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August 2018 – upcoming London folk gigs – Nest Collective’s Campfire Club shows – Åkervinda and Night (17th August); Gasper Nali and Ellie Ford (also 17th August); London Contemporary Voices (24th August); Alabaster dePlume and Luna Silva (31st August)

12 Aug

Here’s the second set of August’s Nest Collective Campfire Club open air park/garden/playground shows…

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Another pair of simultaneous Campfire concerts are happening on 17th August, the first of which features Scandinavian vocal quartet Åkervinda and Nepali folk band Night.

“Iris Bergcrantz, Lise Kroner, Linda Bergström and Agnes Åhlund – the four singers of Åkervinda – take pride in their original and modern interpretation of the traditional folksongs of Scandinavia. The group’s name is inspired by a Swedish wildflower whose roots spread far and wide like rivers under the ground. Like the flower, gracefully entwining melodies, rock-solid groove, and ever intriguing harmonies will take root in your mind. Like the flower, they will be impossible to remove.

“Jazz singers at heart, the young women of Åkervinda share a deep love of folk music. Through improvisation, the group gives new life to traditional folk songs and stories of women throughout the ages. In 2014 they released their debut album “Kära Mor” (“Dear Mother”) and has been touring in Sweden, Denmark, the US and Canada since. Åkervinda have performed at Aarhus Vocal Festival, Malmö Arena, Hillerød Folk Festival and various folk festivals in Sweden (as well as museums and venues in Toronto, New York and Chicago) and collaborations include work with the Swedish folk musician Jens Ulvsand, the Canadian fiddle virtuoso Jaron Freeman-Fox and the internationally-renowned Swedish trio Nordic.


 
“Reworking Nepali traditions into “stunning new soundscapes” (‘Making Tracks’), Night is a Kathmandu-based folk band formed in 2006, with members coming together from different musical backgrounds. The band focuses on reviving lost and endangered Nepali instruments, on creating new sounds rooted in collective Nepali heritage and on reintroducing said music and instruments to a world audience.

The people, places and cultures of Nepal have been Night’s greatest inspiration. Most of the songs are composed “in the field” where the band stays with people in villages. After living with a melody, a song or a drum rhythm over a period of time, they slowly start sensing its deeper meaning; and, through developing their own compositions, try to express and share this understanding with others.”


 
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The second of the two 17th August concert features Malawian roots musician Gasper Nali and Brightonian folk harpist/singer-songwriter Ellie Ford.

“Performing “simple but joyous… totally infectious” music (‘Songlines’), Gasper Nali plays a Babatoni – a three-metre one-stringed home-made bass guitar – with an empty bottle and a stick, and makes the most beautiful and catchy original Afro-beats possible. Gasper is a one-man-band, with the Babatoni, cow-skin kick drum and very catchy tunes. He is absolutely unlike anything else. It’s super Malawian roots, it’s very upbeat and incredibly danceable! Or – as a Bandcamp fan nicely put it: “Gasper is a one man party! It’s completely impossible to stop moving – and just as impossible to stop smiling!”


 
Ellie Ford is an alternative folk artist whose expressive vocals are accompanied by her percussive harp playing and eloquent songwriting. Her combination of classical and modern musical styles – of the serene with the guttural – makes for a captivating solo performance. With a debut album release under her belt and a second album to follow in 2018, Ellie Ford is forging her own path as an alternative musician and performer.”


 
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On 24th August, utility choir London Contemporary Voices deliver the second of their two Campfire concerts this year. Suppliers of “session singers, backing vocalists, choristers, beatboxers and a cappella entertainment”, LCV are an in-demand studio-and-live chorus who spend much of their time working with pop and dance artists, providing music for corporate events or singing “choireeoke”; but in between these engagements they host their own events or pursue more unorthodox projects. Beside their previous 2018 Campfire event earlier in the season, the latter have recently included providing a soundbath for Folkestone’s experimental Profound Sound festival and staging a celebration of female songwriters at Union Chapel back in May.


 
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The last of the August concerts comes on 31st August, and features spoken-word/instrumental polymath Alabaster DePlume and trilingual folk/jazz/pop musician Luna Silva.

”From Manchester, now based in London, Gus Fairbairn – better known as Alabaster DePlume – is a performer, writer and musician. A saxophonist with an unusual tone (reminiscent of Ethopian free-jazz legend Getatchew Mekurya), Alabaster collaborates with members of the folk and jazz scenes of London, Bristol and Manchester. He uses music and spoken word to portray sentiments, often contradictory, that together evoke a new feeling. Whether in recording, writing or performance, his work has an emphasis on inclusion, encouragement and sincerity (and was recently described on Radio 3 as being “cheerfully uneasy”).

Since 2011 Alabaster has produced three albums on Manchester label Debt Records, toured Europe as a solo performer, produced short films, and written/performed a play with circus-aerial in Dublin. His latest album, ‘Peach’, was produced by Paddy Steer, and accompanies a short film called ‘I Feel Good’ directed by Melodie Roulaud. He also regularly presents a series of combined arts events celebrating both his and others’ work.


