Bournemouth Folk Festival: Saturday 12th March 2011

From a quaint and quiet daytime affair to a raucous sundown shindig, Bournemouth Folk Festival made its debut with a tremendous bang.

Kicking off to a comforting start, the festival was situated within the walls of the Bournemouth International Centre. Like a warming hug and a cuppa, the daytime acts soothed the soul with heart felt ditties about love, the world and how to improve it.

The lack of fields and hay bails certainly didn’t quash the atmosphere and these hippy ideals were received well by the ever growing and progressively lively audience. Even during the least riveting of acts, there was a united spirit which seemed to echo through the building.

An array of artists from Country, through Rhythm ‘n’ Blues to traditional Irish jig music adorned the stages and bars from 1:00 – 11:35pm. Morris dancers transformed the upper balcony into and outside theatre and although some of the dancers were at times at risk of indecent exposure, the dancers were well received by the festival goers.

If the music and movement wasn’t enough to get your feet a stomping, real ale and fantastic hot grub was available all day at the BIC’s bars. Beautiful hand made Venezuelan jewellery, made by Humberto Amenta, known as Dagda to his friends, was being sold until the early afternoon by Carolan Burke, a regular player of Bournemouth Folk Club and the range of CDs available for purchase at the festival merchandise stand was remarkably extensive.

Particular highlights throughout the day came in the form of Brummie guitarist and singer, Victor Chetcuti who played in the Purbeck Lounge line-up. With a rustic voice he was joined by the nimble-fingered guitarist Bob Burke and amused the audience with observant quips in between songs.

Johnny Dickenson stole the daytime stage with his hybrid folk and a stage presence that ricocheted around the Tregonwell Hall. The Northumbrian slide guitarist created a serene hush as his fingers caressed the strings of his acoustic. An accompaniment to his smooth, soulful voice he performed with near as much panache as Clapton. Later on, Johnny led a slide guitar workshop for all the budding folk artists at the festival.

Not only were workshops taking place, but jam sessions were held by The Jack Rats in the bar area for anyone to get involved with.

Chris Ricketts was a polite fellow with a silky voice which, with a good whack of reverb, rolled over the audience beautifully. A talented singer with a great sense of humour he broke into a rendition of The Clash’s, ‘I Fought the Law’ during a very unique ‘glee-style mash up’ of Shanti music.

As the evening rolled in and the ale barrels began to empty, the atmosphere began to pick up and the spectators became a lot more animated and cheery. Adorned with waistcoats and pocket watches, the listeners were your stereotypical folk festival bunch, eager to get up and jig at every available opportunity. Throughout the evening there was hand clapping and knee slapping to boot. And if the livelier ditties of Celtic artists weren’t your ideal night out, there was still the opportunity to enjoy more serene acoustic acts in the bar areas.

The main highlight for me was 4Square, a four-piece who wowed the audience with their tap-dancing antics. The band got full marks for audience participation, playing music which would have been most at home on the jolly-roger and gleamed with copious amounts of energy and enthusiasm. The sheer ability to showcase their various talents, such as the tap dancing instrumental by violinist Nicola Lyons, was astounding.

Other enjoyable moments came from The Jaywalkers, a bluegrass duo from Helsby in Northwest England. The stunning vocals from violinist and guitarist Jay Bradbury could be likened to that of Eva Cassidy at times, moving between harsh tones and soothing melodies with ease. Using the violin in innovative ways alongside Michael Geverin’s mandolin artisanship the two meandered between genres, playing folk music from all around the globe.

The biggest crowd pleaser of the event however, was without a doubt the Monster Ceilidh Band and the explosion of energy that came with them. With their Ceilidh jigs and stage presence they transformed the audience into dancers, as energetic and excited as a bunch of 5 year olds who have just been told their moving to Disneyland. It was one of the most beautifully orchestrated shambles I have ever seen.

It was almost too easy to become distracted from the music by the near anarchic dancing of the folk loving horde. Memorising the back and fourths, crossovers and turns that were being instructed from the stage was a visibly difficult assignment for those who’d had more than a few pints of ale. But the band kept the dance under control and played with such technical flair that it was impossible not to enjoy the talented foursome’s compositions. They displayed all the finest attributes of folk and jig music during the great dance workshop and after, moved onto their electronic set.

The set began with an industrial buzz that filled the room and when the music kicked in, it became a rowdy and modern adaptation of their ceilidh play list. The broad compilation of musical genres that featured throughout the set even stepped into the realms of drum & bass for what the band believe to be the world’s first cross over ceilidh track.

The headline act had a lot to follow after such a well received set but with an astounding mix of jazz and 14^th century Italian funk rock, Sheelanagig held their own superbly. The skill of jazz flutist Adrian Sykes at times, might have even put Jethro Tull’s, Ian Anderson to shame! Not only were the audience dancing but the violinist at one point was among them, serenading the ladies of the dance floor.

Although the celebration was not your stereotypical festival setting, there certainly wasn’t a lack of atmosphere and Sheelanagig ended the first ever Bournemouth Folk Festival with a boot stomping bang. With rave reviews from many of the attendees and the surge in popular folk music over the last year, we can only hope that this will be an annual event for years to come.

