Artist: Colin Macleod
Hometown: Isle of Lewis, Scotland
Song: “The Long Road”
Album: Hold Fast
Release Date: June 18, 2021
Label: So Recordings
In Their Words: “‘The Long Road’ is a song about the ins-and-outs of regret. The times when you can’t help but think you could have tried a little harder, maybe reached out a little further. It’s also about the redemptive powers of a good friend and some strong words.” — Colin Macleod
Photo credit: Jack Johns
If you aren’t already aware, you should know that the harp is having something of “a moment.” Between pop- and mainstream-adjacent singer-songwriters like Joanna Newsom and Lizzie No who write on harp to traditionalist, Irish and old-time pickers like Alannah Thornburgh, there’s no shortage of non-classical entry points to this often esoteric instrument. Viral TikTok sensations @hannah_harpist and @olivia_harpist (Hannah Stater and Olivia Ter Berg, respectively), whose harp-centered “sounds” have been liked, shared, and reshared by hundreds of thousands of users, are true harp influencers, capitalizing on the growing visibility of the instrument.
Lifelong harpist, singer, composer, and virtuoso Maeve Gilchrist — whose own journey on the instrument began as a child at the feet of her two harpist aunts — knows that this global harp moment is no flash in the pan. She’s performed around the world with DuoDuo, the Silkroad Ensemble, notable instrumentalists such as Yo-Yo Ma, Darol Anger, and Esperanza Spalding, and she was even a featured soloist on the How to Train Your Dragon: The Hidden World soundtrack.
“Back in the days,” Gilchrist explains via email, “when a lot of Irish music and culture was being oppressed, the harp was outlawed because of its ability to so powerfully stir the spirit.” In teaching these young girls the harp, Gilchrist is handing down the legacy of its evocative ability to subvert these sorts of moral expectations – especially those projected upon women. “I loved the image of white horses (the waves of the sea) as a metaphor for these girls,” she continues. “So strong and elegant, wielding their harps as modern day peaceful warriors!”
On The Harpweaver, “The Calm” comes after the storm, turning the age-old cliché on its head, further subverting our expectations for an instrument and a genre aesthetic that has too long been relegated to quiet background music in elevators and office spaces. The harp is a tool for so much more, and on The Harpweaver, Gilchrist’s compositions, as well as her efforts to spread the harp to new pupils, acolytes, and fans, demonstrate this clearly, stunningly, and captivatingly.
Photo credit: J. Goodman
Artist: Evangeline Gentle
Hometown: Born in Peterhead, Scotland; moved to Peterborough, Ontario, at age 11; now living in Hamilton, Ontario
Song: “Ordinary People” (Live)
Album: Evangeline Gentle
Release Date: August 21, 2020
Record Label: Sonic Unyon
In Their Words: “I wrote ‘Ordinary People’ for my loved ones, who soften the world for me when I’m feeling hardened by it. The video was filmed spontaneously on the set of a full production video for my song ‘Sundays.’ It was shot in Peterborough, Ontario, at the Sisters of St. Joseph convent — also known as ‘The Mount’ — outside what used to be their old laundry building. The director Rob Viscardis and I decided that it was such a beautiful location and would be the perfect setting for a live video of this song.” — Evangeline Gentle
Photo courtesy of Sonic Unyon
Artist: Josienne Clarke
Hometown: Scotland
Latest album: In All Weather
Which artist has influenced you the most … and how?
This is a difficult question to answer because different artists have influenced me at various stages in my life, but to pinpoint one would be hard. I guess the first artist to influence me as a songwriter, or to [influence me beginning] to consider being a songwriter, would be Don McLean. My mother had his American Pie album on tape in the car when I was really young and I remember songs like “Winterwood,” “Empty Chairs,” and “Crossroads” grabbing my attention and drawing me into the lyrics, all heavily melancholic tunes! I would say I can hear the influence those songs have had on my approach to songwriting.
What’s your favorite memory from being on stage?
In 2015 I got to perform in The National Theatre’s Production of Our Country’s Good (by Timberlake Wertenbaker) singing both songs I’d written and some that were composed and arranged specifically for me by Cerys Matthews. We did 43 shows of it on the Olivier Stage at The National on London’s Southbank. It was one of the most exhilarating experiences of my career. Having no professional acting experience, being on stage acting alongside extremely well-trained professional actors was daunting and a steep learning curve. I shan’t forget that in a hurry.
If you had to write a mission statement for your career, what would it be?
I have a reputation for a love of brevity in song and that is certainly true on In All Weather. No song is over 3 minutes 30 seconds — the shortest one being just 59 seconds in length — and the entire album clocks in at a succinct 36 minutes long!
This is true to my career motto, I came up with it several years ago in relation to not overplaying one’s slot at a festival or gig…
“Get in there, smash it, fuck off!”
