Folk and Roots presents 'Monday Monday', a night of the best of the folk and roots scene which will be held on the first Monday of the month in central London as from October 2009. See 
Friday
Second time at this festival, and having got caught out as first timers last year, I left London early to ensure a good pitch, and as I arrived the sun came out. Fantastic! The sun stayed for the afternoon, allowing people to wander around the festival site exploring before the main stages opened at 7pm. The site is usually the County Showground. It comes complete with cattle sheds and milking parlours and the benefit of loads of proper toilets - a real plus at a festival!
At 7.30 the festival started, with an official opening song, led by the compere, which gave a really nice united feel to the festival, a sense of everybody coming together to enjoy the music. Adrian Edmundson was first, with an extra Bad Shepherd on upright bass from when I’d last seen him at HebCelt. It was a good set, the atmospheric uilleann pipe introduction to Kraftwerk’s ‘She’s a Model as haunting as always, and the great reel on pipes and fiddle that is part of The Specials B side almost got the audience moving enthusiastically. However, for some reason the crowd never really got behind the band, and the band in turn seemed less relaxed than usual- maybe because of the large mainly seated arena.
I went across to see most of Jackie Oates set on the second stage. No screens here in this smaller marquee, and no standing mosh pit either, but Jackie’s audience were more than happy with this arrangement. Jackie, a young folk singer, has a touch of the Kate Rusby’s about her, both in her singing style and on stage banter between songs - probably no bad thing. Although the Bjork cover probably sets her apart slightly!
After Jackie had finished I caught the last ten minutes of the engaging Lucy Kaplansky, an American singer songwriter who took to the stage alone, but seemed very happy and relaxed. She enjoyed talking to the audience and seemed as content to tell amusing stories as she did sing.
The evening finished with The Michael McGoldrick Big Band. It’s always interesting to see this band, just to see which of the fluid ten or so members will be there. Today there was no John Joe on bodhran, but instead there were two bass players, one Ewen Vernal, and the other poor lad remaining unnamed at the end of the evening in the thank yous. He didn’t seem to mind though, and the band was as amazing as the last time I saw them. In fact, the set list was probably the same too, but when the music is of this quality, and the sound as clear (with Cammy Young in charge at the back) the only complaint seemed to be about the cold; by the end of the evening most of the audience were wrapped in several layers of clothes and woolly hats.
Saturday A blustery day, and after I’d cooked bacon and eggs bought from Boxfresh Organics (every festival should have one!) I wandered into Shrewsbury town itself for a look around, walking back along the path along the river to the sounds of the festival stages beginning to come to life.
As I got back to the main stage Heidi Talbot, partner John McCusker and Boo Hewerdine were beginning their set. They were joined by Kris Drever on supporting guitar duties and were a lovely way to start Saturday at Shrewsbury. Heidi has a gentle voice; coupled with the warm rich tones of Boo’s it left me glowing inside and keen to see more later. They were joined briefly onstage by Michael McGoldrick, helpfully still around after yesterday’s storming evening session. He also guests on Heidi’s new album, due out on October 4th. She had copies with her, but sold out immediately after her performance!
A break for lunch, a brief listen to Richard Shindell - later to be duetting with Lucy Kaplansky and then it was time for Karen Matheson, a last minute replacement for the pregnant Cara Dillon who unfortunately wasn’t able to be here. It was an inspired choice, and a natural one, despite her pleas that the audience not pelt her with rotten tomatoes. As if they would. Karen sang the usual smattering of Burns songs, and words from old songs that husband Donald Shaw has set to new melodies, but it was the puirt a beul that really got the crowd whooping and clapping enthusiastically, particularly as she was joined on stage by Michael McGoldrick (again, but on bodhran too this time) John McCusker, Ed Boyd and her usual band members - Ewen Vernal, James Grant, and Donald.
All really enjoyable, and it just left me time to sit in the food tent to write blogs before the evening music started, surrounded by the improver workbook session which begins about this time. This seems to work really well and the participants get a lot out of it. The tunes are posted on the festival site beforehand so that people can print them off, practice them, and bring them along and play on the day. All very informal too. A top idea!
After going to the Welsh food stall for a veggie dinner I walked over to Stage Two (discovered this is actually called the Boxfresh Marquee!) as it opened and managed to secure a great seat at the front, as I planned on staying there all evening. The first band was the The Old School Dance Band, a nu folk exciting excited band that include recorders, trumpets and a beat box. If Mumford and Bellowhead had a son, this band would be it. Confident, mixing traditional and modern influences and performing a mainly self written set, and all of them, the drummer announced gleefully, being born after 1981! Their album is just out, and probably will sell out, if the queue at the signing tent afterwards is anything to go by.
