years in well-established duos, Greg Russell with Ciaran Algar and Rex Preston with Miranda Sykes. However, explains Greg, with himself and Rex both living fairly close to one another in Devon they soon evolved from drinking buddies to playing together purely for fun – and now to touring together. Tonight at Green Note it is only their second show together but an absolute treat.

Audiences familiar with Greg and Ciaran would recognise the magnificent “Davy” from The Queen’s Lover album. But beyond that it’s a completely different set of tunes and songs: a nice mix of self-written compositions, covers and traditional material. As well as impressively beautiful mandolin-playing throughout the evening, Rex sings a couple of songs, too. And while Greg’s musical background is steeped in folk from a young age, Rex’s influences are far more diverse, and the mix of sounds and styles from the two make for a great combination.

Whilst the irreverent banter between Greg and Ciaran is always hilarious and always an essential and welcome part of their live show, in a different format like tonight we perhaps get to hear a little more about what makes Greg tick musically. He tells us he could just about cope if he was never able to play guitar again but couldn’t imagine what he would do if he was never able to sing again. And what a singing voice it is. If you listen to the lead vocals of a young Simon Nicol on the early post-Sandy Denny Fairport albums, for example, his delivery sounds somewhat hesitant compared to the magnificent gem it would become later in his career. With Greg Russell, it’s a completely different kettle of fish altogether. There is character and richness and depth to his voice, such that would take many of even the greatest singers years and years to develop. So let’s put aside the qualified labels like “rising star” and “enormous promise” – I’m going to nail my colours to the mast and call it for Greg Russell as the country’s finest folk singer of his generation.

I look forward to seeing both Greg and Rex back in their more usual partnerships in the not too distant future. But tonight has been a fruitful and enjoyable product of the folk scene’s continuing musical promiscuity.

Setlist:
Crooked Jack.
Frolicks
A Close Shave
Old Mans Retreat
Wily Ole Lad
Two Magicians
Did You Like The Battle Sir?
SAD
Rosie
Davy
Brisk Young Man into Good Natured Man
Sandy River into What You Do with What You’ve Got
Rolling Down The Ryburn

http://www.gregrussellfolk.co.uk/
http://www.sykespreston.com/

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Previous review: Greg Russell & Ciaran Algar at Green Note 

Glenn Hughes at The Electric Ballroom 1/11/15

Live reviews, Rock music, , , , , , , , ,

In my professional life I once played a small part in the successful campaign to help save Camden Town’s Electric Ballroom from demolition. So ten years on, at a time when so many venues have closed, it feels good to be standing in this legendary place waiting for the even more legendary Glenn Hughes to take the stage. Tonight’s gig in Camden is the final night of a solo world tour that features Doug Aldrich on guitar and Pontus Engborg on drums.

I’ve been a fan of Deep Purple virtually as long as I’ve been a fan of rock music. And although I’ve always loved the Gillan-fronted Mark 2 era albums I also love the output of Mark 3 era Deep Purple, too. And what made those albums particularly distinctive, had much to do with the influence of a certain Mr Glenn Hughes who brought his pitch-perfect harmony vocals and inventive funked-up bass playing to the party.

But whereas, post-Deep Purple, the other Mark 2/Mark 3 members all found gainful employment in three of the biggest heavy rock bands of the time, namely Rainbow, Whitesnake and Gillan, Glenn Hughes seemed to be left to one side a little. Of course, he continued gigging and recording in various projects. But, arguably, it wasn’t until the arrival of Black Country Communion, a 21st century take on the old early-70s “super-group” concept, did he really have a project to match the significance of his Purple days. Like every supergroup before it, Black Country Communion eventually fell apart but was superceded by yet another supergroup, California Breed, one that also ended up going the same way. So Hughes is back touring as a solo artist and tells the audience tonight that’s absolutely the way he intends to keep it from now on.

Few artists look as joyous to be on stage as Glenn Hughes or as appreciative of the audience. He genuinely looked like he was enjoying every single minute. After starting with a suitably heavy version of Stormbringer, the set tonight took us through songs from various stages of his long career. Deep Purple, of course, but also Trapeze, Hughes-Thrall and, more recently, Black Country Communion – as well as highlights from his solo career.

Mistreated was a definite highlight of the evening for me and I suspect , judging by the reaction from the crowd, for much of the audience, too. And much as I’m exited at the thought of seeing the modern-day line-up of Deep Purple next month, I doubt we will see anything as majestic, soul-filled or dazzlingly, spine-tinglingly, emotionally brilliant as what we witnessed with Mistreated tonight. The latter-day Deep Purple have practically disowned the Mark 3 material and it doesn’t appear in any of the band’s setlists. So let’s be thankful Glenn Hughes is helping to keep this music alive. And so magnificently he does it, too. Arguably, his voice is holding up better than either of the two front-men most associated with Deep Purple, Ian Gillan and David Coverdale. And he certainly hits all the high notes so beautifully.

