First off, I’m sorry once again – this blog seems to have died a million deaths these last 2 months.. and rather than taking time to reconnect, I seem to be adding more and more to my plate – I am now officially a blogger for Review Artistsand part of the Bright Young Folk admin team.So from having absolutely no experience at the beginning of the year, I now seem to have more on my plate than I can deal with.
Add to this that I have to create my audio-visual MA masterpieceand find a job… life is a little busy. But who’s complaining!
I have a couple of blogs in the pipeline as we speak, but for the moment I would like to direct you to other outlets for my wisdom.
I’ve always been left feeling slightly embarrassed by overt displays of pariotism – even singing the National Anthem makes me feel uncomfortable. So it’s probably not that surprising to hear I’ve never celebrated St George’s Day.
But a couple of weeks ago [sorry] I found myself shoulder-to-shoulder with the flag waving brigade in the shadow of Nelson’s Column.
It was all in aid of celebrating the huge variety of musical styles that British Folk has spawned. From Northumbria to Dartmoor via India and Zimbabwe, it would seem that Folk is not only still alive and kicking, it is evolving and experimenting, and attracting a whole new audience as a result.
But the celebration has provoked rumbles of discontent in the die-hard folk brigade, and not in the way you might think.
For centuries music has been used to cement ideologies and identities – just look at the Russian composers writing at the time of the Revolution or the hymns sung by anti-apartheid movement in South Africa. ‘Folk’ is no different. Traditionally the music of the people, its songs and tunes have been the people’s reaction to the situation and issues of the age. But more recently its revival in America during the time of the civil rights movement has meant that modern ‘folk’ has had a distinct socialist vibe.
So was it right for Boris Johnson to use the genre, and some of the country’s leading artists, to celebrate a day, which has, for all intents and purposes, been hijacked by the extreme Right? Well in all fairness, there was little politics at the concert itself – it seemed that most people had come to enjoy, what turned out to be a sunny day in London with some awesome music thrown in.
And as for the artists, they did all – in one way or another – keep the ‘protest’ tradition alive – with Bishi raising a round of applause when she came on stage wearing a fabulous dress encorporating both the Indian and Union flags. And her song Indian Skin definitely questionned what it is to be considered British. And with tracks like ‘Rise Up’ it would seem that the Demon Barbers embody the traditional folk spirit in a modern fusion style.
Folk is evolving - it needs to if it’s going to stay fresh. But I would hope it remains a genre ‘of the people’ and a space where we can make sense of the issues which surround us.
I went to the gig in my new role as a ‘contributor’ to the Daily Music Guide. As a result I was able to interview the very wonderful Netsayi.
Listen to my interview below - or read my review on the site!
For those of you wondering why I haven’t updated for a while – sorry
Thanks for being such regular readers! I sometimes get the impression of being a midnight radio presenter – broadcasting to a sleeping world.
It’s been a bit hectic of late – first with exams, then crazy journeys, then more exams and a stint as a runner at the Seth Lakeman Minack gig… more about that later.
But while you wait head over and see how things are progressing with my MA project.
For me computer games begin and end with Lemmings. I just don’t have the patience to work out the key sequences for anything flashier. But now the age of the Wii and XBox is upon us it would seem that computer games are branching out…
So, last night I went to ‘band practice’.
Without regular rehearsals or any real reason to practice I have recently neglected my various musical ventures. I honestly can’t remember the last time I sang anywhere apart from in my car. And despite resolving back in January to crack out my violin at one of the many Open Mic Nights in Falmouth, the last time I played my violin properly was when I took my grade 8 two years ago. And as a result I found my ass being kicked by a computer game!
Make derogatory comments if you wish, shout about the lack of musicality but you cannot deny the popularity of Guitar Hero and the like.
But as I watched my compatriots keep in time to the beat and rock out on complex chord sequences it made me wonder… can you really learn to play an instrument via a computer game? It is claimed, for example, that if you can consistently play at expert level on the drums, you can recreate that performance on the real thing!
If guitar hero teaches you anything it’s hand eye coordination and an awareness of rhythm and beat. It also introduces the notion of tonality through the different coloured ‘frets’ to the guitar and the graphic score used for the vocals. No, there is no score as such but the colour-coding is not that dissimilar to colourstrings (a way of teaching the violin which gives each of the strings a different colour).
Technical prowess is, however, only one part of learning an instrument. And unfortunately the other elements can’t be taught via an electronic medium. But it was an interesting experience. When I first went along I expected to be good at it, I mean surely if you can play an instrument you’re in with a fighting chance. But where music is organic and embraces the individual’s interpretation of the notes in front of them, a computer is no way near as forgiving. Consequently I failed. Epically!
