Beth Rowley: Just One Song on the Rush of Attraction

Editor’s Note: Beth Rowley will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

“This is a song I wrote with Canadian singer/songwriter Ron Sexsmith. I was writing for my new album and decided to go on a trip for some inspiration. I emailed Ron and a few other friends I knew in Canada and booked to go on a writing trip. Our writing sessions were very relaxed and laid back. Ron is a genius writer. I’ve written with many people and there are very few writers like him. Even his rough ideas sound like the most beautiful finished songs. I had a few ideas up my sleeve but nothing finished. I’d been a longtime fan and knew we’d come up with something cool.

“I read one of the poems I’d written and he played a few chords on guitar. It didn’t take long for some to stick and after some lyric tweaks it was there. We chatted lots about life, music, relationships and what it meant to be in love. ‘Forest Fire’ is about passion and desire and the rush of attraction when you’re around someone new. The excitement and possibility and the pull towards someone. But it’s also about choice and responsibility. Before you let yourself go or be led, you have the choice to go along with it or not. Sometimes it can feel like we don’t have the choice, and that if we feel something it must be right. This song is about the rush and fire of passion but then on the flip side of that of taking responsibility and owning our choices and the effects they may have on others.” — Beth Rowley


Photo credit: Maria Mochnacz

Britain’s Got Bluegrass: August 2019

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 July.

Amadou & Mariam and Blind Boys of Alabama, 4 August, Cambridge

There are still day tickets available for the final Sunday of Cambridge Folk Festival and believe us when we say we’d pay the face price just for this single gig. Blending music by Amadou & Mariam and Blind Boys of Alabama, “From Bamako to Birmingham” is a special collaboration between two roots supergroups celebrating the African source of American gospel music, and it’s going to be a powerful closer to the festival. Of course, your £75 will also get you in to see Richard Thompson, Sarah Darling, Mishra, Jack Broadbent, Fisherman’s Friends, and many more acts, so consider it an utter bargain.


Amythyst Kiah, 14 to 29 August, nationwide

Having brought Newport Folk Festival to its feet alongside Rhiannon Giddens in Our Native Daughters, Amythyst Kiah arrives in the UK with her solo material. The Tennessee songstress has a devoted following in Britain – she’s played Celtic Connections, Edinburgh Jazz and Blues festival, and last year’s Cambridge Folk Festival – and here she’ll be visiting a whole host of venues across her 16 dates, from Wales and the West Country, London to the Midlands, Leeds, Manchester, and Glasgow.


Hoot and Holler, 23 August to 3 September, nationwide

In 2016, Mark Kilianski and Amy Alvey spent an entire year travelling around the US, living in a campervan, performing wherever they could. As Hoot and Holler, their resultant fiddle and guitar duo (although both are given to instrument-swapping) pays beautiful tribute to the old mountain music of the Appalachians, while incorporating their own contemporary songwriting. It’s old-time and new world combined, and it’s utterly captivating. You can catch it Newcastle, Padfield, Huddersfield, Liverpool, Sheffield, St Davids, as well as several dates in Northern Ireland where they’re appearing at the Appalachian and Bluegrass Festival in Omagh.


Prom 49: The Lost Words Prom, 25 August, Royal Albert Hall

The Lost Words was one of the bestsellers of 2018 — a beautiful illustrated book that combined the incomparable nature writing of Robert Macfarlane with the mesmeric drawing of Jackie Morris. Now as Prom 49: The Lost Words Prom, it’s found a second life as a musical project, one that has assembled a stellar crew of Britain’s greatest folk musicians including Karine Polwart, Kris Dreever and Beth Porter, as well as Senegal percussionist Seckou Keita. Inspired by the animals, birds, and landscapes from the book, they have created a series of “spell songs” intended to charm a vanishing world back into existence. This special Prom amps it up with full orchestra and the additional contributions of beatboxer Jason Singh, violinist Stephanie Childress and the National Youth Choir of Great Britain. There are lots of different price points to choose from — and of course if advance tickets sell out, you can always queue on the day for gallery or standing tickets, and do it the proper Promming way.