One final observation. I don’t think it was just my imagination but the crowd did seem slightly more ethnically diverse than at many similar rock gigs I’ve seen recently. Hughes’ funk-influenced bass-playing and soulful vocals always marked him out as someone who could reach out beyond the archetypal white male rock fan. And given how much he talks of the healing power of music I suspect that this would please Mr Hughes greatly.

“Thanks for coming out and supporting this guy,” said guitarist, Doug Aldrich towards the end. “One of rock’s treasures.” Indeed he is.

Setlist:
Stormbringer
Orion
Way Back to the Bone
Touch My Life
First Step of Love
Sail Away
Good To Be Bad
Mistreated
Can’t Stop the Flood
One Last Soul
Soul Mover
Black Country
Burn

http://www.glennhughes.com/homenews.html

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Bernie Tormé at The Borderline 31/10/15

Live reviews, Rock music, , , , , , ,

It’s 1981 and the band Gillan, fronted by former Deep Purple vocalist Ian Gillan, created a ripple of excitement amongst the teenage rock fans at my school when they burst into the charts with a cover of New Orleans. One of the things that seemed to make this far more than just a heavied-up version of an old rock ‘n’ roll number was the guitarist, Bernie Tormé. He looked like a punk, acted like a hippy, sounded like Hendrix and seemed different from anyone around in rock and metal at the time.

Tormé was soon gone from Gillan and, after a very brief sojourn with Ozzy Osbourne, he formed his own band and started hitting the smaller venues circuit. That’s where I first caught him live. And in similar types of venues now, he’s still out there gigging as well as recording. Hot on the success of his crowd-funded Flowers & Dirt double album last year, he’s used the crowd-funding formula once again and has a brand new album to promote, Blackheart.

First, though, he opens with a storming version of Wild West, the standout track from one of his early solo albums, Electric Gypsies. He has a really strong band in Chris Heilmann (bass) and Ian Harris (drums percussion) and the power trio format suits Torme’s style of music perfectly. Well, of course, why wouldn’t it? The fuzzy feedback-laden guitar is combined with well-written, accessible tunes and vocals that give an honesty and meaning to the lyrics. From the same era, the excellent Turn Out The Lights also gets an outing. It’s not just about nostalgia, though, and songs from both last year’s Flowers and Dirt album and this year’s Blackheart both feature prominently. It’s not all blistering hard rock, either. As on the recent albums there’s some lighter, bluesier, folkier moments, including Flow from the new album and the excellent Spirit Road from Flowers and Dirt..

Soon, however, we are nearing the end with an explosive set of Gillan songs, including the one that got me hooked on Tormé’s guitar-playing in the first place, New Orleans. At the very end of the set, friend of the band and the man who first helped Torme get the crowd-funding venture off the ground, Peter Cook, joined the band for an encore after pledging to “buy” a guitar solo as part of the crowd-funding appeal. In a big arena gig with big corporate sponsors this could sound like the tackiest thing in the world. In a small intimate venue of this size, however, it’s genuinely fun and there is no doubting Cook’s evident passion both for Tormé’s music itself and for helping him secure a viable recording career in this challenging era for the music industry. Indeed, compared to the old record company model, the crowd-funding approach has allowed Tormé to connect very directly with fans and even re-connect to those, like me, who had fallen by the wayside and previously lost touch with Tormé’s career.

A mention, also, for the Bordeline. While numerous other live venues in the West End have closed their doors, this 300-capacity venue has held its open now for over 20 years, always with a stirling line-up of acts throughout the year and the perfect setting for Bernie Tormé tonight.

Setlist:
Wild West
Bullet in the Brain
Blood Run Cold
Turn Out the Lights
Pain Song
Flow
Star
Dirt
Spirit Road
Stoneship
Rocky Road
Can’t Beat
Trouble
New Orleans
No Easy Way
Party’s Over

http://www.bernietorme.co.uk/

2015-10-31 20.49.40

Previous review: Bernie Tormé at The Borderline 2014

Metal: album review – Motörhead ‘Bad Magic’

Album reviews, Rock music, , , ,

Bad Magic, Motörhead’s 22nd studio album in the band’s 40th year, opens in classic Motörhead fashion with Victory Or Die. All the essential ingredients are there: the fast and furious rumbling bass, the hoary, growled vocals, the blinding guitar solo, coupled with a memorable rock ‘n’ roll tune and some world-weary seen it all, done it all rock ‘n’ roll lyrics. It’s a strong opener. For sure, Lemmy’s voice might sound a bit more aged than previously. But given his well-publicised health problems in recent years it’s something of a miracle that this album sounds as good as it does. Many of the songs wouldn’t sound at all out of place on some of the albums from late 70s/early 80s “heyday” period. Thunder & Lightning and Electricity are both stand-out tracks for me in that vein, as well as the aforementioned Victory Or Die.

