Gig Diary: Jacob and Drinkwater - Thimblemill Library, Smethwick. Saturday 24th September 2022

 

www.jacobanddrinkwater.com

The last time Jacob and Drinkwater paired up for a West Midlands show their latest album was a month away from seeing daylight. Life seems to travel quickly when MORE NOTES FROM THE FIELD is now only days away from its first anniversary. That show was at the Kitchen Garden in Birmingham when live music was tentatively re-emerging and the courtyard location partially reflected the times. Almost twelve months later the venue switched to Thimblemill Library in the neighbouring West Midlands borough of Sandwell as Tobias Ben Jacob and Lukas Drinkwater reunited for what will ultimately prove a lengthy stint of twenty five dates. Outside of their casual duo outfit, the pair are ultra active in other spheres and you feel a sense of shared, and sometimes mischievous joy, when back in tandem.

The challenges mount for live music at grass roots level, but dedicated teams like those persevering with a low key arts agenda in Smethwick continue to pull gems out the hat and deliver a stellar service to communities keen on experiencing new acts. For every wise old owl au fait with this music, newbies will always spring up from new venues. For an enterprising and enjoyable ninety minutes, Jacob and Drinkwater teased, entertained and sank their teeth into a multiple array of roots music drawing on facets of folk, singer-songwriter and good old observational pop music. Material started with the current record before stretching back. Songs stuck to an original template before ending like twelve months earlier with a walk around unplugged version of 'Bird on a Wire'. Splendid stuff.

Those new to the pair soon realised that Lukas Drinkwater is a talented multi-instrumentalist. Stand up bass is the usual gig go-to, but tonight the playing extended to multiple guitars and keyboards. Tobias Ben Jacob majors on the vocals and a more focussed acoustic guitar. Together they gel really well and never fall short of delivering a fine show.

It is good that these Thimblemill shows are going back to having a local support artist. Michelle Holloway is more known for her role upfront with Birmingham-based band The Bonfire Radicals. However she is keen to progress as a performing a cappella vocalist and used every second of the forty-five minute opening slot to showcase her divine vocal skills and how to source an interesting song. The set went down well with the audience and should encourage this sideline to develop.

Shows like this, and the artists at the core of them, possess the tenacity and adaptability to ride out the challenges life throws at live music. Pandemics, economics and enforced mourning may spring up, but grass roots live music buckles down and continues to sparkle. 

 www.jacobanddrinkwater.com/live for further details of where to catch the pair. 

Gig Diary: Annie Dressner - Kitchen Garden, Kings Heath, Birmingham. Thursday 22nd September 2022

 

www.anniedressner.com

Some artists attain through endeavour; some artists attain through talent. When both are in tandem the road to some sort of desired success becomes a little less out of reach. Of course planned and unforeseen bumps in the road impact a journey that at times can also require a leap of faith. From a distance, the career of Annie Dressner has had a stop-start existence since first emerging as a recording and performing artist in the UK around ten years ago. This Manhattan-raised Cambridge-based singer-songwriter bounced onto the folk 'n' roots scene with an album, EP and shows to boot before a change in life direction heralded an exile from the spotlight. Having began to re-establish herself with a couple of album releases and gradual touring, the next blot on the landscape appeared as the arts took a heavy hit in 20-21. Mid 2022 sees the endeavour and talent of Annie Dressner back in full flow with barrowloads of evidence spilling from her current tour and a stopping off point in Birmingham.

This heavily self-promoted tour has not been short of setbacks. Not every venue has met the endeavour with numbers and just when an inspired tie up with fellow folk singer Amelia Coburn had started to gel, the partnership was broken with an unforeseen departure. Hence folks heading to the Kitchen Garden had a late replacement that ultimately kept the tour momentum intact. Once Annie Dressner commandeered the spotlight the talent takes over and what remains is an effortless show of sublime songwriting cradled in the most compelling of vocal styles. Listening intently is a rare joy as a moment shared is one treasured.

It was a swift move to replace opening acts on the morning of the show, but Birmingham-based artist Jack Goodall heeded the call and used the half hour slot to deliver an engaging set putting his songs and style on show to broaden and evolve. A mix of original, bossanova and cover tunes kept things ticking over, with the latter being a quirky version of The Associates early 80s hit 'Party Fears Two'. Maybe not Amelia Coburn (who has since had her own Kitchen show scheduled for April '23), but art moves in mysterious ways and keeps the antenna regularly tuned.

