Folk and Roots - Festivals 2011

Kan

2012-02-20T14:45:00.002-08:00

Kan at the Slaughtered Lamb, Sunday 19^th 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/

Celtic Connections 2012

2012-02-14T03:14:00.000-08:00

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.

Treacherous Orchestra- Origins

2012-01-07T05:05:00.000-08:00

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.

Future Trad Collective

2011-12-21T08:49:00.000-08:00

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...

Super(sound)man

2011-10-15T04:40:00.000-07:00

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!

Passenger at the Electroacoustic Club August 24th 2011

2011-08-25T15:30:00.000-07:00

This gig was sold out. Like the last London gig that Passenger played. And with no airplay that can be down to one of two things. The venue or the music.

The venue is the Slaughtered Lamb pub, just off the Clerkenwell Road near Farringdon.Downstairs is small room, painted black with a bar in one corner.No stage, and filled with a variety of low chairs, settees, cushions and even a chaise longue. It is here that Will Rees ( http://www.pulluptheroots.co.uk/ ) puts on all kinds of bands with one thing in common- they're all interesting. No, that's not a euphemism for rubbish, they are all interesting, eclectic and all suited to playing this intimate venue that has gained a well deserved reputation for good music and a strong policy on those that talk during the gig. Consequently it's music lovers that turn up at these gigs, respecting the performer's right to heard by listening quietly, knowing that they'll take something new and a little bit different away with them. I first went about three years ago, when Kris Drever was on. I try to go back whenever I can.

Passenger is Mike Rosenberg.Just him on his own. If you want the full history find him on Facebook. I first saw him busking in Buchanon Street, Glasgow, when I was up there for a Fleadh. I couldn't walk on past, just had to stop and listen. That's what he does you see, busk. In the town in which he is to play that evening. Good strategy. On that occasion I couldn't see him but managed to catch him at the Slaughtered Lamb before he left for Australia. Back home now, with the money from his Australian busking responsible for his latest album, a collaboration with other artists called 'Flight of the Crow' Passenger was again at the Slaughtered Lamb last night.

It was an excellent night. Mike is a gentle, humorous singer songwriter with a quick witted rapport with the audience and an engaging disarming manner, mixing his songs so that one minute you're laughing at 'Rain', the next reflecting on songs like 'Bullet' http://www.youtube.com/watch?v=Jhb-Q9pPks4. And that's his charm, I think. That his songs reflect ourselves and our feelings, we relate to them. It's why his audience is so varied. It's why they join in, in London on a Wednesday night, with his requests to whistle, stand up and sing along. Hey, if he'd asked them last night to hold hands and dance I'm pretty sure they would have done that too. And as for 'Sound of Silence' well, it was spine shiveringly, passionately, achingly brilliant. Bit like the man himself. Go watch...

Wickham Festival 2011

2011-08-09T16:37:00.000-07:00

Thursday

Today was the first day of the Wickham festival, and its second year in Wickham village. Going back to somewhere you know is always good, and despite the bad weather I knew I was in for a top weekend. Unfortunately the heavy rain meant that by the time I turned up to pitch my tent the cornfield camping site was looking less golden and more like a mud bath. However, the common sense of the organisers and security staff prevailed and they stopped vehicles entering the site; this caused a few grumbles from people lugging their tents and equipment from the car park field but

undoubtedly saved the day and stopped the whole site sinking into the mud!

Typically, the rain stopped soon after, allowing me to pitch my tent in sunshine and sit down for a beer once I’d put the flag pole up and got the Treacherous flag flying. The campsite is on the adjacent field to the arena, with the four tops of the main tent visible from everywhere in its position at the foot of the hill. Having the music on your doorstep like this makes you feel involved and when you hear you the bands soundchecking you know it’s time to get up and moving!

I saw a bit of Maurice Dickson and Catherine Ashcroft first, lured in by the sound of uilleann pipes. I have to confess to knowing little about these two, other than that Maurice has been playing for over thirty years and together with Siobhan Skates they form ‘Mochara’, but they were a great upbeat start to the festival.

A wander down to the village for supplies – Wickham has a traditional village square dating back seven hundred years- meant that I missed John Otway. I also got distracted by Voxpop, a choir performing on the open stage in the upper arena, but I’d had my tea and was back in the tent by the time Jools Holland and his orchestra took to the stage.

Despite it only being the first day, Jools Holland was the headline act of the whole festival, with many people turning up just to see him perform. And what a performance. I would never consider paying vast sums of money to see him, as I have always felt his style of music wasn’t for me. Well, I’m happy to say I was wrong. He’s brilliant live- leading his twenty piece band and audience through one song after another, encouraging us to join in by singing back. He had special guests with him too; Sandie Shaw, who looked like she’d just stepped out of the sixties in her white dress and long bob, singing ‘Puppet on a String’; Ruby Turner, too, with her powerful soulful voice.

So, Wickham festival started with a bang on the first night and I went back to my tent wondering if this was to set the bar for the rest of the weekend.

Friday

Sunshine! It’s always good when you’re camping and it’s the sun that wakes you up! Free range breakfast cooked outside never tasted better, and after a quick trip to Fareham pool to swim lengths I treated myself to lunch at Lilly’s, the tea shop in Wickham square that sponsors this year’s family entertainment at the festival.

I got back to the main stage in time to see The Shee, the all girl band I’d last seen at Cambridge a couple of years ago. Playing mainly jigs and reels with a few songs (including a puirt a beul set from Rachel Newton) the band turned out in their Sunday best, wearing smart brightly coloured dresses that made theirs more of an orchestral set than a group of folkies at a festival!

Next were Kan, the new band that has only been together eighteen months. Most write ups of them mention the background and songwriting genius of both Brian Finnegan and Aidan O’ Rourke but this band are a four piece, with Jim Goodwin on drums and Ian Stephenson on guitar writing too. New tunes like ‘Manc Attack’ show the direction this band is going in- I can’t wait for the album to come out.

I left Mary Coughlan on stage singing her heart out for a trip to the beer tent to sample some of Bowman’s ales and came back in time to catch Coast, a local Southampton band who are a cross between the Waterboys and Big Country. The drummer from Runrig has apparently taken them under his wing, and I can see why. Not really my thing though, and I was glad when Martin Simpson arrived. He had a great band with him- including Andy Seward on bass and Andy Cutting on box and makes standing up singing stories look so easy.

