I’ve been really impressed with Jack Badcock’s work in Dallahan, the Scottish/Irish/World folk band that he helped found a decade ago. This month, however, sees him release Cosmography, his first ever solo album.
As with Dallahan’s 2023 album, Speak Of The Devil, it’s a showcase for his gifted acoustic guitar-playing and distinctive tenor voice. But whereas that last album took us on an exhilarating, frenetic journey across a number of folk traditions, this one takes us into lush, atmospheric, singer-songwriter territory. And a very fine debut he’s turned out in this new guise, too.
Badcock’s vocals are soulful and emotive and he’s proving himself to be an ever more impressive songwriter, here tackling themes from the future of humanity (‘Life In Three Dimensions’); the sixteenth century explorer who was the first Englishman to reach Japan, (‘The English Samurai’); and the much more personal ‘Too Many Things’, described as “almost a therapy session that tackles the excessive indulgences of myself and peers in the music industry.”
What really makes this album, however, beyond the poignant songwriting and superbly mellow vocals, are the rich layers of instrumentation. Euan Burton, who also plays bass on the album, does a sterling job as producer and leaves us with a solo album that’s polished and fully-formed. With a stellar line-up of supporting musicians, including some especially beautiful piano from Tom Gibbs and simply gorgeous pedal steel from Connor Smith, there’s much to fall in love with here. Folk luminaries like Siobhan Miller, Josie Duncan and Joy Dunlop line up to provide lush backing vocals.
Don’t expect Cosmograpy to be much like Dallahan but do expect it to be exceptional. It really is outstanding.
I first came across David and Clare Rozzell as two-thirds of the bluegrass/folk trio, Wood Wire & Words. The trio saw David (guitar/vocals) and Clare (double bass/vocals) joined by Clare’s father, Pat Francis (dobro/mandolin), with the trio chalking up a plethora of gigs and festival appearances across the UK and Europe and releasing several albums – one of which I reviewed here.
The constraints of lockdown restrictions, however, meant that the established trio reformulated themselves into a duo and for two years , every Friday evening, the pair would stage their online Folkgrass Lockdown Sessions direct from their home on England’s South Coast.
Recently, the pair released their very first single as a duo, ‘Museum of the Missing’, which came out towards the end of February.
Conceived as the theme song for a sci-fi/horror podcast of the same name, ‘Museum Of The Missing’ is said to be a powerful, dark tale, of a world where all memories and evidence of a global incident in which 3.5 million people vanished, have seemingly been erased from existence.
For David Rozzell, however, the song was also inspired by events much closer to home. On a personal level, the song is about memory loss, something he has experienced himself as a result of a brain injury.
The duo explain: “The museum being that part of the brain where a condition, like Alzheimer’s or a brain injury, such as David has, hides the memories they had before it stole them away.”
With the duo’s trademark blend of David’s deep, rich vocal delivery, poignant lyrics and gentle melodies, ‘Museum of the Missing’ heralds an important new step in David and Clare Rozzell’s continuing musical journey.
How I choose which gigs to go to has definitely evolved over time. When I lived in London I would be constantly checking out my favourite artists’ tour schedules, working out which venue on the tour would be easiest to get to and booking accordingly. Having lived down in Hastings some eight years now my approach has changed considerably and generally involves checking out the gig listings for the venues within a five-mile radius of my flat, working out who I want to see most and booking accordingly. In some parts of the country, that approach would be really restrictive but we are pretty spoilt for choice in terms of great venues, both large and small, on this part of the East Sussex coast.
And so this is exactly how I came to be at the De La Warr Pavilion for a performance by Moya Brennan. Publicised as ‘The Voice of Clannad’ in the tour promotion, I instantly decided this would be a must-see for me. I hugely enjoyed Clannad’s stunning set at Cropredy festival two years ago and while I was completely unfamiliar with Moya Brennan’s solo career beyond Clannad, I knew that any performance with her vocals at the heart of it was going to be well worth seeing.