It’s not all completely predicatable, though. Two tracks depart significantly from the tried and tested Motorhead formula. Firstly, we have Till The End, a slow number that has Lemmy spelling out his life philosophy with some suitably heavy but melodic backing. And we also have a cover of the Stones’ Sympathy For The Devil. “Motörhead sing the Stones” could have sounded a bit gimmicky but, surprisingly, it comes off. A wall of thunderous drum sound provides an atmospheric backdrop for Lemmy to let rip on the old Jagger/Richard classic.

Did I need another studio album by Motörhead? If truth be told this is the first new studio album of theirs I’ve bought in years. But admiration for how long they’ve kept going twinned with a realisation that this is a band almost certainly in the final stages of its long career drove me to buy it. I’ve not been disappointed.

Released: August 2015

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Previous review: Motörhead at Hyde Park 

Metal: album review – Saxon ‘Battering Ram’

Album reviews, Rock music, , , , ,

Whatever the genre of music and however talented the musicians, without strong tunes and hummable melodies no band is going to make much of an impact on me. And that goes as much for my heavy metal as anything else. It’s one of the reasons that attracted me to Saxon in the first place, thirty-odd years ago.

And while there’s not necessarily the next Wheels of Steel or 747 (Strangers in the Night) on this album, there are certainly some strong and memorable songs here. Title track Battering Ram is a classic slice of Saxon and a strong opener.. Biff Byford’s voice is as powerful as ever and the album rocks hard as you would expect. But there is light and shade here, too. Proggy, choral backing vocals on tracks like Queen of Hearts add texture and atmosphere to the hard, driving guitar riffs.

Kingdon of the Cross, Byford’s poignant reflection on the slaughter of the First World War is another stand-out track on the album. “Comrades of their different coats, Came to fight and die, From all sides they stood and fought, And fell beneath the sky”. Apart from the choruses this track is delivered entirely in spoken word. That may sound strange for a Saxon track, but it works. In fact, Byford has such a wonderfully characterful speaking voice you could almost imagine him doing the voiceover for a BBC4 documentary.

Any some-time fan of Saxon who feared this is a band who had lost their way years ago should get this album and have those fears immediately dispelled. And don’t just take my word for it. “This is cool. What’s this music?” asked a friend’s 15 year old daughter when her and her mum popped round just as I was playing the album for the first time. Biff would be pleased, I’m sure.

Released: October 2015

http://www.saxon747.com/

saxon-batteringram-cover2015

Rock: album review – Gaz Coombes ‘Matador’

Album reviews, Rock music, , , ,

Released in January 2015 I’ve come late to this but I’ve been following Gaz Coombes’ career pretty much since Supergrass burst on the Britpop scene with Alright in the mid 90s. Matador is Coombes’ third album outside Supergrass. The first, a covers album with Danny Goffey, released just before Supergrass called it a day, had the sound and feel of Supergrass in all but name. His next (and first solo album) Here Comes The Bombs, was a starker and more experimental affair, with Krautrock electronica influences clearly present. Matador continues in that vein to some degree but has a more mainstream feel to it. More accessible certainly but altogether a stronger album with stronger tunes.

It’s mature, quality songwriting. It is unmistakably Gaz Coombes, though, and listerners will recognise many of Coombes’ classic trademarks: reflective, sensitively delivered Bolanesque vocals leading up to frenzied, more manic delivery on the hook lines. Opening track Buffalo is a case in point and wouldn’t sound unfamiliar to anyone acquainted with some of the later era, more reflective Supergrass material. Detroit is another beatiful track in the same vein. The Girl Who Fell To earth with some gentle acoustic guitar, lush instrumentation and lovely vocals is another track I instantly warmed to.

This album is proof that the post-Supegrass Gaz Coombes is making a valid contribution to the UK music scene and it’s little wonder it’s been nominated for this year’s Mercury prize. Will I play Matador as much as play I Should Co-Co, In It For The Money or Life On Other Planets? Probably not. Will I play it lots? Absolutely.