Photograph: Reed Ingram Weir

Badly Drawn Boy: It's What I'm Thinking

To call Damon Gough uninspired would be one short of calling Lady Gaga discrete; however his latter attempts to wow music lovers with his artistic ideas have fallen slightly short of interesting. Samey and bland his latest albums have done little to honour his defining masterpiece ‘The Hour of the Bewilderbeast’ and follow up ‘About a Boy’. However, tea cosy still in tact and artistry emerging once more, ‘It’s what I’m Thinking’ seems to mark the end of a musical recession for the mind behind Badly Drawn Boy.

The seventh – yes, it is hard to believe - studio album mesmerises the listener, churning out a melancholy vocal timbre to contrast with light and airy melodies which entwine like oil and water in a pan, never merging together but sitting side by side in a happy coalition.

Lacking a real hit tune, this album is not to be listened to on shuffle but the beauty of it lies in the current which travels from song to song. A magnificently thought through playlist, each song compliments the next with style and achieves an album which allows you to sink deep into it’s comforting and warm tones.

Single release ‘Too Many Miracles’ emancipates from the rest of the tracks, enlisting motown characteristics which help to waken up the sedated mind of the listener.

Less upbeat and less folky than previous albums, ‘It’s What I’m Thinking’ ventures further into the alternative musical genre and commits just enough twanging guitar riffs and anti-militant drum beats to keep the playlist rolling on through the Eerie vocals and haunting – if somewhat disappointingly synthesised - strings.

Though the LP flaunts some features of a brilliant song-smith, it lacks that certain quality which kicks it into orbit. Singing of ‘What Tomorrow Brings’, ‘It’s What I’m Thinking’ is a satisfying but safe glide through alternative music and Damon Gough shouldn’t expect ‘Too Many Miracles’ at the Mercury Music Prize awards this year. As ‘Part One’ of an unnumbered collection, we can only hope that the next attempt will have that long awaited wow-factor that we're anticipating.

Well wash my mouth out with soap and call me a liar!

Well goodness gracious me; I really am failing you all of late. One measly post since my promise to update you all on my recent adventures and endeavors. What kind of hoodwinker - I believe that is a real word and if it isn't, then I wish to coin it - does that make me? I will, however, strive to correct this.

Unfortunately, now I come to jot down all my memorably significant circumstances, I am finding it more than impossible to think of anything vaguely captivating to say. In fact, the second I try and force my brainwaves in to action, I get the completely opposite effect and the cogs in my head seem to run slower than Windows Me on dope.

I do have one thing to say though, Toy Story 3 is immense... review shall follow soon.

Other tings what I has done, like:

A week at The Fly Magazine: I got to see Spindle & Wit, an awesome new folk band. As many of you will know, I love the folk and S&W have this month entered my personal top ten artists of 2010. You can find my news articles and blog on The Fly website.

A week at Beach Break festival: This mother of a trip saw me hitting the shores of Pembrey County Park in wales. I saw loads of amazing bands and artists and spent far, far, too much money. I also lost a lovely jumper which was a bit rubbish. Particular highlights came in the form of the king of beat box Beardyman and reggae/ska band Boycom who I saw in Chai Wallah's - my favorite venue - which would please any fan of dreadlocks and sheesha. It was a satisfying antidote to missing out on The Hop Farm festival and better still, I won the tickets!

Highbury Youth Theatre's, 'Summer Holiday': A truly phenomenal production. I feel like a proud mother to those little thespians. Going back to see the show after my week in London made rushing around helping out with it so unbelievably worth it. All topped of by a spectacular after show party Chez Cotter and Strike avec Le Parc on the Sunday it couldn't have been a better weekend!

New Job: After all the fretting over money - or rather, lack of it - all has come up trumps. I started my bar job at The Figure of Eight last Monday and I am thoroughly enjoying it. I was a tad nervous at first - and that might be a tad of an understatement - but the people are great and the money is marvelous :D

Right, now we are all caught up - even through this somewhat appalling excuse for a post- I will love and leave you. If I think of anything vaguely interesting to talk about anytime soon I will most certainly update my posts :)

Beach Break 2010 Preview

10/06/10

With Download festival kicking off this weekend and Dylan announced as the Hop Farm headliner, Beach Break has a lot to compete with this year. But with an eclectic line up, sporting bands from the eccentric Vampire Weekend and the herky-jerky Futureheads to the glamorous, Calvin Harris, it’s unlikely to let us down.

Only three days to go, this year will see Pembrey County Park in South Wales flooded with campers, as Britain’s biggest student festival has sold out for the forth year in a row, meaning 500 extra tickets are up for grabs.

With 15 venues spread out across the festival grounds, anything is possible. Pull some shapes and dance like your Dad to the jazz and jive music of the Moustache bar, kick back in the sunshine and let the folk tunes wash away your worries by The Boat, escape to the bohemian meadows of The Lost Gardens, get retro in the old school Vintage Funfair and attempt to uncover the intriguing Secret Venue.

