From small
acorns, the saying goes, but playing a small part at the outset of what could
prove a fruitful journey is a decent place to be. Hopton Wafers is a sleepy
location on the Shropshire/Worcestershire border and now can add the location
of the Beardy Folk Festival to its claim to fame. A gently sloping walled
garden rectangular amphitheatre provides the natural landscape to house a smart
diversity of UK acts representing a broad range of folk music styles. Whether
the organisers have opted for a touch of irony, or an attempt at stereotypical reclamation
in naming their operation, tapping into a winning formula suggests that more
has gone right than wrong in treading the tricky waters of festival promotion.
The caveat
to such an analysis stems from only attending the Saturday of this three-day
event, but adopting a ‘speak as you find’ approach reaches a favourable
conclusion. A slick operation presented nearly twelve hours of continuous music
from thirteen scheduled performers. This was utilised from a slightly elevated
main stage at the base of the arena and a small acoustic stage sensibly located
within the beer tent. A gorgeous June day did not present a test of the British
summer frailties, allowing a concentrated full focus on the music – give or
take the odd break for refreshments of the body and mind. The artists featuring
on the Saturday ranged from the very familiar to the soon to become familiar,
albeit from a highly personal perspective. Prospective styles included finely
tuned interpretations of both Scottish and English folk rock, a bi-partisan
approach to the traditional and contemporary outlook, and a transatlantic nod
to the realms of alt-country and bluegrass. All artists were bound by integrity
and a desire to perfect their chosen craft.
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| Jaywalkers |
The very
familiar came in the guise of Kim Lowings and the Greenwood making a twenty-
mile trek from the edge of the West Midlands. Kim has been watched in a host of
local venues over the last few years and now a festival main stage can be added
to the list. There was an element of equality in the presentation of all main
stage acts getting an hour-long set, so none of this thirty to forty minute
lunchtime slots to make way for the headliner egos. Kim used her time to highlight
a fair spread of recorded material and a selection of songs saved solely for the stage. Song
accompaniment included the trademark Appalachian mountain dulcimer, more recent
leaning to the acoustic guitar and the ever-impressive vocal solo. Set peak
choices came from ‘The Littlest Birds’,
‘Bold Riley’, ‘Away Ye Merry Lasses’...- ok no need to name every song! They’re all
good. Kim was the only artist to be afforded slots on both stages, and used her
half hour set in the beer tent to strip back a different set of songs and test
a couple of new ones out on the audience. Interestingly, these were both
delivered from the acoustic guitar and saw her writing take a socially
conscious path. No doubt, more will surface on the extent of this direction in
good time.
From the
highly familiar to the totally new (to me anyhow) and a few thoughts on the
Joshua Burnell performance as the increasingly powerful sun beat down on the
lunchtime drinkers. Assisted by a six-piece full backing band and taking more
than a leaf out of the sixties/seventies folk rock pioneers blueprint, Joshua served up an impressive
selection of mainly traditional tunes. A striking look blended in well with the
blissful tones of the Hammond organ in full flow, and a set to linger long in
the memory unraveled. An enthusiastic and innovative fan base fanned the flames
long after the set finished and ensured that this artist made the largest leap
on the day from the unknown.
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| Joshua Burnell Band |
Back to the
familiar and a first opportunity to catch UK alt-country rockers Orphan Colours
live since giving their debut album a glowing review earlier in the year. A
six-strong combo led by Steve Llewelyn and Dave Burn, previously from acclaimed
band ahab, powered through a riveting set as the sun finally began to sink and
injected a major degree of energy into the event at an opportune moment.
Sporadic sax akin to the E-Street band in full flow mixed with the widely used
three part harmonies as a barrage of impressive songs such as ‘Goodnight California’, ‘High Hopes’ and ‘Start of Something’ successfully made the journey from the record
to stage.
The biggest
surprise on the day was north-west based folk and bluegrass band Jaywalkers
springing from a known name not heard to the architects of a set that fought
ferociously to be considered the best of the day. They contributed to the moment
when the entire chill out vibes were in place. The trio of Mike (mandolin), Lucy
(upright bass) and Jay (fiddle) played a sublime mix of old time inspired tunes
interspersed with notable originals and a few diverse covers including giving ‘Big River’ and ‘Tainted Love’ a bluegrass makeover. No longer do this band remain
just a name on a listings page; the perfect example of good music finding the
right ear over time.