Her voice is as pure and enchanting as ever, with Brennan taking lead vocals and harp just as in Clannad. Her band is something of a family affair with her daughter, Aisling Jarvis, on guitar and her son, Paul Jarvis, on keyboards and percussion, alongside leading Irish harpist and long-time collaborator, Cormac De Barra, and fiddle-player, Cathal Curran. Unfortunately, Brennan explained, the latter was not able to make Bexhill, the final night of the UK tour. However, she had persuaded a last-minute replacement (I didn’t catch his name unfortunately) to fly in to Gatwick that afternoon to do the gig. Only 17, he did a remarkable job stepping in and was very warmly-received by the De La Warr audience.
Material-wise, there was a heavy emphasis on songs Brennan had recorded with Cormac De Barra, with whom she has made a number of albums, including their latest project – an album celebrating the career of renowned Irish singer and harpist, Mary O’Hara. In contrast to the ethereal, other-worldly nature of much of Clannad’s back catalogue, there were also some sing-along moments, too. I certainly hadn’t expected a rousing communal rendition of ‘Lord Of The Dance’ but we all joined in with gusto. “I’ve been told you all learnt this at primary school over here,” she said, encouraging us to sing along. Indeed, we had and so that’s exactly what we did.
There would also be a few Clannad songs “for those who need that,” Brennan added dryly and we were treated to stunning renditions of ‘In A Lifetime’, ‘I Will Find You’ and ‘Two Sisters’.
Like many regional theatres in the UK, the events programme for the White Rock In Hastings has been the typical mix of touring tribute shows, musicals and panto with the odd stand-out musical gem thrown. Recently, the theatre saw a change in operator with Trafalgar Theatres (who run many similar venues across the UK), giving way to the Guildhall Trust. The latter are a charity that operate the Portsmouth Guildhall and they came in promising “exciting times ahead” and a “broader programme of entertainment” for the White Rock. Certainly, having Robert Plant on stage sets high bar and is hopefully a foretaste of what’s to come once the new team get their feet well and truly under the table.
In the decades since Led Zeppelin’s demise, Plant has had a consistently fascinating career and some fascinating and highly inventive musical collaborations. I remember braving the mud to witness him with Strange Sensation at Green Man festival in 2007 and, more recently, his superb set with Alison Krauss at Hyde Park when they supported the Eagles two years ago.
His latest band is Saving Grace, composed of Plant, alongside Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar), and Matt Worley (banjo, acoustic, baritone guitars, cuatro) have been around for five years now with several UK tours behind them. Somewhat rockier than previous projects they are a perfect amalgam of Plant’s long-standing interests in the realms of hard-rock, traditional folk, bluegrass and blues, offering up a compelling mix of rocked-up interpretations of traditional songs and folkified versions of Led Zep classics.
Again, we see him returning to the male/female duet set-up, that worked so spectacularly when Sandy Denny was recruited to provide co-lead vocals for ‘Battle Of Evermore’ on Led Zeppelin IV back in the day and more recently through the work with Alison Krauss. It’s a format that Plant is clearly comfortable with and this latest pairing is equally well-chosen. Whether she’s harmonising or taking the lead, Suzi Dian’s rich but delicate voice is just the perfect fit alongside Plant’s still instantly-recognisable vocal (albeit with a more restrained delivery these days…) The band behind them deliver powerful and at times almost almost hypnotic rhythms, with Tony Kelsey and Matt Worley working their way through a plethora of stringed instruments, both electric and acoustic, alongside Oli Jefferson’s pounding percussion. The effect is simply mesmerising with every song drawing you in completely.
Of all the ‘70s rock gods, Robert Plant is perhaps the one who has most has steadfastly refused to be pigeon-holed in the superannuated, stadium heritage rock act persona. It’s meant he’s continued to surprise and delight with new musical ventures. And it’s meant I could stroll along up the road to see him and his band perform an intimate gig in my local theatre.
