Ropetackle Arts Centre Shoreham-by-Sea
On Tuesday a friend and I went to see Blazin'Fiddles at the Ropetackle, as it seems to be known locally. A round trip of over hundred miles, I would normally only travel this far for something with flutes/pipes or a grinding bass line, none of which the Blazers possess. But it was a Tuesday, I'd handed my last assignment in for the year at university, and my friend was keen, so off we went.
The Ropetackle was full. Two hundred people, mostly middle aged and older, sitting in closely packed rows, all enjoying themselves but hardly a whoop, a holler or a whistle. As for hand clapping, that was mostly saved for applause at the end of tunes. I don't get the difference, in audience terms, between the North and the South. How comes no one stands up, dances, stamps their feet? Are Southerners to afraid to show their feelings? And how does that make the band feel? Can they feed off a quiet, seated docile audience in the same way they do the heaving masses of Celtic Connections Festival Club at three in the morning?If you have any answers, please let me know.
Anyhow it didn't seem to stop the band having a good time. Anna Massie's banter with everyone, Angus Lyon (who is surprisingly very tall!) grinning at the band, and the four fiddlers- Bruce, Iain, Jenna and Allan telling tales, jokes and fast frenzied fiddle playing. I've seen the band several times before (including the afore mentioned Festival Club gig) but I don't remember ever seeing them taking it in turns to showcase their different fiddling styles. Hey, to be honest, I wouldn't even know what the different styles were! Is that bad? I can tell the difference between Dezi Donelly and JohnMcCusker, but that's about it...
Anyway, it was fascinating , and they were bloody good. Bruce's 'Simon Fraser' tune was beautiful. Just hauntingly achingly beautiful. Eyes closed and away with the fairies somewhere between Inverness and Mallaig. Jenna Reid was classy, elegant and almost classical sounding. Iain's tunes were fast paced and rousing. I've never seen a fiddle player move like him! And Allan? Well he was taking no chances with my heightist, kinaesthetic critique, choosing to remain seated for his 'turn'.
And so it ended. A few fast sets, an encore where Bruce's glasses fell off his nose (again) and we were off across the bridge home, now able to tell the difference in fiddle styles and with the knowledge that you can enjoy a night out even without pipes/flute or bass!
Blazin'Fiddles are still on tour- dates here
Bruce McGregor organises Northern Roots, free camping and lovely scenery too! http://www.northernrootsfestival.co.uk/
Thursday, 10 May 2012
Monday, 26 March 2012
Peatbog Faeries at Glenuig Hall
Last night was the final date in the Peatbogs' latest mini tour that saw them travelling around the country as far south as London before returning to play a homecoming Highland gig at Glenuig Hall.
Twenty minutes off the Mallaig/Fort William road, Glenuig is so small as to not appear on some maps, making its discovery that bit more special. And special it was. On an ordinary evening the setting is amazing, driving down the twisting road at the side of Loch Ailort, mountains rising on either side. On the hottest spring day on record it was nothing short of spectacular, with clear views out over the calm and peaceful waters of Glenuig Bay.
The Hall itself is set back on the shores of the bay, nestling into the woodland surrounding it. As I arrived people were making their way up the little hill, using phones and torches to light their way, illuminating others who were milling around outside in the warm evening air, enjoying the smell of wood smoke and watching the fire show.
Peatbog Faeries started their set playing tunes from Dust, their latest album. The audience- a mixture of local (ish) folk- didn’t take long to start dancing, although it was clear they were to keen to hear old favourites like ‘Martin Roachford’s’ and ‘Veganites’. After a short break the band promised to return with dance tunes and they did just that, ramping up the tempo with ‘Garbo’ and ‘Folk Police’ and proving that new tunes like ‘Naughty Step’ and ‘Marx Terrace’ (genius tune!) could mix effortlessly with the old crowd pleasers and leaving everyone wishing the night would never end.