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| Kim Lowings and the Greenwood |
You can now
detect the rotating nature to this review as we switch focus to the Saturday
headliners Skerryvore with an air of recent familiarity. This Scottish folk
rock band with a fervent outlook have been operating for well over a decade
outside my periphery, but this changed when challenged to review their latest
album EVO. Having bought in to an exceedingly good array of heady folk rock
anthems and feisty fiddle, pipe and whistle tunes, an early opportunity to
catch their high-octane live show was relished. The only blip to the smooth
running of the main stage saw a fifteen minute delay to the band strutting
their stuff, but to be fair sound checking an eight-piece band in a limited
time is a challenge. Nobody cared that it was 10:45 when they bound onto stage.
Thus illuminating an arena that had been generally passive all day soaking up
the good music alongside the rays. Afforded not a minute more than Urban Folk
Quartet almost eleven hours ago, the guys wasted little time in delivering a
pulsating interactive set, spearheaded by the pair of striking anthems leading
the way off the new album in ‘Live
Forever’ and ‘At The End of the Line’.
Skerryvore delivered without dispute what it says on their tin and everything
about the way they concluded the day was first class.
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| Skerryvore |
A quick
jump back to a name new off the page on the Beardy Folk line up and the
performance of Sinnober on the acoustic stage just as another pint of the local
Hobsons brew beckoned. However, you did not need a drink to appreciate this duo
that travelled up from Frome in Somerset to play a neatly packaged bunch of original
songs decked out in a contemporary lilt. What marked out this pairing of
Sebastian and Natalie Brice on acoustic and electric bass guitar respectively
was the highly crafted nature to their songs, strongly rinsed in an air of
instant familiarity. In contrast, they were an absolute new name to me and the
epitome to how the off-piste locations at a festival can often lead to a
fruitful discovery. A new album is in the works and it is certainly something
to check out in the future.
The
previously mentioned Urban Folk Quartet kicked off the Saturday programme on
the mainstage as the clock struck noon. They were unfamiliar to the extent that
I have never seen them live or heard their music before, but one quarter of
this musical alliance is the very familiar Dan Walsh, seen, heard and reviewed
on numerous occasions. This was no meek introduction to the day, as these four
noted musicians know how to work a festival crowd and spill out a spritely set
of instrumentally fueled folk and roots music. Banjo, fiddle, mandolin and
other assorted stringed instruments dominated here and set the agenda for a
continual streak right through the day.
A conundrum
exists whether to place Richard Digance in the familiar or unfamiliar category.
The latter prevailed based on not previously seeing this veteran entertainer
play a festival set. The mid-afternoon slot proved ideal, as a placid audience
were content to just sit back and enjoy various shades of humour alongside a
selection of instantly appealing songs. Anecdotes, quips and poignant
reflection liberally interspersed the music as this specifically
generation-focussed set held its own among the more progressive and youthful elements.
Yet Richard Digance has a story to tell, takes pride in a lifelong love for folk
music and smoothly created yet another distinctive mark on a festival.
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| Orphan Colours |
Inevitably,
moments arise during a twelve-hour festival day when normality takes hold and
the mind needs re-energising. While a breather was had, the crime of casually
watching Jim Moray perform from a distance led to not getting the best out of
the performance. Having seen him play on numerous occasions, the music is best
enjoyed in an absorbing state, but it was a case of next time, which you know
with Jim Moray, would not be too long. Eric Sedge has been touring with Richard
Digance, and his acoustic stage set got a hefty recommendation from his
colleague. Casually dipping into it revealed a highly capable singer-songwriter.
Likewise, duo Fly Yeti Fly held your attention for a brief stint in the shade
without any plugging and particularly caught the ear with an engaging story of
a mermaid and merman. It would not be a folk festival without at least one!
Johnny Walters and the Savoy and Tom Malachowski completed the acoustic stage
offering, but a little socialising and some fine food won the moment during
their appearances.
Obviously,
a perception of success can only be expressed from an outsider’s viewpoint without any insight to the books. Hopefully, Beardy Folk can achieve a renewal
in future years and continue to grow an audience to ensure a healthy balance
exists between customer experience and event viability. The summer festival
scene is a crowded place, but get it right and success will come. Long may this
corner of the Midlands countryside be a staging post for that fascinating joy
of exploring the familiar and unfamiliar in a serenely located multi-artist
gathering.