Tyler Childers, 28 August to 1 September, Brighton, Nottingham, & Salisbury

The Kentucky songwriter Tyler Childers has enjoyed such a sudden rise in popularity that you can now buy tickets to his 2020 UK tour (dates include the Manchester Academy and the Shepherd’s Bush Empire, if you’re interested). But there’s no need to delay your gratification that long. Just get yourself to The Haunt in Brighton on 28th August, or the Rescue Rooms in Nottingham on 29th — or head down to Salisbury for the End of the Road festival. He’ll be playing there alongside acts including Beirut and Michael Kiwanuka, in the wonderful surrounds of Larmer Tree Gardens.


Photo of Amadou & Mariam and Blind Boys of Alabama: Neil Thomson

Brit Pick: Curse of Lono

Artist: Curse of Lono
Hometown: London
Latest Album: 4am and Counting

Sounds like: War On Drugs by way of Cowboy Junkies: dark Americana with vivid lyrics and a brooding, almost Lou Reed vibe.

Why You Should Listen: Genre names have been done to death but how about “Amerigothic?” Bet you haven’t heard that one before. Throw in “cinematic” and “atmospheric” and you’ll be somewhere close to the sound of Curse Of Lono, who won this year’s Bob Harris Emerging Artist Award at the UK Americana awards.

Formed in 2015, the group took their name from the title of a Hunter S. Thompson novel. So is this gonzo music? Well, there are certainly plenty of references to drugs in the band’s early oeuvre. Lead man Felix Bechtolsheimer, grandson of billionaire Karl-Heinz Kipp (and brother of Laura, Olympic gold medallist in dressage), used their first album to exorcise his heroin addiction. And even as the band have abandoned their electronic edge and recorded much of their second album in Joshua Tree, California there’s a certain haunting sound that has stayed with them.

The six-piece’s new release, 4am and Counting, is an album of previously-recorded songs that takes you into their late-night world. Picture the scene. They’ve played a gig, are chilling out afterwards, and start jamming around their set list. This time there’s no pounding sound system or fancy production, just simple, analog recording gear. A couple of friends join in and together they turn familiar tunes into something completely different.

So the big electronic sound that came out of “Way to Mars” on As I Fell has, by the time the clock strikes 4am, been turned into something rootsy; pedal steel is provided by legendary session musician BJ Cole. On “Welcome Home” from another previous project, Severed, Bechtolsheimer’s blistering slide solo takes a step back to allow the harmonica to shout Americana from the rooftops. And it all feels like Curse of Lono’s true habitat.


Photo credit: Dani Quesada

Matt the Electrician: Just One Song Motivated by a Healthy Sense of Competition

Editor’s Note: Matt the Electrician will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

In 2007 I was asked to travel to Japan and play a tour of a dozen shows or so. It was my first time there, and actually only my second time out of the US — the first being a short drive into Vancouver, BC a few years earlier. In the subsequent years between, I have toured Japan nearly every year, with a total of 11 trips to date. But at the time, I was a newbie to international traveling, and filled with equal parts wonder and terror. My tour manager/booker/promoter was a man named Shuichi Iwami. I had met Shu a few years before in Austin, at SXSW, and he told me then that he would bring me to Japan someday. He kept his promise.

Shuichi lives in the city of Kure, which is very close to Hiroshima. A few days into the tour, we took a train to Osaka for a gig. When we exited the train station, it was raining, we were carrying guitars and suitcases, and I followed as Shuichi led the way, Mapquest in hand. We walked for what felt like a long time. And in what felt like circles. Eventually, as we started to really get wet, Shu turned to me and said, “I think I am lost. I do not know Osaka very well.” He then directed me to take a seat on the front stoop of a brownstone with the luggage, and said, “Wait here, I will go find the hotel, and then come back and get you.”

Only as he was nearly a block away, did it occur to me, that perhaps this was it. Maybe I now lived in Japan. Bear in mind that while this was not pre-cell phone era, it was pre-smartphone, so while in Japan my little flip phone (it didn’t take pictures either) was mostly useless. I sat on that stoop wondering what my new life in Japan would bring. I watched girls riding by on bicycles while holding umbrellas.

After a while, Shu returned and we walked to the hotel. While he was checking us in, I decided to check my MySpace page on the computer in the lobby. There was a message from my songwriter/bass playing friend Tom Freund. He asked what I was doing, I responded, “I’m in Osaka in the rain.” He wrote me back immediately. “If you don’t write that song right now, then I will.” So I went immediately up to my room and wrote my song, “Osaka in the Rain”

Most importantly, I wrote the song before Tom could write it. I beat him. And if history has taught us anything, it’s that songwriting is a competition, and the scoring is based on speed.


