So this is a post about two things – a round-up of my year in music, both being a player and listener – and some thoughts about the future and where this might take me.
It’s been an incredible year. I’ve done more gigs in this one year than I’ve done in my entire life. One highlight was meeting Bex Fawn Johnstone at several charity/fundraising events. Through her, I met Ben Haynes and Jas Scott – who collaborated with me to create my EP “Selkie Child”. Although I’m a solo performer in recording, few people have the talent and skills to do it all independently. And I know the EP would not have received the praise without Ben and Jas’s input on the recording itself.
I was lucky to support Tom Robinson in my hometown this year. Tom’s a lovely bloke, and this was my first-ever opportunity to support someone who is a professional musician (as well as a campaigner and BBC Radio DJ). It’s rare to meet your heroes in person, and it is an absolute joy to discover what fundamentally decent and honourable they are. Tom made me think a lot about what it means to be a performer – it isn’t just about the songs – it’s about the whole package. And I love how Tom seamlessly wove his life story and anecdotes about his life into his set. I’m not sure Icould ever achieve that level of candour. I’m pretty private, and I don’t choose to air my backstory in the public domain. Maybe one day I will. In the current climate, that feels quite risky. There’s a lot of toxic hostility out there, and for me, it is still necessary to protect myself from that somehow. Times will change, and perhaps I will be changed with those times.
Later this year, I travelled from Manchester (where I was working) to return to Stockton-on-Tees to see my brother and Martin Stephenson play. I’ve been a fan of Martin since my late teens in the 80s. It was quite something for Martin to recognise me in the crowd (yeah, I know I cut an instead ‘striking’ figure) and suggested that I should play some support slots. I couldn’t quite believe it – but I followed through on his comment – and ended up playing at the legendary Half Moon Pub, Putney, Band on the Wall, Manchester, and last night in Sheffield at Samuel Worth Chapel. I must admit I didn’t realise how important these venues were. I learnt loads about the business of being a support musician – the kind of inside track you only get if you do it. Martin was incredibly generous by allowing me to play in front of his audience – those people wouldn’t have been there without him.
In Summer, I plucked up the courage to do an open mic slot at the Gateway to Southwell Festival, which led to a beer festival slot later in the year—the moral of the story’s. Always say yes; you never know what opportunities that might lead to.
Just in time for (I mean days), I released a new EP before supporting Martin. I’d planned to do an EP of songs this year – but knowing I would be supporting Martin gave me the impetus, if any was needed, to get the EP ready for the support slots. I’m overjoyed with the EP, and it feels like a step up from the accidental debut album released last year. I wanted a sound bigger than just me & guitar – and Ben and Jas were pivotal in making that a reality. I was fortunate to have a review by Nigel Spencer (Folk Police Records) on KLOF Magazine. My first ever “proper” review – and it was glowing – and left me glowing too. The publication came through my inbox 20 minutes before performing a new song to Katie Spencer and Iona Lane at their songwriting retreat. I was on cloud nine, and the
review boost gave me the confidence to play a new song to them. The experience was great – lovely people, great atmosphere and splendid location.
I rounded off my year with one more gig and some radio play from Dean Jackson on BBC Introducing in the East Midlands. That’s the 4th time I’ve been on the been. Twice for my song “This time the darkness wins” and once for a week in session (1 one song per day with a bit of blurb from me about the song). This time, I was back on for a version of “The Butcher’s Daughter”.
Next year. I plan for a debut single (yep, doing it all back to front – album, EP, single, in that order!) and another EP. I would love to do more support work and gain more experience. I guess I am taking the old-school route – build your experience, keep on writing – and forget about writing viral bangers on TikTok. Admittedly, I’m the last person to write a viral banger!
This year might mark the high watermark, or it could be the stepping stone to more of the same or greater things – who knows? It’s not like you architect these things and make things happen. I hope the songs keep coming, and I keep recording and playing them – anything else, that’s a bonus.