Annie Dressner named the tour after her current single 'I've Always Been Like This' and duly opened the main part of the evening with a rendition of it. From strumming the opener on trusted acoustic guitar, the set gradually became a carousel of this and a newly acquired electric guitar that added a richness to the sound. Maybe there was scope to inject a little bit more twang and certainly one of the quieter tunes came over better on electric when the playing was more subtle. 

Around seventy-five minutes later, the set headed to a conclusion with a cover of 'The Book of Love'. This version recorded on 2020's COFFEE AT THE CORNER BAR album was executed exquisitely with the audience left in doubt to her preference to The Magnetic Fields than Peter Gabriel with respect to this song. This was the sole cover in the set as original song rules the roost including 'Nyack' from the same album of which we were teased to its origin other than a personal place visited in the past. That was generally the theme of the patter as the songs tended to have an air of mystique about them. Chat was often irreverent, a style adopted by many singer-songwriters preferring to let the songs do the ultimate talking.

One thing those new to Annie Dressner would have picked up on the evening was her work with David Ford this year. This resulted in her latest release, a duet EP doing brisk business at the march table. The last song from this record 'Put Me in the Corner' made an ideal setlist addition as despite being a co-write, the solo vocals fitted the bill. Some of the audience was swayed to attend this show after seeing the Dressner-Ford set at Moseley Folk Festival earlier this month. Proof that connections can be made.

Those whose appreciation goes back a little further had a few tracks dealt from the STRANGERS WHO KNEW EACH OTHER'S NAMES record. This debut full length album had a review here in 2013 and from memory songs like 'Fly', 'When I See Stars' and 'Brooklyn' gave a timely reminder to that record's merit. Sandwiched between the first and third albums was BROKEN INTO PIECES in 2018 and this record dished up the highlight of the set in a stunning version of 'Heartbreaker'. This encapsulates the sum of Annie Dressner - the inspirational singer-songwriter - with great lyrics, melody and evocative voice. 

With a pointer to the future, a four track EP sampler was made available to anybody buying merchandise on the evening consisting of demo songs destined to make the next album. 'Dance We Do' will have to wait a short while before getting a full recorded version, but it whetted the appetite of folks waiting for the next Annie Dressner album.

The Kitchen Garden rose to the occasion to make this, one of the tour's final shows, a fitting evening. Listening rooms exist for artists like Annie Dressner to prosper and flourish. A healthy gathering would no doubt concur that the endeavour and talent of this intuitive singer-songwriter will advance further ensuring bumps in the road are just minor inconveniences. 

Gig Diary: Kim Richey - Kitchen Garden, Kings Heath, Birmingham. Sunday 18th September 2022

 

www.kimrichey.com

Kim Richey is an artist you under estimate at your peril. There is little fanfare about her overseas ventures these days, but placed in front of her song writing spell for a couple of hours illuminates what career is behind her, and more pertinently, what lies ahead. The lasting impression from this return to the Kitchen Garden in Birmingham (a venue played solo and with Ben Glover in recent years) was not the catalogue of numbers that courted mainstream Nashville in the 90s and early 2000s, but a brace of songs lined up to be the next Kim Richey album. These, including an Aaron Lee Tasjan co-write, showed an acute ear for a prime melody still intact and ready to once again rumble. The coupling of simple subject and memorable melody has been the staple for many years. What has been successful in one context in the past can replicate in whatever sphere this East Nashville-based artist circulates in as we head into 2023. 

This latest run of solo Kim Richey UK shows was underpinned by supporting her friend Gretchen Peters on a grander scale at the end of August/September. The good news is that the partnership will strike up again next spring with Gretchen's farewell tour. Whether or not spin off shows occur is a matter of wait and see, but hopefully news of the new album will be a lot further down the road. 

Anyway back to the present and a hugely enjoyable journey down memory lane backed by a trail of insightful and amusing stories highlighting how well connected she has been over the years. Chuck Prophet, Doug Lancio and John Leventhal are just out there for starters. The best of Kim Richey transcends a whole career from 'Those Words We Said' gracing the first album to 'Chasing Wild Horses' bringing things right up to date in the new material field from 2018s EDGELAND. 

The solo slot here formed of twin forty-five minute sets sounds formulaic on the surface, but the special essence of Kim Richey in effortless control was far from ordinary even in a venue noted for supporting artists from the ilk of Beth Nielsen Chapman to the local singer-songwriter embarking on a new journey. It was probably a grounded theory that Kim Richey was likely just doing what has come naturally for many years. No ego in sight, just an appreciation that folks still hook into her music after many years. 