Highlight of the day was the next act, Rolf Harris. Eighty one years old, with a cult following who turn up with didgeridoos, flags, inflateable kangaroos and the like, Rolf has the energy of someone much much younger and is irrepressible, telling jokes and starting and stopping songs pretty much when he wanted. He sang ‘The Irish Rover’ ‘Delilah’ and ‘The Clapping Song’, getting the crowd to join in.The audience loved it all, particularly the warm up beat boxer who arrived on stage to get the crowd to shout ‘I say Rolf, you say Harris…Rolf …Harris…Rolf…Harris’. After ‘Two Little Boys’ and the Proms version of ‘Tie Me Kangaroo Down’ Rolf left the stage to riotous applause, but in a strange piece of programming was replaced by Richard Thompson. All the elation and good humour evaporated as the serious Thompson fans moved to the front and the Rolf Harris fans left, talking and singing as they went.

Richard Thompson proved just too serious for me as well, so I made my way to Festival Club. This is a new concept for Wickham 2011 and worked pretty well, as it does for HebCelt and Celtic Connections. It’s held in the Community Centre, a couple of minutes walk from the site and features bands who haven’t appeared on the main stage. Tonight was the turn of the very wonderful Findlay Napier and the Bar Room Mountaineers. Top name and top band too, singing indie style songs with passion and enthusiasm that soon had the audience up to ‘dancey dancey dancey’! The band had driven down from Glasgow earlier in the day, finished their set just before 1.00am and were then driving back to Inverness so they could appear at Belladrum. A mad drive to do, but I’m so glad they did.

Saturday

After a late night and lots of noise from the campsite it was an effort to get up and going this morning, although another trip to Fareham pool soon woke me up. I returned refreshed and caught the end of Shona Kipling and David Newey, followed by Lori Watson and the Rule of Three. The three are Lori -a pretty dark haired girl from Scotland with a beautiful voice- her brother Innes Watson on guitar and John Somerville on accordion. Together they are a trio of tremendous talent, whether on traditional songs like ‘Maggie’ or newer contemporary tunes.

Damien O Kane was next, bringing with him the best musicians around- Duncan Lyall on bass, Ed Boyd on guitar and Cormac Byrne on percussion. Their enjoyment at working together was plain to see, and although Damien found the Wickham audience difficult to engage with it didn’t affect their banter on stage, or my appreciation of a top performance.

Next was Kathryn Tickell, fresh from her performance at the BBC Proms. This was one of the best sets of the festival for me. I knew little about her work beforehand, had no idea she was a lecturer at Newcastle University or that she was so bloody good at piping. Together with her brother Peter, Amy Thatcher (the Shee, clog dancing) and Julian Sutton (melodeon) she played tunes from her native Northumbria, equally at home on the fiddle or soft tones of the Northumbrian pipes. Her understated and comfortable rapport with the audience left everyone feeling relaxed and chilled out.

Shame then that Teddy Thompson seemed so cross about things! The man has a stunning voice but spends his whole time frowning and generally being miserable. He cheered up a bit when he invited a stunning girl (possibly his girlfriend) to join him on stage to sing two songs! Lyrically, he writes fantastic songs that everyone can identify with- check out the lyrics to ‘I want the one I can’t have’.

Festival favourite Kate Rusby was next. I’ve not seen her for a few years now, deliberately avoiding her at Cambridge as I knew I’d have the opportunity to see her here at Wickham. Her band has completely changed over the years but is still full of the best musicians around- basically Damien O’Kane and the members of his band. It was interesting to see the new arrangements and interpretations of old favourites like ‘Mary Blaise’ and ‘The Blind Harper’ as well as hear ‘The Mocking Bird’- Kate’s voice crystal clear thanks to Joe Rusby on the sound, the audience listening silently.

After Kate were my personal festival favourites, the Peatbog Faeries. Anyone who’s read the rest of this blog will know that I’ve seen them a few times this summer already, and loved every time. Their new album ‘Dust’ proves they’re on top form, and despite appearing a little tired ( having played in Switzerland the previous night) and having some concerns about the sound they still played like this- http://www.youtube.com/watch?v=tPCV1G6MOUc Some of the audience initially seemed a little taken aback by the funky bass, electronica and flashing lights but by the end of their set everyone was calling out for more, wanting to carry on dancing.

Fortunately Bellowhead were there to pick up the party atmosphere and take it to the bridge (or the community centre, which is where I ended up later). Their huge eleven piece band had the audience ceilidh dancing wherever there was room to songs like ‘New York Girls’, ‘London Town’ and ‘Yarmouth Town’. There was a really happy atmosphere in the tent- complete strangers dancing with each other, grinning and smiling. It would have been a shame to leave the evening there, and because of Festival Club I didn’t have to!

This time the club was much more crowded, with lots of the day’s bands there as well as happy festival goers. Saltfishforty ( a Scottish duo who form part of The Chair) were playing and soon the space at the front of the stage was filled with people dancing. It would be good to build on the success of Festival Club next year; maybe having more acts on or keeping the bar open beyond midnight, as it was a disappointment to have to leave at 1.00am when the doors to the Community Centre closed.

Sunday

Last night turned out to be quite eventful when I got back to the campsite as a domestic situation was in full flow. Fortunately the security team who look after the campsite were on hand and soon there was peace and quiet. The security team have been brilliant this festival, always greeting you as you leave and enter the site and always helpful- they’ve been a real asset.

As the weather looked a bit suspect and very windy I spent the morning taking the tent down so that I could drive home at the end of the evening and had just finished as the Spooky Men’s Chorale came onto the stage. This Australian choir is like no other you have seen before- all dressed in black, wearing hats and sporting facial hair of one type or another. Technically perfect, they rely on their arrangements of popular songs, or lyrics of their own for humour, their dead pan expression adding to the delivery. Really funny.

Three of them joined the audience to listen to the Webb Sisters next, two sisters who have recently supported Leonard Cohen on tour. I have to confess to feeling the same way as most of the audience, as many people drifted away, leaving just a few rows standing at the front.

It was a different story for Skerryvore, who soon had the tent filled with their Runrig-esque style. A solid bass, accordion, pipes and an angry fiddler! The young good looking (I’m not that shallow, really!) Tiree boys play with an enthusiasm for their music which make this band great to watch. They had a lot of fans too, having appeared at the local Gosport and Fareham festival at Easter.

I went to join in with a well executed workshop by the Spooky Men on the open arena stage. Despite initial reservations concerning sound (The Men They Couldn’t Hang were playing) it was soon resolved and those there had a great time learning the actions to ‘We are the Spooky Men’.