So can a computer game ever ‘rock’… well there’s only one way to be sure, and that’s to line up some of the world’s most famous and talented musicians and see how they fare. (Maybe I’ll try this one day). Failing that give it a go yourself.. Trust me, it’s an eye-opener!
Now I have been known to do some strange things at times… voluntarily spending 3 days on a non-smoking train with a chain smoker comes to mind (although if I’d had my way he’d've been out at Broken Hill!). But driving 3 hours to Plymouth and back for a concert…. you’d have to be mad. Right?
Well, it was standing room only in the White Rabbit on Tuesday as Seth Lakeman serenaded us all in an ‘intimate’ gig – warming up, no doubt, for the slightly more salubrious surroundings of the Royal Albert Hall! But nonetheless, it was a chance to see once again a master performer at work…. and also glimpse a rare smile from Ben!
All the old favourites were there, mixed in amongst some new material. And whilst I was a little disappointed that Scrumpy’s set and Blood Red Sky didn’t get an airing, we definitely got value for money.
Kicking off with The Hurlers, it seemed that high energy was the order of the night. And compared with his last gig in Falmouth, it seemed like the ‘audience,’ despite their age, were willing to move along in time with the beat.
As always, it was his fiddle playing that really impressed me. His bow moves with almost hypnotic speed… and whilst I’ll try not to sound too bitter, please take it as read that I am insanely jealous!
[Ed. I am currently at odds with my violin. Being classically trained doesn't mean I want to play Mozart for the rest of my life!]
Kitty Jay, in particular, blew me away.
From the first double-stop to its frenzied finale, I was entranced. And it stands as testament not only to his technical prowess, but also to his fantastic performance.
Whilst violin teachers may look in horror at his crouched stance, it serves to draw in even the most neutral observer. You physically have to lean in. From then the rhythm takes over and so by the time he does stand, there is no escaping the intensity of the solo violin.
He uses his bow almost like a painter uses a brush. But instead of a canvas, he imposes his will on his audience. and we willingly give in to the music.
As much as I love my music collection, it’s always been the ugly sister to the live performance. The very nature of recording tracks in a studio and perfecting them over time takes away some of the spirit of the track. It is only when played live do you experience the raw power of the sound.
And so that’s why I went to Plymouth last night – some artists are simply worth the 120 mile round trip!
Yes, it was a long night, yes I got stitched up on the parking and yes, it was humiliating when the bouncer asked me for ID, but it was totally worth it!
Dragon slaying, London style! Saturday, May 23, 2009
Tags: Bishi, Concert, Daily Music Guide, Eliza Carthy, Folk music, Jim Moray, Live Music, London, Mary Stokes, Netsayi, Peter and Kathryn Tickell, Seth Lakeman, St George's Day, The Demon Barbers, Trafalgar Square
I’ve always been left feeling slightly embarrassed by overt displays of pariotism – even singing the National Anthem makes me feel uncomfortable. So it’s probably not that surprising to hear I’ve never celebrated St George’s Day.
But a couple of weeks ago [sorry] I found myself shoulder-to-shoulder with the flag waving brigade in the shadow of Nelson’s Column.
It was all in aid of celebrating the huge variety of musical styles that British Folk has spawned. From Northumbria to Dartmoor via India and Zimbabwe, it would seem that Folk is not only still alive and kicking, it is evolving and experimenting, and attracting a whole new audience as a result.
But the celebration has provoked rumbles of discontent in the die-hard folk brigade, and not in the way you might think.
For centuries music has been used to cement ideologies and identities – just look at the Russian composers writing at the time of the Revolution or the hymns sung by anti-apartheid movement in South Africa. ‘Folk’ is no different. Traditionally the music of the people, its songs and tunes have been the people’s reaction to the situation and issues of the age. But more recently its revival in America during the time of the civil rights movement has meant that modern ‘folk’ has had a distinct socialist vibe.
So was it right for Boris Johnson to use the genre, and some of the country’s leading artists, to celebrate a day, which has, for all intents and purposes, been hijacked by the extreme Right? Well in all fairness, there was little politics at the concert itself – it seemed that most people had come to enjoy, what turned out to be a sunny day in London with some awesome music thrown in.
And as for the artists, they did all – in one way or another – keep the ‘protest’ tradition alive – with Bishi raising a round of applause when she came on stage wearing a fabulous dress encorporating both the Indian and Union flags. And her song Indian Skin definitely questionned what it is to be considered British. And with tracks like ‘Rise Up’ it would seem that the Demon Barbers embody the traditional folk spirit in a modern fusion style.
Folk is evolving - it needs to if it’s going to stay fresh. But I would hope it remains a genre ‘of the people’ and a space where we can make sense of the issues which surround us.
I went to the gig in my new role as a ‘contributor’ to the Daily Music Guide. As a result I was able to interview the very wonderful Netsayi.
Listen to my interview below - or read my review on the site!