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March 2018 – upcoming London pop/rock/etc gigs – Demons of Ruby Mae, Tonochrome and Daniels Goldseal (7th March); Blind Dog Studio show with Colonial Sun, Mally Harpaz and Naomi McLean/Hazel Iris/Aine Mcloughlin (7th March)

1 Mar

A couple of interesting gigs on March 7th…

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Demons of Ruby Mae + Tonochrome + Daniels Goldseal, 7th March 2018

Scruff of the Neck presents:
Demons of Ruby Mae + Tonochrome + Daniels Goldseal
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Wednesday 7th March 2018, 7.30pm
– information here and here

Leicester-via-Manchester multi-instrumentalists Jonny Gavin and Adam Rowley – a.k.a. Demons Of Ruby Mae – produce a broad, flowing and assured grand pop, the kind that sounds tailor-made for cinema trailers and box set TV. The mixture of luxuriant instrumental illustration and echoing space – plus Jonny’s impassioned vibrato vocal – results in something like the homeless marine-folk piano ballads of Olafur Arnalds with perhaps a little more contemporary pop underpinning. In existence for six years now, they’ve been on the up since releasing the ‘Someday’ single last year.

I’m not sure which Tonochrome you’re going to get on the night – the brasher, shape throwing pop-rock band which puts out singles like ‘Not Gonna End Well’ while grabbing for burnished hooks and straightforward messages; or the altogether more fluid entity which they present on their debut album which blooms through shades of art-rock and scintillating prog (weaving a graceful dance with vibraphones, string sections, moving jazz chordage and pillowing horns, while staying closer to the inquiring pop-shaded spirit of Field Music, Talk Talk and Dutch Uncles than to the likes of Spock’s Beard). Both versions are current; both are contained within the Tonochrome scope; both currently seem to cohabit without stress.

One thing that’s certain is that, following several promising years of finding their feet, Tonochrome are now stepping with great assurance. How they’re going to carry off these subtler shadings live when cut back to their basic five-piece rock lineup I’m not sure, but there’s enough savvy in them to find a way.

Emerging from roots as a somewhat introverted solo project for songwriter Ian Daniels, Daniels Goldseal has evolved into a canny, effective cinematic song-lens through which Ian can both observe and cast fresh light. With Johnny Cash, Lou Reed, Mark Lanegan and Lambchop as likely inspirations and/or comparisons, Ian operate an absorptive, drifting frame of reference, orbiting the truth in a haze of tequila tones and commenting in a voice sometimes full of sardonic barfly foreboding, sometimes a dreamy Celtic burr.

So far Ian’s got only four publically-released songs behind him, each with a different soundscape – the muttering dusty guitar of Nectarines, the flatlands gospel pining of Out Of the Woods, the barebones electronic R&B, harmonium scratch and Leon Redbone slurs which come together in June, and the hooded country/barstool-folk of A Woman Is, complete with growling electric piano and distant swerves of pedal steel. I’ve no idea what he’ll try to do live: probably he’ll be bringing these and other songs along in fresh sets of clothes.

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Colonial Sun + Mally Harpaz + others, 7th March 2018Blind Dog Studio Presents
Colonial Sun + Mally Harpaz + Naomi McLean/Hazel Iris/Aine Mcloughlin
St Pancras Old Church, Pancras Road, Camden Town, London, NW1 1UL, England
Wednesday 7th March 2017, 7.30pm
– information here and here

While still best known for backing up Anna Calvi, multi-instrumentalist Mally Harpaz has been very active with her own music recently. Her multimedia art collective Blind Dog Studio has been going from strength to strength: their biggest show yet, continuing their aims of proving “a musically cinematic experience”, now comes to St Pancras Old Church.

As before, Mally’s bringing her soundtrack compositions – instrumental chamber pop – to sync with the Clara Aparicio Yoldi video animations which inspired them and which expand on classic paintings. Also as before, Colonial Sun (a.k.a. James Marples, will be performing his dark post-imperial Australian ballads with cello and percussion.

In addition, recent Guildhall graduate and budding composer Naomi McLean, renegade opera singer-turned-experimental folk-popper Hazel Iris (whose melliflous EP ‘Misfortunate Tales’ is out now) and accordionist Aine Mcloughlin are teaming up to perform classical compositions – possibly newly written and possibly not. Blind Dog aren’t giving away much beyond expansive murmurs of “candles and viola, mesmerising arias, exceptional guests before the altar”, so while you’re waiting to be swept away by the churchy glamour, here’s a bit of Hazel plus a Mally song from last autumn…


February/April/August 2018 – underground rock flowerings at the Tim Smith fundraiser gigs in Birmingham (21st February), York (27th April) and Preston (11th August)

15 Feb

Following on from the various posts I’ve done on Tim Smith fundraiser gigs, here’s details on the first three to go public this year (in Birmingham, York and Preston). They’ll be shows which are obviously of interest to fans who’ve followed Tim’s work in and out of Cardiacs, but in their lively breadth, they offer plenty for those who’ve never even heard of either Tim or the band.

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Die Das Der & The Catapult Club present:
A Tim Smith Fundraiser: The Courtesy Group + The Nature Centre + Ghosts of Dead Airplanes + The Crooked Hooks
The Cuban Embassy @ The Bulls Head, 23 St Mary’s Row, Moseley, Birmingham, B13 8HW, England
Wednesday 21st February 2018, 7.30pm
– pay-what-you-can event – information

Tim Smith Fundraiser, 21st February 2018The Birmingham event takes place at a Moseley joint generally better known for Latin music: hemmed in by rum posters and playing under the Cuban flag are various Brum-area acts with assorted mind-expanding sympathies, from the slightly fey to the outright bolshy.