After that it was back to catch the last bit of Toyah’s act, looking every inch the 80s icon in one of her original costumes. She had some very dedicated fans there to see her and seemed to very much enjoy her time at Wickham.

Party atmosphere tonight was provided by Orkadian band The Chair. Brilliant drumming, additional thumping rhythm from Andrew Gifford on bass and congas percussion on sets like ‘The Scariest Broom’ had people stomping their feet, clapping their hands and generally whooping and whistling.

Eddi Reader waltzed onto stage, put her Elvis shopping bag down and started to chat to the audience as if she knew them personally. She has a warm and generous personality that makes you feel like she’s talking to you personally, a kind of ‘put the kettle on and we’ll have a chat’ approach. It’s this, coupled with her amazing voice that makes her such a natural performer, singing Boo Hewerdine’s ‘Dragonfly’ and ‘Muddy Water’ as well as a couple from her Fairground Attraction days.

After basking in Eddi’s warmth it was a bit strange to find the Treacherous Orchestra drifting awkwardly onto stage as if they’d forgotten their parts. Although they played as if they were at the world’s best party, it took a while for the audience to feel that they were invited too. This could have been partly due to problems with the whistle and flute sound that caused the front row to wince. Finally, after ‘Superfly’ things began to warm up and new tunes like this http://www.youtube.com/watch?v=Y59PSEz79UQ by the outrageously talented Adam Sutherland, Innes Watson and John Somerville had most people dancing.

And that was Wickham over for another year. Thanks must go to Peter Chegwyn and his team for putting together another eclectic line up of talented musicians in such a good location. Roll on next year!

Peatbog Faeries - Dust Review

2011-08-03T15:43:00.000-07:00

You know how it goes... bands that have been together forever release yet another dreary album that's either same old same old or goes off in such a new direction that none of the original fans can bear to buy it. What you really want is for the band to continually move forward, be creative and inspiring but still keep the essence of what made them special in the first place. Well...

Peatbog Faeries- Dust

Sixteen years after 'Mellowosity' was released, Peatbog Faeries bring us 'Dust', their brand new studio album. Produced again by Calum Maclean, it was recorded and released in just under four months, the speed suggestive of just how creatively brilliant this band are. A band whose line up has changed considerably yet manages to deliver an album that is both undeniably Peatbogs yet innovative and exciting at the same time. From the sheer ‘in your face get up and dance’ of ‘The Naughty Step’ to the jazzy brass section on ‘Ascent of Conival’ the Faeries seventh album is full of funky bass, pipes and whistle, electronica and fiddle all combined to give that unique Skye air to everything they do. Trance. Or dance. Folk. Or funk. Dancing compulsory. And just when you think you’ve sussed this album you find ‘Fishing at Orbost’ tucked away towards the end. Slow, gentle and achingly beautiful, the pipes will remind you of loved ones or loved places, the memories staying with you long after the tune has ended.

Cambridge Folk Festival 2011 Sunday

2011-08-02T07:21:00.000-07:00

Last day today and the weather is beautiful- blue skies and fluffy clouds and so warm! Just time to swim at the Leisure Centre before catching the bus to the site for a Fisherman's Friends workshop in the club tent at 10.00am. When I arrived there was already a queue to go in, with a few disgruntled people grumbling that more than so many people had turned up. Strange- it wouldn't be a workshop if only a couple of people turned up, would it?

Anyway, we all had a lovely time singing along to sea shanties in the down to earth humorous way I've come to expect from the Fisherman's Friends. No frills or fancies, just good old fashioned community singing- just the thing for a Sunday morning!

After they'd ended with a 'stripped back' version of Bellowhead's New York Girls it was off to the Folknet Cafe for breakfast and a bit of blogging before going over to the Mojo signing tent for Peatbog Faeries to sign my copy of their new album 'Dust'. I'd happily have paid the £12 just for the one track I'd heard -the Naughty Step- but more of that later. I could the Spooky Men singing again and wandered over to the back of Stage Two where they were running a children's workshop- very entertaining watching the children watching the Spooky Men doing the actions for their beard song!

On the way over to Stage One I heard Simon and Garfunkel songs coming from the beer tent and discovered Passenger giving an impromptu performance. A reminder to catch up with him in the Den later.

Port Isaac's Fishermen's Friends put in another great performance on Stage One, their second of the day. I loved the applause for the Port Isaac World Heritage status, before the audience realised it was joke. The whole show was like that. Relaxed banter, loads of songs and the ability to get grown men in their fifties (the audience, not the band themselves!) pretending to be sailors and doing action songs!

A quick exit- well, quick in Cambridge terms- as I nipped over picnic blankets and chairs to see Damien O' Kane in Stage Two; this was a real treat, with the master of the bodhran JohnJoe Kelly, Ed Boyd (guitar) and
Duncan Lyall (double bass) all in his band. Kate Rusby was watching from the side and applauding as he played a tune he wrote when their daughter was only a couple of days old.

Emily Smith was next, with Duncan Lyall and Brian Finnegan joining her on stage. Emily sings traditional folk songs from Scotland as well as writing her own material and I sat outside in the sunshine listening to her.

Then it was back to the Den to see Passenger, who , I think, may well be my favourite performer at this festival. He sings sad sensitive songs like 'Words' with lyrics like 'sometimes no words are the right words to say' that could potentially be maudlin and miserable but in his hands become something different. It's impossible not to emotionally engage , not to feel sad, even tearful, but that's the sign of a truly great performer. He is charming and eloquent- able to get the audience on their feet and joining in with 'Holes' but also singing 'The Sound of Silence' with such intensity and passion that there was stillness in the air. Passenger gigs loads and generally busks in the town he is performing in during the day. Go and see him, and spread the word. You won't regret it.

After that engaging performance I was disappointed by Villagers on Stage Two. I've got the album and saw him last year at Meltdown, where he was energetic and passionate, but there was no sign of this at Cambridge.After a couple of songs I left for the colour and flamboyant dancing show that belonged to Femi Kuti,listening to his impassioned views on Africa and politics before getting dinner from the very good veggie stall handily positioned between the beer tents.

