Leg 3 of the Scottish familiar folk quartet and the trusted territory of elite performer Karine Polwart. A mid pandemic Birmingham Town Hall had a different feel to previous journeys south for a trio format that rose to the challenge of celebrating a return to the stage. Flanked by her brother Steven on assorted guitars and Inge Thomson, one of Scotland's most sought after multi-instrumentalists, Karine drew on her many years of experience to share a passion for tuneful lyrical musings, varied stories and an innate skill to curate and deliver the immaculate song. Majoring on guitar with occasional dips into the darker sound of the harmonium, it is the soothing brogue melting into the most gorgeous of song that illuminates a rich batch of inspiration, passion and acute observation.
The breadth of Karine Polwart's illustrious career weaved around a chamber steeped in history itself almost in synch with her ability to draw on the past for song content. Bringing things right up to date, we had a couple of offerings from the latest album, a duet set of songs with pianist Dave Milligan. These included the local origins of 'The Path That Winds Before Us', one of many songs bequeathed with a short story and an illuminating version of 'The Parting Glass' suggesting that no iconic song is complete until all fine voices have wrapped their vocal chords around it.
A quick shuffle from the here and now sees Polwart in contemporary pop mode by sprinkling some stimulating charm on a cover of Frightened Rabbits 'Swim Until You Can't See Land' and thinking on the hop that 'Video Killed the Radio Star' went down well in 2017, so why not offer a repeat. One guarantee is that you will find the latter version incomparable, and if you fancy hearing some other pop songs get the Karine Polwart makeover check out 2019's SCOTTISH SONGBOOK album.
Staying on the familiar but more of a staple platform, no Karine Polwart concert is complete without the ornithological trilogy of 'Crow on the Cradle', 'King of Birds' and 'Follow the Heron'. At the heart of the finale is the rightful place for this exceptional string of natural wonders.
Calling in on past collaborations, 'We're All Leaving' celebrated the Darwin Project, while 'The Lost Words Blessing' showcased Spell Songs. The latter makes a swift return to Birmingham in the New Year on the back of a successful pre-pandemic airing supplemented by some of Scotland's finest folk musicians.
Two gems showing how the Scottish landscape can provide the backdrop to a drooling song included the alternate view visualised in 'Tinsel Show' and the weaving of war time Italy into areas of beauty nearer to home in 'Young Man on a Mountain'. The latter based on the mysterious side of the Polwart family.
Two final song recollections from a show whose twin sets gently floated close to a couple of hours were 'Daisy' where a version of this old song twanged up by Bruce Molsky inspired a rejig by the trio and the moving account of past European refugee migration echoing in 'Suitcase'. A pair of stories lodged into the brain for different reasons and representative of the diverse themes that channel the work of Karine Polwart.
A brief spot in the limelight for Inge Thomson to share her solo wares re-energised the set. She and Steven also supplied regular backing vocals that added an extra layer to the main attraction. That domain was majestically owned by Karine Polwart. The architect of many stately performances over the years and one not to be muted by a pandemic. Indeed racing to be back on the road doing what is so special and natural.
By the way, the first two legs of the Scottish familiar folk quartet were Hannah Rarity and Siobhan Miller with Jenny Sturgeon sealing the deal next month. If all three rise to the prominence of Karine Polwart, then ripened day are ahead.