References to the Bluebird Cafe resonated here as she was in-the-round for my solitary visit to the iconic Nashville venue in 2016. The next time in Birmingham she will grace the stage of the elaborate Town Hall. Kim Richey can perform in any setting. The songs transcend the stage and remain as fresh and enticing today as ever. A thoroughbred international singer-songwriter bringing mainstream quality to a roots she has never forgotten. 

Gig Diary: Sunset Folk Farewell with Filkin's Ensemble, Moseley Park, Birmingham. Sunday 18th September 2022

 

Just when the outdoor gig wear was about to be packed away a tip off came to check out a fabulous finale in the grounds of Moseley Park. Two weeks on from that location throbbing to the diverse sounds of the folk festival, a lower key gathering bade farewell to music under the skies for 2022 in the finest folk tradition - a 14 piece ensemble of top performers assembling under the name Filkin.

Sunset Folk Farewell was an apt name for this set (part of a wider arts weekend event known as Little But Live) as it began at 6 pm before ending literally as 7:30 beckoned the sunset. The ensemble was largely made up of local Midlands-based musicians. Four known names to enhance the tip off were duo Thorpe and Morrison, solo artist Ellie Gowers and Bonfire Radicals front person Michelle Holloway. All appeared at the festival a fortnight ago and played significant parts in this fun foray into collective folk.

Prior to the mass assembly, Thorpe and Morrison played a forty five minute set of mainly instrumental material made up of classy guitar merging with finesse fiddle. For the solitary song they introduced Michelle Holloway to sing a piece adopting an alternate view on traditional folk's somewhat often skewed take on gender balance. 

Following a hastily rebooted ten minute sound check, the ensemble were ready to go and warm up a cooling air with top notch music encompassing strings, horns and percussion.Up front on vocals for most of the songs was Ellie Gowers. A real treat for this rising Warwickshire-based folk star was singing a track from her upcoming album with such a backing. 'Women of the Waterways' will be played many times, but few can match this version. 

A healthy gathering of colleagues and more curious onlookers snapped up this bonus offering before most of the artists parted ways for their own individual autumn projects. Perhaps the biggest bonus of this Sunday teatime was another gig to go to literally ten minutes up the road as the ensemble rolled to a conclusion. Double Sunday joy.

Gig Diary: Anna Ash - Kitchen Garden, Kings Heath, Birmingham. Tuesday 14th September 2022

www.annaash.com

Overseas touring can be tough at the best of times for independent artists. Anna Ash was one of a sparse band of Americans venturing to the UK last September as the live music scene began to rewake. Fast forward twelve months and, not to be deterred, a return visit to these shores from Los Angeles was undertaken only to be subject to a significant national event leading to at least one show cancellation. Definitely going ahead was the Kitchen Garden in Birmingham, a return host after utilising its outside facility in 2021. Since that last show the advance of Anna Ash has been propelled forward on the back of her new album SLEEPER gaining press coverage at the start of 2022. This was part of a link up between Black Mesa Records and a UK scene reciprocal in appreciation for the sounds of a sensitive singer-songwriter showcasing the depth of a high quality US folk-Americana canyon. 

Only positives can accrue from putting in the long yards to get your music in front of people. Once the two facets are in place good things happen. The gathering in Birmingham this evening consisted of some returning from last time and new recruits willing to take a gamble on a fresh sound. The latter is less a stab in the dark these days, but moving from scrolling a screen to paying your money for a seat is a commendable shift. From a tentative start through to the crowning moment of concluding a pair of mesmerising sets, the metaphorical gap between audience and artist evaporated. This was helped in heaps from a voice flickering from pristine purity to a more throaty drawl. The latter drew comparison with Frazey Ford upon first listening discovery and absolutely confirmed in a live setting. The former is one of the many things to take away from an unfiltered liaison. 

Like so many seasoned songwriters, eloquent inter song explanations paint a vivid picture, and we learnt a lot about Anna Ash, especially the challenges of mixing undesirable employment with a career in music. Influences for her music extended to covers from Dolly Parton and Lucinda Williams. Not the usual suspect songs, but ones to supplement the material from SLEEPER and its pre-pandemic predecessor L.A. FLAMES. Whether on acoustic or electric, the soundscape melded into the voice leaving a succession of sincere songs floating for the listener to savour.

The challenges of touring are probably not going to subside any time in the near future. The nuggets of getting your music in front of the right crowd are surely something to fuel the idealism. Hopefully Anna Ash accrued enough from this tour to pursue its further riches alongside the kudos of growing your music in fertile fields.