I’ve encountered The Nature Centre before – light-touch “fololoppy” banjo-and-keyboards Anglopop meeting a Barrett-y/Partridge-y/Smith-y sensibility, while smuggling in strange tales of misogyny and telepathy under the cover of cuteness – but the other bands playing this pay-what-you-like gig are new to me. Shades of Captain Beefheart, The Fall and Ian Dury infest The Courtesy Group, thanks to Al Hutchin’s pop-eyed, pop-jawed declaiming over tunefully abrasive hubcap-guitar rock grooves (which travel from beaten-up armchair argument to deafening industry, and which deploy an extended armoury including baritone guitar and beatboxing).

More zig-zagging commentary and tossed-salad narrative come from The Crooked Hooks, who seem to have started from an electric folk groundpoint (with a flick of country fingerpicking) but then rapidly twisted and buggered it up with dirty art rock. They’ve ended up sounding like a collision between Kevin Rowland and Stump: admittedly, a Kevin who’s let the quest for soul slip through his fingers while he was sunk in esoterica about lost continents, nursery rhymes, insults and horses.

Finally, the sludgy jangle of self-deprecating trio Ghosts Of Dead Airplanes defines itself, variously, as “post-post-punk” , “paunch-core”, “noise-pap” and “stupid”. Lurching about all over the shop on a sprawling, surprisingly diverse noise-pop chassis, they formerly bit chunks from what sounded like everything from Pop Will Eat Itself, Nirvana and Gary Numan through to The Double; but more recently they’ve been sounding like anxious boys sticking their bewildered heads out of the billowing trailsmoke-ball of My Bloody Valentine.

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An Evening of Fadeless Splendour, 27th April 2018

Maeve Pearson, Jock Bray, Ian Hughes and Simon Piper present:
An Evening Of Fadeless Splendour: Kavus Torabi + Redbus Noface + Paul Morricone + Stephen Gilchrist
The Fulford Arms, 121 Fulford Road, York, Yorkshire, YO10 4EX, England
Friday 27th April 2018, 7.00pm
– information here and here

Several actual Cardiacs (and honorary family members) are showing up at the York gig. Kavus Torabi will be including it as part of his upcoming tour of new solo material featuring a more serious change of tone, in which he’ll be applying his offbeat psychedelic imagination to sombre-yet-colourful acoustic guitar wrangles, ghostly harmonium drones and dark airs about preoccupations and mortality… as well as the odd Knifeworld piece. (Note – if you’re in London on 22nd February, he’ll also be previewing this tour set in Kings Cross.)

Stephen Gilchrist (a.k.a “Stuffy” or, more recently, “Stephen eVens”) will be playing some of his guitar/melodica/microsynth songs about wilful disappointments, bloody-mindedness, childhood holidays and other sardonic aspects of the human condition. For a man who’s ostensibly such a downbeat bastard, he’s always proved a very engaging live performer, clearly relishing his own gallows humour and the grin beneath the growl. (Having delivered one of the finest British songwriter albums of 2017 also helps, I suppose…)

Stephen also pops up as part of the lineup of Redbus Noface, the ongoing band project by Mark Cawthra (Tim Smith’s primary foil in the early Cardiacs lineups). Helping Mark and Stephen land the Redbus cargo of chunky art-rock and skewed perspective are Bob Leith (another Cardiac) and Mick Russon (sometimes of Cardiacs-inspired Midlands wonk-pop band 7shades, more on whom later). Bar sporadic gigs, Redbus has been pretty quiet since the release of debut album ‘If It Fights The Hammer, It Will Fight The Knife’ nearly seven years ago: perhaps they’ll have something new for us now.

Completing the evening’s entertainment is an appearance by main Scaramanga Six songwriter and frontman Paul Morricone, delivering a solo acoustic guitar package of Scaramanga songs and (perhaps) some additional work in progress. His main band, with their Yorkshire-Krays schtick and their tuneful swagger, might be one of the proudest live acts around; but even without them Paul’s presence is undiminished. He’s still got that big, carrying voice, plus two decades of tough, smart tuneful rock songs behind him – many of them mercilessly skewering toxic masculinity from an insider perspective, focussing not just on its frightening cruelties and callousnesses, but also on its footling self-delusions, its stunted fears and resentments, its swaggering nightmares.

With his work given a new uncomfortable resonance in these days of exposed misogyny, Paul frequently offers grim theatre, with clear lessons beneath the tunes and the dark characterisations. Thankfully, the wider wit and elan of his songwriting – its other varied subjects include stagefright, dreams, and the battle for independence of mind and action, often addressed with dark and melodramatic humour – ensure that an audience with him is far from being a brutal drag-down.

Further details on the show are yet to be confirmed but the planned visuals by Kandle Voodoo, plus the efforts of assorted DJs, will help grease the brain and ensure that everything should roll on until two in the morning.

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Hyena Inc. presents:
The Whole World Window 2:
The New Continental, South Meadow Lane, Preston, Lancashire, PR1 8JP, England
Saturday 11th August 2018, 12:00pm
– information here and here

Whole World Window 2, 11th August 2018By far the biggest of the three events is the Preston one – a twelve-hour all-dayer happily yomping along in the footsteps of a previous attempt back in 2016.

