Written by John Hawes, photos by Sebastian Shaw
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14 February 2011
Sometimes when seeing an artist from across the pond for the first time you get lucky. London is the obvious place for the first gig of the tour so if you like them there is the chance to see them again. With Dana Falconberry and Matt Bauer I was unlucky as London is just as likely to be the last date of the tour as well. I consoled myself with the thought that wherever else they had played they were unlikely to have encountered such a respectful crowd who hung on every note they played. Their music is quiet and delicate, their soft voices harmonising beautifully and guitar and banjo sparse and restrained. You may not have been able to hear a pin drop but the ceiling fans sounded too loud and after the set I got an apology from my photographer for not taking many shots; “I thought the sound of my shutter would disturb people” he said.
Amidst all the publicity of the annual Celtic Connections festival it was easy to miss an alternative offering, a rare appearance by a legendary folk figure, Peter Stampfel, a man who, by rights has a greater claim to be celtically connected than the majority of artists who appeared in the festival. A seminal figure in the early sixties New York folk scene, mentioned in Dylan’s Chronicles, Grammy award winning author for his liner notes to the reissued Harry smith Anthology of American Music, featured on the soundtrack of easy Rider, ex Fug and always and forever a Holy Modal Rounder, Stampfel ticks all the boxes and more that would normally earn a slot in the festival’s blend of folk, Americana, blues, soul and world music.However, despite the brush with fame that was Easy Rider (an encounter he spoke about with some disdain) Stampfel has retained a cult status which generally equates to poor sales but with a small and devoted following, one of whom was Jeffrey Lewis, latest champion of the so called “anti folk” movement. A chance encounter at one of Lewis’s shows in New York set the pair off on a collaborative bent and on this showing it’s a match made in heaven with Lewis and band providing the perfect foil for Stampfel’s unique viewpoint
Justin Townes Earle was supposed to have hit these shores last year but certain excesses led to an encounter with the law in Indianapolis, a sojourn in rehab and the postponing of his European tour. The altar of Union Chapel seems as good place as any to offer up your sins and Earle has no qualms when it comes to admitting his wrongdoings. The crowd hollers enthusiastically for the hard drinking part but seem less sure how to feel about his fondness for cocaine. Earle claims to now only have two remaining vices; young ladies and fried chicken. The latter only makes it into one song while the former is the cornerstone of his musical world. His songs betray a long line of girls who all seem to be about as much trouble as Earle himself. Strutting his impossibly long and lean frame around the altar, he is a natural showman with an easy Southern charm, especially when chatting with the audience, whether that is affectionate anecdotes about his mother or self-deprecating humour. The impression is that it’s that very charm that lands Earle in so much trouble.
Support from female duo Sea of Bees, of whom I'd heard good things but am unable in all honesty to repeat them. Think Lavender Diamond but with far less clarity in the vocals. Next up was Lucy Rose and band - a younger non-swearing Lilly Allen. All "no douwbt" and "it's owvar" in her tales of break-up, make-up, will-we, won't we. Not my cup of Rosie Lee, guv' strewth, strike a light no.
Wearing your heart on your sleeve is not something new for singer-songwriters. Through performing, they share their thoughts, fears, loves, anger, despair and problems – but the ferocity with which John Grant does it is astonishing, if not downright frightening. Given the confessional-style interviews he’s given in recent months, plus the quality and content of his first solo album, “Queen of Denmark,” he is clearly a no-holds barred guy. And we should rejoice.
His intense and angry, sorrowful, hurt, memory-filled songs ensure his audience see him in floodlights, not just a stage spotlight. And it is a compelling, emotional, heart-warming performance with shards of black humour slicing through his sadness.
Amidst all the publicity of the annual Celtic Connections festival it was easy to miss an alternative offering, a rare appearance by a legendary folk figure, Peter Stampfel, a man who, by rights has a greater claim to be celtically connected than the majority of artists who appeared in the festival. A seminal figure in the early sixties New York folk scene, mentioned in Dylan’s Chronicles, Grammy award winning author for his liner notes to the reissued Harry smith Anthology of American Music, featured on the soundtrack of easy Rider, ex Fug and always and forever a Holy Modal Rounder, Stampfel ticks all the boxes and more that would normally earn a slot in the festival’s blend of folk, Americana, blues, soul and world music.