I applied this logic to the writing and setting of songs on the new album and one thing that can’t be said is that it’s outstayed its welcome!
Which elements of nature do you spend the most time with and how do those impact your work?
The changing of seasons is always a reference in my work and none more so than this latest album. This can be seen almost everywhere but woodland areas are the most noticeable place to feel the changing colour of the leaves.
Also I grew up by the sea and I was living on the Isle of Bute while I wrote the latest album, so seascapes and beaches are a natural force much referenced in my work. I find the expanse of sea inspiring; you feel simultaneously closer to other places because you’re on the edge of the land and far away because you are separated by a vast natural moat, making them a great location for reflection.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
Almost never. I’m an extremely autobiographical writer. I’d say that’s one of the particular things about my work.
I only really write behind a character in commissioned works. For example, writing for theatre. You’re given a specific character’s narrative to create songs for. I find this challenging and it’s great fun for that reason but I actually feel like an artist reveals more about themselves when they do that, in an unconscious way.
I like to be as honest as possible in my writing. I’m usually working through something, some problem or concern from real life in song and the aim is to describe my emotional state as accurately as I can. I write emotional narrative, so this is not a series of events or actions in song form. It focuses instead on “what it feels like” and I find I can most effectively do that from a truly first-person position.
Artist: Roseanne Reid
Hometown: Edinburgh, Scotland
Latest Album: Trails
Sounds like: In her authentic Americana accent: Gillian Welch, Lucinda Williams. In her home-grown voice: A folky Eddi Reader
Why You Should Listen: With her stripped-back style Roseanne Reid emphatically demonstrates how less is more. In a voice that evokes East Tennessee rather than her native east coast of Scotland, Reid delves into the human condition without a surplus word or note throughout her debut album, Trails. Teddy Thompson’s production hones the sparseness to the point that you could be sitting on her porch listening to song after song.
Reid sounds as if she’s been singing roots Americana for years. Take ‘Amy,’ where a very simple guitar line gives way to the aching regret of unrequited love. Lucinda Williams comes to mind here as does Gillian Welch on ‘Levi,’ wherein Reid offers a sympathetic shoulder to one rejected in love. But, be in no doubt, Reid is an original. She sings ‘Out in Space’ in a soft Scottish lilt.
If you need any endorsement before giving Reid a go, then how about Steve Earle? That’s him duetting on ‘Sweet Annie,’ a collaboration that occurred after Reid had attended one of his Camp Copperhead songwriting workshops. She can also already count Elton John, who has been playing her on his radio show, among her biggest fans.
Roseanne Reid has been immersed in music since learning guitar aged 12. Her dad is Craig Reid of The Proclaimers, whose record collection of country, folk, and gospel enthused young Roseanne. But it was Mum who taught her to play guitar.
In spite of her famous father, Roseanne went her own way, starting on the local folk club circuit, often open mic nights. Reid’s unique form of Americana may soon have fans on both sides of the pond very willing to walk at least five hundred miles to hear her. In fact, she has just been announced as an official showcasing artist at Americanafest in Nashville in September.
Photo credit: Bianca Cecilla
Get off your couch and go hear some live music with Britain’s Got Bluegrass! Here’s the BGS-UK monthly guide to the best gigs in the UK and Ireland in March.
Mile Twelve, 20 March, Green Note, London (and nationwide)
First let us rave about Mile Twelve, a band who, unlike the bearded wonder, have never played in the UK before, and who will–we guarantee — send you home with a big smile on your face. This young five-piece from Boston are some of the most skillful musicians of their generation — they’ve picked up multiple Emerging Artist award nominations at past IBMA Awards for their ability to mix hard-driving traditional bluegrass with a thoroughly modern sensibility, all while charming an audience’s pants off. Catch them on this UK tour and you’ll be able to say you saw them first… Check out their cover of “Rocket Man.”
Chris Stapleton, 8 March, Glasgow
If there’s a musician more likely to bring a British arena to its knees this month, we’d like to know who it is. In a land of anxiety-ridden repressives (we can say that because we are too), Chris Stapleton is so droolingly cool that it’s tempting to worship him as a god. Last time he was in the British Isles he was duetting with Justin Timberlake at the Brits, for heaven’s sake. In addition to Glasgow, you can catch his barrel-aged voice in Dublin and London, where he’ll be sharing the billing with Keith Urban, Lyle Lovett, Ashley McBryde and Lady Antebellum among many more at the C2C Country to Country music festival.
Thunder and Rain, from 6 March, nationwide
A dreamy blend of dobro, mandolin, guitar and bass, the Colorado-based band Thunder and Rain sound as Golden as the town they hail from. There are plenty of opportunities to catch them across the UK and Ireland on their month-long tour, from Bangor to Basingstoke, Southport to Middlesbrough, and Edinburgh to Whitstable.