 
“Daughter of an English actress, a Spanish circus performer, and raised in France Luna Silva is a daughter of the world, singing in three languages and influenced by the cultures she has come across in her travels. In a world that is increasingly connecting, communicating and cooperating; Luna Silva’s music is deeply resonant. Her music is a mixture of contemporary music and traditional musics of this world (the arrangements touching on Eastern European folk, English folk, straight pop and Congolese jazz) but above all one feels a love for creativity. Accompanied by her ukulele (or a quartet also including guitar, double bass and percussion) she takes us on a journey of our own – an acoustic set with sass.”


 
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Full dates:

  • Campfire Club: Åkervinda + Night – Lumpy Hill Adventure Playground, 15 Market Road, Lower Holloway, London, N7 9PL, England, Friday 17th August 2018, 7.00pm – information here and here
  • Campfire Club: Gasper Nali + Ellie Ford – Phytology, Bethnal Green Nature Reserve, Middleton Street, Bethnal Green, London, E2 9RR, England, Friday 17th August 2018, 7.00pm – information here and here
  • Campfire Club: London Contemporary Voices return! – Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England,Friday 24th August 2018, 7.00pm – information here and here
  • Campfire Club: Alabaster dePlume + Luna Silva – Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England, Friday 31st August 2018, 7.00pm – information here

More Campfire Club shows to follow in September…
 

August 2018 – upcoming London pop & rock gigs – Loop Pedal Lunacy with Steve Strong, Fetherstone, Alex Taylor, Sam Martin and She, Robot (8th August); plus a rare free Silvery acoustic show (10th August)

3 Aug

An evening of pop-looping at Paper Dress; and the return of some London art-pop rascals…

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First, the loopfest…

Loop Pedal Lunacy, 8th August 2018

Steve Strong is a one man arsenal of beats, tapped guitar and lush textural melodies. His music is as witheld as it is grandiose, as skeletal as it is layered, equal parts shimmering and pulsing. It glimmers, swings and explodes in all the right places, sliding gracefully from one section to another, played as tightly as it is loose and free. Steve’s ability to bridge the gap between technical ability and captivation is completely instinctual, tattoed onto his musical consciousness like the art on his body. His music seems to encompass many different styles without feeling contrived or forced; every strand of inspiration in Steve’s music is carefully placed and melted. This music will not be held down!


 
“As She, Robot, award winning loop artist Suzy Condrad is a seasoned performer and authentic underground artist who has written and self-produced three albums and established herself as a leader in her field, winning the title of Boss Looping UK Champion in 2011. She effortlessly juggles instruments and genres with a dynamic and arresting one-woman show which has amazed and delighted audiences from Shambala to Boomtown Fair, Bearded Theory to Beautiful Days. Dancehall, ska, doo-wop, folk and electro collide with blistering beats and haunting, sublime vocal gymnastics to take you on an ever-looping journey which balances real-time loop juggling against timeless songwriting. Edgy, raw, beatbox and bass driven sensual sounds, layered to perfection, create a mesmerising performance which is powerful yet ethereal. Woman meets machine in a musical maelstrom that will make your head spin, your spirit lift and your feet move.

 
“Already compared by reviewers to the likes of Bill Withers, John Martyn and Jeff Buckley, Bristol-based singer/songwriter and multi-instrumental loop pedal artist Alex Taylor is one of the shining lights of the acoustic scene and a troubadour of world-class standing. Drawing on varied influences from a wide musical spectrum, Alex’s style splices elements of soul, nu-folk and electronica to place his shape-shifting voice and dextrous, original acoustic guitar playing firmly in the spotlight. Touring extensively, Alex has notched up hundreds of gigs, sharing stages with such luminaries as Jack Savoretti, Roachford and Michael Kiwanuka: a festival favourite, he recently headlined the BBC stage at Bristol’s Harbour Festival, and has played many other stages including Cambridge Folk Festival and Cheltenham Jazz Festival. His critically acclaimed debut album features performances from members of The Invisible, Newton Faulkner’s band, Portishead and Massive Attack.


 
“Heavily influenced by her ninety-four-year-old artistic grandmother, Aussie-born Fetherstone brings together the quirky sounds of electronic pop and the swooping melodies of folk, and combines them with her emotive reflective story-telling. Based in London since 2015, 2017’s ‘Debut’ EP was produced and engineered by London native Harry Tarlton (Kobalt, Union J, Stooshe, WarnerUK), with the last single Two Hands On Deck hand-picked by Newton Faulker to feature on the Richer Unsigned record store day Vinyl compilation, April 2018. Fetherstone’s live shows captivate audiences using a loop/effects pedal, percussion and electronic drums. Recent performances include The Camden Assembly (supporting for Frida Sundemo), Richer Unsigned Live at Melomania, TV Nights Upstairs at Ronnie Scott’s, The Servant Jazz Quarters (supporting Ella Janes), Live at The Bedford and The Troubadour (supporting The Modern Strangers).

 
“Since an early age, Sam Martin has written and performed his own music around the UK, both supporting and headlining on nation wide tours. In 2010 he recorded his first independent solo EP and has since recorded three studio EPs which have gained a mass following in the UK and Europe as well as Australia and North America. With a vocal/guitar/loop-pedal musical style incorporating blues, jazz and alternative soul, Sam’s vocal and instrumental ability is testament to both his inspirations and musical evolution.”