Released: January 2015

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Blackbeard’s Tea Party at the New Cross Inn 11/10/15

Folk music, Live reviews, , , , , , ,

Raucous sounds, catchy tunes, dark lyrics and a whole lot of fun, Blackbeard’s Tea Party have been making a splash on the folk scene for some time now.

As well as loud electric guitar from Martin Coumbe and pumping electric bass from Tim Yates, what really makes this folk act rock is the presence of powerful duel percussionists, Liam “Yom” Hardy and Dave Boston, making Blackbeards’s Tea Party kind of the folk world’s answer to the Glitter Band. Laura Boston-Barber provides spiky, tuneful fiddle playing throughout. Stuart Giddens on lead vocals and melodeon was not the original singer but he’s been with the band several years now and his vocal delivery and hyperactive stage presence have meant he’s truly made the role his own, such that it would be difficult imagining anyone else filling it.

They’ve got a new album to promote “Reprobates” – featuring songs about a range of characters who are all engaged in activities that are either “illegal, immoral or ungodly” explains Giddens with a fair degree of relish. It’s literally just out in time for this gig so we get to hear a a selection of new song, like album opener The Steam Arm Man – about a soldier who loses an arm at Waterloo, builds himself a replacement which unfortunately turns haunted and takes him on a murderous rampage.

We do get a few old crowd favourites as well, such as the sing-along-and-do-the-actions-Agadoo-style Chicken On a Raft (it’s based on an old saying about sailors’ rations I understand and not “Chicken in a Wrap” as numerous of my friends have innocently sung while watching the band.)

I was lucky enough to see Blackbeard’s Tea Party at Cropredy festival in 2014 where they absolutely stormed the place. But they are just as enjoyable up the road in my local, The New Cross Inn, where they also stormed the place. They gig extensively and are well worth catching.

Home – Blackbeard’s Tea Party

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Previous review: Blackbeard’s Tea Party at Cropredy

Richard Thompson at Royal Festival Hall 20/9/15

Folk music, Live reviews, Rock music, , , , , , , ,

With countrified acoustic folk from his daughter, Kami, and son-in-law, James Walborne, forming the excellent support act The Rails (“nepotism gets you everywhere” quips Richard Thompson as the two take the stage once more to accompany Thompson for his first song), That’s Enough, a track from the Thompson clan’s recent “family album” kicks off tonight’s Richard Thompson performance. It shows that even several decades into his career, he is still writing really memorable songs. However, the acoustically driven start soon gives way to a full throttle electric performance. Thompson is joined by drummer, Michael Jerome, and Davey Faragher on bass, both excellent and hugely energetic musicians.

Much as I enjoyed his solo acoustic tour last year, Thompson is one of those guitarists who is equally brilliant and equally entertaining whether he’s playing acoustic or electric. The power trio format works well for Thompson’s material (they even do a brilliant version of the Jimi Hendrix Experience’s Hey Joe as an encore to prove just how much of a power trio they really are) and we get a nice mix of songs, old and new. The great thing about Thompson is that, in spite of his technical brilliance on the guitar, it’s never just about virtuoso wizardry. His undoubted skill as a songwriter means he’s always able to deliver memorable tunes and meaningful lyrics as well as incredible guitar playing.

The band leave the stage at one point, leaving Thompson on his own to do a lovely Meet on the Ledge. A song that Thompson wrote when he was just 17, I’ve seen it performed many times by Fairport Convention as their traditional set-closer. But it’s a nice change seeing it performed as an understated heartfelt ballad rather than the anthemic communal sing-along that it’s normally associated with these days. After a similar acoustic performance of 1952 Vincent Black Lightning it’s back to more from the electric trio: old classics like Wall of Death and new material like Guitar Heroes.

It says a lot for Thompson’s versatility as a performer that regardless of whether it’s a folky laid-back acoustic set or a rocking all-out electric set, I’ve never come away from a Richard Thompson gig feeling anything less than fully satisfied.

Setlist:
That’s Enough (with The Rails)
All Buttoned Up
Sally B
Broken Doll
For Shame of Doing Wrong
Hard on Me
Meet on the Ledge
1952 Vincent Black Lightning
Beatnik Walking
Al Bowlly’s in Heaven
Guitar Heroes
Did She Jump or Was She Pushed?
I’ll Never Give It Up
Wall of Death
If Love Whispers Your Name
Hey Joe
Tear Stained Letter
She Never Could Resist a Winding Road
Fork in the Road
Take a Heart

http://www.richardthompson-music.com/

2015-09-22 18.41.16

Previous review: Richard Thompson at Folk by the Oak