For that’s the gift this band has. Whether you go to listen to the pipes, to dance your heart out, or just to stand quietly at the side tapping your feet to the insane beat, Peatbog Faeries make you smile and smile. A whole room full of grinning people. I’m not sure whether this is because the music is so infectious with its pipes, heavy bass lines, and furious fiddling (Ross Couper depping for Peter Tickell) or because the band seems to be having as much fun as the audience, jumping up and down and grinning back at the audience.
And does it matter anyway? As the evening drew to a close and band and audience stood applauding each other, I knew this gig had passed into the Hall of Fame, alongside Embrace in a cave and The Smiths at the Lyceum. Classic.
Twenty minutes off the Mallaig/Fort William road, Glenuig is so small as to not appear on some maps, making its discovery that bit more special. And special it was. On an ordinary evening the setting is amazing, driving down the twisting road at the side of Loch Ailort, mountains rising on either side. On the hottest spring day on record it was nothing short of spectacular, with clear views out over the calm and peaceful waters of Glenuig Bay.
The Hall itself is set back on the shores of the bay, nestling into the woodland surrounding it. As I arrived people were making their way up the little hill, using phones and torches to light their way, illuminating others who were milling around outside in the warm evening air, enjoying the smell of wood smoke and watching the fire show.
Peatbog Faeries started their set playing tunes from Dust, their latest album. The audience- a mixture of local (ish) folk- didn’t take long to start dancing, although it was clear they were to keen to hear old favourites like ‘Martin Roachford’s’ and ‘Veganites’. After a short break the band promised to return with dance tunes and they did just that, ramping up the tempo with ‘Garbo’ and ‘Folk Police’ and proving that new tunes like ‘Naughty Step’ and ‘Marx Terrace’ (genius tune!) could mix effortlessly with the old crowd pleasers and leaving everyone wishing the night would never end.
For that’s the gift this band has. Whether you go to listen to the pipes, to dance your heart out, or just to stand quietly at the side tapping your feet to the insane beat, Peatbog Faeries make you smile and smile. A whole room full of grinning people. I’m not sure whether this is because the music is so infectious with its pipes, heavy bass lines, and furious fiddling (Ross Couper depping for Peter Tickell) or because the band seems to be having as much fun as the audience, jumping up and down and grinning back at the audience.
And does it matter anyway? As the evening drew to a close and band and audience stood applauding each other, I knew this gig had passed into the Hall of Fame, alongside Embrace in a cave and The Smiths at the Lyceum. Classic.
Monday, 20 February 2012
Kan
Kan at the Slaughtered Lamb, Sunday 19th February.
The last time I saw Kan was at the Arches in Glasgow, to launch their forthcoming debut album Sleeper at the Celtic Connections festival. Tonight, on a cold quiet February night I went to see them again, this time in the downstairs room of a pub; furnished with sofas, chaise longues and easy chairs. Stageless, with just a corner of the room in which to squeeze a drum kit and a three mike stands.
To be honest, whilst I knew I was in for a good night (Sleeper is a solid album) I wasn’t expecting the gig to be the same exciting affair it had been in Scotland. I’m glad to say I was very wrong. After a quiet, almost apologetic, start Kan cranked up the tempo with Mangatakk, and soon the audience were tapping, clapping and dancing in their seats, grinning to themselves and anyone else who caught their eye before whooping and whistling their appreciation at the end of the tune. That’s the way it’s done at this venue, you see. No talking, no noisy chatter, just respect for the musicians. And there was plenty tonight, for it was clear that all four musicians were equally skilled, both in the art of writing cracking tunes and sheer musicianship. There was the excitement and passion of Lau, the ease and familiarity of Flook and edge and new direction of two relative newcomers, drummer Jim Goodwin and guitarist Ian Stephensen.