Gig Diary: The Brother Brothers - Kitchen Garden, Kings Heath, Birmingham. Wednesday 7th September 2022

 

www.thebrotherbrothersmusic.com

From the distant land of Illinois USA, The Brother Brothers dropped into Birmingham for an inaugural show to share some sumptuous harmonies that are second to none. The Kitchen Garden has hosted some subtle vocal masterpieces in the past and the voices of Adam and David Moss will linger like most after reverberating around the bricked walls and wooden panels. These vocals are the focal point, but within them the dual presence of the original and borrowed song flourish brightly. Throw in the fiddle playing of Adam and David's major guitar and minor cello, and you get a fully fuelled folk band equipped to smash that style the American way. 

It's a case of small steps for The Brother Brothers as they strive to create a niche overseas. Prior to the pandemic trips were undertaken and like so many touring acts, overseas ventures are proving a testing experience in the aftermath. The only way to build up a presence is to undertake more trips and tour the music that you wholly believe in. The Brother Brothers were bringing a covers album this year, but left a mark that this duo are more than just a nod to artists such as Jackson Browne, Judee Sill and James Taylor. We learned that alongside the influences a new record is ready to go and join the two previous full length releases of original songs that launched the careers of these two musicians in a named duo format. 

In the guise of a standard night of a pair of forty-five minute sets, folks starting their autumn gig season in earnest witnessed a stellar performance of prime American folk music sprinkled with a hint of wit and a host of appreciation. The musicianship is supportive to the prime components of voice and song bringing a rounded performance to leave those choosing to spend their evening at the Kitchen Garden fulfilled and duly refreshed. 

Gig Diary: Hurray for the Riff Raff - Hare and Hounds, Kings Heath, Birmingham. Thursday 8th September 2022

 

www.hurrayfortheriffraff.com

September 8th 2022 will be a date having different resonance to different people. It is going to be left here as the day Alynda Segarra re-imposed as a force for good. It has been a long time since a stage in Birmingham was graced, with memory serving right we had to travel to Leicester to get a piece of The Navigator in 2017. Life on Earth is getting Hurray for the Riff Raff back on track in 2022 and the choice to visit the Hare and Hounds was reflected by a sizeable turnout largely pre-hooked on the music and style of this effusive artist, musician, performer and personified conscience. 

Apparently the band behind Alynda had changed since 2017, but memories can't really equate that. What is fresh in the mind is that tonight they played their role to a tee. A static presence that enhances the true spirit of Hurray for Riff Raff with some stellar supportive playing encompassing multiple guitars, keys and a thumping drum beat. The true spirit lies in the subtle animation of a front person immersed in the moment and successful in transmitting an intensity to the enthralled throngs in the midst. Whether taking the sole vocal or guitar accompaniment route, Segarra swaggered with enigmatic class gliding through the bulk of the new album and planting some reminders of a celebrated Riff Raff past.

Albums primed for longevity can take time to feel their way. Life on Earth fell into that category. Maybe knowing a live show was in the offing staggered the full effect, but a near full unfiltered listen has shed a fresh glowing light on a record requiring a little footwork. The power of 'Precious Cargo' elevates with the introduction and subsequent slant on Louisiana's immigration system, while the energy of storming rockers 'Pierced Arrows' and 'Pointed at the Sun' throb in a different stratosphere after spinning around a packed tight venue.

The riches of The Navigater are not forgotten in a set time that stretches to the hour and a quarter mark. A satisfactory time return when you factor in the half hour support slot from likeminded opening act Sister Ray and a modest outlay. However this reflection beams the essence of the performance rather than critiques the mechanism. 'Rican Beach' brought the previous album's worth in the early strides of the show before the encore opened with the punchy vibes of 'Hungry Ghost' and the finale was as fitting as experienced five years ago in Leicester. 'Pa'lante' is a spine tingling emotive chant. Its voice for the afflicted five years ago is still as strong today, and in line in how Life on Earth has deviated the focus to an alternative realm in 2022. For those going back a little further, a glimpse of a Riff Raff past was exposed in 'The Body Electric'. Different days indeed, but with the same outlook and attention to fine-tuned detail. 

At the heart of whatever Hurray for the Riff Raff do is the most alluring creative spark. You cannot fail to be mesmerised by the stage presence of Alynda Segarra and the way the band is led through a hazy whirl of styles. Folk, punk, rock 'n' roll, indie and Americana can all put a claim on this band. Ultimately each label is brushed off as this is one person's odyssey to speak, explore, serve and feed the desire of a restless soul. A breathless audience soaks all on offer to secure a slot in the memory bank titled: September 8th 2022 Hurray for the Riff Raff, Birmingham. 