Ida Mae, 12 March, Norwich
With their Ethan Johns-produced album dropping this summer, it’s a good time to introduce yourself to Ida Mae, the husband-wife duo of Chris Turpin and Stephanie Jean. Their previous band, Kill it Kid, specialised in indie-grunge, but they’ve now created an altogether mellower sound that’s already proving hot property stateside. Having upped sticks from north London and moved to Nashville, this is a rare chance to catch them back in Turpin’s hometown. They’ll also play London’s Omeara before heading back to the US to tour with Blackberry Smoke.
I’m With Her, 19 March, Hackney Empire, London
The three artists in I’m With Her don’t like being called a supergroup. So let’s just say that the hot-damn are-you-serious this-is-too-much power trio of Aoife O’Donovan, Sara Watkins, and Sarah Jarosz stop off in London for a single night at the Hackney Empire before they embark on a European tour of Norway, Denmark, the Netherlands, and Spain. And if you’ve never heard them sing live, you need to get yourselves to this gig and find out just how many ways their vocals can break your heart.
Photo of Mile Twelve: David Green
Graham Coe and Emily Kelley, better known as The Jellyman’s Daughter, hail from the foothills of Edinburgh, Scotland, but they’re traversing the United States this fall with a new record, Dead Reckoning. With a little peek inside their Gig Bag, we get the scoop on what they’re bringing along.
Chess Board
Our tours always involve a running chess competition between the two of us, staged in the various hipster cafes we visit along the way. One of us is better at peacefully accepting defeat than the other. So, future audiences – if you notice Emily making a suspiciously numerous amount of cutting remarks towards Graham, now you’ll know why.
Ear Trumpet Labs mic
We like to perform using our ‘Myrtle’ condenser mic when we can – it’s a delight to combine our voices in the air before sending them out through the speakers. Sometimes it’s not a delight for Emily when Graham’s cello bow flies unnervingly close to Emily’s face. But we’re working on that. It’s also great to be able to put up the mic in front of our camera in a unique location and record a little video – a tour is a wonderful way to find these epic little spots.
Tea
One of the perks of living in the UK is having easy access to proper tea. Some countries seem far more interested in having plentiful supply of what amounts to hot watery juice. On the other hand we also bring plentiful supplies of Yogi Tea’s Throat Comfort which is a wonderful concoction, even if 80 percent of its effectiveness for your throat is because it’s called Throat Comfort.
Sat Nav
Our trusty sat nav has in its time taken us from the Northwest of Scotland to the Southeast of England, across Europe from Denmark down to Vienna and across the USA and Canada. We’ve often found ourselves completely devoid of phone internet signal and bearings, feeling extremely thankful that smartphones haven’t completely replaced sat navs quite yet.
Tunes
An extremely important part of any tour is a load of great new and old music. On the longer journeys taking in a full album is the preferred medium. Here’s a few notable albums we’ve been enjoying recently:
Punch Brothers – All Ashore
Phoebe Bridgers – Stranger in the Alps
Theo Katzman – Heartbreak Hits
Frightened Rabbit – The Midnight Organ Fight
Joni Mitchell – Hejira
Rearview mirror buddy
Sometimes on tour as a duo it’s not logistically feasible to bring a third, calming, mediating member along. So our solution is to bring a delightful little fabric friend that hangs from the mirror and commands an unassuming Zen-like presence in the car.
Photo credit: Graeme MacDonald
Artist: Lorkin O’Reilly
Hometown: Catskill, New York
Song: “Huckleberry Finn”
Album: Heaven Depends
Release Date: August 24, 2018
Label: Team Love Records
In Their Words: “I wrote this song about spending summer holidays with my grandparents in Ballantrae. It’s a small town in the southwestern armpit of Scotland with one pub, a gas station and little else. Their house was full of cigarette smoke, the TV was always on and the fridge was always full of soda. Us kids would jump the wall into the junkyard next door and break old car windows with slingshots or kick a football against the garage door. I’ve been harboring a lot of guilt about leaving my family in the UK. It’s been almost 6 years since I moved to the US and a lot has changed. Writing this song was an attempt to reconnect with some of the better memories of my childhood.” – Lorkin O’Reilly
Photo credit: Patrick Glennon
Think of the Union Chapel as London’s version of the Ryman Auditorium in Nashville.
An architectural wonder of a church, it still gathers a congregation for Sunday services. The rest of the week, however, it attracts worshippers of a different kind. The type who want to have a spiritual experience with Townes Van Zandt, Laura Marling, Father John Misty, The Civil Wars and Rosanne Cash.