As I went into Stage One for the last time, it was hard to believe that Cambridge was nearly over for another year. It seems to have gone really quickly, yet at the same time been the most relaxed ever, with people milling around for Mary Chapin Carpenter, some even sitting down in the marquee instead of squashing to the front to hear her. Maybe the weather was responsible for the sparse crowd inside, with many preferring to make the most of the last of the sunshine outside. Mary had just flown in, presumably from America, and blamed her jet lag for appearing confused. I didn't notice it, her time on stage flying by and soon her audience left, to make away for the generally much younger Laura Marling fans.

Unfortunately, by the time the crowd settled into their new positions I found myself tucked behind two guys, each being about 6'4, so I could do little more than glimpse Laura from time to time. She's still the slight elfin faced girl I remember from three years ago, still with that big voice, but she seems more at ease with her fame and well, just more grown up and confident I suppose. 'Rambling Man' was as good as it sounds recorded, Laura commenting that Cambridge was the only festival where she could perform acoustically like this, but stand out song for me was 'All My Rage'.

Last band of the night (again) and of the festival were Peatbog Faeries, fresh from their triumph the previous evening. Everyone seemed really excited waiting- Laura Marling had been late finishing so PBF fans had been arriving during the last songs of her set- and the stage crew tried really hard to turn things around as quickly as possible. However, within seconds of the Peatbogs beginning to play it was apparent there was something majorly wrong with the sound- there just wasn't any. The band seemed as upset and confused as the crowd, who were shouting 'We can't hear' and 'Turn it up'. I can only imagine what it looked like from stage- an audience pointing and shouting and definitely not having a good time.

Fortunately, there was a happy ending. The band, having been forced to stop while the crew sorted things out, returned to the stage to play their hearts out, trying to cram as much as possible into what remained of their little stage time, with Peter Tickell removing his tshirt only adding to the excitement!

What a way to end Cambridge 2011!

Cambridge Folk Festival 2011 Saturday evening

2011-08-02T04:25:00.000-07:00

I went to see Rachel Sermanni next, having seen her Big Band set at HebCelt earlier this month. She comes highly recommended by Admiral Fallow, with all of that band in attendance at her gig in the Den. This time it was just her and her guitar, a beautiful girl with a beautiful voice. For the last song, 'Waltz' she was joined by Louis from Admiral Fallow and they sang without mikes, the audience silent in appreciation. Good stuff.

Back to Stage Two for the end of the Spiers and Boden set which was full of jokes and singalong tips; then the Spooky Men's Chorale from Australia. There are fifteen Spooky Men, who all dress in black,wear hats and have fixed expressions, but all have their own unique identity. They are very funny (intentionally so) and I would recommend going to see them, if only to hear them sing Abba. To say anymore would be to ruin the impact, so I'll leave it up to you to judge.

Martin Hayes and Dennis Cahill were next. By this time it was 9.30pm and initially it seemed a strange choice to put this quiet Irish trad duo on so late in a big tent. I'm glad to say I was wrong. Quiet and softly spoken Martin may have been, but he played like an orchestral virtuoso, building tunes from slow air beginnings to reels, making the fiddle sing as if it was part of his very soul. He rarely spoke to Dennis, communicating instead by looking at him-I've never seen such empathy between two musicians before and it seemed almost intrusive watching how they worked together- a very emotional experience.

That quiet reverence was shattered shortly afterwards by a different kind of intensity as Peatbog Faeries closed Stage Two as only they can. The banging tunes , bass heavy rhythm and electronic wizardry wouldn't sound out of place in a Chemical Brothers set with the crowd jumping, cheering and waving,but the Peatbogs also have brass, pipes and fiddle too, adding a Celtic dimension to this dance music that left the audience light headed with happiness, and leaving Bellowhead's 'disco bagpipes' in the shade!
So it was a happy blogger that danced off to the festival bus home, leaving Jim Moray and friends to enjoy their silent ceilidh.

Cambridge Folk Festival 2011 Saturday

2011-07-31T04:08:00.000-07:00

After the coldest night ever camping at Coldhams (woolly hats in bed a necessity) I managed to oversleep and miss Brian Finnegan's whistle workshop, although by all accounts it was very good. One camper on the night bus home said that the workshop had been worth the price of the festival ticket alone, as he'd learned so much about ornamentation!

I came into the main site to use the Folknet Cafe (friendly staff, free internet and computers and lovely food- a joy!) Saturday is the first day of the festival where all the stages are fully open, with Stage Two starting their programme with the frankly unmissable Brian McNeill session. This is like a taster session to the whole festival- an opportunity to see snippets of acts that will be appearing over the next two days, or that you want to catch up with because you missed them earlier. It's also an opportunity to promote up and coming bands like Moore, Moss and Rutter, who met at the Hub here at Cambridge, and local residents Bryony and Grace Lemon with Alex Patterson. It's also just lovely to sit down, listen to excellent music, rest your feet and relax! In this fashion I caught up with Anxo Lorenzo band; I'd been keen to see them as Anxo is described as the 'king of Galician pipers'. He is brilliant, playing lively sets with his five piece band- a very strong rhythm led sound.

Next up was Manran, my guilty festival pleasure. If anything the boys seemed even more delighted to be at the festival than they were yesterday, grinning from ear to ear and playing like crazy. I think Manran could be huge (in folk terms) Or did I say that yesterday?!

By this time the sun was shining and I decided to sit outside and watch the people passing by, while listening to the thump of Martin O' Neill's bodhran coming from Stage Two where Danu were putting in their second appearance. Various Bellowheads, Peatbogs, Manrans mingled with the crowds browsing the stalls, eating ice cream and just generally enjoying the sunshine and Folk Festival atmosphere.

Admiral Fallow were next. They're a Scottish band that I've seen a couple of times before- an indie kind of band, albeit one with a silver flute and clarinet, but some of the best song lyrics you're likely to hear. Up against festival sweetheart Kate Rusby, the band still managed to have the audience spilling out the sides of Stage Two by the end of their set- credit indeed to their talent and songs like Subbuteo, Squealing Pigs and Dead Against Smoking- all taken from the brilliant album 'Boots Met My Face'.

Cambridge Folk Festival 2011 Friday

2011-07-30T05:16:00.000-07:00

A good nights sleep, no rain, a trip to the showers at the Leisure Centre and a cooked breakfast all set me up for the first band of the day, Manran- on Stage One at 1pm. Such is Norrie McIver's charm that he soon had the audience joining in on Gaelic choruses despite the relative early hour.Manran have only been around for thirteen months- I was lucky enough to see them play a month later. The change in their performance as a group in that time is incredible- as is the way they manage big crowds-even when not in their native Scotland. I'm a bit of a soft touch when it comes to uilleann pipes - add thumping bass and a set of bag pipes and I'm away with the fairies. I just have this feeling that this band has the potential to be very great indeed- and they're not bad now!