Album Review: Hollie Rogers - Criminal Heart

 

www.hollierogers.com

Hollie Rogers makes a credible stab of delivering a powerhouse album to tempt turntables across the spectrum and signalling a future destined to turn heads. CRIMINAL HEART is a dozen-strong collection of largely self-written songs that fire off in a multitude of directions, not necessarily seemingly pre-ordained, but wholly reminiscent of an artist in tight control of the reins. Melodies and memorable hooks drive the record which pays its dues to a plethora of styles without being fully guided by any of them. Background information to the release reveals an artist taking total inspiration from within and continuing the self driven mode to make this a truly personal record. 

Some may choose to cherry pick different moulded tracks with the likely candidate being 'The Coast Road', a strong dip into the folk well incorporating some cello into the sound alongside a mellower effort that doubles up on the album with a version containing segments in the Cornish language. Smart recommendations are adhered to in sprinting straight out of the blocks with a bold upfront opening number to set a tough pop rock tone for the album title. 'Criminal Heart' is a truly rousing start.

A shooting star track possessing a potential route to stardom is 'Youth' positioned right at the 'heart' of the record, with no 'criminal' pun intended. Americana attractions may tentatively lie within the work of Hollie Rogers, but the hook in this track as the chorus kicks in suggests a link to some of the big production female country pop tracks from the late 90s/early 2000s. Although in contrast, the mood towards the end  of this pick advances into pure rock territory. 

Immediately following up this pin up track sees the credits extended to the guest performance of Robben Ford and Jamie Lawson, who also get in on the co-writing action, on 'Love and Distance', which rolls out as a passionate pop ballad. By now the album is in full flow and 'Girl on a Mission' may well act as the album's strap line, if you read between the lines on some of the accompanying notes. Of course the invite to lock into the lyrics of Hollie Rogers is duly extended and her clear profound vocal style ensures they flourish in the midst of what is a quite heavily produced album.

While CRIMINAL HEART is far from a difficult listen, it does evolve as a sense of enjoyment from multiple plays. That way the depth emerges, which may be dismissed from some of the polished pop rock sentiments popping up from time to time. Americana in a very loose form was earlier mentioned and it was a showcase from that UK body in 2019 that first brought the music of Hollie Rogers to notice. From the small stages of the SummerTyne Festival verdicts of work-in-progress were concurred. A fair assessment at the time as we can now see the result from a further three years development and a full length record that can punch hard in a raft of scenarios. 

What ultimately holds this record together is a strategic bolstering of sturdy tracks across a playlist that runs into the fifty-minute mark. Three songs in, 'Love' blossoms with a divine melody, while later in the final two slots the slide towards the exit bristles with the moving 'The Man You Had To Be' slipping into the apt closing piano-led ballad 'City of Colour'. Structure is a key part making this album a rewarding piece of work to engage with. 

Hollie Rogers possesses the guile and confidence to stamp some authority of proceedings whichever direction CRIMINAL HEART heads in. Its full bodied presence allows for a voice to be heard and this is from an artist with something worthwhile to say. 

Album Review: Laura Benitez and the Heartache - California Centuries

 

www.laurabenitezandtheheartache.com

Country music may have a chequered presence when it comes to a social conscience and progressive stance, but when it sinks its teeth in and does it well, there is no finer music on this planet. California has a rich history in country music and this is fully respected in the vibes and sheen of the latest album from Laura Benitez and the Heartache. Even when CALIFORNIA CENTURIES chooses to spread its tentacles the glow of certified twang looms large. These tentacles do work hard via a variety of themes across the twelve tracks that illuminate this album as a premium release. Yet whichever cause is tackled, all roads lead back to the absolute stellar 'Are You Using Your Heart'. A candidate for country song of the year, and willing to beat off all pretenders. 

For a bit of previous context, Laura Benitez and the Heartache made a massive impression here to gain an entry into the best albums of 2018 haul with the gloriously catchy WITH ALL ITS THORNS. Like so many independent artists tougher days lay ahead, but on the numerous impulsive listens to this worthy follow up, the jury is poised to say that this is a mighty step up. 

Within moments of anointing the aforementioned steel infused banger as song of the year, 'Plaid Shirt' yells 'hold your beer, I'm here'. Yes a worthy runner up. Twang and steel reign supreme through the DNA of this record, even when things get a little folky This style gets a look in deep in the heart of the record when 'All Songs' serenades with a singalong chorus and 'The Shot', which hits home from successive verse first lines and hinges on some sort of rueful reflection. 