In 2017, Sarah Jarosz sold out its 900 seats to a British fan base that knows her music well. “I don’t think I’ve ever sold out a venue as big as Union Chapel in the States,” she said at the time. “I’ve been blown away by the reception I get in England, Scotland and Ireland.” This year, she has already completed not one but two UK trips with Aoife O’Donovan and Sara Watkins, touring as I’m With Her. “I love coming here,” said O’Donovan. “We’ve made a home for ourselves here.” “You can actually see the growth,” added Jarosz.
This summer, the UK is awash with the diverse sounds of roots music. It’s as if everyone has suddenly woken up to the special relationship between the British folk scene and its American cousin. Major new festivals – like Black Deer in June, Maverick in July and The Long Road in September – are showcasing the powerful creative influence that Americana music is exerting on a new generation of British musicians: Jason Isbell and Passenger, Iron and Wine and Robert Vincent, Lee Ann Womack and The Shires.
Other fledgling festivals have begun bringing bluegrass and old-time to audiences that never knew they liked it before. In May, IBMA-award-winning Molly Tuttle wowed audiences at the Crossover Festival, which was started by a mother and daughter who wanted to hear and play the music they loved with their friends in Manchester. On the south coast of England, Beer and Bluegrass’s line-up includes The Hot Seats from Washington D.C., and Wesley Randolph Eader from Portland, Oregon, alongside some of the best bluegrass acts in Britain, including The Hot Rock Pilgrims and Midnight Skyracer.
Musicians who have toured the folk clubs of Britain and Ireland can attest to the strength of feeling that people there hold for the music of their native isles. And anyone who has encountered the Transatlantic Sessions, with Jerry Douglas and Aly Bain, has heard just how magical the bond that exists between the musical traditions of the old country and its American evolution. Celtic Connections in Glasgow has been fostering a creative exchange between artists on both sides of the Atlantic for decades, and the opportunities for future collaboration are limitless.
This July, Rhiannon Giddens will curate the Cambridge Folk Festival, an event which is always a highpoint of the summer calendar. Her program brings together women of colour from all over the US and the UK, including Amythyst Kiah, Kaia Kater and Yola Carter. “I love the UK folk scene,” Giddens says, “and I see audiences in the UK embracing the broad spectrum of what Americana really is even more so, sometimes, than in the US. A lot of people know the history of this music so well. I’ve always found a lot of acceptance here.”
So join our BGS-UK Facebook page, and join a community that’s excited to see where the music we love is going next. We’re excited about what’s happening across the pond right now and this is where you’ll be able to find out about all the gigs, artists, festivals and releases happening there. We’re ready for you, Britain!
Artist: Dean Owens
Hometown: Leith, Edinburgh Scotland
Latest Album: Southern Wind
Sounds Like: A swampy Townes Van Zandt by way of Scotland, with a bit of jam band thrown in every now and again.
Why You Should Listen: Long heralded as one of Scotland’s best troubadours, the talent of Dean Owens is too big to be confined to one country, as glorious and wonderful as that country may be. His previous album, Into the Sea, was a deeply personal set of songs with Celtic influences right up front. The new album, Southern Wind, while no less personal, has more of a marshy Delta, Americana feel. At first, I thought this album was the perfect rainy day album. You know the type — one that you pop on when the weather is terrible and the last thing you want to do is go outside and you just want to be soothed into lying on the sofa all day. But then I was listening to Southern Wind walking through the park on a bright sunny London day, and you know what? It was the perfect sunny day album, too. That’s no small feat — an album that not so much forces its mood on you, but has some sort of magic in it that actually matches your mood.
A celebration of the musical connection between the UK and Nashville, this is really a Transatlantic affair with producer, players, songwriters, and singers from both sides of the pond working on this project. Will Kimbrough, Neilson Hubbard, Kira Small, Danny Wilson, and previous Brit Pick Worry Dolls, among others, all bring their respective skills to the mix … and what a lovely mix it is. Featuring songs about Elvis, Muhammad Ali, a mother, the street where Dean grew up, and a sister gone too soon, with blues, gospel, country slow waltz, and a bit of reggae rhythm, the album is both eclectic and completely harmonious. Just when you think you’ve figured it all out, the next song takes you somewhere new but, once you’re there, it makes perfect sense after all. Southern Wind begins with a track called “The Last Song,” so you should know you’re in for the unexpected. Enjoy the ride.
As a radio and TV host, Baylen Leonard has presented country and Americana shows, specials, and commentary for BBC Radio 2, Chris Country Radio, BBC Radio London, BBC Radio 2 Country, BBC Radio 4, BBC Scotland, Monocle 24, and British Airways, as well as promoting artists through his work with the Americana Music Association UK, the Nashville Meets London Festival, and the Long Road (the UK’s newest outdoor country, Americana, and roots festival). Follow him on Twitter: @HeyBaylen