In some respects it’s a rerun, with plenty of the same faces showing up. Promoter Greg Brayford is bringing his own mutant power-pop trio All Hail Hyena (whom I described back then as “Bo Diddley rocking an birthday-cake castle”). Prime Cardiacs acolytes 7Shades are still probably as close to the punchy, cartwheeling late-‘80s Cardiacs sound as you’re going to find without a time machine. Also making return appearances are odd-fit acapella jazz’n’Latin pop singer Asha Hewitt (a.k.a. “Moon Ahsa”, sometimes part of Solana) and the deafening hardcore tinkle of Britney (I’m sorry, but I can’t top my 2016 description of them as “one-and-a-half-minute bursts of earsplitting rock numbers plastered with crumpled ice-cream-van melodies…”)

In other respects, WWW2 is a monstrously ambitious jump-up from the last time around, with Cardiacs-community names coasting in from all over the country and from further afield in Europe. The last of the 2016 returnees is Sterbus, bringing his lovingly boiled-up jam of Smith, Fripp, Zappa and ‘90s rock influences over from Rome (and travelling in cahoots with Dominique d’Avanzo, his usual clarinet-and-voice foil). As with the York gig, Kavus Torabi will play a mostly-acoustic solo set; also in attendance are his fellow Londoners The Display Team with their brass-heavy, complicated-but-catchy avant-rock songbook.

Continuing his ongoing journey from the American underground to the hearts of an increasing number of unsuspecting British freaks, former Thinking Plague/5uu’s polyinstrumental wildcard Bob Drake pops across the Channel from his south-of-France home with a cavalcade of lighthearted weird-fiction tales for guitar, voice and funnybone. From Tyneside and Northumberland, the recently reunited Sleepy People (complete with original frontman and ongoing Ultrasound icon Tiny Wood) will be bringing their pumping, spiralling kaleidoscopic psych-pop for strange city corners; while twilight-folk singer Emily Jones, from Cornwall, will be unpacking her own tales of sea-wives, suspect fairies and haunted post-war bungalows.

The rest of the bill features some rich north-western and Midland pickings which have caught Greg’s eye. Former Polyphonic Love Orchestra members David Sheridon and Debz Joy are making what I think is their first live appearance in their new post-punk fabulist guise as Army Of Moths; Telford-based punk-pop absurdists A Pig Called Eggs sound like John Otway and Syd Barrett happily sharing a single body, but struggling for control of a jouncing mathcore band. Rounding the bill off are Mancunian loop-pedal-pushing lo-fi noise-pop soloist RoBotAliEn (a moonlighter from frequent Hyena-gig guests Sweet Deals On Surgery) and folk-singer Cassandra Payne, whose 2016 debut EP ‘Sheltering Tree’ blends a Northern English folk heritage with lessons and Americana ideas picked up from journeys through the Appalachians, the wilds of Vermont and the bohemian idyll of Cape Cod’s Provincetown.

Greg has also promised a rash of zines, merchandise and commemorative souvenirs, plus a couple of mysteries in the shape of Hannah’s Storey (a top-secret duo being assembled especially for the event) and a similarly secret headliner (which, given the calibre of the people he’s already managed to sign up, ought to be very special indeed…) Meanwhile, for a peek at the previous Whole World Window concert in 2016, see below.


February 2018 – upcoming London gigs (folk, jazz, soul, and eclectic acoustica) – Ian Beetlestone & the Drowning Rats (10th February); Matsudisho and Alice Phelps (18th February); plus Tell Tale Tusk (12th February), Alice Zawadski’s cello-heavy Valentine Show (14th February) and Kabantu’s album launch (8th February)

5 Feb

Even more than the Magic Garden (as covered a few posts back), Camden’s Green Note serves as a London folk-boutique par excellence. Most evenings, its small café space wedges in the cream of roots acts, the care they take over choice, presentation and atmosphere often justifying the priceyness of an evening out. You get what you pay for.

Here are a few things on offer there during early February:

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Ian Beetlestone & The Drowning Rats, 10th February 2018

Ian Beetlestone & The Drowning Rats
The Basement Bar @ The Green Note, 106 Parkway, Camden Town, London, NW1 7AN, England ·
Saturday 10th February 2018, 8:00pm
– information here, here and here

Plenty of charming elements and conversational topics converge in Ian Beetlestone. He’s a Yorkshireman-turned-Londoner, a pop and chanson connoisseur, a gay man and a cabbie. Several of these come together in his lively, engaging cabbie’s blog; even more of them combine in the fact that for the last couple of years Ian’s driven the capital’s first (and, to date, only) rainbow-coloured taxi (for what it’s worth, it’s becoming a much-loved city ornament both inside and outside of Pride, and he gets more stick from fellow cabbies over the Transport for London logo than he does for the LGBT+ associations).

As for the musicality, that flourishes in his all-singing acoustic trio The Drowning Rats, who offer “(a) unique combination of ratty jazz, drowned pop, magic, mystery, darkness and light to the capricious twin deities of love and song with ever pleading, hopeful eyes.” Having started up in Leeds about a decade and a half ago (and survived a subsequent re-potting in London), they’ve been the players of regular gigs in Soho (until recently, at the Blue Posts) and their home turf of Kings Cross (at the Star of Kings) as well as the Green Note.

With Ian’s florid piano backed by Dom Coles’ drumkit and Tom Fry’s double bass (and with occasional visitations from beery horns and assorted vocal foils), they deliver songs bursting with melody, harmony and joie de vivre; nodding to Brel and barrelhouse, Tom Waits and Paul Weller, Nina Simone and the Shangri-Las; suffused with wry reflection, wit and camaraderie. Ian rolls them out in a joyful soul growl – honey, gravel, fur and phlegm, with the hint of a romantic tenor under the wear and tear. It’s a little Tom Waits, but it’s rather more Dr John (if instead of immersing himself in the Big Easy, he’d taken a ship up the Thames estuary to found a bayoux in a London canal basin).