If country music is known for explicit lyrics that don't beat around the bush, 'Gas Light (We Shouldn't Talk About It)' leaves the listener in no doubt to where she stands on the gun divide and other conservative values. Such a debate seems futile from afar and if this expressive outpouring from the right side ensues therapy, then more continuing kudos to the power of music. On issues with a more worldwide presence, 'God Willing and the Creek Don't Rise' hits hard and what better to address the climate issue of the day in the style of some wonderful bluegrass picking. Not the widest country music diversion, but the Heartache serve Laura Benitez fine with this foot stomping number.

The strength of CALIFORNIA CENTURIES, a title named after endurance cycle excursions, comes in the honest assessment that a fine opener in 'Bad Things' gets things off to a decent start before being totally overshadowed by the riches that follow. This is not a slight on a good song that gently eases along with strong messages and an introductory slice of twang, but highlights how impressive the follow up escalates. In contrast the album ends wrapped in the tone that sums up what has oozed out from the grooves in the previous thirty-nine minutes. 'I'm With The Band' is the crowning finale to cement the credentials of a record shimmering in Californian country gold.

Elsewhere the record deviates a little in sound with 'I'm the One' and 'Let the Chips Fall', primarily because they settle either side of the towering peak track and stand out as the band etching into exploratory mode that is a desire from the outset. 'A Love Like Yours' and 'Invisible' complete the undercard with the latter embedding fiddle into the soundscape and the former a love song with a difference including the album's title appearing in the lyrics. 

The base is stellar and the peaks are momentous. CALIFORNIA CENTURIES not only builds upon the the excellence of its predecessor, but resonates as a genre clearing all obstacles and sailing down a carefree road on the roller skates of life. Laura Benitez and the Heartache take you one step further to finding the holy grail of music. Great music and writing. 

Gig Diary: Moseley Folk and Arts Festival, Birmingham. Friday 2nd to Sunday 4th September 2022

 

www.moseleyfolk.co.uk

The banner at the side of the main stage states ‘all music is folk music’; a phrase that wholly rings true when the team at Moseley Folk assemble to choose a line up for their annual September gathering in the scenic landscape of the suburb’s rolling private park. Eclectic is the name of the game all within a tight network of parading the art of the significant song showing some element of lineage. 2022 was no exception, whether you were sold on the headliners or viewed the soul of the festival in a mid and under card brimming with talent. Throw in an extended arts section to build on the evolving name and the result was another resounding staging to cement a place at the point where the festival season slips into the primary return of the indoor show. 

Bonfire Radicals from a distance

Four performing areas, now entities in their own right, reflect growth in spirit if not necessarily size. The new highly focussed Speaker’s Corner is almost a festival within a festival to give the ‘Arts’ tag a finer edge. Folk on the Slope aka the Kitchen Garden stage continues to bring some quieter finesse when the ears need resting, although rockier bands on the second stage can still test an artists’s focus. That second stage is now named the Janice Long Stage in honour of the festival’s most high profile supporter, and a sad loss to the wider music world since the last event in September 2021. The schedule still dovetails the two main stages leaving Janice Long and the Kitchen to provide the only element of set choice from the opening chimes of Friday lunchtime to the final throes of Sunday evening. Of course a festival is what you make it and often a deeply personal experience within a shared community. Whether you rambled across the site taking in the tunes as a backdrop or made your way to the front of the stage to soak up the sounds totally unfiltered, musical treasures consistently popped up. From the faint folk strains of Ellie Gowers to the bravado prog rock of Jethro Tull, Moseley toyed, tempted and duly delivered.

Jethro Tull

Any festival is defined by the artists personally witnessed, so any thoughts on headliners Supergrass, The Coral and Seasick Steve will need to be sought elsewhere. The only slight downside to leaving early on Friday due to an another commitment and deciding to cut out the main acts at the weekend was missing Kurt Vile and Violators. However, a presence at the start of each day and a grand sum of well over twenty sets intently enjoyed proved a healthy yet mind stamina sapping exercise that locked the treasures of Moseley Folk 2022 firmly in the memory bank. 

Ellie Gowers

From the macro, now a deeper dive into the micro of what sets, songs and sentiments moved, shook and serenaded ears tuned into the broadest show of folk you could imagine. Let’s go through the stages from the Kitchen to the man via the Janice Long with a dose of random selections. 

Diana Jones

Of the eight acts seen on the Kitchen Garden stage, the highest profile and most experienced artist was Diana Jones. Her slot on Sunday teatime gave that day a very Americana theme as she followed four of her compatriots forming a procession on the main stage (more on them later). Diana was playing the Kitchen Garden long before any of the other performers surfaced and to this day still serves up a powerful volley of meaningful American folk songs. 