 
Loop Pedal Lunacy – A Night of Live Looping (featuring Steve Strong, Fetherstone, Alex Taylor, Sam Martin and She, Robot)
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Wednesday 8th August 2018, 8.00pm
– information here, here and here
 

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Meanwhile, the coming week also sees the first gig in a year for London art/glam/pile-on rockers Silvery. Snatching an early night slot before the late-night jazz funk at Jazz After Dark, they’re going for a repeat performance (of sorts) of last year’s free Soho acoustic gig: this time, in order to celebrate the tenth anniversary of their debut album ‘Thunderer & Excelsior’.

Simultaneously effete and rowdy, Silvery are a wonky London pop sense made flesh, sounding as if they’ve sprung from the same zigzagging suburban allotments-of-weird which also brought up The Kinks, The Monochrome Set, Cardiacs and The Stranglers. They’re more urchin-esque than Franz Ferdinand, but less leery than Blur. They’re an erudite and wayward Carnaby Roxy; the Dodgers to Bowie’s Fagin; and as rocking goes, they’re only “garage” if said garage had started life as a spooky Victorian stable block.

In their live heyday, Silvery would dress up as Bow Street Runners and fill the capital’s little venues with sweat and joy; these days, their gigs are few and far between, so make the most of this one. If it’s anything like the last time, it’ll be just the two Silveries – Simon Harris and front guy James Orman – thwacking out the old stuff on 12-string acoustic guitar and piano. Below, to get you in the mood, there’s a couple of full-bore electric ‘Thunderer…’ excerpts plus a teaser for a forthcoming film they’ve been making.




 
Silvery: Live Acoustic
Jazz After Dark, 9 Greek Street, Soho, London, W1D 4DQ, England
Friday 10th August 2018, 8.00pm
– free event – information here
 

August 2018 – upcoming London folk gigs – Nest Collective’s Campfire Club shows – Kaia Kater and John McGrath (3rd August); Cath & Phil Tyler and Marisa Jack & Davy (3rd August); Get Cape. Wear Cape. Fly. and Felix MB (9th August); Fellow Pynins and Jack & The Arrows (10th August)

28 Jul

More in the ongoing string of unamplified outdoor folk gigs in London parks and gardens, courtesy of Nest Collective’s Campfire Club.

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There are two simultaneous concerts on 3rd August, the first of which features “African-Canadian roots phenom” Kaia Kater and experimental folk guitarist John McGrath.

Kaia Kater couldn’t have come on the scene at a better time. As a new generation takes the reins, American roots music is needed more than ever to remind us of the troubled pathways of our own history. Born of African-Caribbean descent in Québec, Kaia Kater grew up between two worlds: one her family’s deep ties to Canadian folk music in her Toronto home; the other the years she spent learning and studying Appalachian music in West Virginia. Her acclaimed debut album ‘Sorrow Bound’ (May 2015) touched on this divide, but her sophomore album ‘Nine Pin’ (May 2016) delved even further, and casting an unflinching eye at the realities faced by people of colour in North America every day. Her songs on Nine Pin are fueled by her rich low tenor vocals, jazz-influenced instrumentation, and beautifully understated banjo. They earned her a Canadian Folk Music Award in 2016, and they’ve got as much in common with Kendrick Lamar right now as they do with Pete Seeger.

“As a concept album, ‘Nine Pin’ weaves between hard-hitting songs that touch on modern issues like the Black Lives Matter movement (Rising Down, Paradise Fell) and more personal narratives speaking to life and love in the digital age (Saint Elizabeth). And while these larger stories are deftly crafted, this is really an album of moments. Kater’s a cappella voice speaking to the loneliness of a city in Harlem’s Little Blackbird while solo dance steps echo in the background, the muted hesitancy of Caleb Hamilton’s trumpet breaking the trance of Little Pink, the smoke of electric guitar that cuts through Saint Elizabeth, the wave-like ebb and flow of piano behind the plaintive love poem Viper’s Nest… All of these moments point to an artist wise beyond her years.


 
John McGrath is an Irish guitarist, composer and author based in London. His music explores the boundaries of the ancient and modern as traditional elements meet improvisation and experimental tendencies. Rich harmonics, intricate finger-picking, static drones and glitches combine to glorious effect.”


 
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The second of the two 3rd August concerts features some neo-traditionalist groupings in the form of Cath & Phil Tyler and Marisa Jack & Davy.

Cath & Phil Tyler play Anglo-American folk music using guitar, banjo, voice and fiddle. Cath was a member of the band Cordelia’s Dad in the 1990s when she lived in Massachusetts, USA. Phil (from Newcastle-upon-Tyne) has played in various folk, rock and ceilidh bands for many years. Coming together musically through a shared love of traditional narrative song, full voiced sacred harp singing and sparse mountain banjo, they have performed on stages as diverse as the Royal Opera House in London and a dank tower in the old city walls of Newcastle. Taking a more minimal approach to their material than some, they have been described as “one of the most compelling musical partnerships on the scene”, their music being “a highly concentrated and intimate musical experience that penetrates to the very rawest essence of folk tradition.”