Photo credit: Allison Narro

Dan Whitener: Six of the Best Tips for Touring the UK

I love playing banjo in the UK. By the end of my latest British tour with Gangstagrass, I started thinking that next time I should stay for longer. Maybe I’ll get a Leicester flat.

Fortunately, Man About a Horse is heading out on our first UK tour. To help my bandmates adjust to the culture shock, I’ve identified a few key differences between our nations from observations during my time abroad. I hope this resource proves helpful to other touring bands and to the readers of the Bluegrass Situation. — Dan Whitener, Man About a Horse

The political system is different.

It’s important to be sensitive to the current political climate when you are a visitor, especially if you have to interact with large groups of people on a daily basis. What you should know is that there was a contentious vote in 2016 that stoked xenophobia, sowed distrust of government, drove a wedge between groups of citizens, and separated the country from the world community in a meaningful way. The country is still navigating the effects of this vote, as well as experiencing ongoing turbulence and the occasional unseating of high-ranking government officials.

How will Americans possibly understand what that’s like?

The green rooms are different.

The green rooms have tea. The hotels have tea. Every place has tea. Somewhere, a British scientist is working on a tea pipeline to have it come out of the tap. Which reminds me, washing your hands is an art that takes the better part of half an hour. The sink, or washbasin, has separate taps for hot and cold water, and you mix them to the perfect temperature in the basin, which you stopper and fill. This process serves as a reminder of why we don’t take baths in America.

These differences in your daily routine may slow you down, but you might find yourself becoming more contemplative while soaking your hands in a basin of hot tea.

The language is different.

Here in America, we sometimes make the mistake of thinking we speak a language called English. Having visited England, I can tell you that we do not speak English. Having visited Scotland, I can also tell you that they do not speak English. For instance, musicians use the word “gig” to refer to a show we’re going to play, but fans in the UK also use it to describe a show they’re going to see. This will only enhance your existing suspicion that everyone else has more gigs than you!

It’s always a good idea when visiting a foreign country to learn a few key words and phrases. This is true of the UK. To practice conversing like a local, you should first determine what’s on your mind, and then make sure not to say it.

The driving is different.

The UK is one of those places where you drive on the left side of the road. Accordingly, the driver sits on the right side, left turns are much easier, and sometimes I wake up from road naps disoriented and screaming about incoming traffic.

Calculating distance and gas economy can be confusing as well. The gas (called “petrol,” unless you’re using diesel) is sometimes measured in litres (not liters, unless it’s gallons), while distance is still measured in miles (unless it’s kilometres, not kilometers). All you need to know is that the venues are still as far apart as they need to be, according to the radius clause.

The crowd is different.

You may have some difficulty assessing the audience reaction. One time I played a show in England for a good-sized crowd who clapped for every song. However, not a single person danced. In fact, everyone plastered themselves against the back wall the entire time. At the end of the show, we went out to say hi, and asked if everyone had been having fun. “Oh, we did,” they reassured us, “but no one wanted to be the first to start dancing.”

You might also find it unsettling to not hear constant talking from the audience. They are doing something they call “listening.” You’ll get used to it.

You are different.

Remember not to blend in too much! British people may seem foreign and exciting to you, but in the UK, you are the stranger, which means you are foreign and exciting to them! So, instead of trying to perfect your British accent, just speak the way you normally do. The same goes for your music.

Imagine this: some British fans are already wild about American folk music without ever having heard an American musician play it in person. You get to play for a knowledgeable audience with fresh ears.


Editor’s Note: Man About A Horse are playing in the UK until 14 July. Get all of their tour dates here.

UK’s Black Deer Festival 2019 in Photographs

With Band of Horses headlining, and Billy Bragg getting all protest-y on us, the second of year of the Black Deer Festival more than lived up to the promise of the first. From its gloriously eclectic line-up – including brilliant sets from Fantastic Negrito, Kris Kristofferson, Yola, The Sheepdogs and Jerron “Blind Boy” Paxton – to its special partnership with Nicolas Winding Refn, screening restored vintage Americana films handpicked by the director of Drive, this was an event ready to flex its creative muscles. It even introduced a new Livefire stage, dedicated to cooking demos and BBQ contests.