Katie Spencer

Two other artists steeped in the folk tradition are fast becoming personal favourites. The two year anniversary of first seeing Ellie Gowers is approaching. That was the isolated 2020 Beardy Folk Festival that defied Covid. For her Moseley Folk bow, she assembled a small band together including Lukas Drinkwater on bass to rev up before the release of her debut album later this month. Beardy Folk this year, and in previous years, has showcased Katie Spencer and it was no surprise to see her get a debut Moseley call in light of her ever growing Midlands following. It was business usual in terms of quality, and that deftly played John Martin cover on electric is always sublime.

The Magpies

Also seen at Beardy Folk this year were Bella Gafney and Holly Brandon. They played different sets there, but came together as The Magpies (Duo) for Moseley. Holly consolidated her position of the fiddle find of the summer, and although this was a slimmed down Magpies format, the pair impressively held court for the allotted time. 

Billie Marten

In contrast to the acts mentioned so far, Jessie Reid opening things on Saturday and The Often Herd playing Friday teatime before the early departure were presenting their music to me for the first time. Jessie had unfortunately pulled out of an opening slot for a Kitchen Garden gig attended earlier in the year, while The Often Herd have a headline show next month. Both artists used this festival showcase well to tempt folks to catch them when back in town.

Wychbury

The final two artists from the Kitchen Garden stage to get a mention both played Friday afternoon. The feisty Jess Silk with her Stourbridge entourage kicked things off with a bout of fervent political fire akin to Grace Petrie; an essential addition to any folk festival. Transatlantic duo A Different Thread extended their usual format with a couple of band additions to successfully delve into strains of Americana, which became more of a theme across the festival on Sunday afternoon.

David Ford and Annie Dressner

As previously mentioned, the Kitchen Garden stage goes head-to-head with the Janice Long stage. Six artists were avidly sought there across the weekend spanning the full breadth of folk music. Those arriving early on Sunday morning were treated to a highly promising traditional duo going by the name Wychbury. The pair of Rhiannon Kenny and Che Bradley hail from Stourbridge (hence the local landmark name), but are now Leeds based. They possess all the credentials to flourish in the folk world from diligent song research to exemplary presentation. 

Lady Nade

Although the stronger Americana presence was felt on the main stage on Sunday, a couple of acts on Saturday tilted in that direction. Annie Dressner and David Ford brought their newly formed duo act to Moseley to loosely fit the label. Annie may have lived here for a few years, but intrinsically threads the heritage into her work. This latest collaboration with full-on Brit David Ford came across as effortlessly impressive prompting an urge to seek more. Later in the day, a firm favourite from the UK Americana scene Lady Nade brought her full band show to Moseley with the sole sighting for the weekend of pedal steel; maybe one more than at some country festivals these days. Lady Nade brings an awful lot of passion to her music, in similar heaps to the guile and groove William the Conqueror add to their sound. Ruarri Joseph and his rhythmic trio closed out the Janice Long Stage on Saturday evening with a pulsating set of wordy efforts amidst the most infectious guitar driven beats. 

William the Conqueror

There was a little bit of synergy between William the Conqueror and The People Versus, who played the same stage the following afternoon just as the threatening rain decided to impact what was thankfully a modest pour. This Oxford-based band put a heavy mix of groove into an act that can quite easily transcend folk festivals. A third festival appearance seen this summer after Beardy Folk and The Long Road probably bred a little familiarity that led to this being the best yet; no complaints here. The upbeat mood generated was built upon by Birmingham-based favourites Bonfire Radicals, who bounded onto the stage to the delight of the assembled throngs intent of buying into every beat of this eclectic folk band. Stirring sounds to close the reflection of what surfaced favourably from a stage set to keep a familiar and well honoured name into the future.

The People Versus

The main stage at Moseley is unnamed and stands out as the focal point of the festival. It remains unchanged from the early days and its ideal location means you can enjoy the music both from afar and right up close. The music scheduling means every performance is unchallenged and the vast array of styles on show kept fans of all strands of folk content. There is also an ideal mix of the legendary and those of a lesser stature for now. Rocking out can be the order of the day alongside more delicate efforts. 

Karolina Wegrzyn

Away from the earlier missed acts referred to, a grand total of fourteen sets were seen (or heard) on this stage including a gentle stroll around the grounds to a background sound of the legendary Jethro Tull bringing a full rash of prog rock to an array of dedicated fans at the front. A style not high on the personal agenda, but you could appreciate its eminence and quality. Keeping on the legendary theme, Martin Carthy just needs a guitar, an innate skill and a lifetime of folk songs in his head to hold a crowd in awe. Cherishing artists like this becomes increasingly important. 