Right now. On to something that I REALLY care about – other people’s music. This year, I went to 48 gigs, not including 5 music festivals (Nick Drake Gathering, Exile, Gate to Southwell, FolkEast, and Hartlepool Folk Fest). And I want to share the songs and music that inspired me this year. As I did those drives to gigs and up and down the country, these people kept me company.
In no particular order…
Iona Lane
I saw Iona at Cafe9 in Sheffield this year – I think that’s the 2nd or 3rd time – and I met up with Iona and Katie on their songwriting retreat. An LP project is due next year, and a Kickstarter is on the go. This year, I bought an EP release which I had on repeat called “Bring the Tide in”. I love both Suilven and Bring The Tide In. Bring the Tide is an actual sing-a-long song. I’m from the (post)industrial north-east, and my friends would know I’m not a natural “outdoor type”, although living in the Peak District is helping remedy that – so I love the line when Iona sings “I hate it halfway up the hill.”
Katie Spencer
I first saw Katie play at Exile Festival in 2019 (?) – and then again this year at Belper’s Queens Head, curated by Michael Jones – we are so lucky to have this venue (alongside Folk at the Meadows) – because without these venues, I would just have to chuck in the towel in and move to Sheffield for my “Dose of Folk”. Katie released her album “Edge of the Land” in 2022, but I got a copy at the end of 2023. If you play guitar, put Katie on your list to see – get a front row to watch her fingers. It’s the voice too – rich, full and replete with the depth you so seldomly hear these days.
Maddie Morris:
Released this year was Maddie Morris’s “Skin”, and I got to see her 3 times this year – FolkEast, Hartlepool and Live at Sam’s in Sheffield – Maddie also released an EP, so she is a busy bee. There’s lots to love about the EP and Album. If you know Maddie well, she’s not afraid to address political issues in work, reminiscent of people like Billy Bragg (I’m eying my 1983 copy of Life’s a Riot with Spy versus Spy) or Gracie Petrie. Politics are funny in music – some people find it a turn-off – afraid of being too preachy. I think the best politics in music is one that articulates the human lived experiences – although I’m a bit sucker for pointing-figure protest songs. Anyway, from Skin – I think Easily Bruised is one of my favourite songs.
Angeline Morrison:
I first heard Angeline through the lockdown period when the Unthanks bigged her up at one of their Winter Online events. Sorrow Songs and The Brown Girl was one of the biggest releases of 2022/2023, and this has been followed up with Orpheus this year. Angeline’s got a lovely voice, and their choice of material is always unique and original. I find her quite inspirational in the sense she’s carving out space – which is inspiring if you are finding your feet in a folk world – and not immediately seeing or feeling where you fit into it. I think “He Comes in the Night” is one of my favourite tracks for its sheer gothic creepiness!
Christina Alden and Alex Patterson:
These two are one of my top finds for 2024. I saw them play at Exile Festival, Derbyshire, then again at FolkEast – and more recently at Cafe9 in Sheffield. There’s just something so perfectly balanced about Christina’s guitar/vocals and Alex’s stellar violin/fiddle – always servicing the song with an odd flash of virtuosity that will leave you open jawed. I picked up their 2021 “Hunter” album – stand-out tracks for me are The Fox Song and The Greenland Shark.
Charlie Dore:
I first saw Charlie last year at Cafe9 in Sept 2023 on the strength of hearing the song “Looking for my own lone ranger” on the BBC Folk Show. I picked up a copy of “Like Animals” and it very quickly became the soundtrack to the end of the year and into the new year. I think it might be my most listened-to CD in the campervan – there aren’t any Spotify stats for that. I loved the LP so much I went back to another LP called “Dark Matter”. Last week I saw her play in Springbank Arts in New Mills – and picked up another CD. I think there “Nothing to be scared of” is my favourite track on Dark Matter – brought me to tears on the first listen:
Paul Armfield
Paul is from Birmingham and now lives in the Isle of Wight. I first heard him on Mark Radcliffe’s folk show – I was blown away by his songs “Oak Tree” and “I’m not Here”. I was then very lucky to see him play locally at Michael’s Jone’s events at the Queen’s Head, Belper. Paul’s songs are a lesson on how a great song is delivered without excess fanfare – and leave you feeling so moved. I was struck by how Paul’s music is woven into his life on the island, in the bookshop, and in his family. Something tells me this is where real music will live — music created by (extra)ordinary folks living their (extra)ordinary lives. Please listen to “Oak Tree” – I love its mix of timeless poetry and the everyday…
Frankie Archer:
I think I saw Frankie Archer at Springbank Arts in New Mills this year and then again in Exile & Hartlepool. I love how Frankie re-writes and re-works traditional songs – often changing the end of songs and changing the meaning altogether. This is something that’s close to my heart. It was one of the things that encouraged me to rework the Butcher’s Daughter. So rather than folk being preserved in aspic or amber and frozen time – it evolves and changes. Having seen Frankie live I know she has so much material that’s of the same quality. Fair Mabel of Wallington Hall comes with delicious darkness.