Walking around Eridge Park you couldn’t get over spacious feeling, with the beautiful green hills of Kent rolling away in every direction. Despite increasing capacity to 10,000, Black Deer still feels like one of the most pleasant and laid-back festivals on the UK circuit. This should be no surprise given that its creators, Gill Tee and Deborah Shilling, worked on the late lamented Hop Farm Festival, which always put music first and commercial considerations second. Here’s hoping Black Deer will be around a long time — and in the meantime, revisit the fest in photographs.

 


Lede photo: Ania Shrimpton

The Show On The Road – Greg Holden

This week, our guest is Greg Holden — a Scottish-born singer-songwriter and pop hitmaker with a series of increasingly personal, poetically powerful, and politically charged albums.

LISTEN: APPLE PODCASTS • MP3

Greg Holden finds himself in an interesting spot. He’s a former major label artist who has taken himself off all social media and openly questions the need for the toxic digital society in which we’ve trapped ourselves. His songs “Boys in the Street” and “Hold on Tight” have been streamed nearly 26 million times. “Home,” the acoustic pop blockbuster he co-wrote for American Idol wunderkind Phillip Phillips, has been listened to more than 120 million times, but when you listen to these songs a little deeper, you discover a depth and introspection that is rarely found in mainstream pop music today.

ANNOUNCING: BGS Takeover at the Long Road Fest

BGS is thrilled to announce this year’s lineup for the Bluegrass Situation Takeover at the Long Road Festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

Performers will include Rose Cousins, Matt the Electrician, Jessica Mitchell, and Beth Rowley. In addition, the festival will feature a Nashville-style “In the Round” set at the BGS Songwriters Parlour.

The three-day festival will also offer performances from Rhiannon Giddens, Asleep at the Wheel, Suzy Bogguss, Sam Outlaw, John Paul White, Charley Crockett, and many others.

Get more information and purchase tickets here.

Six of the Best: Dervish’s Cathy Jordan Chooses Her Favorite Irish Tunes

What would the world be without Irish tunes? A lot quieter, that’s for sure. Ireland’s musical tradition has enlightened, infiltrated, and inspired all corners of the planet – and American roots music owes it a huge debt.

Irish folk group Dervish have just released their first studio album in a decade, a loving tribute to the songs from their home country that have travelled the world. The Great Irish Songbook is studded with guest stars – from David Gray to Steve Earle, Kate Rusby to Andrea Corr, not to mention an appearance from Hollywood actor Brendan Gleeson.

But what are the band’s favourite Irish songs? We asked singer Cathy Jordan to choose six of the best.

“Whiskey in the Jar”

“This is an incredible example of a song that has journeyed around the world and been adapted to the particular environment it found itself in. It was originally written about a Co. Kerry-based military official who was betrayed by his wife, but adaptations also turn up in the American South, the Ozarks, and the Appalachians. On our album we did a version with The Steeldrivers, but we’re also big fans of this one by iconic Irish rock band Thin Lizzy.”


“Ye Rambling Boys of Pleasure”

“This is such a beautiful song of unrequited love: a young man regretting love lost because of immaturity. The song forms the basis of a poem written by the famous W.B. Yeats (he was trying to recall a ballad he’d once heard a peasant woman sing to herself in Sligo). The poem is commonly known as ‘Down by the Sally Gardens’ and was itself later put to music — I sing a version with Kate Rusby on The Great Irish Songbook.”


“Nothing But The Same Old Story”

“Written by Paul Brady, this song captures what life was like for Irish immigrants heading to England to find work during The Troubles in Northern Ireland. Their lives involved a mixture of exhausting work, discrimination, and distrust, while longing for a normal life and to go home. The song first appears on Paul’s album Hard Station in 1981.”


“The May Morning Dew”

“The heartbreaking story of a woman who recalls her old friends, family and loved ones as she walks by their deserted dwellings in post-famine times. It’s sung here by one of my favourite Irish singers, Dolores Keane.”


“Rainy Night in Soho”

“To me, Shane McGowan of The Pogues wrote one of the most amazing love songs of all time with this one. [It’s a] love that survives through years of friendship as well as hardship. Oh, to have the last line written about you: ‘You’re the measure of my dreams, the measure of my dreams.’ This version is sung by another great Irish singer and songwriter, Damien Dempsey.


“Mná na hÉireann” (Women of Ireland)

It’s fitting that Kate Bush, one of the most poetic of all pop artists, recorded this song. It was written by 18th century Ulster poet Peadar Ó Doirnín; the music was added by composer Seán Ó Riada in the mid-20th century. Ó Riada was really important in the revival of traditional Irish folk and the words to this song are as powerfully Irish as you can get.


