The countless projects, collaborations, formats and associations for Sam Kelly over the last decade keep any interested follower busy. Playing a part among the elite and nurturing the grassroots all add to an influential involvement across the folk circuit. Yet there is one set up that keeps things moving forward when the opportunity arises. Sam Kelly and The Lost Boys is an established six-piece combo loaded with exceptional talent. They are core to what drives Sam Kelly on and a chance to plough a fertile furrow with long time collaborator Jamie Francis. The band has thrilled venues and festival fields for years, although a youthful zest implies a long future ahead. On the back of a brand new album under the band name, the mid-point of the launch tour called into Birmingham, a city that has hosted Kelly in many guises including self-named duos, a special one off with Ruth Noteman, guesting with Chris Cleverly and playing a prominent role in the Company of Players. Taking The Lost Boys to the large room in the Hare and Hounds was the boldest move yet, a bigger stage to grace the skills of six fine musicians on fire when in full flow.
Sam Kelly comes across as a grounded musician with the potential to flourish at the summit. The presentation is first class, while the touring operation is as resourceful as you expect at grassroots. Teaming up with highly rated Suffolk coastal duo Honey and the Bear is a wise choice. Not only do you have a superb opening act, but an opportunity for Sam and Jon Hart to exchange sound duties on each others sets. Yes, the sound was excellent on an evening where Honey and the Bear entertained a good audience mix of devotees and newbies for half an hour before the main act trebled their stage time with an absorbing display of multiple-facetted folk music.
DREAMERS DAWN, the fourth full Sam Kelly album (in addition to his duo effort with Ruth Noteman) entered the world on the Friday before this gig. Around half the album made the set list. Maybe they're not all ready for the stage yet or just there are plenty of competing songs from a strong back catalogue. Two tracks from the album opened and closed the set. 'The Bold Privateer' perfectly got things underway just as it does on the record, and a nod to how well the band interprets traditional songs. At the other end of the scale, 'Dreamers Dawn' showcases the writing skills of Kelly and Francis and adopts the role of perfect show closer. With its theme of live music aura, it is built for festivals and the band will get opportunities for it to find larger audiences in the summer. In fact, it could become one of the sounds of the 2025 summer.
It was good to hear a couple of the best tracks off the album live and fresh out of the packet. The banjo-led version of the invigorating 'Gallows Pole', made famous by the legendary Leadbelly, cemented its deep rooted appeal, allowing Francis to thrive in the lead instrument role. The different tone to 'Till Sleep Comes Calling' resonated strongly upon album listens and its heartfelt theme made for the show's most thoughtful moment. Another top song enhanced by its live version. For a touch of subtle political comment, 'The Old Deceiver' reveals unashamedly where allegiances lie: generally safe ground at folk gigs.
The other four members of The Lost Boys maintained a hearty tempo led by blasts of fiddle and flute from Toby Shaer and consistently effective melodeon from Archie Churchill-Moss. In the backfield, the percussion from Evan Carson and cello playing of Graham Coe kept a steady beat, with all band members showing a combined flair on a set of polka tunes and segueing an instrumental from THE WISHING TREE album. Coe racked the brains for a few minutes before recalling him from The Jellyman's Daughter, a duo discovered in Edinburgh many years ago.
The most popular song of the evening was a lively version of 'Angeline the Baker', a moment needing no invitation for the crowd to clap and singalong. The band recorded this on 2017's PRETTY PEGGY, an album also feeding the setlist with 'Bonny Lass of Fyvie' and 'The Shining Ship', with the latter setting up the finale. The oldest recorded Lost Boys song turned to was 'The King's Shilling' from the debut album, while THE WISHING TREE was also the source of two pieces subjected to informative introductions. 'Bluebird' takes a more positive stance of the ill-fated speed record attempts of Donald Campbell, while 'Tinker's Poteen' sees Kelly's Irish heritage explored.
The song 'Dreamers Dawn' captures the spirit of live music and there is no better feeling when a band comes on stage to play their hearts out. Sam Kelly and The Lost Boys did that and handsomely repaid a Birmingham crowd. Looking forward was a theme of the chat and there are certainly prosperous times ahead for whatever Sam Kelly turns his hand to. Sometimes all you need is a special moment in the present and this occurred at the Hare and Hounds.
NB Both Sam Kelly and The Lost Boys and Honey and the Bear appear on the main stage at Beardy Folk Festival this Saturday. Look forward to more reflections in the review.