If you’re specifically after queerness, you’ll find it in the subtle and rosy sexual glow which illuminates many of the songs like fireside warmth, and also in the elastic inclusive community etched out in hints and amongst the broader scope of Ian’s songwriting. Inclusivity’s the word, in fact: there’s little details and easter eggs sown throughout the songs if you want to pick them up and decode them, but in general it’s all woven together with subtlety and open-heartedness. You can walk through their door and enjoy epic magic-realist power ballads about the A40, jaunts around the concerns, compromises and evasions of friendships, sly ballads which put the boot into Soho gentrification, and cheerfully apocalyptic accounts of mornings-after… all without worrying that you need to belong to any particular club. Although, in the extremely cosy confines of the Green Note’s basement bar, you’ll soon feel as if you do belong to one.

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Matshidiso + Alice Phelps
The Green Note, 106 Parkway, Camden Town, London, NW1 7AN, England
Sunday 18th February 2018, 8:30pm
– information here, here and here

Matshidiso, 2017
I’m not sure just how hard you have to work, just how much you have to do, blossom and branch out before you burst the “secret” side of “well-kept secret” wide open. I would have thought that Matshidiso would have reached that point a long time ago.

Music flows through pretty much everything she lives and does, stemming from the cosmopolitan stew of her upbringing (a native Londoner with Jamaican and Sotho heritage, a classical piano trainee with a parallel love of soul, hip-hop and the cream of 1970s singer-songwriters) and blossoming into her realisation of herself as do-it-all artist – on-call pianist and singer, producer/writer/arranger for herself and for others. Sometimes a band leader, always a constant communicator, Matshidiso has led creative workshops; run song sessions across the internet from her own front room and played venues from the Southbank Centre to South Africa. All this and she’s also a qualified and multilingual international human rights barrister (with experience fighting sex trafficking rings in Ethiopia); a spokesperson for activism around positive African and female identity; a visiting music therapist at the Royal Marsden; a rehabilitating coach and encourager for young male offenders at various prisons; and a onetime relief worker in Haiti.

All of which would be gems on anyone’s resume (and which suggests someone who’s already learned and given back more than most of us will in an entire lifetime) but as a musician, the final proof has to be in the songs Matshidiso sings. Traditional they might be, but she’s learnt well from the craft of forebears such as Roberta Flack, Laura Nyro and Lauryn Hill, creating harmonically rich keyboard-driven work drawing from songwriter soul, gospel and pop through which she roams with self-awareness and generous interest in other people’s efforts and struggles.

Maybe Matshidiso’s relatively low profile is because of the fact that, despite being the best part of a decade into her career, she’s yet to record a debut album, or even that many releases. There’s been a smattering of very occasional singles; there’s been a 2012 EP of nursery rhymes reconfigured for adults (an idea that fits neatly into of what ‘The Guardian’s called her whimsical yet solicitous approach, and one that’s far more successful than its spec would suggest). In many artists this would seem to be a flaw – a shortage of the hunger, the self-assertion, the pushy pride which is needed to succeed.

I’d suggest the opposite – that Matshidiso’s artistic presence is one that’s absolutely caught up in the moment, too much so to have prioritised lumping her output down into artefacts or commodities. Her work is live, whether it’s in the concerts in which she improvises made-up-on-the-spot stories from the personal accounts of audience members, or the connection she makes with prisoners, the lost, the under-represented as part of work which goes beyond being an entertainer and engages itself with re-weaving music (with all of its connecting and healing qualities) back into the fabric of everyday life.


Opening the show is Leeds-based singer-songwriter and multi-instrumentalist Alice Phelps (who, with her full band, was delighting Daylight Music earlier in the weekend). Harpist, guitarist, pianist, violinist and rich grainy singer, Alice spins blues into folk, Irish, Chinese and otherworldly elements to create original songs and a full-bodied chamber pop. On this occasion, she’s on her own; but she’ll be back at the Green Note next month with a full ensemble of strings, harp and choir. For now, enjoy her songs in their simpler format.


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A few more familiar faces are showing up at the Green Note at around the same time. On 12th February, contemporary female folk ensemble Tell Tale Tusk, who work “spellbinding (and award-winning) vocal harmonies…around melodious instrumentals to reimagine folktales old and give light to folktales new” bring their harmonies and humour back to Camden Town for an evening of old and new songs. On 14th February, Alice Zawadzki – whose name has been scattered around these pages for her voice and/or violin work alone or with Sefiroth, Jamie Safir and others – presents a Valentine’s Day Special of known and unknown songs, covers and originals (assisted by dual cello improvisers Alice Purton and Shirley Smart). Or – if you fancy a different venue and a different blend of polycultural acoustica – then on 8th February Manchester world quintet Kabantu are launching their debut album down at Rich Mix in Shoreditch. Plentiful…


December 2017 – upcoming London folk gigs – Gaelynn Lea at The Old Church (6th December); Tartine de Clous, Alasdair Roberts & Neil McDermott with guests Ivor Kallin & Sholto Dobie and The London Hardingfelelag (11th, 12th December); Gitta de Ridder and The Balkanoes at Collage Nights (13th December)

2 Dec

I keep missing Gaelynn Lea’s shows… and missing the opportunity to post about them. With her return to London for another gig this season, I’ve got a chance to catch up.