Hard to pick a best bit, but it may have been Aidan O’Rourke playing Superfly (that well known Treacherous tune) – though Jim’s drumming dexterity was a close second. Hell, I don’t even know why I’m trying. It really was an awesome night, and for those of you that are reading this who sat at home instead….you missed a top night. Check out their tour dates and go see them. And next time you get a flyer from those lovely people at Pull Up The Roots, think about going along!
http://www.pulluptheroots.co.uk/events.php
http://www.kan-music.co.uk/
Tuesday, 14 February 2012
Celtic Connections 2012
I know Celtic Connections has been over for a week or so now and some might say that’s too late to be writing a blog, but I disagree. It’s the memories that stay with you that make a great night/gig/festival and affect whether you rebook the following year. How can you tell what those memories are in the heat of the moment? Whether you’re feeling euphoric at three in the morning, or cold and tired with blistered feet on the walk home, it’s all likely to change in ten months time when you’re looking at the new line up that’s just been announced. It’s the memories that will take you back to Scotland. So, here goes…
I went up for the middle weekend, mostly because the music on offer appealed to the group of friends I was travelling with. To be honest, I could have gone any time, which is the advantage/disadvantage of this huge festival; whilst you’ll always find something you like when you’re there there’s always the feeling that you might have missed something better two nights earlier. You have to get over this feeling. Really. It spoils what you do see. Go to what you want, and read reviews afterwards. You’ll have a better time than spending it wondering ‘what if…’
Friday evening started with Guidewires and Kan at the Arches and from then on it was non stop, just briefly interspersed with sleep in the Pitt Street hotel and food at Antipasti- (both essential if you’re not going to crash and burn) Salsa Celtica at the Fruitmarket, Festival Club and its new home in Apollo 23, Folkestra and RCS at the Strathclyde Suite, Ross Ainslie Trio and Jarlath Henderson Trio at the National Piping Centre, Festival Club, Laura Beth Salter, Hazy Recollections featuring Foy Vance, Findlay Napier, Kim Edgar, Dean Owens and Doghouse Roses , Stanley Odd, Peatbog Faeries and the sleeper train home to London, just in time to arrive at work 8am Monday morning.
Highlights were Festival Club on the Saturday night (Rura, Ross Ainslie Trio, Jarlath Henderson Trio, Admiral Fallow, Blazin’ Fiddles, Breabach and Peatbog Faeries), and RCS in the Strathclyde Suite on Saturday afternoon, particularly Cherry Grove and Hope Street Collective. Hazy Recollections too, first time for me- Findlay Napier is the perfect host and it’s an ideal way to sit and enjoy a Sunday afternoon. Long may it continue.
And that’s what’s great about Celtic. Dip in, try things out. If you like it, do it again. If the nocturnal goings on of Festival Club and sessions in the various hotels make you feel weary just thinking about it, don’t go. Book tickets for Transatlantic and sit back and enjoy the music. If you want to learn an instrument, take part in a workshop, or see some new music go along to the Concert Hall, the Danny Kyle Stage or even the Apple Store. If you’d rather sleep all day and go out in the evening that’s fine too. Celtic Connections lets you make it your own. I’m coming back next year with my sixty three year old colleague and sixteen year old daughter. We probably won’t spend all weekend together, but we’ll definitely all have a brilliant time. But don’t take my word for it. Try it for yourself.
Saturday, 7 January 2012
Treacherous Orchestra- Origins
I've had this album a couple of weeks now, being one of the ones who decided they couldn't wait until the launch at Celtic Connections on 4th February, a return to the ABC, site of their triumphant gig in 2009 where I first saw them.
I've been in two minds to be honest, since their distinctly average performance at the Wickham festival. The long promise of the album that didn't appear- I suppose I imagined there'd be some kind of problem managing the twelve personalities and the whole band would implode be they ever really got going.
'Origins' has happily proved me wrong, the lush Duncan Lyall and co production just so crystal clear and defining that you can forgive the inclusion of the EP tracks; the fresh production revealing layers and qualities that either I'd missed or remained hidden live.
The album begins with a short overture, almost the tuning up of the orchestra. And by the time you've turned it up to hear it better you're straight into March of The Troutsman/Superfly, familiar to those who've seen the band live. Look East is a mixture of old and new; the funky vibes of Innes Watson's Wade on the Water shifting tempo unpredictably in suitably Treacherous manner into a John Somerville tune, before a brief prelude, a chance to catch your breath, settle back and revel in the best two tracks of the album, worth the price of the album alone.