Next up was Tom McConville and his band. Tom was last years winner of the Radio 2’s Folk Musician of the Year. He plays fiddle, encompassing a variety of different styles, and making full use of his talented band, who included Shona Kipling on accordion. Toe tapping tunes for sure, but I failed to get engaged.
What a difference compared to the next band- Heidi Talbot and Boo Hewerdine again, and again joined by Kris Drever and John McCusker, but with a different set list and some hilarious banter between the band, particularly from Boo, who is usually quiet and doesn’t contribute. Instead of Michael McGoldrick, John introduced Donald Shaw and Duncan Lyall to add extra layers to this already full sound. After their set officially finished, they all stayed where they were, and just introduced Roddy Woomble for the Drever/McCusker/Woomble part of the show. It worked well, a trip through the tunes on ‘After the Ruin’ and those two folk classics of Roddy’s ; Waverley Steps and my Secret is My Silence. It was a lovely warm evening, despite the cold temperatures outside, and everyone basked in the good natured humour and delivery of these tunes, revelling in four voices of Boo, Heidi, Kris and Roddy for ‘Into the Blue’ and enjoying the speed of the reels and jigs set that John and Kris led. Highlight of the evening was Donald Shaw arriving back from Stage One to ask what key the next tune was in from back stage , before coming out to play it, despite not knowing it!
After huge applause I was going to go back to my tent for the night but the noise from the main stage proved that Dervish were still going strong, and I snuck in the back for the last twenty minute encore- a special that included Steve Knightly, Karen Matheson and Andy Irvine! The warmth stayed with me all the way back to my tent!
Sunday
Last night was so warm in the tent that I didn’t need to wear my woolly hat in bed, which is always a bonus! I was organised as well, already having my bacon and eggs so no need to dash off to Boxfresh, just straight into breakfast and comparing yesterday’s gig going experience with my next door neighbour. A queue for the showers (that second day must have a wash feeling for those that didn’t bother yesterday!) but at least it chose to rain while I was in the shower rather than the queue.
Then straight off to the Sabrina marquee - (the slightly smaller than Stage Two venue, used for the up and coming and currently lesser known) to see Lucy Ward, a young singer songwriter from Derbyshire. She’s only nineteen, dressed in black with pink and blonde hair, resembling a punk rather than your average folk singer, but she has a lovely matter of fact manner with the crowd and soulful voice.
The Old School Dance Band were first up in the SP Holding stage, which was only half full this time of the day. I was able to sit quietly and absorb their performance from the seated area. Some of the band seemed a little lost in this huge venue, but the drummer and trumpeter rose to the challenge and continued with funny asides and stories. Off for lunch to the sound of Nancy Kerr and James Fagan singing ‘When the boat comes in’ and then back to the Sabrina Marquee.
Sam Carter was on, another young singer songwriter, but this time from London. He looks a little like Bruce Springsteen, and certainly has some of his confidence, although the audience didn’t really seem to engage with him, with lots of movement in and out of the marquee between songs. I felt he connected better and seemed more natural on his own with his guitar, after the band left the stage for the last two songs.
I decided to stay on after he left for my first full workshop of the weekend, a spot of harmony singing with Nancy Kerr and James Fagan. These two are natural teachers and have a great rapport - I learned loads- singing some songs in rounds and a version of a song I know as Green Grow the Rushes-O. An excellent way to round off the afternoon…
One of the great things about Shrewsbury is the break in the programming late afternoon. This gives the stage crews time to set the stage, and do soundchecks. It gives the audience the time to relax a little, try a workshop, listen to a session, sample some local beer, eat and just generally take things easy. So different from some festivals where the weekend is a constant rush.During today’s break I caught up with some writing, had some tea, and listened to the session that was going on. I also had a short chat with Billy Bragg, who was as friendly and down to earth as normal.
I went down to the standing area of the SP Holding Stage (Stage 1) to see Kristina Olsen opening the evening’s performance. Kristina is an American singer songwriter with a great voice, but what really makes her stand out is her storytelling. Her banter with the audience, jokes, funny stories and funnier songs reminded me, in a way, of Victoria Wood. I thoroughly enjoyed her set, and her duets with botanist/cellist Peter Grayling, an outstanding musician.