“You should start writing a blog,” my brother Sam mentioned to me while we were sitting at a festival one afternoon in the Summer of 2013 discussing the various bands we’d each seen recently.
Darren and Sam (right) at Fairport’s Cropredy Convention
I told him the thought had vaguely crossed my mind but it was something I could give more thought to the following Spring once my lengthy stint as a local councillor was coming to an end. My evenings would then be freed up, giving me time to start seeing more gigs and, crucially, sharing my thoughts online about what I’d just seen.
I’d always written a lot about politics and current affairs and I’d never exactly shied away from blatant self-publicity, ever since I got the local paper to run a front-page feature about me doing a stand-up gig in the local pub when I was 16. But I’d never really written about my lifelong love of music before.
Although I’d seen tons of bands during my teen years and early 20s, by the time I got into my mid-20s I seemed to have constant overdrafts and less money available to spend on concert tickets. In my 30s and 40s, with my chosen career by now pretty well-established, I found that although I had the money for gigs I no longer really had the time. Once I approached my late 40s, however, I was finally in the lucky position of having both the time and the money. It’s fair to say I went for it…
Darren meets members of Uriah Heep
Looking back atmy first month of combining gig-going with blogging, it was quite a busy one. I reviewed concerts by Uriah Heep on 4th March, the Young ‘uns on 5th March, Fairport Convention on 9th March, Judy Dyble on 16th March, Graham Bonnett on 19th March, The Elizabethan Session on 22nd March, Status Quo on 28th March and Peter Knight’s Gigspanner on 29th March. Phew!
That first month pretty much summed up my approach. I didn’t want to get too hung up on genre. I didn’t want to do a classic rock blog or a folk blog or any other sort of genre-specific blog (although there are some great ones out there). Rather I wanted to write about all of the artists that happened to interest me, whether heavy metal, glam rock or folk. If others enjoyed reading that, then great, but the starting point was about any music that happen to please me.
Over time, I started added album reviews as well as gig reviews, along with interviews, book reviews, music history and discussion of iconic songs.
Fairport Convention’s Simon Nicol is interviewed for Darren’s Music Blog
New album: A Drop Of The Morning Dew: Live At Bacca Pipes Folk Club released 1 March 2024
Distilling both folk and country influences and performing a heartfelt mixture of self-penned and traditional songs on 12-string guitar and banjo, Serious Sam Barrett was raised in the Dales village of Addingham and began performing in and around Leeds in 2004. With the release of his debut album Close To Home in 2009, word began spreading further afield and Sam was soon grabbing the attention of audiences both around the UK and in the US.
Having performed at SXSW in Austin, Texas in 2010, he has toured the US widely, usually in the company of friends and fellow skaters The Pine Hill Haints. Along the way, Sam has shared stages with the likes of Martin Carthy, Dave Burland, Katherine Tickell, Lucero, The Young Un’s, Frank Fairfield, Deer Tick and Karine Polwart, and received airplay and praise plaudits from the BBC’s Bob Harris, Marc Riley, Mark Radcliffe and Mike Harding.
Recorded live at a gig at a celebrated Keighley folk club in January 2023, Sam’s forthcoming album A Drop Of The Morning Dew: Live At Bacca Pipes Folk Club includes eleven self-penned highlights from his career, along with his own arrangements of a further seven traditional songs. A folk club has existed in Keighley in one form or other since the early 60s, adopting the name Bacca Pipes during the early 70s and playing host to a long line of notables such as Mike Harding, Swan Arcade, Julie Felix, Peter Bellamy, Norma Waterson, Martin Carthy and many more. It was a tradition into which Sam Barrett was born.