Sea of Clouds reminded me of two other composers,Peter Morrison and Michael McGoldrick, both brilliant- and I love the way music moves along like this, inspiring and motivating, taking traditional roots and shaping them into something unique. The slow flute beginning evocative of the West Highlands,film score epic start that takes you on a journey through the mountains and lochs to end up somewhere altogether different- the equivalent of warm pub session.
Sea of Okhotsk starts in typically Treacherous fashion, building to a piece of orchestral genius, dancing beats with dark edgy undercurrents.This is the tune to dance round the kitchen to, to hike up the volume loud in your car, to experience live. Adam Sutherland at his brilliant best. Genius!
The album ends with the Ainslie classic Easter Island and the lighthearted ceilidh feel of the Sausages set, but for me the three things that turn Origins from being just something you'd expect from Treacherous Orchestra into something outstanding are the clarity of the production, Sea of Clouds and Sea of Okhotsk. Buy it. You'll see what I mean.
I've been in two minds to be honest, since their distinctly average performance at the Wickham festival. The long promise of the album that didn't appear- I suppose I imagined there'd be some kind of problem managing the twelve personalities and the whole band would implode be they ever really got going.
'Origins' has happily proved me wrong, the lush Duncan Lyall and co production just so crystal clear and defining that you can forgive the inclusion of the EP tracks; the fresh production revealing layers and qualities that either I'd missed or remained hidden live.
The album begins with a short overture, almost the tuning up of the orchestra. And by the time you've turned it up to hear it better you're straight into March of The Troutsman/Superfly, familiar to those who've seen the band live. Look East is a mixture of old and new; the funky vibes of Innes Watson's Wade on the Water shifting tempo unpredictably in suitably Treacherous manner into a John Somerville tune, before a brief prelude, a chance to catch your breath, settle back and revel in the best two tracks of the album, worth the price of the album alone.
Sea of Clouds reminded me of two other composers,Peter Morrison and Michael McGoldrick, both brilliant- and I love the way music moves along like this, inspiring and motivating, taking traditional roots and shaping them into something unique. The slow flute beginning evocative of the West Highlands,film score epic start that takes you on a journey through the mountains and lochs to end up somewhere altogether different- the equivalent of warm pub session.
Sea of Okhotsk starts in typically Treacherous fashion, building to a piece of orchestral genius, dancing beats with dark edgy undercurrents.This is the tune to dance round the kitchen to, to hike up the volume loud in your car, to experience live. Adam Sutherland at his brilliant best. Genius!
The album ends with the Ainslie classic Easter Island and the lighthearted ceilidh feel of the Sausages set, but for me the three things that turn Origins from being just something you'd expect from Treacherous Orchestra into something outstanding are the clarity of the production, Sea of Clouds and Sea of Okhotsk. Buy it. You'll see what I mean.
Wednesday, 21 December 2011
Future Trad Collective
Pressures of work meant I missed Future Trad Collective in London last week, so on Monday I went to see them at Band on The Wall in Manchester's Northern Quarter; an old pub venue and picture house now updated to make a small venue with an upstairs gallery, a bit like London's Jazz Cafe.I've seen this band twice before, first at Celtic Connections and then at Bury Met as part of their Big Whistle Weekend. Each time they've had a different line up but both times good enough to know I was in for a good evening. I like gigs like that, where you know enough about the band to know you're in for a good night, but not so much that there won't be surprises.
Michael McGoldrick's latest outfit is a mix of AfroCuban Cross-Rhythms, Tabla-driven Funk, Flamenco, Samba, Afrobeat, HipHop to House, Reggae, Disco, Breakbeat and Jungle. Not my words, but lifted from the band's website. Still, it gives you an idea as to how difficult it to accurately describe what this band do. Last night founder members McGoldrick, Ian Fletcher (guitar/programming) and Andy Dinan (fiddle) were joined by Emma Sweeney (fiddle), Parvinder Bharat (tablas) Richard Sliwa (percusssion) and two singers, whose names were mumbled but I didn't catch! The audience was as mixed as the sound, with representatives from each musical genre, but the bulk was made up of Manchester men who appreciated good music and weren't afraid to dance. Because fundamentally that's what this band is about- the heavy beats, bass and drums driving a rhythm through all the tunes that is impossible to resist, the audience swaying and moving in time like some organic tribal dance routine.