 
“Bedford-based folk trio Marisa Jack & Davy formed in 2015 in order to play at the DIY shows and house concerts they were organising. A floor spot for Stick in the Wheel’s folk night on The Golden Hinde encouraged them to further explore British folk music and they were soon seduced by the music of Shirley Collins, The Young Tradition and Nic Jones. Their unconventional interpretation of the tradition is shaped by the harmonic blend of their three unique voices, acoustic guitar styles and their music backgrounds. Marisa Straccia is an illustrator and plaintive finger picking guitarist, Davy Willis a singer and artist from Tonbridge via L.A. and Jack Sharp is best known as the singer for psych rock band Wolf People. They also run a nomadic Bedford acoustic folk night called Mill Race Folk in various locations including an 18th century watermill, a museum, a community boat and a 15th century timber-framed market hall.”


 
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The 9th August concert features acousti-pop star Get Cape. Wear Cape. Fly. and rising folk-pop sensation Felix MB.

“A veteran at thirty-two, Sam Duckworth has been releasing music under the moniker Get Cape. Wear Cape. Fly. for 12 years. His catalogue includes collaborations ranging from Baba Maal, to Shy Fx, Kate Nash to Jehst. It includes four top 40 singles, tow top 40 albums, a German Club Number 1 and a gold-certified plaque for the seminal ‘Chronicles Of A Bohemian Teenager’.

Having spent three recent years working under his own name, Duckworth returned to Get Cape. Wear Cape. Fly. work in January 2018 with a new album, ‘Young Adult’, which includes the Shy Fx collaboration “always.” Mastered by T Power, this is Duckworth back as a folk artist, but still keeping parts of the electronic experimentation of his “solo” work. Sam debuted a new band at his recent Village Underground show, hearalded by the Independent as a “triumphant return.”


 
“Growing up in Derbyshire amongst actors and musicians in his parents’ touring theatre company, Felix M-B began gigging in Derby, Nottingham and then across the UK; playing shows with the likes of Lorkin O’Reilly, Alasdair Roberts, Lucy Ward, Josh Wheatley, Daudi Matsiko, Joel Baker, The Slow Show, Monica Heldal, and Georgie. His latest EP ‘The Pipes’ (released on 10th March at a sold-out concert in London) saw Felix co-producing, recording the five-track record with Ben Walker in Brighton in December 2017. It is a particularly raw and intimate record, featuring elements of self-recording and the use of reel-to-reel tape.”

(I’ve had plenty to say about Felix previously…)


 
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The 10th August gig features Oregonian folk duoFellow Pynins and Oxford harmony-folk trio Jack & The Arrows.

Fellow Pynins is a tender folk duo birthed out of years of traveling, farming, child-rearing, and touring as part of six-piece folk orchestra Patchy Sanders. Their songs tell of stories old, dreams of death, frolicking through pastures of sheep, and entering the chasms of the human experience. Their repertoire consists of original songs and traditional European ballads collected during their travels. Wielding clawhammer banjo, bouzouki, mandolin and guitar, Ian Van Ornum and Dani Aubert pour their hearts into the sounds of their whimsically-woven folk tales. These two will lift you up with their ridiculous stories and then transcend you into their emotive songs.

 
Jack & The Arrows are a London-and-Oxford based trio with dashes of folk, Americana and blues and strong close-harmonies. Jack Durtnall, Joe Hasell and Edmund Jones met through a capella singing and the band crystallised around their shared musical passions and longstanding friendships. ‘The Oxford Student’ dubbed them “an enthralling blend of impressive vocal harmonies complimented with rich instrumentation”…”

 
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Full dates:

  • Campfire Club: Kaia Kater + John McGrath – Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England, Friday 3rd August 2018, 7.00pm – information here and here
  • Campfire Club: Cath & Phil Tyler + Marisa Jack & Davy – (secret location t.b.c.), London, Friday 3rd August 2018, 7.00pm – information here and here
  • Campfire Club: Get Cape Wear Cape Fly (solo unplugged) + Felix M-B – The Calthorpe Project, 258-274 Gray’s Inn Road, St Pancras, London, WC1X 8LH, England, Thursday 9th August 2018, 7.00pm – information here and here
  • Campfire Club: Fellow Pynins + Jack & The Arrows – Oasis Nature Garden, Larkhall Lane, Stockwell, London, SW4 6RJ, England, Friday 10th August 2018, 7.00pm – information here and here

More August Campfire Club concerts shortly….
 

July 2018 – upcoming London folk and world gigs – Nest Collective’s Campfire Club shows – Abatwa (the pygmy) plus Pete Yelding (26th July); The Young’uns (27th July)

19 Jul

Here’s details on the last two Nest Collective’s Campfire Club shows for July, continuing a season which has already seen a sheaf of singer-songwriters, Western folk traditionalist, griot musicians, choirs, chamber jazz bands, storytellers and folk-rappers temporarily take over London’s more obscure green spaces and playgrounds for various unamplified concert evenings, giving us doses of round-the-globe musicianship, occasional sedition and general acoustic glory.