Serious Sam Barrett:“Folk clubs have always been part of my life. My parents met in one and I was taken to the clubs and festivals from a young age. The clubs have always been a massive source of inspiration for my music. The magic that happens week in and week out is impossible to put into words. Sometimes the experience is almost transcendental. The old pubs, the reverence for the singers, the jokes, the raffle, the stories and the music. There’s nothing like it.”
When I asked for a quote for this piece, Sam came straight back:
“What an honour to be part of Darren’s Music Blog!! Thanks so much I can’t wait! I’m in some very esteemed company there!!! Can’t believe I’m getting to play the world famous Liverpool philharmonic!! What an honour. And it’s all thanks to Mellowtone!!”
Away Beyond The Fret is the third album from husband-and-wife folk duo, Lucy and Jon Hart, and the follow-up to the highly-enjoyable Journey Through The Roke, which I reviewed back in 2021.
Lucy Hart:“Many of the songs on this album focus on our Suffolk home and the close bonds of family, friendship and community.”
Fresh-sounding, slightly genre-hopping and once again deeply rooted in the history, culture and landscape of their Suffolk homeland, Away Beyond The Fret is delivered with the duo’s characteristic elegance and beauty. The highly-talented duo of Lucy and Jon Hart continue to delight and this, their third album, is proof that Honey & The Bear have blossomed into something truly magnificent on the UK folk scene.
Three Galleys is the debut album from Holly & The Reivers, a project formed back in 2017 that brings together Holly Clarke (vocals/guitar), Merle Harbron (vocals/fiddle) and Bertie Armstrong (vocals/banjo).
Holly & The Reivers:“Three Galleys reaches into the depths of the darker side of folk song and brings forth the messages in the songs that are deeply rooted in human experience through history. Each track has been meticulously arranged to help interlace the story with a musical setting that enthrals listeners to submit and be swept away in a journey of rich storytelling.”
This is an older live video but still carries their instantly-recognisable signature sound based around the trio’s banjo, fiddle and guitar and their contrasting but complimentary vocals. Beautifully atmospheric soundscapes combine with stunning interpretations of traditional ballads that tend dwell on the darker side of human existence, borne of an enduring fascination of folk horror cinema. In Three Galleys, Holly & The Reivers have served up a highly impressive debut album.
Martinmas is the fourth and final release in Gavin Marwick’s Quarterdays series, and this one sees the Scottish fiddle-player and composer team up with pianist and accordion-player, Phil Alexander. The two have played together both socially and professionally over a number of years.
Gavin Marwick:“Martinmas celebrates the life of St Martin of Tours, the only actual historical figure to appear in the Quarterdays canon. Born in what is now part of Hungary, serving in the Roman army and ending up as Bishop of Tours and ultimately one of the patron saints of France, Martin offers a very broad European vision of the spread of the early church across the continent during this long ago fourth century period.”
Marking the final season of the year and celebrating the life of St Martin of Tours, whose feast day is marked on November 11th, the six tune-sets, all composed by Marwick, distil Scottish, Eastern European and French traditional influences alongside more contemporary ideas. Once again, Marwick hits us with more wonderfully expressive fiddle and he and Alexander deliver some nicely evocative tunes that perfectly capture the time of year. Quarterdays has been a fascinating project and Martinmas is a worthy finale to the series.
Playing in bands such as Paper Tiger, Unspeakable Acts, Delicious Houdini, Bamboozle, Tom Houston and the Keltic Band and davesnewbike as well as working as musical director in theatre, Tom Houston has also had a prolific solo career and Everything In The Delicatessen is his sixth solo album. His current work encompasses spoken word, soundscapes, stories and songs.
“Everything In The Delicatessen attempts to give the listener that ‘up close and personal’ experience with ‘local produce’ of high quality,” promises the accompanying press publicity.
An album that transcends musical boundaries and is brimming with drama and musicality, great lyrics and great melodies, Everything In The Delicatessen is the kind of album you’ll come back to again and again and always find something new.