Blow the Fuse presents:
Gaelynn Lea
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Wednesday 6th December, 2017, 8.30pm
– information here and here

Gaelynn Lea, 6th December 2017A classically-trained twenty-year veteran of violin playing whose limbs have been shortened from birth by osteogenesis imperfecta, Gaelynn plays her fiddle like a cello and sings original songs drawing from the well of traditional American, Irish, Scottish and English folk sources and blending them with her own ideas and experience. Her wistful honey-gravelled singing, her songwriting artistry and her textured playing (supplemented by improvisation and loop-pedal) is powerful and universal enough to have won NPR Music’s 2016 Tiny Desk Contest, seeing off competition from around six thousand other American songwriters and performers.

Meanwhile, her performance presence and physical courage have moved audiences to tears and applause in her native Minnesota and across American and Europe (and have won her both admiration and a shared stage from Low’s Alan Sparhawk, country bluesman Charlie Parr, and New Acoustic touchstyle guitar star Billy McLaughlin). In addition to her musicality, Gaelynn is a powerful disability community advocate – speaking and blogging forthrightly and fearlessly about iniquities and the need for social change to accommodate and support disabled people, and covering subjects from everyday practical challenges to the expression and enjoyment of sexuality. Come for the music, stay for the strength; maybe leave with the encouragement to help make things better.

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Over in Homerton, the brilliantly ramshackle Old Dentist venue continues its rewarding partnership with Muckle Mouth, hosting yet another enthralling fringe-folk gig (although this one’s of a more traditional bent)…

Muckle Mouth, 11th December 2017

Muckle Mouth and The Old Dentist present:
Tartine de Clous, Alasdair Roberts & Neil McDermott, plus Ivor Kallin & Sholto Dobie (11th)/The London Hardingfelelag (12th)
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Monday 11th December 2017, 7.30pm
– information here, here and here
Tuesday 12th December 2017, 7.30pm – information here, here and here

“We are honoured to host a very special collaboration between French harmony-singing trio Tartine de Clous, legendary Scottish guitarist and folk singer Alasdair Roberts and fellow Glasgwegian fiddler Neil McDermott over two nights at The Old Dentist following their residency at Cube Microplex in Bristol.

“Tartine de Clous (Geoffroy Dudouit, Thomas Georget and Guillaume Maupin) are a singing trio originally from the department of Charente in western France. Following in the footsteps of some of the great French groups of the late twentieth century folk revival (such as Mélusine and La Bamboche), they sing largely unaccompanied three-part harmony arrangements of the traditional songs of their native land.

“In an echo of The Auld Alliance, Tartine de Clous will perform in collaboration with the Scottish songwriter, guitarist and folk singer Alasdair Roberts and his fellow Glaswegian, fiddler Neil McDermott over two nights at The Old Dentist. Alasdair has worked with Drag City Records for some twenty years, releasing records featuring both interpretations of traditional songs and those featuring his own songwriting. In addition to being a fine fiddler in the Scottish traditional style, Neil McDermott is currently researching the musical and political engagement of the 1960s Scottish folk scene with the anti-nuclear movement.

“They are joined on the 11th by veteran improviser Ivor Kallin (onetime co-curator of the 2:13 improvisation club, once rather unpleasantly described by The Times as “a bearded Scotsman given to stream-of-consciousness spew”) and Muckle Mouth curator Sholto Dobie (on viola and diatonic symphony hurdy gurdy respectively), and on the 12th by The London Hardingfelelag playing Norwegian tunes for Hardanger fiddle.”

There’s not much out there on the London Hardingfelelag (though I did find out that their ranks include Sylvia Hallett, Catherine Martin of the Gabrieli Players, Clare Salaman, Tania Simon, Clifford Rowe and until a few years ago, the late Wilf Gibson of ELO/’Spirit of Eden’ fame), but I did turn up a couple of videos of Ivor and Sholto, supplemented by one of the Hardanger fiddle in action…

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I caught up with the Collage Nights shows in Wood Green last month, just in time to learn about the final two gigs in their season. The last one rolls around mid-month, featuring Dutch-English singer-songwriter Gitta de Ridder and Balkan-styled party band The Balkanoes.

Collage Nights, 13th December 2017

Collage Nights presents:
Gitta de Ridder + The Balkanoes
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 13th December 2017, 7.00pm
– information here and here

Gitta’s debut album ‘Feathers’ came out last year. With its songs of family, friends and lovers (as opposed to hill gods, surreal landscapes or twisted urban short stories) it has a conventional tinge for the current time, but the delight is in the detail and the musicality. She’s a Joni Mitchell disciple less in the sense of pursuing the confessional or the coffee-table mope, more in the delightful flowering of orchestral chords and cats-cradle harmonies (as well as in her domestic wit).

As for the Balkanoes, they provide the standard pellmell Eastern European spaghetti-junction of Greek, Ottoman, Slavic and Romani musical threads, but have been known to career off into ‘Star Wars’ covers as well.

There’s also a special guest, but they’re keeping quiet about who that might be.


November 2017 – upcoming London folk gigs – Jack Cheshire and Robert Chaney at New Roots (23rd); Effra and Cynefin at Nest Collective (29th); Rif Mountain presents Bare Bones, Robert Sunday, Hold Music and Nancy Wallace at the Old Dentist (30th)

17 Nov

Three diverse types of folk show coming up in London: a selection of straight Americana, folk baroque fusion, Welsh archivism, post-rock-tinged acoustica, Appalachian-inspired imaginings, and hauntological dub/field recording-infused psychedelia. (One of the gigs, in Homerton, will be of particular interest to fans of psych folk ensemble The Owl Service…)

There’s quite enough existing press release verbiage for me to just quote in bulk, slip in a few audio/visual clips and waltz away…

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Jack Cheshire & Robert Chaney, 23rd November 2017

New Roots Promotions presents:
New Roots: Jack Cheshire + Robert Chaney
The Old Queen’s Head, 44 Essex Road, Islington, London, N1 8LN, England
Thursday 23rd November 2017, 7.30pm
– information here and here

Jack Cheshire brings his four-piece band to New Roots at The Old Queens Head. His contemporary alt-folk sound with a post-rock twist has led him to share bills with luminary peers Songhoy Blues and Josh T. Pearson, and grace the stages of The Green Man Festival and Kings Place. The ghosts of Nick Drake and Syd Barrett skirt the edges of his songs, embellished by what ‘Uncut’ magazine calls an “Ian McCulloch-style croon”, with a “burnished psychedelia (that) takes this music to the skies”. He released his 2017 album ‘Black Light Theatre’ to universal press and radio acclaim, making fans of 6 Music’s Lauren Laverne and Tom Robinson along the way.