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Easy bit first…

The month’s sixth and final concert, on 27th July, features Teesside folk trio The Young’uns, who “have cemented their reputation at the forefront of the English folk scene in the last few years. As Colin Irwin put it, in ‘The Guardian’, “the harmonies are glorious, the wit is waspish. The songs are powerful, the banter is relentless and the audience is happy. What’s not to like?” Having taken their uplifting voices, powerful songs, spine tingling harmonies and raucous humour to audiences across the UK and around the world, The Young’uns won the title of ‘Best Group’ at the BBC Radio 2 Folk Award in 2015 and 2016. They returned in 2017 with an extensive October UK tour and an eagerly anticipated new album, ’Strangers’ – a collection of folk songs for our times; a homage to the outsider, a eulogy for the wayfarer and a hymn for the migrant.”



 
The preceding fifth concert, on 26th July, is a little more complicated.

Replacing Anglo-African folk-griot trio Koral Society is Pete Yelding. A cellist and singer-songwriter who grew up as a classical string player, Pete found his true musical self by diversifying into sitar, into playing in rock bands and with rave jam bands, and in his collaborations with Mandinka Griots and Gnawa musicians from west Africa. Rootswise, he comes from a travelling show people background of caravans, off-grid communes and circus pitches. All of this informs the music which he creates now, from prolonged classical-folk song crossovers to jazzy Arthur Russell-ish diary musings to highly processed mingled-instrumental dronework.




 
Headlining is Abatwa (the pigmy), the project name for a group of genuine Rwandan Pigmies – or, more correctly, Batwa people – fitting in a London show immediately prior to their appearance at WOMAD the following Sunday. Both performances have come about due to last year’s release of the album ‘Abatwa: Why Did We Stop Growing Tall?’, Batwa recordings compiled by Ian Brennan – producer, writer, lecturer, activist and self-taught ethnologist and and someone who’s led a broader and more meaningful life than most, in which twenty years of work in anger management, violence prevention and conflict resolution in various places and situations across the world has run in parallel with socially-conscious music promotion and with record production. In particular, Ian’s been an exemplar for capturing unvarnished field recordings of imperfect but natural performers – ordinary people simply singing and playing the music from their own cultures rather than representing it as any kind of cultural stars.


 
This partially (although obviously not wholly) explains why I know more about Ian than I do about the Batwa he recorded; or, indeed, whichever particular Batwa are playing at the west London art studios which Nest Collective have taken over for the evening. The ‘Abatwa’ album itself features Batwa singers, Batwa instrumentalists and (overturning any ideas of hermetic cultural purity) Batwa rappers. Ian has described their nation as “one of the most marginalized, voiceless and endangered populations in Africa. In fact, their name is frequently taken in vain as a slur towards unrelated others. Historically, the tallest Abatwa women have attracted outside attention and then been taken as wives by other tribes. This has contributed to the growth of their tribe remaining limited physically. Though for the most part they were left alone during the (Rwandan) genocide, some members of the tribe actually participated in committing acts of genocide.”.

Nothing’s straightforward here; and while the complexity and contradictions of this story and this music are probably more than a single concert will be capable of revealing. We can hope for some of the album’s original performers – including rapper Rosine Nyiranshimiyimana, traditionalist master musician Emmanuel Hatungimana, and Umuduli music-bow family players/voice harmonizers Ruth Nyiramfumukoye and Patrick Manishimine – but whatever shape the show takes, it should at least provide a window onto a neglected, threatened world, and perhaps more.



 
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Dates and links:

  • Campfire Club: Abatwa (the pygmy) + Pete Yelding – Kindred Studios, 18 Saltram Crescent, West Kilburn, London, W9 3HW, England, Thursday 26th July 2018, 7.00pm – information here and here
  • Campfire Club: The Young’uns – Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England, Friday 27th July 2018, 7.00pm – information here and here

July 2018 – strange folk indeed – Sutari and Dead Rat Orchestra’s joint-headlining English tour through Colchester, Norwich, London, Nottingham, Hull, Leeds and Oxford (10th to 16th July 2018) with The Dyr Sister and Sarsa Awayes

4 Jul

News on an imminent set of alternative folk gigs – eerie, funny, magical and pertinent (aiming as it does at our history of migrations and settlings).

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“Two of the world’s most prominent avant-folk ensembles join forces for a joint headline tour of the UK.

“It’s not often that you can say you met someone over a meat cleaver but in the case of Dead Rat Orchestra and Sutari it’s true. Not that anyone who knows the work of the UK’s DRO – or for that matter, Poland’s Sutari – should be surprised. Kindred spirits not only in their approach to free-folk but in their use of unusual objects – including meat cleavers – in their performances, this tour will see them join forces to explore the cultural impact of Polish and European migration in England. Performing in locations across England that have been centres of Polish immigration, and engaging with British, Polish and European communities, the tour will utilise Sutari and DRO’s unique approaches to performing traditional musics to lead audiences in a performative and timely discussion about the cultural impacts of the UK leaving the European Union.

“Formed by Daniel Merrill, Nathaniel Mann and Robin Alderton – and performing internationally for over a decade – Dead Rat Orchestra have gained a reputation as one of the most innovative ensembles on the UK music scene. Raw, elemental and poignant and with a love of adventure, their performances feature flailing axes, salt and sawdust, throbbing harmonium, grinding fiddle and two thousand shards of micro-tuned steel cast to the floor in cascading, shimmering joy. DRO create works that blur boundaries between installation and performance. Activities have included ‘The Cut’ (2014), a site-specific musical tour undertaken by canal boat along two hundred and seventy-three miles of waterway; and ‘Tyburnia’ (2015/17) exploring seventeenth and eighteenth century gallows ballads and their sociopolitical history.