And that's what's so incredible about this music. No one doubts the ability of these musicians- their technical skills have them playing with the biggest names in music like Bob Dylan and Stevie Wonder, yet here they were, giving their all on a tiny stage in a small venue in Manchester. No, it's more the creative genius needed to mix all these genres, rhythms and tempos together and come up with something that not only works, but sounds bloody brilliant. One tune starts off sounding like a seventies Stax classic but somewhere along the way becomes an Irish jig before settling down into something else entirely. I've no doubt that a large part of this creative genius is McGoldrick himself, who finally seems to back on top of his game after a gap of some five or six years, making the kind of music that is exciting, unique and well deserving of a 450 mile road trip! I've no idea when and where this band is playing next, but I know that I'll be going...
Michael McGoldrick's latest outfit is a mix of AfroCuban Cross-Rhythms, Tabla-driven Funk, Flamenco, Samba, Afrobeat, HipHop to House, Reggae, Disco, Breakbeat and Jungle. Not my words, but lifted from the band's website. Still, it gives you an idea as to how difficult it to accurately describe what this band do. Last night founder members McGoldrick, Ian Fletcher (guitar/programming) and Andy Dinan (fiddle) were joined by Emma Sweeney (fiddle), Parvinder Bharat (tablas) Richard Sliwa (percusssion) and two singers, whose names were mumbled but I didn't catch! The audience was as mixed as the sound, with representatives from each musical genre, but the bulk was made up of Manchester men who appreciated good music and weren't afraid to dance. Because fundamentally that's what this band is about- the heavy beats, bass and drums driving a rhythm through all the tunes that is impossible to resist, the audience swaying and moving in time like some organic tribal dance routine.
And that's what's so incredible about this music. No one doubts the ability of these musicians- their technical skills have them playing with the biggest names in music like Bob Dylan and Stevie Wonder, yet here they were, giving their all on a tiny stage in a small venue in Manchester. No, it's more the creative genius needed to mix all these genres, rhythms and tempos together and come up with something that not only works, but sounds bloody brilliant. One tune starts off sounding like a seventies Stax classic but somewhere along the way becomes an Irish jig before settling down into something else entirely. I've no doubt that a large part of this creative genius is McGoldrick himself, who finally seems to back on top of his game after a gap of some five or six years, making the kind of music that is exciting, unique and well deserving of a 450 mile road trip! I've no idea when and where this band is playing next, but I know that I'll be going...
Saturday, 15 October 2011
Super(sound)man
I went to two gigs last week; Lau in Hailsham and Ahab in Crawley. Both gigs were seated and similar in terms of audience and size of venue, but miles apart in sound quality.
The sound at Lau was simply excellent. I was sitting in the second row, not apparently the best place for a top listening experience, but thanks to the sound man- the very wonderful Tim Mathews- each note was crystal clear, all instruments balanced beautifully with each other. I’ve only ever been to one gig like that before. That was several years ago at the Liverpool Academy to see another band; the sound man there was Cammy Young, although unfortunately there were only about twenty people in the audience to benefit from his expertise.
The sound for Ahab, by comparison, was very poor, the vocals drowned by the heavy drums and little differentiation between the guitars, mandolin and bass. Maybe this wouldn’t be so bad for an angry rock band but Ahab are all about four part harmonies and catchy melodies.
And that’s the trouble. People who go to see live music infrequently will have no idea whether the band they are seeing is being accurately represented; whether the reason they sound ‘different’ live to the cd/mp3 is down to the band or to the skill of the sound man/woman.
I don’t profess to know anything about the technical aspects of sound engineering- like how the front of house sound failed so spectacularly for Peatbog Faeries at the Cambridge Folk Festival this year, but I do know that people like Tim Matthew and Cammy Young are worth their weight in gold; the unsung super heroes of aural pleasure.
So if you enjoy the gig you’ve been to then by all means hang around afterwards to thank the band, but don’t forget to thank the sound man on your way out too!
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