“A rising star on the London folk scene, American singer-songwriter Robert Chaney counts Townes Van Zandt, Hank Williams and Judee Sill as influences. A remarkable songwriter with a voice to send shivers down your spine, sown deep into his songs are threads of the dusty blues of the 20s and 30s, pulp noir tales of the 40s, the cable-knit folk revival of the 50s, and the French celluloid new wave of the 60s. His recently released debut album ‘Cracked Picture Frames’ garnered high praise in the music press, with Folk Radio UK making it their featured album of the month.”

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Effra + Cynefin, 27th November 2017

The Nest Collective presents:
Effra + Cynefin
The Old Queen’s Head, 44 Essex Road, Islington, London, N1 8LN, England
Wednesday 29th November 2017, 8.00pm
– information here and here

A monthly evening of the finest folk music live at the Old Queens Head in Islington.

“Described as “an immersive, trance-like musical treat” by ‘Songlines’, contemporary contemporary folk trio Effra are guitarist Alex Bishop, fiddle/mandolin player Tom Newell and accordionist Aidan Shepherd (accordion). Heralding from Bath, Shrewsbury and Canterbury respectively, they met in London in 2011. Although coming from rock, classical and jazz backgrounds, a strong connection was quickly formed, and they began meeting regularly to write and develop music that shared a common ground.Early performances were well received, and the band soon grew an identity of its own, fuelled by innovative ideas brought to the table by all three members. In 2012 after only a year since their first meeting, the band won the Bath Folk Festival ʻNew Shoots Competitionʼ on the strength of their compositions and high-energy performance, being hailed as “a trio of the highest order that, despite their young age, sound like they have always sat comfortably among the greatest of the folk scene.” In 2014 they released their debut album, ‘Lose An Hour’ and toured extensively through 2015-16 with performances at BBC Radio 3’s ‘In Tune’, Cambridge Folk Festival, and EFEx/Homegrown festival.

“In Spring 2017 Effra released their highly-anticipated second album, ‘Below Ground’, which captures the unseen subterranean world beneath our feet. The recording process saw the band trek to the source of London’s only fully concealed waterway (and their musical namesake) the Effra river, as well as venturing within ninety-six kilometres worth of tunnels underneath the UK’s largest limestone quarry, Box Freestone Mine. This gig at the Old Queen’s Head is their official album launch.


“Cynefin (a Welsh noun with no direct equivalent in English) is somewhat of a linguistic enigma. Originally a farming term used to describe the habitual tracks and trails worn by sheep in hillsides – the word has morphed and deepened over the centuries to conjure a very personal sense of place, belonging and familiarity. The artist Kyffin Williams describes it as ‘that relationship: the place of your birth and of your upbringing, the environment in which you live and to which you are naturally acclimatised.’

This particular ‘Cynefin’ is the musical brainchild of Clettwr valley native Owen Shiers and is a journey to discover the musical landscape and contours of Ceredigion and West Wales. Following a chance discovery of a long forgotten song by a local ballad singer, Owen was inspired to uncover more of the untold stories of the locals who’s voices have been lost over the centuries. A research scholarship from the Finzi Trust has further aided the project, enabling him to delve through unseen archive material, look through rare books as well as source songs from ballad singers and cultural historians.

“From the grumbles of millers past, musings of balladeers to the every day tales of ‘y werin’ (the common folk) – the resulting material is unique both in its originality (some of the songs have not been sung for over hundreds of years) but also in the arrangements which are ambitious and distinct.”

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Bare Bones + Hold Music + Robert Sunday + Nancy Wallace, 30th November 2017

Rif Mountain and The Old Dentist present
‘When The Night Falls’: Bare Bones + Robert Sunday + Hold Music + Nancy Wallace
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Thursday 30th November 2017, 7.30pm
– information here and here

Bare Bones are a duo of Jason Steel (solo, Hold Music, The Owl Service) and Dom Cooper (United Bible Studies, Circle/Temple, Unknown Heretic, Zensunni, Unit One, The Straw Bear Band, The Owl Service). Their latest release ‘Moon Phases’ is informed by improvisatory techniques, ethnographic field recordings, and the sonic spaces of dub; a narcoleptic Ennio Morricone soundtrack. The music is carved out of ritualistic drones, creating nuanced textured soundscapes. Tracks inhabit a moonlit world, reminiscent of the hazy pacing of Peter Fonda’s film ‘The Hired Hand’ or the fragmentary/searching writing of Fernando Pessoa’s ‘The Book of Disquiet’. Bare and layered, simple and nuanced, Moon Phases has a somnambulistic grace all its own.