Artists from the astounding line up will play at the various venues at the seaside affair and even if the assortment of tunage isn’t good enough for you, you can try your chances with an audience at ‘Jam Tart’ the festival’s open mic nights at The Leaky Sheep Pub.

With plenty to do all week from Celtic games and Free Running through to Yoga and Burlesque classes there won’t be a second of boredom at this years Beach Break. Ending on a high with a musical legends themed fancy dress finale make sure to grab your pointy bras and don your Lycra Cat suits. Just about everyone will be dressing for the occasion, so don’t let us down.

Neglect: A Dictionary.com Definition.

ne·glect [ni-glekt] –verb (used with object)

1. To pay no attention or toolittle attention to;disregard or slight: Thepublic neglected hisgenius for many years.

I have a lot to catch up with over the summer and I plan to reinstate the use of my blog as it has most certainly been subject to the above over the past couple of months.

I have just spent two weeks at Hallam FM radio station on work experience, attended the Bournemouth summer ball. Tomorrow is my sister's 21st, I am off to Beach Break on Monday and in a few weeks time I will be heading to London for work experience at the Fly magazine so there will be a lot to talk about :)

For now I will bid you good night :)

Antarctica Encore: The work of Frances Hatch

Think of the most beautiful thing you have ever seen and then imagine the music to describe that image. What do you hear? A sweet little ditty or an amalgamation of sound, creating ambient noise that precisely matches the image in your head?

Antarctica Encore is a ‘cross modal improvisation’ by Artist, Frances Hatch and Musicians, Cathy Stevens and Udo Dzierzanowski. The collaboration of images and music to create and discover artwork in a new form is an entirely improvised and a captivating exploration of the world of art and the emotions behind images.

The performance took place Thursday 18^th February at Bournemouth University’s, Talbot House at 12.30pm. The improvisation was a fascinating insight into one of the world’s most remarkable sights through the mind of a passionate artist.

Frances Hatch was born in born in the Isle of Ely, Cambridgeshire in 1955 and enjoys the discovery of new art forms and nature. “I do lots of different things but there is a running theme throughout my life,” she said. “Even as a child I tended to like working outside with my dog, I just love meeting new landscapes”.

The artist’s most recent project involved her ‘bewildering’ and ‘very long’ trip to Antarctica. The images which were displayed in the university’s Atrium gallery represent Frances’ journey from the anticipation of waiting to embark on her adventure to the reflection of the journey behind her. “Because the gallery is located in a university I was able to put up works in progress that are not necessarily saleable” she said. “I was able to show the progression of a project and I like working like that.”

Originally, Frances trip was intended as a solitary venture, but after a group called ‘extreme’ got in touch with her, she agreed to be lead artist on the open exhibition.

Antarctic Encore began with an explanation of the Antarctic landscape. Various facts were thrown at the audience to help them envisage the vast space and lack of dimension which the Antarctic holds. “There is no way to define the scale of an ice berg or an albatross,” Frances said.

Before the performance the artists took time to enjoy a minute of meditation and prepare the audience for the adventure. The performance was delivered in four, ten minute movements to represent Frances journey.

‘Anticipation’ involved purely sounds from various percussion instruments and art materials from sand paper to socks with bells on. The peaceful noise created a real chill, sending shivers down the spines of the audience as the musicians moved fluidly around the floor.

‘Journey’ enabled Frances to demonstrate the clever use of materials as she scribbled away at her artwork. Seeming aimless at first, the beauty of her haphazard work became noticeable within a few moments, reflecting the vast space and colours of the Antarctic landscape.

The beautiful translucent sound of the violectra – a six string, electronic viola – washed over the entranced audience as Frances painted over the mishmash of colourful paper which she used as her canvas.

The materials Frances used were quirky to say the least; from branches to polystyrene blocks it was amazing how she manipulated the materials in to creating something so striking. As the music became frenzied, so did her painting. The artist began to use dark colours, blacks and blues and painting quickly as though frustrated with the landscape and mimicking its unpredictable existence.

‘On Location’ turned the audience’s attention to a power point which displayed images from the Antarctic alongside the artwork Frances produced amongst the glaciers. Accompanied with the sound of jerky strings, clashes, bangs and the impression of howling wind, the third movement enabled the audience to appreciate the intimidating side of the beautiful landscape. As the images appeared on screen it was easier to understand the lack of scale she spoke of at the beginning of the venture.

Beginning with a quote from Jenny Diski’s, Skating to Antarctica, the final movement, ‘On Reflection’ returned Frances to the makeshift canvas. She went on to add colour to the previously bleak landscape, tearing paper dramatically to the beautiful sound of the Violectra. “It is not white and it is not silent” she said.

Mesmerizing, does not touch on the way that the three minds of Udo, Cathy and Frances work together to create such artistic genius. From penguins to glaciers, Frances’ project covers every corner of the Antarctic world she visited, great or small, and the astounding emotion behind her art becomes apparent when watching her at work.