Justin Townes Earle (son of Steve) was next. He described himself as a 'hard dog to keep under the porch' and I can see why. He comes across as being more than a little arrogant and I suspect he's not remotely bothered by that either, as he proceeded to show the audience what he could do without the aid of loops and pedals. Clever and talented, wearing Woody Allen style classes and a bow tie , he has more in common with that other famous Woody- certainly his songs are of that ilk. The teenagers next to me though he was the epitome of cool- so maybe it's just me that doesn't get him.

No such problems with Danu though. Uncomplicated, just confident musicianship- Danu play Irish trad with some contemporary arrangements.Good humoured banter and comfortable chat between the band with all of them having equal opportunity to talk to the audience.Biggest roar of the festival so far went to the outrageously talented Martin O' Neill for his bodhran solo; beats that sounded as at home in the Sugar Hill Gang as they do in Irish Trad. Superb!

Frank Turner burst onto stage and straight into the first song from his set in the same instant. Joined by four others, all wearing white shirts and displaying as much energy, Frank and his band ruled the stage. The performance of the festival in terms of passion, fervour and just great showmanship,he rushed through a whistle stop tour of his album in full punk rock style, stopping only briefly to to sing an a capela folk song to prove to the somewhat stunned looking folkies watching that he wasn't any kind of one trick pony.

Newton Faulkner was next, fresh from his guitar workshop in Stage Two and giving a solid performance; Bohemian Rhapsody was a bit of a surprise, but the people around me seemed to love it,as did the group of fans with their own take on his trademark dreadlocks.

After all this excitement in Stage One I left for a breather and a look around the site. Most of Friday Stage Two is given over to ceilidhs, meaning the majority of the festival goers crowded around Stage One. It was a relief to wander around in a bit of space, and after a while I joined in with the ceilidh by Tickled Pink, learning how to do some complicated 'mangle' manouevre in Sir Cassian circle. That all proved a bit much, so after some mexican food (black bean chilli!) I went over to the new Den, the fourth stage run in conjuction with those lovely people at the Magpie's Nest in London. Kitted out like the Queen's Head pub with a mantelpiece, curtains and lamps, it's generally a lovely addition to the festival; occasionally troubled a little by sound from Stage One, particularly if you're unable to get inside the Den itself and have to stand watching from the outside. I saw The Staves, sisters with unbelivably beautiful voices who sing indie folk style songs with beautiful harmonies. I definitely want to see them again.

Cider next, then a trip to the Club tent (four stages in one day!) to see local band The Willows and be very impressed by the young Feis Rois group from Scotland, who thrilled the audience with their puirt a beul, none of them looking older than eighteen. A standing ovation and well deserved too!

By this point Bellowhead were abouto go on Stage One, but I decided instead to see Orkestra del Sol, a band I'd seen a little of before at Celtic Connections Festival Club. I'm glad I did becuase they're really entertaining. A nine piece band playing mostly wind instruments, including a sousaphane, this group are dessed entirely in black and red perform their hearts out. Part street theatre, part reggae/salsa/ska Orkestra take audience participation to another level with actions as well as voices required for some of their songs.

A good feeling that stayed with me all the way back to the tent via the Festival bus- not even disappearing in the freezing night air!

Cambridge Folk Festival 2011 Thursday

2011-07-29T04:20:00.000-07:00

Thursday has to have been the sunniest start to Cambridge for ages as I pitched my tent at Coldham before making my way to the festival bus and off to the main site at Cherry Hinton. Always an exciting moment, arriving there, to see what's changed and what hasn't. This year I'd only walked through the gates before being stopped by someone who recognised my HebCelt tshirt and came up to say hello. Cambridge is friendly like that!A quick scout round proved that my favourite caterers had left (what am I going to eat?!) but most other things were the same. Stage One still remains shut on Thursday- a shame because Stage Two is always over crowded. I wonder how it would work opening Stage One on Thursday and keeping Stage Two shut?

First band were the London Lasses (with Pete Quinn), an Irish trad band popular on the London circuit and instrumental in keeping people up to date with happenings in the Irish Community/Return to Camden Festival. A goood sound- the flute player was excellent- and got the crowd ready for the next act.

A London Lass!

Next were the Secret Sisters, and the place was absolutely packed for them. Young girls from Alabama, these two have only been touring for the last year but have been performing their whole lives. Clear pure voices were impressive anyway, but their own songs, the finger clicking 'You Belong to Me' and Tennessee Me' were as awesome as the classics they sang by Hank Williams and Patsy Kline. I would have liked to have seen them, as well as heard them, but that proved impossible, so I'm unable to report what they looked like or who played guitar!

James Vincent McMorrow was next. Brilliant. If you like emotive songs, Bon Iver, The National, that kind of thing, then James is right up your street. Besieged by sound problems, he took them in his stride and his dry sense of humour and rapport with the audience made him popular. There were times when I wished I was sitting in a small intimate club listening to him, but close your eyes for a moment and the power of his music transports you there. Add to that the Big Band sound when five others joined him, and he was the festival winner tonight.

Last up in Stage Two was Chris Wood, the Folk Singer of the Year, and so deservedly too. An articulate guy, he write songs that have the power to move, no matter their subject matter. He says all his songs are love songs, and true stories, and certainly Hollowpoint, with the line 'Through the hourglass the sand is falling and there's nothing they can do' proves the point. This should be studied for GCSE, everyone should be made to sit and listen to it- it's just so powerful.And to cap it all he seems like such a good bloke, someone to go down the pub and have a drink with...

Folk By The Oak 2011

2011-07-27T11:13:00.001-07:00

Attending this year's Folk By The Oak was a bit of last minute decision for me, and for the life of me I've no idea why, as I had such a lovely time that I've already decided to go back next year! This one day festival, now in its fourth year, is held at Hatfield House in Hertfordshire, the place Elizabeth I spent her childhood. The choice of location is perhaps part of this event's charm; beautiful parklands (yes, lots of oak trees!) with Hatfield House as a backdrop and easy to get too. It has a relaxed well mannered air to it; you get the impression that the only advertising done for this festival was through English Heritage/ National Trust, such is the nature of the people attending.Added to this the helpful polite staff and stewards and it becomes a bit of a must attend and I haven't even mentioned the music!