Photo credit: Colin Gillen

Nicolas Winding Refn Brings Rare Country Music Films to UK’s Black Deer Festival

Since he made a name for himself with the 2011 neo-noir film Drive, director Nicolas Winding Refn has become synonymous with sleek, glossy visuals and pristine synthetic pop. That makes him an unlikely figure to participate in this month’s Black Deer Festival, the new boutique, UK weekender celebrating Americana and country music.

But the 48-year-old Denmark native has demonstrated his interest in US culture throughout his career, starting with an obsession with cult exploitation and horror movies that spawned a coffee-table book of posters (The Act of Seeing, 2015). Then there’s the archive of some 200 movies that he’s restored under the banner of his byNWR project – three of which are to get a rare public screening at Black Deer. They include a 1965 concert film featuring George Jones and Loretta Lynn, as well as a musical country and western comedy he describes as “like a Carry On movie, shot in the South.”

Based in Copenhagen, Refn is a frequent visitor to the States, where he once lived as a child. It explains the light transatlantic twang to his near-perfect English. But the fascination with American culture began before that, he suggests. “I think it started back when I was eight years old,” Refn recalls, “and my mom was in New York, basically assessing if this was a place we were gonna move to. So, she had been away for a couple of weeks, and she sent me a package with a 45 of Willie Nelson’s ‘On the Road Again.’ Ever since then, I’ve always had an infatuation with that kind of country and western, and the more that I started learning about it, the more I started getting into it.”

Refn’s taste in Americana and country should be apparent from the films he’s selected for Black Deer. The first is Forty Acre Feud (1965), featuring comedy turns and musical performances from a host of stars from Minnie Pearl and Skeeter Davis to Ray Price. “It’s one of those strange country and western films that was specifically made for the Southern market,” says Refn. “It’s from an archive of a director called Ron Ormond. We happen to own his entire library in the collection. He made these very peculiar Southern-oriented drive-in movies. They very rarely even made it to the north in America. They’re very, very much part of a specific kind of illusion of America.”

Refn is as fascinated by the director’s backstory as the film itself. “The interesting thing about Ron Ormond is that he and his wife June ran a mom-and-pop exploitation business down South, and they would fly around in a private plane to collect revenues from the various drive-ins. Then they had a near-fatal crash that made them very religious, and they turned their bag of tricks to the whole religious crowd in the South, and started making films like If Footmen Tire You, What Will Horses Do?, which was produced by a guy called Estus Pirkle, who was a real hardline pastor. It’s quite an infamous religious propaganda movie about Communism spreading through the US.”

Perhaps the more conventional of the three titles is Ray Dennis Steckler’s Wild Guitar (1962), in which a young rock ’n’ roller gets into the music business and falls foul of a manipulative manager. “That’s a really interesting flick,” says Refn. “It’s a great kind of document of Los Angeles in the early ‘60s. It was shot by Vilmos Zsigmond, a famous cinematographer that went on to win multiple awards for his work with much bigger directors, like Steven Spielberg. But as a film it’s actually quite a groovy coming-of-age, kind of cautionary tale about rock ‘n’ roll. It has some great rock songs in it. In fact it has everything in it: dames, music, good photography, gangsters, guns, fights, love, and mayhem.”

Rounding off Refn’s three choices is Cottonpickin’ Chickenpickers (1967), one of only two films directed by the lesser-known Larry E. Jackson. “It’s an amazing, low-grade It’s a Mad, Mad, Mad, Mad World kind of thing — with fantastic country and western music in it. And they play the whole songs until the end. It’s quite surreal in a way. It’s a bit like a Jacques Tati movie, I guess. It’s more like a comedy really. It’s just a really, really fringe comedy of a certain era that’s gone. It’s very innocent and kind of quirky in a way. But the music is just absolutely outstanding, and the way that the musical numbers are introduced is just fantastic.”

Each of these films, with their ragged edges and primal, analogue sounds, will come as a surprise to those who only know Refn from his recent English-language work and see him as a pioneer of the digital era. “I always say you have to love and embrace all kinds of music,” he observes. “For me, a lot of it is about, ‘Is it sincere? Is there something within it?’ I think if you always approach music like that, then in a way there’ll be something in all genres that touches you.”


Photo credit: Kia Hartelius (portrait); Scott Garfield (with car)