Aberdeen-based musician and songwriter, Colin MacDuff, says he “dabbled” in music and poetry when family and career commitments allowed time but things got more serious upon his retirement when he enrolled on Boo Hewerdine’s and Findlay Napier’s mentorship scheme for aspiring songwriters. With their encouragement he soon found he had more than a dozen original songs and his debut album, The Past In The Sky, was released in 2022 to positive reviews. Separations is the follow-up.
Colin MacDuff:“During the past year I wrote a lot of new songs and got thinking about whether some might fit together in an album. At first, I thought they were very disparate. But, aided by a glass or two, I had the revelation that they were all songs about different aspects of separation.”
The theme of separation in the songs extends across a range of subjects, from relationship break-ups, to bereavement to economic displacement. The main accompaniment is MacDuff’s own acoustic guitar-playing but he’s joined by Angus Lyon (accordion), Jenna Reid (fiddle) and Hugh Halton percussion, with pianist Maria Quinn also providing some beautifully eloquent piano on three tracks. With his gentle vocal and engaging storytelling, Separations acts as an excellent showcase for Colin MacDuff’s fine songwriting.
Hot on the heels of his stunning 2023 studio album, Glass Knight, released back in August, genre-fluid glam-prog-folk singer-songwriter, Joshua Burnell, follows it up with a new live album in time for Christmas.
Glass Knight, which Burnell launched when he performed on the main stage at Fairport’s Cropredy festival, picked up tons of good reviews – including from Darren’s Music Blog where I described it as “Hunky Dory-era Bowie meets folk rock meets prog” and hailed it as a bona fide twenty-first century masterpiece. Rather than giving us ‘stadium-ready’ renditions of the songs from Glass Knight, however, Live At The Crescent (recorded in the intimate setting of a gig in York in October 2022) takes us back to before Glass Knight was recorded, when many of the songs were still being worked up in readiness for the studio.
Opening with the then un-released ‘Where Planets Collide’, Burnell goes on to share with the audience a number of embryonic versions of songs that would later appear on Glass Knight, as well as some older material, including three songs from its excellent, albeit more folk-leaning predecessor, Flowers Where The Horses Sleep.
In addition to live versions of other classic tracks from Burnell’s back catalogue, there are also songs like ‘Some Things Aren’t Eroded’ and ‘Slow-Burning Cigarette’ that are yet to appear on any studio albums, giving us a tantalising glimpse of what might be coming next.
Joined by his regular band of Nathan Greaves on electric guitar, Oliver Whitehouse on bass, Ed Simpson on drums, Frankie Archer on violin and Frances Sladen on vocals; the album is a complete, unabridged recording of his concert at The Crescent that captures the immersive atmosphere of a Burnell gig.
After a hugely-successful three and a half decades together Steve Knightley and Phil Beer announced this year that Show Of Hands’ days as a touring unit would finally be drawing to a close. The recent Autumn 2023 tour marked their final outing as a trio (with Miranda Sykes) and a spring tour planned for next year will be their final hurrah as a duo. To coincide with this fond farewell, they have a new compilation out. Intended as a companion piece to their original 2007 Roots‘Best Of’ of compilation, Roots 2 offers up a whopping 31 tracks across two discs.
Steve Knightley: “We’ve always strived to evolve and experiment with our sound,, all the time staying true to our folk roots. We hope the diversity of this album demonstrates that and it will be a noteworthy addition to our discography.”
Immediate proof of just how long-overdue this follow-up compilation is, immediately comes in hearing just how many of my favourites from Show Of Hands can be found on this new collection: ‘Haunt You’, ‘The Long Way Home’, ‘Now You Know’ and, of course, ‘Arrogance, Ignorance and Greed’.
The earlier material isn’t neglected completely though. There’s a new version of ‘Country Life’, for example, recorded live in Exeter and reimagined as a gentle, reflective ballad rather than the rousing twenty-first century rural folk anthem we all love and know. And things are brought up to date with a gloriously celebratory live version of their 2021 ‘lockdown’ single, ‘The Best One Yet.’