Unfortunately I didn't get there until halfway through Kathryn Roberts and Sean Lakeman's set, missing Tyde due to a hold up on the motorway. Kathryn and Sean join the ranks of married folkies performing at festivals, and do a steady, if slightly uninspiring, English folk set. It suited the audience, who were happy to sit in the sunshine eating their picnics and soaking up the atmosphere, but proved too much of a contrast to Adrian Edmondson and the Bad Shepherds, who were on next.

Beginning their set with 'Anarchy in the UK' was a bit of wake up call, and the audience stood up, eager to be at the front to see what this band had to offer. If you've never seen the Bad Shepherds before, then I won't spoil things for you, other than to say 'Go and see them'. They are funny and talented and deserve thier success.I've seen them a couple of times before though, and feel that they need to change their set list a bit, adding new songs and perhaps more musicians to keep their fans interested and supportive. However, Andy Dinan, the Manchester fiddle player was brilliant to watch and the audience loved singing along, giving the band the first encore of the afternoon and cheering enthusiastically at the jigs and reels.

Andy Dinan

In a curious twist of planning, Bella Hardy followed the Shepherds, leaving the audience to wander back to their picnics and settle back down again. I've never quite understood the pecking order in line ups; whilst I appreciate my own taste is different to everyone elses, on this occasion Bella's beautiful English folk would have sat much better next to Sean and Kathryn's, helping the atmosphere to grow. Supported by the superb Anna Massie (understated as always), Patsy Reid, James Lindsey, Bella worked hard engaging with the audience, chatting between songs. She has a lovely voice, perhaps not fully appreciated today, displayed to its best on self penned modern folk songs like 'Amsterdam', taken from her new album.

Patsy Reid


Anna Massie

Show of Hands, the band who can do no wrong, were next, their fans crowding around the stage to see them. Steve Knightley, confident and relaxed, encouraged them to join in the singing and the audience needed no second bidding. Steve, Phil and Miranda make performing seem effortless, producing such a full sound it's difficult to belive there's only three of them on stage. Then there's the banter, the jokes at (usually) Phil's expense and the political comment that make Show of Hnads as popular as they are. Even I was singing along to 'Arrogance, Ignorance and Greed' as I went off to the Flying Burrito van for my Mexican supper

There were several food stall scattered around, as to be expected, although the emphasis was definitely on bringing picnics. There were a few craft stalls,a Show of Hands stand (yes, really!) and the opportunity for a massage. What was slightly more unusual was the healing tent (I didn't dare venture in) and the opportunity to have a go at pottery, dreamcatcher making and archery. Archery. One hundred metres from the stage! Seemed to be popular though,and all thse different activities kept different family memebers entertained while still being able to see/hear the music.

Drever, McCusker, Woomble with Heidi Talbot were next. It's important to say that I really like all of these people, just so as you know I'm still able to write a critical review, but honestly, I don't really understand what's going on. I've seen Drever, McCusker, Woomble many times and they're excellent, all taking turns to sing/play each other's work. I've seen Heidi too, sometimes with John, sometimes with Boo Hewerdine, and she's excellent too, with a lovely soft tone to her voice. But when they're all together I'm not too sure what the aim is. Whose band is it? With people walking on and off stage it had a strange disjointed feel to it, despite the addition of three unnamed backing musicians. Several things remain clear though- John McCusker is a very talented man ( playing with Dylan and Knopfler this autumn), Kris Drever, sporting a handsome haircut is a force to be reckoned with- just listen to 'Pooerest Company' and you'll see what I mean, and Roddy Woomble writes wonderful emotive songs.

Headline act was Seth Lakeman, the pin up of today's folk world. I can't help but think he must be a bit embarrassed by all the attention he receives, as he never seems entirely relaxed when he first comes out onto stage,his entrance accompanied by screaming cheering fans. Nobody was throwing underwear- this is Hatfield, after all- but I feel it's only a matter of time! Three or four songs in Seth seemed more relaxed, smiling and joking with his band; older brother Sean on guitar,Cormac Byrne on percussion and Ben Nicholls on upright bass. Always in trademark plain t shirt and jeans , Seth delivers hit after hit, playing songs from all his albums as well as adding a couple of new tracks from the next album, due later this year.Kitty Jay, his solo performance on fiddle, was outstanding as always, bringing Andy Dinan out to stand on the side of the stage in admiration, joining the rest of the audience in trying to work out just how Seth does it. And he does!

HebCelt reflections

2011-07-23T10:50:00.000-07:00

And so, a week after the festival ended,I'm sat at home about to take my wristbands off. Symbolic really. It was great, but it's time to get ready for the next festival now.

Except HebCelt's not like that. It gets to you, creeps under your skin and stays there. I think that's partly why I keep my wristbands on; I want people to look, to notice, to ask where I've been. I want to tell people that this festival is special. This maybe part of the reason the merchandise is so successful- people want a part of the festival to take home with them, or to shout to anyone who'll listen that they were there.Certainly, it's the only festival I've been to with such a big take up on hoodies and t shirts.

I read @milnemedia's blog on HebCelt, who felt the appeal of the festival may lay in the acts performing; their Celtic nature being what attracted people. I tend to agree, having seen how some bands have been received in the Big Blue. The locals know how to support bands like Manran, who could so easily have headlined a night. But on the other hand, the main reason I first went to the festival was to see a Manchester band; so some people will travel the distance...

Maybe it's the remoteness of the islands that adds to its appeal? A journey that takes longer than a few hours surely makes the whole experience more special? Particularly if you've arrived on the ferry.

Or maybe it's the locals themselves? How most of the shops have HebCelt related window displays, how there's an enthusiasm for the fringe performances and street theatre as well as the main events? I was talking to a local twenty one year old who said he knew the occupants of seven out of ten cars that drove past him where he worked. Maybe it's this closeness, this community/ family feeling so sadly lacking in many other parts of the country that helps make HebCelt special. Sitting outside on the grass between the two stages was a bit like being at a family gathering- albeit one where I didn't know many people!

But whatever the reasons, the main responsiblilty has to lie with Caroline MacLennan- Festival Director, for having the vision and skill to bring HebCelt to where it is now- choosing the right acts, liasing with the local community, putting together a huge team of volunteers (the first festival where I can recall litter pickers working between bands at the main stage!) and making HebCelt the special festival it is. For that, Caroline, thank you.