Katherine Priddy:
I forget where I first heard Katherine. I definitely had the first album and EP before seeing her support the Unthanks on last year’s Winter Tour. I saw her twice this year – once at the Glee Club in Brum (which brought back memories of my years spent there) and at FolkEast. Pendleum Swing was released this year – and I love the little link pieces that link one song to another – the sound of the house, the opening and closing of doors). It was thru seeing Katherine in Brum, that I got to hear George Boomsma – and bought his LP and EP too! There are so many tracks I could pick off the album – but one song I adore is the Americana-inspired “Ready to Go”, which features both Katherine & George’s voices together.
Magpie Arc – Martin Simpson
Big Brother and I went to the Fire Station in Sunderland to see Magpie Arc – I went away wanting to hear more about Martin Simpson. I bumped into the man a couple of times – when I saw Angeline Morrison play Sheffield, and then again when he played at the Hen Harrier Action Day at Carsington Water – there I picked up a copy of “Sky Dancers”. I was lucky to see him again a weekend ago when he played at the Sheffield Folk Weekend at Crookes Social Club (my first visit – which took me back to nights with my mom & dad at the social club in the northeast in the 80s). Skydancers and Fragile Water are my standout tracks – as his version of Gutheries’ “Deportee” is lovely. I can see Martin will be like Kris to me – someone I will spend the next couple of years seeing – and working my back through the catalogue. It’s all part of my folk education.
Kris Dreaver
No stranger to people who love good music – I was fortunate to see Kris a couple of times this year – in Buxton, as part of Lau at the Sunderland, Fire Station, FolkEast and a couple of weeks ago at Greystone’s Backroom in Sheffield. Greystones was special. It’s a tiny venue, and it gave me a chance to lean across the stage and take a photo of his entire rig. Thanks, Kris! :-p I found Kris via Lucy Farallel – bought a copy of his “greatest hits” and I’m slowly devouring the solo works. I’m looking forward to the new album in the new year.
The Unthanks:
Okay, I’m starting to run out of puff. But no round of the year would be replete without naming-checking the Unthanks. I was at the Unthanks Singing weekend again this year – my 2nd one. I’m going again next year but opting for a different venue for a change of scene. As you probably know, “In Winter” was released a week or so ago, and tomorrow, I will see the live show in Nottingham. The Unthanks will always have a special place in my heart. Their music came into my life in 2015 at a turn-point personally, and it became a soundtrack of that time – but it also opened the door to this wonderful world of folk. I still see myself as a folk noob because I went from being intently interested in just one band to it being a gateway drug to a whole genre. I didn’t start to get properly obsessive until around the time of the pandemic. It’s still early days – and I’ve listened to the album some 10 or 15 times, so – there’s so much to love in this album, but I think Carol of the Birds/Carol of the Beasts – really hits home, and Nurse Emmanuel. I can’t link to these tracks just yet (as far as I can see, they haven’t started circulating yet into the usual crannies. What I can share is “Dear Companion”, which will be familiar to the Singing Weekenders. It’s parting song – lyrics by Beck Unthank. Parting songs are my Achilles heel – I can’t hear or sing them without wanting to cry.
And that’s your lot.
Toast the new year, and bid farewell to the old…