“Dead Rat Orchestra are adventurers adrift in a sea of sound and possibility, plucking textures and melodies to craft their idiosyncratic vision of what music and performance can be. Most often they have steered their ship through the idioms of folk and improv, to shout, sing and glisten at audiences from the UK to mainland Europe, Scandinavia to Canada. They have created music using the architectural surroundings in which they find themselves; coppice woods, abandoned abattoirs, paper mills, churches. Necessity has sometimes dictated duo performances of any permutation, always imbued with a sense of the missing member. Instruments are constantly swapped. Rarely performing in a conventional manner they often step away from the stage, to sing and holler a cappella amongst the audience. Acutely haunting, occasionally brutal and raucously joyous, their music always attempts to enchant and entrance, be it emotionally or physically.

 

“Sutari are Kasia Kapela, Basia Songin and Zosia Zembrzuska – a trio of young singers, instrumentalists and performers, each from different musical and theatrical backgrounds, who come together to continue the tradition of home-made folk music. The Sutari project is a fusion of diverse music experiences and passions: they use a mixture of traditional instruments (violin, basetla and drum), and also make use of everyday objects, exploring their potential as musical devices – for instance, a hand mixer, grater, bottles and a wrench… kitchen avant-garde!

“They explore deep vocal harmony traditions, searching for the essence and hidden character of traditional songs, whilst exploring themes of femininity in folklore. Their compositions are based on Polish and Lithuanian folk songs; and they are particularly inspired by the sound and character of Lithuanian Sutartines, sung only by women in perfect harmony. An affecting and elegant fusion of traditional folk, theatrical flair and contemporary mood music.”



 

There are a couple of support acts along the way. In Nottingham, the support comes from Sarsa Awayes – a Nottingham-based Polish spoken word artist. In Colchester, it’s Sally Currie – a.k.a. The Dyr Sister (where “dyr” is Old Norse for “deer”). A Hull-born “multi-instrumental cervine beat mistress”, she “conjures up surreal tales with the aid of viola, synth, mandolin her voice and an array of DIY samples. Performing her catalogue of haunting, ethereal, modern day folk songs as a one-woman band, she paints a fascinating canvas of sound.”


 
Dates:

  • Colchester Arts Centre, Church Street, Colchester, Essex, CO1 1NF, England, Tuesday 10th July 2018, 7.30pm – information here and here
  • Norwich Arts Centre, 51 St Benedicts Street, Norwich, Norfolk, NR2 4PG, England, Wednesday 11th July 2018, 8.30pm – information here and here
  • (secret location), Bow, London, England, Thursday 12th July 2018, 7.30pm – information here and here
  • The Maze, 257 Mansfield Road, Nottingham, NG1 3FT, England, Friday 13th July 2018, 8.00pm – information here and here
  • The New Adelphi Club, 89 De Grey Street, Kingston-upon-Hull, Yorkshire, HU5 2RU, England, Saturday 14th July 2018, 8.00pm – information here and here
  • Leeds Polish Centre, Newton Hill Road, Leeds, Yorkshire, LS7 4JE, England, Sunday 15th July 2018, 4.00pm – information here and here
  • Holywell Music Room, Holywell Street, Oxford, OX1 3SD, England, Monday 16th July 2018, 7.30pm – information here and here

 

July 2018 – upcoming London folk and world gigs – Nest Collective’s Campfire Club shows – Chris Wood (6th July); Fire Choir’s ‘Sing The Change’ (9th July); Ewan McLennan and Twelve Dead In Everett (13th July); London Bulgarian Choir and Harbottle & Jonas (20th July)

1 Jul

Following the previous two months of successful unamplified outdoor folk gigs in May and June, here’s a rundown of Nest Collective’s Campfire Club shows for July. (Well, the first four, anyway, to avoid making the post too long).

What’s on offer for the first half of July involves Bulgarian and civil rights chorale, contemporary English folk, seditious workers’ songs and Devonian stomp. As ever, it’s taking place in London’s playgrounds, garden projects and small artist studios (as well as the odd secret location…)

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The first concert, on 6th July, features Chris Wood.

“A self-taught musician, composer and songwriter, Chris Wood is a lifelong autodidact whose independent streak shines through everything he does. Always direct and unafraid to speak his mind, his song writing has been praised for its surgical clarity. An uncompromising writer (who cites his major influence as “Anon”), his music reveals his love for the un-official history of the English speaking people: with gentle intelligence, he weaves the tradition with his own contemporary parables.

“Hollow Point, Chris’ chilling ballad of the shooting of Jean Charles Menezez, won a BBC Folk Award (he’s won six). This year’s eagerly awaited new album ‘So Much To Defend’ was previewed at Cambridge Folk Festival last summer and includes reflections on minor league football, empty nest syndrome, learning to swim, Cook-in Sauce and, not least, the gecko as a metaphor for contemporary society.”