HebCelt Saturday

2011-07-17T11:34:00.000-07:00

They say that if you wait five minutes the weather here can change and that was certainly true today. Despite heavy rain while we were in the Big Blue last night today was warm and sunny with blue skies and fluffy white clouds- perfect for watching the the Shinty Challenge Cup at the pitch just beyond the Bridge. We were in good company too, spotting Saltfishforty among the people sitting on the grass watching.

We left after a while to the wifi delights of An Lanntair, but were sidetracked by the sound of beautiful beautiful singing. Following our ears we found ourselves at Martin’s Memorial hall for the album launch of Oidhche Chiadain. The speakers were outside the hall doors, with people handing out leaflets, so we wandered in, assuming that the cd would be playing. Instead, the band themselves were performing- with the three girl fiddle players (all very young) singing harmony vocals so perfectly it sounded like they’d been mixed together in the recording studio. Just perfect.

The trip to An Lanntair was cut short by a fire alarm, which led to everyone being led outside. Instead we ended up at HS1, home of DJ Dolphin Boy for the last few nights and very good tuna paninis too. By now it was almost time for the first act of the evening at Scotland’s Island Stage, so we hurried home to recharge batteries (mine) and change batteries (camera) before heading out along the river to the main site.

We managed to see a little of Rura, before going into the main tent to see Rachel Sermanni, who I’d seen a little of at Celtic Connections this year. This time Rachel had her full band with her and although she seemed a little nervous of how big the tent was (the slope of the site means performers can see all the way up to the back of the audience) her voice showed no sign of it. She reminds me a little of Laura Marling- the same contradiction between a petite, feminine and shy demeanour and a strong powerful voice. The audience liked her, disappearing back out into the rain as she left the stage, leaving the tent pretty empty when Kan appeared.

Kan, a bit like Manran, have really found their feet this year and despite there only being four of them managed to fill the tent quickly with their mixture of global musical influences .When they first got together there was much talk of the creative geniuses of Brian Finnegan (ex Flook) and Aidan O’ Rourke (Lau) and the wonderful possibilities they could create. Now, with Jim Goodwin and Ian Stephensen proving their song writing capabilities too (Manc Attack/ Module One) it seems Kan can only keep getting better. And they were hardly rubbish to begin with!

While the stage was being set we wondered out to listen to a bit of Open Day Rotation, a local Lewis band. The tent was full, listening to Willie Campbell singing his heart out. Still undecided as to which artists’ cds to buy, I settled for some tea and a HCF hat before going back into catch KT Tunstall. Confident, with a rock chick attitude, she was determined to win the crowd over with compliments, cheerful banter and a positive attitude.

However, the Sunday regulations on Lewis means that Festival Club finishes early so we left KT to her ‘Black Horse and the Cherry Tree’ and went into town.

The last night at festival club saw performances from Saltfishforty with Anna Massie and Mairearad Green, Kan (even better on a smaller stage) and Fullsceilidh Spelemannslag finishing off the evening with a riot of fiddle playing, the dance floor filled with dancers and balloons which burst underfoot as people partied.

I get the feeling that the last night at club is a way for everyone, but particularly the workers and volunteers to let their hair down and celebrate the end of an amazing festival.

And it is. I’ve been to festivals across the country and HebCelt is my favourite. It has the best bits of lots of festivals all thrown together. Things like...

Fantastic bands –Peatbog Faeries
Bands you hear for the first time and know you love- Niteworks
Bands that you’d never heard of before but will see again- Ahab, Present Company
Festival Club- so important, giving people a chance to carry on partying after the last bands have left them on a high as well as an opportunity to talk to friends and potentially see exciting collaborations between musicians
The festival split across lots of sites throughout the town, allowing you to be as involved or as detached as you want.

…but more than any of these things, the HebCeltFest has spirit, passion and community involvement on a scale I haven’t seen anywhere else. It’s the festival that isn’t afraid to care and that, I think, maybe why I love it so…

HebCelt Friday Festival Club

2011-07-17T11:10:00.001-07:00

The elation from the gig lasted all the way to Festival Club, despite the rain, and we got there in time to see Rura, who won the Danny Kyle award at Celtic Connections this year. They’re a four piece playing pipes, bodhran, fiddle and guitar, and with support slots to the Red Hot Chilli Pipers at Glasgow’s Fruitmarket lined up, it’s easy to see why.

By the time Manran appeared for another lively set, the dance floor was full of people happy to dance and sing along to this year’s festival hit ‘Rock Me Mama’, and when the Peatbog Faeries arrived fresh from the main stage there were rumours they might be the act to close the Festival Stage, keeping the party atmosphere alive. As it happened, that role fell to Niteworks, who were, if that’s possible, even better than their Island Stage appearance the night before. Joined by Ewan Henderson from Manran, and with half the choir of the previous night, the Niteworks boys raised their game, cranking the volume and leaving the dancers hot,exhausted but still desperate for more. What a high to finish the night on, before walking back through the four am dawn with tired feet, ringing ears and big big smiles. Thank you, Niteworks! Apologies for the lack of photos too, was too busy dancing!

HebCelt Friday

2011-07-16T15:59:00.000-07:00

A relaxed start to the day at the Bridge, and a wander around the Hebridean Market before lunch and an opportunity to use the wifi at An Lanntair; we were there to see Innes and Present Company, a bluegrass four piece, representing Australia, New Zealand, Scotland and Norway. The band arrived unannounced into the dark black space that is the An Lanntair stage, sharing one microphone- the old fashioned kind that probably has a technical name, but looks like something the BBC would have used in the 1950s. All suited and booted, they each took their turn to stand in front of the microphone, or huddle around it together. They played a mainly self written set (with the exception of Franz Ferdinand’s Matinee) with songs like ‘Belong Here’ and ‘Pale Moonlight’ showing their full range, attention to detail and four part harmonies. This band is quiet, understated and excellent.

Next,a trip to Tesco to buy tea next found us queuing behind Daimh’s lead singer, and counting how many staff were wearing HebCelt hoodies while they were working. The programmes were displayed prominently at the end of each till too, a sign of how the community and the festival work together. This is really apparent at HebCelt, with almost all the shops and businesses displaying posters, musical instruments or merchandise.

Back to the room to get ready, watching the Lewis Pipe Band make their way to the Big Blue tent along the riverside path by the Bridge, followed by the first of the evenings gig goers, oblivious to the rain and wind that swept along the path after them.