Moving, poignant, rousing, anthemic (no-one does anthemic quite like Show Of Hands after all), Roots 2 is a sterling late-career retrospective of one of the most important UK folk outfits of the past four decades.
One of the really nice things about seeing Steeleye Span live (and there are many) is that on each new tour there are always a few surprises to look forward to. It’s never just a ‘greatest hits’ set of the most obvious crowd-pleasers plus a few songs thrown in to plug whatever happens to be the latest album. Obscure songs from the band’s bulging back catalogue are dusted down and given a new lease of life. New arrangements are tried out by what is often a very different line-up from the one that originally recorded it. Or sometimes an entire album is revisited and performed in full. Meanwhile, to make way for a constantly-evolving setlist, old stage favourites are often gently retired and given a rest for a few years.
This current tour sees Steeleye Span promoting a new album The Green Man Collection. Here, the band revisit some of their past material with a mixture of songs written by members of the band at the time and some traditional numbers. The new album also includes a newly-composed song from Maddy Prior, a couple of well-chosen covers and something that was written for the band by Bob Johnson back in the ‘80s, committed to tape and then completely forgotten about for the next four decades.
The latter song, ‘Green Man’, is the one that opens the show. The symbolism of the Green Man has obviously been a mainstay of English folk traditions for centuries but here the lyrics address ecological concerns – then very current in the 1980s when it was first written and, alarmingly, even more current now. Dark, brooding and slightly mysterious, it’s a classic slice of Steeleye Span and a superb opener. Indeed, it’s a complete mystery how the band managed to forget about such a magnificent track. Both the original version and the newly-revisited version appear on the new album.
Alongside familiar numbers like ‘The Dark Morris Song’, ‘New York Girls’ and ‘Tam Lin’, the first half of the set also sees the band take on two songs written by former bass-player, Rick Kemp, ‘Low Flying’ and ‘Genocide’. The former featured on the 1990 Rick Kemp & Maddy Prior album Happy Families whilst the latter appeared on Kemp’s solo album Escape.
The second set opens with a surprising but hugely poignant cover of Elvis Costello’s ‘Shipbuilding’. This is then followed by a newly-written song from Maddy Prior – the excellent ‘Hey Nonny Violence’, which very much follows in the Steeleye Span tradition of seemingly jolly songs tackling much darker themes. Another new song (well new for Steeleye Span, anyway) is the band’s interpretation of the traditional ‘The Sound of Drums’.
That’s not to say there aren’t a few more familiar favourites as well. One song I would have been disappointed to see dropped was ‘Hard Times of Old England’ and, as Prior points out in introducing it, it’s sadly as relevant today as it ever was. For those familiar with the Mike Batt-produced version on the All Around My Hat album, this new interpretation is even more of a rocked-up boogie-fest than the original recording. This is no surprise as none other than Status Quo’s Francis Rossi makes an appearance on the new album guesting on this track, and the band bring some of the spirit of the mighty Quo to their stage performance tonight. There’s also some equally lively fiddle from newcomer, Athena Octavia, who slots in alongside the old hands beautifully.
All the band are on fine form, Prior’s voice is in top-notch shape and Steeleye Span continue to surprise and delight. When the band exit the stage to huge applause towards the end of their second set all that is left is for them to come back on for a riotous, sing-along version of ‘All Around My Hat’ and we can all leave with a spring in our step.
Setlist – first set: Green Man The Dark Morris Song Sir James the Rose When All The World The Gardener New York Girls Low Flying Genocide Tam Lin
Setlist – second set:
Shipbuilding Hey Nonny Violence Black Jack Davy The Sound of Drums The Weaver and the Factory Maid Jack Hall Hard Times of Old England Bonny Black Hare Dodgy Bastards All Around My Hat
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