 
* * * * * * * *

The second concert – ‘Sing the Change’, on 9th July, is a particularly personal endeavour for folk singer/songwriter/curator (and Nest Collective/Campfire Club promoter) Sam Lee. It’s the inaugural concert of the Fire Choir which he runs in partnership with The Foundling Museum“(a) new, “open to all” community choir… dedicated to revitalising communal singing with political empowerment and a sonorous means to protest at its heart. If you want to channel your love for this world or discontent with it through singing, or just discover your voice with like-minded (or unlike-minded) others, then Fire Choir is for you.

“Highlighting social and environmental injustice, Fire Choir builds on the Museum’s centuries-old legacy of social change, campaigning and creativity. Singers tap into the enormous and ancient international repertoire of songs rooted in social change, justice and emancipation. Material includes folk songs, modern songs, anti-war songs, songs of resistance and struggle, the natural world, songs of love and lost worlds.

“A generous aspect of the Fire Choir repertoire has been specially commissioned from the perspective of contemporary communities struggling for a louder voice in society, written by some of the UK’s best songwriters and composers. Plus to keep the spirits high there is of course lots of good old rabble-rousing, soul-lifting chants and hollers! The choir is a vehicle to take these songs to the streets, the auditoria, the recording studio and many other as yet unknown places.

“‘Sing the Change’ will feature protest songs highlighting social injustice and calling for change, and including the world premiere of a special commission by Dizraeli, and Ayanna Witter Johnson‘s ‘Ain’t I A Woman’ (a setting of a speech by Sojourner Truth). It will also contain contributions from special guests and choir leaders Blythe Pepino (Vaults, Mesadorm), Ben See, Alex Etchart, and Sam Lee.”

If you want to sing with the Fire Choir yourself, they usually rehearse at the Museum on a Monday evening and welcome “absolute beginners” – here’s the link again.

Campfire Club: Fire Choir, 9th July 2018

* * * * * * * *

The third concert, on 13th July, features Ewan McLennan and Twelve Dead In Everett.

Ewan McLennan has come to be known as a guitarist at the very forefront of his generation; a troubadour, balladeer and storyteller cut in the old style; a singer that can move audiences with his passion and pathos; and a songwriter for whom social justice is still a burning issue. From a BBC Horizon Award for his debut album to his performances on the iconic Transatlantic Sessions, recent years have been marked by numerous awards and accolades for his music.


 
“The reception offered to Ewan’s latest solo album, ‘Stories Still Untold’, continued this tradition, while his most recent project – ‘Breaking The Spell Of Loneliness’, a collaboration with renowned author and journalist George Monbiot – seeks to use music and word to open up the issue of loneliness (their UK tour and concept album have received wide acclaim and been featured widely, including live appearances on BBC Two’s Newsnight, BBC Radio 4’s Front Row and BBC Radio 3’s In Tune.)


 
“All of them being members of the Industrial Workers Of The World (a.k.a. the Wobblies), Twelve Dead In Everett are a low-down, seditious trio unearthing contemporary political resonances in the traditional music of England, Ireland, Scotland and the United States. Sweet harmonies of reason in a world deaf to exploitation. Songs to fan the flames of discontent and tell your boss to go to hell.”


 
* * * * * * * *

The fourth concert, on 20th July, features London Bulgarian Choir and Harbottle & Jonas.

“The award-winning London Bulgarian Choir is a vibrant, sociable and open-hearted group of singers embracing all nationalities, ages and abilities. The choir was founded in 2000 by Dessi Stefanova, a former singer with the legendary Philip Koutev Bulgarian National Folk Ensemble in Sofia. Thanks to her patience and dedication this group of largely non-Bulgarian singers has become a performing tour de force, winning hearts and minds from the Welsh valleys to Bulgaria’s mountain villages. From its early days as a handful of singers, the choir has grown into an extended ensemble bringing its repertoire of traditional Bulgarian songs to concert halls, churches, nightclubs, galleries, festivals, embassies, village squares and even a barge on the River Thames.


 
“The songs performed by the London Bulgarian Choir are arrangements of traditional and ancient Bulgarian songs. Some tell powerful tales of love and loss, fighting and celebration, while others are inspired by the daily fabric of life. Sung in a complex and unique vocal style, these folk songs have survived five hundred years of Ottoman rule and fifty years of communist indoctrination to emerge with their extraordinary dissonant harmonies, exotic scales, compelling rhythms and exuberant trills and hiccups virtually intact. The choir’s spine-tingling performance of the songs transcends language barriers, and often moves audiences to tears.

Harbottle & Jonas are a stunning young folk duo based in Totnes, Devon. Their music is eclectic and is always accompanied with a great story. Together the husband-and-wife duo combine the rich traditions of folk music with original and contemporary interpretations, through a blend of closely intertwined vocal harmonies. Their music is performed with integrity and on instruments that include the concertina, harmonium, banjo, stompbox, acoustic and resonator guitars. They can sometimes be found playing alongside their full band – eight members in total (cello, fiddle, mandolin, trumpet, drums, bass). Well-travelled across the UK and playing up to 200 gigs each year, Harbottle & Jonas have managed to establish themselves as one of the most exciting prospects on the folk circuit.”