Robert Sunday is a solo acoustic singer-songwriter who combines elements of traditional folk, Americana, poetry, and cinematic allusions. He played his first gig at Cecil Sharp House in March 2011 on the release of his debut EP ‘Butterfly Hairslide’ on the Rif Mountain label. Since then he has played regularly in London. ‘Halcyon Bloom’ and ‘Cold Little Roses are his latest EPs. The ever-chipper Mr. Sunday deliver more trademark lyrical gold, set to melodies that would make a hungover Kris Kristofferson blush (in his prime!). Sunday deals with concepts around memory, love and time. For fans of Bill Fay, Palace Music and Lee Hazlewood. Stark and quite wonderful.

Hold Music are Jason Steel (guitar, banjo, voice) and Daniel Gardner (percussion).The duo’s eponymous debut outing offers tightly wound compositions that twist & contort in unexpected directions; spare yet expansive, precise yet rambling. Gardner’s percussion is locked into Steel’s deft string work throughout. Consisting of four tracks over thirty minutes, recorded live with John Hannon (James Blackshaw, Chris Corsano). The lyrics touch on Appalachian murder ballads, original sin and poor grammar. At turns pretty – ritualistic – odd. A banger, for sure.

Nancy Wallace is a singer and musician from East London, having been born and raised in a folk-singing family in a Suffolk seaside town. She came to notice singing with the Memory Band and later as part of the cult alt-folk collective The Owl Service. A guitarist and concertina player (as were her father and grandfather before her), her approach to both instruments, and her interpretations of both traditional material and her own songs, set her apart on the contemporary folk scene. Her solo releases began with the critically acclaimed Young Hearts EP and her debut full length album, Old Stories, released to glowing reviews, garnering her a cover feature in fRoots magazine and a BBC Folk Awards nomination. She has performed throughout Britain and Europe, including at festivals such as The Green Man, Glastonbury, End Of The Road, Sidmouth Folk Week, The Big Chill and Towersey Folk Festival. She is currently writing and recording material for her next “proper” album.”


October 2017 – upcoming gigs – Anglo coastalysergia and Americana with Crayola Lectern, Dr Spacetoad and Billy Bad Band in Hove (21st October); Austrian psychprog with Blank Manuskript in Ramsgate, Leicester and London (26th-28th October)

16 Oct

We’ve just had a dose of daytime pink skies across Britain – appropriate, given the psychedelic tone of this quick posting.

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Crayola Lectern + Dr Spacetoad + Bad Billy Band, 21st October 2017
The Real Music Club presents
Crayola Lectern + Dr Spacetoad + Billy Bad Band
The Brunswick, 1-3 Holland Road, Hove, East Sussex, BN3 1JF, England
Saturday 21st October 2017, 8.00pm
– information here and here

The veteran of innumerable bands from punk to power-pop to latterday Anglo-psych, Chris Anderson finally found his core niche during the mid-Noughties as Crayola Lectern. Unspinning wistful, sweetly lugubrious stories of life, loss and learning dusted by his own gently lysergic leanings, he’s crafted “what psychedelic music would have sounded like had the Edwardians invented it.” Having been accompanied in the past by a shifting pool of live collaborators including assorted Cardiacs (Jon Poole, Bic Hayes, Jo Spratley) and Brighton psych luminaries (Joss Cope, the Rodes brothers from Clowwns and Rect.angle), his current cohorts are Alistair Strachan (on brass, percussion and necessary noises) and drummer-turned-synth-moonlighter Damo Waters.

The alter-ego of songwriter/actor/painter Paul Francis, Dr Spacetoad is another long-standing Brightonian: a discombobulated, identity-swapping cosmic troubadour who’s sometimes veered into Dada-styled space-rock in cahoots with Captain Sensible and who (as Jean Paul Dionysus) once played a key role in the London acoustic revival of the late ’80s. Expect him in his guise as melancholy garret-haunting singer, hopeless romantic and nifty fingerstyle guitarist.

Opening for this double bill of life-worn inner-spacemen is Bad Billy Band, who offer a more straightforward blend of Anglo folk-rock and electric Americana: a soften-upper.


* * * * * * * *

For further cosmic ventures, go discover the glow-mossed, castellated structures of Austrian art-rock sextet Blank Manuskript next week as they pass through England as part of a European tour. Polyinstrumentalists who layer flutes, tapes, trombone, reeds and glockenspiels into their standard rock armoury, they’re an intriguingly witchy concoction, balancing pretty much equally between grand prog and freak psych. Some of the band are happy to dress like Napoleonic dandies, a la Hendrix; others look like punk-metal flotsam. All of them sit on long and involved instrumental passages with an air of bugged-out wonder, spraying out rivulets of fingertapped guitar, floating ruminative keyboard lines or murmuring breathlessly arcane lyrics.. Sometimes they display their love of classic British ‘70s prog, pulling off expansive structured Yes or Caravan moves. Sometimes they thunder, spasm and gibber like one of the post-Can, post-industrial, post-metal neo-psych bands that Baba Yaga’s Hut tend to put on. You don’t often see that particular gap being bridged.


  • Ramsgate Music Hall, 13 Turner Street, Ramsgate, Kent, CT11 8NJ, England, Thursday 26th October 2017, 7.30pminformation
  • The Musician, 42 Crafton St West, Leicester, LE1 2DE, EnglandFriday 27th October 2017, 7.00pm (with River Chickens + Those Amongst Us Are Wolves)information
  • The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Saturday 28th October 2017, 10.00pminformation

Only the Leicester show features any support acts, and I’ve scraped up a little info about them. Despite being founded on a rumbling, frowning Mogwai-esque post-rock base of dour guitar minimalism, Coventry four-piece Those Amongst Us Are Wolves tend towards being post-post-rockers, needing little persuasion to roll right into classic-rock bodybuilder riffage. Cheerfully charismatic Ashby rockers The River Chickens, on the other hand, are travelling the other way: moving away from Cult covers toward their own honey-sweet heavy power-pop. Judge for yourselves below.