Next was Billy Bragg. He can do no wrong in my book, and tonight was no exception. I think probably, that like the Marmite shirt he has been known to wear, people either love him or hate him, but he deals with his hecklers fairly, explaining his decisions- in this case to vote Lib Dem- and singing and playing with good humour, continuing to play with a broken string, and making much of retuning it when it was restrung. Dressed in a black cowboy shirt, and lit simply by a spotlight, Billy hardly seems to have changed since his ‘Life’s a Riot’ days. In a good way. Long may it continue.
The tent, which had been sold out, and closed during Billy’s set became even busier in the mosh pit with the arrival of the Afro Celt Sound System. Reforming to celebrate their fifteenth birthday, with a compilation album out to support this tour, Afro Celts are unashamedly loud and proud- a fusion of African, Indian and Irish cultures, which included a fair amount of African dancing and some fantastic drumming from Johnny Kalsi on dhol, who stole the show. The crowd loved him and his enthusiasm and joy in playing with other people was apparent. Simon Emmerson, fresh from his Imagined Village work, looked equally enthusiastic, a big grin on his face as he jumped across the stage with other members of the band. The lights and sound made this a big epic show, and the crowd in the mosh pit jumped and danced energetically, disappointed when the evening finally came to a close. Kevin McNally finshed the set by introducing all the band back out onto stage- a bit like at a pantomime really!
Still, it was a nice touch, and thanking all the crew by name works well too!
So it was off into the cold cold night, just stopping to buy hot drinks on the way to spend my last night under canvas.
Monday
After the coldest night of all I was woken up the samba band workshop practising, and Bellowhead soundchecking. A good way to start the day, and as I emerged bleary eyed into the daylight it appeared the sun had also woken up- with bright blue skies and the promise of warm day.
Sharing a cup of tea and notes over who we’d enjoyed yesterday with my neighbour, it was soon time to put the tents away and pack up before rushing off to see Mawkin: Causley in the main tent. It was the band’s last ever gig, although I’m not entirely sure. Maybe Jim Causley is off to pastures new?
Certainly David Delarre is busy filling Benji Kirkpatrick’s feet in Bellowhead. Anyway, English folk through and through, with tales of whalers and croppers, all sung in Jim’s deep voice. He’s a natural entertainer - folk’s John Barrowman! I can even see him in panto - maybe I need to suggest it to his agent?!
By now it was really warm and ice cream in hand I walked over to Stage Two to see Belshazzar’s Feast, but sadly I’d left it too late and the tent had its ‘House Full’ sign up. I listened outside for a while before going to the Sabrina marquee to watch Chuck Brodsky. The timings were slightly out for the first time this weekend and I found myself watching the last five minutes of Tom Kitching and Gren Bartley instead. There seemed to be a lot of coyote style howling involved, both from the audience and the band. Maybe I needed to be there from the beginning…
Chuck Brodsky is a singer songwriter from North Carolina, paying his first visit to England. The festival brochure compares him to Chris Wood and I can see the similarities; he’s both thoughtful and thought provoking. There’s something about Chuck’s manner that enables him to deliver killer songs in such an understated way that you don’t realise you’ve been affected until the end when you feel moved to tears. Not always tears of sadness either, as Chuck relates funny stories too.
Calan, a young Welsh band, were next. I don’t know why, but it’s always seemed that Welsh folk music is the poor cousin in this island’s heritage, but Calan seem set to change all this. A six piece band including harp, accordion and fiddles, with one guy swapping to play pipes and a traditional Welsh instrument, the name of which I’ve forgotten. The girl who sings has a beautiful voice, and I feel when this band matures a little and become more confident they’ll go far.
I left them to finish their set to make it into the main stage mosh pit for Bellowhead, the closing festival act; the best festival act. Enormous, in every sense of the word; from the noise, the size, the enthusiasm of both band and audience- to the sousaphone sporting brass section. Fronted by Jon Boden, larger than life in a shiny grey three piece suit, jumping around the stage like an enthusiastic Dr Who like figure in a pink silk shirt, singing songs from the new album out in October, as well as old favourites like ‘London Town’. The entire band join in with dancing and singing, and it’s a bit like being present in some music hall of yesteryear- a little bit Vaudeville- a little bit burlesque. All a bit stupefying really- an amazing end to an amazing festival.
Check out the festivals website at shrewsburyfolkfestival.co.uk