Martin Carthy

In complete contrast to Carthy and Tull, the pop country of Florence Sommerville and Polish-influenced accordion player Karolina Wegrzyn had the honour of opening the main stage on Saturday and Friday respectively. Also making their Moseley debuts were Memorial, an act championed by the festival organisers outside their usual September remit. An artist firmly fixed at the opposite end of the sound spectrum to the wispy vibes of Memorial was Billie Marten with a full band edging things in the direction of indie-folk pop rock. She drew a younger crowd to the front of the stage and possessed an aura to command interest from music fans of all ages.

Talisk

The main stage offering continued to spread its tentacles far across the folk world as Saturday teatime eased into early evening. No folk festival is complete without some rampant fiddle driven Scottish exuberance and Talisk met that desire with an awesome energetic trio performance bringing the sounds of the Highlands hundreds of miles south to the English Midlands. Straight after Talisk brought the house down, the popular shanty style of The Longest Johns kept the mood positive and buzzing. The only hitch was a late start probably due to technical issues, but forty-five minutes was probably sufficient in the end.

The Longest Johns

Occasionally you feel the urge to check out a new artist’s music prior to a festival. Bess Atwell fell into this category in the run up to Moseley 2022. Liking what was heard extended to her Friday afternoon set on the main stage. The only difference to much of the recorded output was the lack of a full band as she elected to perform as a duo. Admittedly, there is evidence of her stripped back content online and it didn’t impede on the effect of an artist who slips easily between eclectic folk festivals and more contemporary gatherings that reflect a wide variety of music with a cool demeanour. 

Bess Atwell

Americana Sunday has been earlier alluded to and it was certainly apparent on the main stage in the first four acts on Sunday. Opening proceedings was the amazing North Carolina-based guitarist Yasmin Williams. One for the guitar geeks with a totally instrumental show, but an intrinsic style to bring the essence of the mountains to a worldwide audience. Fully aided by informative and enthusiastic banter. 

Yasmin Williams

Straight after Yasmin Williams came Margo Cilker - a new favourite of the country-folk Americana scene - and one brought to UK eyes and ears through influential London label Loose Music. This was the last date of her UK tour and a solo one to boot with the band jettisoned. Not to worry, Margo Cilker is an exceptional solo performer and held court for the standard set time with story songs heavily influenced from her western States background. San Francisco was where she hails from, Oregon is where she is based now, but basically anywhere west of the Mississippi is game for her perceptive and exceptionally good songs. 

Margo Cilker

If Yasmin Williams brought a stateside traditional stance and Margo Cilker a country tinge, Anais Mitchell is the epitome of artisan folk East Coast style. She is such a talented creative artist with many strands to her canon. 2022 has seen a self-titled album come to the fore and the ensuing tour has assembled a top band. The way Anais and her lead guitarist interacted was a joy to witness. Her quirky style adds a layer of mist to the music to which lies a rich vault of material and a very warm return to Birmingham for this year’s Moseley renewal.

Anais Mitchell

All the way from Denton, Texas, Midlake delivered a bout of forceful Americana focussed folk rock to the event, and like the previous artist were returning to an area that had treated them well in the past. This full band performance was loud in places without losing its craft. They are obviously a top notch outfit unafraid of putting a lengthy credibility on the line. 2022 is a sort of comeback year for Midlake with a new album to support the shows. They were equally pleased to play this festival and cited English folk rock as one of their key influences with occasional blasts of flute coming from the keyboard player. 

Midlake

So one set reflection left and for this we go back to Friday afternoon on the main stage. The Weather Station were a distant undiscovered enigma prior to the festival. Their latest album had been sampled, but this proved not wholly representative from what was dealt on stage. From the moment Tamara Linderman introduced her band, the set became a transfixing, mesmerising experience. The way the tempo changes were blended impressed mightily and this was music to get totally lost in. Maybe it has taken a while to get into this Canadian contemporary folk band, but without hesitation they became the personal highlight of Moseley 2022. 

The Weather Station

As the festival edged toward closure, confirmation of the 2023 dates appeared on the screen. Always a reassuring message in challenging times. Moseley Folk and Arts Festival continues to evolve within a tight template. It brings so much to different people that reflections and experiences can be tailored strictly to the individual. A festival’s legacy is not necessarily the input, but rather the output and the impression it leaves. 2022 will have been different to fans on so many levels. The key is to find your zone and let the music (or arts) do the rest.