June 2017 – the month’s Daylight Music gigs in London – Jherek Bischoff, Emma Gatrill & Liam Byrne (June 3rd); Epic45, The Great Albatross, and BJ Cole & Emily Burridge (June 10th); Louis Barabbas, Melissa Parmenter and Ben McManus & Clara Delfina (June 17th); Trans-Siberian March Band, Antony Elvin & His Men and Toby Hay (June 24th)

25 May

The people behind eclectic, free, family-friendly London event (and ‘Misfit City’ favourite) Daylight Music are swirling back into action in June with four weekly gigs to start their summer season (even if two of them aren’t nominally DM events, the Daylight imprint shows clearly). Here’s me simply boosting the existing signal…

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Daylight Music 252, 3rd June 2017

Arctic Circle presents:
Daylight Music 252 – Jherek Bischoff + Emma Gatrill + Liam Byrne
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 3rd June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

“Only Jherek Bischoff would record an album in an empty, two-million-gallon underground water tank (with a reverb delay lasting forty-five seconds). A fabulously inventive and playful musician, Jherek is a mostly self-taught composer whose music dazzles, confounds and delights.

Liam Byrne divides his time between playing very old and very new music on the viol. ‘The Times’ praised his “nuanced and expressive, stylish virtuosity”. He’s worked with artists including Damon Albarn, Nils Frahm and Matthew Herbert, and the likes of Nico Muhly have written works for him.

Emma Gatrill is a multi-instrumentalist based in Brighton. Playing live, she augments her harp and vocal with ambient analogue synths and drums machines, layered with guitar atmospherics from Marcus Hamblett.”

* * * * * * * *

Daylight Music 253, 10th June 2017
Arctic Circle presents:
Daylight Music 253 – Epic45 + The Great Albatross + BJ Cole & Emily Burridge
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 10th June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

“The much-loved epic45 — championed by the much-missed John Peel — have been making music for over twenty years. Their celebrated EPs and albums are inspired by the ever-changing English landscapes.

The Great Albatross tug gently on the heartstrings with their sweetly shimmering indie songs. Formed in Glasgow by A. Wesley Chung (formerly of Boris Smile), the group has an expansive, international list of contributors and collaborators.

“If you had to combine any two instruments, you might not immediately think of putting cello and steel guitar together, but BJ Cole and Emily Burridge confound expectations with their dynamic, sophisticated music. Hailed as “languorous, sensuous, moving music…amazing!” by ‘Art Nouveau’, these fine musicians weave around each other, mixing their intuitive improvisations with inspired, moving interpretations of classic pieces.”

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Louis Barabbas, Melissa Parmenter + Ben McManus & Clara Delfina, 17th June 2017

Arctic Circle presents:
Louis Barabbas + Melissa Parmenter + Ben McManus & Clara Delfina
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 17th June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

Louis Barabbas is a Daylight Music favourite, thrilling the audience and tearing up the stage with his caustic love songs and energetic show. A writer, performer and label director, he’s performed all over the world and shared stages with acts including Motörhead, Supergrass and The Blockheads.

Melissa Parmenter is a well-respected film producer, who’s collaborated closely with director Michael Winterbottom over the last fifteen years, including producing all three series of ‘The Trip’ trilogy. She’s also an accomplished composer and pianist, having scored a number of films including ‘Genova’, ‘The Killer Inside Me’ and ‘Comes A Bright Day’.

“After repeatedly meeting at various festivals last year, Ben McManus & Clara Delfina decided to join forces to sing American old-time and bluegrass music, blending banjo, fiddle and guitar with their beautiful harmonies.”


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Trans-Siberian March Band, Antony Elvin & His Men and Toby Hay, 24th June 2017

Arctic Circle presents:
Trans-Siberian March Band + Antony Elvin & His Men (with Nina Miranda) + Toby Hay
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 24th June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

“Summer Solstice edition…

“It’s always a party when the Trans-Siberian March Band are around! A riotous jumble of cabaret, carnival and overwhelming joy, this 13-piece Balkan brass band have delighted audiences at Glastonbury, Woman and the Royal Albert Hall. The Times called them “hugely entertaining… perfect festival crowd-pleasures.” They’ll be playing their winning mix of traditional Turkish and gypsy tunes, Russian sing-alongs and swinging klezmer.

Antony Elvin (“a Noel Coward for the Noel Fielding generation!’, according to Julian Barratt of The Mighty Boosh!) is a singer/songwriter from London. His songs take the listener out on a ridiculous spree, in ‘Perfect London’ – a London of your dreams, gaslit yet modern,­ pastoral yet subliminally violent. In a strong English accent, he sings about the characters he meets and the romances of the day without the vulgar baggage of angst. Special guest for this concert is Nina Miranda of Smoke City, Shrift and Zeep – she of ‘Underwater Love’ fame.

Toby Hay makes instrumental music inspired by the landscape, people and history of Mid Wales. A guitarist and composer, ‘Folkroom‘ claim that “he’s one of the finest storytellers… and he’s never sung a word.”


* * * * * * * *

As ever, there are likely to be interstitial musical acts filling in the gaps between acts (via loops, atmospheres or turns on the venue’s grand piano or massive church organ), plus late in-the-day extra recruitments. These will be announced closer to the time.

Good to see Toby Hay on one of the bills – his debut EP featured in ‘Misfit City’ several years ago, and since then he’s become a mainstay of the Lamplight acoustic nights up at Regather in Sheffield…


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