The rain didn’t dampen anyone’s enthusiasm for Manran, first band on the main stage tonight. This band has grown almost beyond recognition from when I saw them last year at the Bridge performing a session. Fresh from their album launch I’d seen briefly earlier in the day at the HebCelt office, the six of them play with an unmistakably Scottish sound that the audience responded enthusiastically to. Local Norrie Maciver sings in both Gaelic and English, giving the band a contemporary feeling; he’s also brilliant at puirt- a- beul , singing so fast that Gary Innes leaned over to motion winding him up. Ross Saunders was excellent on bass, a thudding pulsing beat that could be heard all the way down the riverside pass. Manran could easily have headlined one of the days here; they seem to have huge support locally and won over the visitors to the festival with their charm and talent, leaving crew, band and audience all grinning.

A good atmosphere for Eddi Reader then, the tent giving off a heady mix of cut grass, beer and warmth as she wandered on to stage having a quick chat with her band to decide what to play before she turned to the audience. You get the impression watching Eddi that she makes things up as she goes along, busking from one song to another and often forgetting to tell her band what she has in mind, or stopping to ask about a song key. But this is part of her charm, her West End theatricality mixed with Glaswegian passion and honesty that makes audience laugh and cry with her. Tonight was no exception, with ‘Brose and Butter’ providing the humour and ‘Ae Fond Kiss’

the sadness.

But the highlight of the evening was without doubt the Peatbog Faeries. The band from Skye has been together for as long as HebCelt, pretty much, and are worthy ambassadors for all things Celtic. Always brilliant live, they played new songs from their forthcoming album ‘Dust’ as well as crowd pleasers like ‘Folk Police’ and ‘Caberdrone’. Tonight however, they were outstanding- with a drummer that’s only been part of the line up for five or six gigs and a last minute replacement guitarist for Tom Salter who injured his hand a week ago. Having Ross Couper on fiddle as well gave Peter Tickell licence to dance like crazy and duet on the ‘Dancing Feet epic. New songs ‘Dust’ and ‘The Naughty Step’ are full on, crazy, bass heavy, pulsing dance tunes that left the audience screaming, whooping and clapping wildly- if the rest of the album is similar then I for one can’t wait.

HebCelt Thursday evening

2011-07-15T10:23:00.003-07:00

Seth Lakeman is a class act; he comes on stage understated in black t shirt and jeans and plays with passion and commitment. Joined by his brother Sean (the one that’s not married to Cara Dillon!) Cormac Byrne and Ben Nicholls, he played old favourites from ‘Kitty Jay’ as well as trying some new songs too. It was fairly tempting to stay put, but I really wanted to see Niteworks, the Skye band that played a great set at Celtic Connections this year.

So glad I did, because they were storming. Just loud, pumping dance music that rocked the packed Scotland’s Island Stage and had the audience jumping, whistling and waving their arms in the air. Genius move getting the girls choir on board too, really adding to the old/new thing that Niteworks do so well. Band of the night so far for sure, particularly after moving back to the Big Blue to watch Stornoway. Now, Stornoway are definitely talented, they write fine songs and can recreate that sound live, but for me tonight it just wasn’t happening. They seemed overwhelmed by the headline slot and there was an almost apologetic air to their performance.

Anyway, it meant we were changed and at Festival Club in time for the Coal Porters and Ahab, who we’d missed earlier. A London five piece, the four guys at the front are so charismatic that it was almost a surprise when one of them moved aside and I spotted the drummer. The four play a variety of stringed instruments and seem equally happy swapping them around with each other or leaping to the floor to play amongst the dancing audience. Definitely a band I plan on seeing again when I get back home.

And so we left Festival club as Daimh took to the stage, feeling slightly like lightweights for leaving before the end. There’s a strict no sleeping policy at Festival Club- I’d seen a girl woken by security half an hour previously, so thought it best to go before I was found guilty of the same offence!

HebCelt Thursday photos

2011-07-15T06:44:00.000-07:00

HebCelt Thursday

2011-07-15T06:15:00.000-07:00

Almost 24 hours later and I'm sitting in An Lanntair, the arts centre in Stornoway. It's the unofficial centre for the festival, or so it seems, hosting afternoon concerts, evening concerts, festival club and opening during the day for teas, cakes and free internet! Like Costa but so much more personal!

Flew in yesterday on a the smallest plane I think I've ever been on. Thirty six people and an air steward. Oh, and the pilots of course.I'd hoped for beautiful views but they weren't to be as we disappeared into thick cloud and the first view of Stornoway was as we landed, doing a u turn on the runway to taxi back to the terminal.

We're staying at the Bridge again. It's the student accommodation for the University of Highlands and Islands and is brilliantly situated halfway between the Big Blue and and the town (and Festival Club) so of those of a party persuasion a good opportunity to change into your best frock and out of your boots. So, just time to drop bags, pick up cameras and head off to the Big Blue for the first night.

We went off to see Kitty The Lion first, a young five piece playing a mixture of gentle indie songs with a hint of folk in the new Scotland's Islands Stage, set at the other end of the festival site.; then Dainmh opened events on the main stage, where the air smelled of fresh grass and the dark tent cut out some of the bright light of the Hebridean evening. There are six guys in Daimh, playing pipes/fiddle/banjo/guitar/bodhran and mandola. The audience were really up for a good time , whooping and whistling every time the pipes started and the tunes got faster, but Daimh never really went all the way with fast paced dancing tunes, preferring to mix their set up with slow Gaelic ballads. Still, there was a good turn that stayed with them , and as Daimh left the stage so did the, leaving just one row of hardcore Seth Lakeman fans keen for a good spot.

The Journey to Stornoway...

2011-07-14T11:18:00.000-07:00

Sitting in the sunshine at Inverness airport, waiting for my connection to Stornoway for the Hebridean Celtic Festival, trying to stop grinning with excitement.
I've never flown to Stornoway and whilst I love the ferry the times just didn't work out so I'm getting the plane instead. I'm looking forward to some fantastic scenery from the air as we fly over the hills and mountains of the west coast of Scotland. But that's not the reason I'm grinning. It's the festival itself... I don't know if it's the area, the scale, the sheer quality of the acts appearing, the size of the welcome, the feeling that you've chanced upon something quite special, magical almost, if you believe in all that.
I don't know.Maybe its remote location is part of the attraction, making visitors feel like they've really made an effort? Every year I feel torn between shouting from the rooftops just how great this festival is- or keeping it secret so it doesn't run the risk of becoming a huge impersonal corporate affair.
Maybe in four days time I'll be able to put my finger on it. Until then, I have a plane to catch...