 
* * * * * * * *

Full dates and links:

  • Campfire Club: Chris Wood – Lumpy Hill Adventure Playground, 15 Market Road, Lower Holloway, London, N7 9PL, England, Friday 6th July 2018, 7.00pm – information here and here
  • Campfire Club: Fire Choir – The Calthorpe Project, 258-274 Gray’s Inn Road, St Pancras, London, WC1X 8LH, England, Monday 9th July 2018, 7.00pm – information here
  • Campfire Club: Ewan McLennan + Twelve Dead In Everett – (secret location t.b.c.), Friday 13th July 2018, 7.00pm – information here and here
  • Campfire Club: London Bulgarian Choir + Harbottle & Jonas – Phytology, Bethnal Green Nature Reserve, Middleton Street, Bethnal Green, London, E2 9RR, England, Friday 20th July 2018, 7.00pm – information here and here

* * * * * * * *

More on the last two July concerts later….
 

June 2018 – upcoming London gigs – David McAlmont’s ‘girl.boy.child’ investigations of LBQT+ lives in British historic houses (2nd June)

27 May

Now this looks interesting – the last handful of tickets for this…

David McAlmont: ‘girl.boy.child’, 2nd June 2018

“Renowned singer-songwriter and historian David McAlmont delves into the closets of the historic houses of the National Trust, to explore LGBTQ histories and their contemporary significance and create a new series of site-specific performances.

“Commissioned by Professor Richard Sandell (researcher and museum practitioner at The University of Leicester) along with the National Trust, the performances are the culmination of research during the National Trust’s 2017 national public programme ‘Prejudice and Pride‘, and will shine a light on many of the houses’ LGBTQ heritage.”

The first of these is at London’s Sutton House, the tucked-away Tudor gem in the middle of Hackney that’s also recently been hosting gigs by Charles Hayward, William D. Drake and others… and that’s all the ready info available. Hmm. Should do better, press people. Other evidence, mostly gathered up from the various ‘Prejudice and Pride’ pages, suggests that the show’s based on three houses – Anglesey’s Plas Newydd, Dorset’s Kingston Lacy and Kent’s Smallhythe Place – and “the extraordinary lives” of five of those house’s past residents (Kingston Lacy’s William John Bankes, Plas Newydd’s Henry Cyril Paget and the Smallhythe lesbian ménage à trois of Edith Craig, Christopher St John and Tony Atwood). All of the stories have their share of flamboyance, sadness and determination.

Known as “the dancing marquess”, St John was a Victorian nobleman (both Earl of Uxbridge and Marquess of Anglesey) with an incandescent halo of queerness: he obsessively sank his own time and his family money into a vibrant full-life theatricality which included converting part of Plas Newydd to a showcase auditorium for his own starring roles, and which extended to his own ambiguous, highly feminised and narcissistic persona. Several heady years of leading his own theatre company round Europe in the early 1900s while neglecting an unconsummated, ill-advised marriage led to debts, divorce and an early death (although one in which he died surrounded by affection).

Living in an earlier and even less tolerant age, Bankes had to flee both Kingston Lacy and England in 1841 after being caught in the act in Green Park with a royal guardsman. Facing prosecution and a possible death sentence, he went into exile in Europe, continuing his life as explorer, Egyptologist and adventurer and amassing a huge art collection (which he sent back to Kingston Lacy, only able to visit it himself under stealth).

Craig, St John and Atwood were more fortunate – lesbians living without the threat of prosecution, they lived and worked as part of an active and productive network of playwrights, theatre people, socialists and suffragettes which also encompassed Vita Sackville-West at Sissinghurst. That said, their lives were not without challenge: their assumed male names, their triple union, family umbrage at their sexuality and Craig’s failed attempt at a heterosexual marriage all led to various frictions.

'girl.boy.child.' - the subjects...

Certainly there’s opportunities here for storytelling, the recreation of theatrical and period music, the fierce fellow-feeling and staunchness which comes with performative queer history, and perhaps original songs. I’m not sure exactly how it will all be passed through the McAlmont filter, but his own qualities, preoccupations and expressiveness promise what ought to be a fascinating evening.

Originally coming to notice in the mid-’90s (with the short-lived but stunning Thieves) as a dazzling singer and performer fusing classic soul with glittering gay fabulosity, David seemed set to become a LBTQ+ icon, acting out, singing out and openly discussing the exhilaration, contradictions and questions of the gay experience through his own incandescent prism. In the event, he did become one, but in a lower-key way. Despite the highs (his Top Ten pop hit ‘Yes’ with Bernard Butler, plus some superb work with Thieves, Michael Nyman, David Arnold and latterly Fingersnap and Hi-Fi Sean), caprice, prejudice and the often awkward uniqueness of his outlook means that he led a more fitful singing career. Still revered for his gorgeous and epicene voice, he’s most often found reinterpreting Prince, Bassey, Gershwin or Billie Holiday songs at the head of excellent jazz bands. Meanwhile, his mid-career digression into work as an art historian (“taken to stock up the inspiration reserves… they will never be lacking again”) has deepened his overall perspective and led to new work like this.

'girl.boy.child.' preview photo by @LawrenceRoots

‘girl.boy.child.’ preview photo by @LawrenceRoots

The National Trust presents:
David McAlmont: ‘girl.boy.child’
Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England
Saturday 2nd June 2018, 7.00pm
– information here, here and here

While we’re mulling over the possibilities for the upcoming show, there are some existing peachy McAlmont moments below:





 

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