Tag Archives: Folk

Review, Kitty MacFarlane, Record Journal Live, Gwaenysgor Village Hall by Gareth Williams

(4 / 5)

On a cold Autumn evening, I ventured through the country lanes of North East Wales to the village of Gwaenysgor. It seems a very innocuous place to attend a gig with one of folk music’s brightest upcoming stars. Yet the small village hall, nestled in a corner just off the main road, was the perfect setting for an evening with Kitty MacFarlane. No sound system. No microphone. No fancy stage lighting. This was just Kitty and her acoustic guitar.

Hosted by the Record Journal Live, this wasn’t your average concert. In many ways, this was the epitome of a gig organised and run by people who are passionate about bringing live music to the local community. There’s something quite special about wandering in and finding your name written on a piece of paper, ready to be ticked off; being handed a cup of tea in a random mug that’s been poured out of a stainless steel teapot; entering into a hall whose tables and chairs have had to be laid out beforehand. No technology. No paid bar staff. Just a warm and friendly atmosphere into which MacFarlane’s gentle vocals and whimsical guitar chords beautifully contribute.

Beginning with ‘Only Human’, MacFarlane proceeded with a delectable mixture of stories and songs. It was a fascinating insight into both her songwriting process as well as her wider world. From it, I sensed a deep affinity with nature. There was clearly a deep connection to her local area too – the Somerset Levels. To be given a context to songs like ‘Man, Friendship’, written in response to the 2014 floods, a picture of which adorns the cover of her debut album, gave them an extra dimension. Told with light humour and gentle passion by MacFarlane meant that they became ever more compelling too. Such light humour peppered most of her anecdotes. Her passion was especially evident when it came to ‘Glass Eels’. Introducing the song, she recounted how she’d spent a day with some wildlife conservationists, studying these fascinating creatures. Such an experience clearly left its mark on her, her continuing interest in eels all too evident and somewhat infectious too. It gave a real insight into the careful crafting that has gone into each of her songs. Every one featured in this set had a tale to tell, and was sung with tender conviction.

One of the most captivating moments in this set came during her rendition of David Francey’s ‘Saints and Sinners’. With the guitar placed to one side, this was Kitty MacFarlane truly unplugged. If it wasn’t enough to enjoy the sole sound of her melodious voice, once the familiarity of the chorus had been claimed by the audience, they joined in with her to create a finish to the song that was truly transcendental and awe-inspiring. It perfectly encapsulated the emotion of the whole evening.

Kitty MacFarlane is as warm and welcoming offstage as she is on. She has received huge commendations for her debut album Namer of Clouds, and rightly so. It is a superb record that deserves your listening ear. In some respects, the twee surroundings of a local community hall is exactly where you expect her to be. To hear her live is a real treat. To be in such an intimate environment when you do is a bonus. The Record Journal has tapped into something here. They’ve kept it sweet and simple. On this occasion, it suited MacFarlane’s performance perfectly. Stripped back and laid bare, this was folk at its finest. A concert that was well worth attending.

Click here for tour dates and further info.

gareth

Review NDCW Autumn Tour ‘Folk’ by Tanica Psalmist

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A surreal world, with fanatical weight

Performed eight, Eastern-European dancers, with different mental state’s

With significant traits, they all took us on a visual journey

Dancing their way through a contemporary, dynamical theory.

Whilst individually reaching their peak, through dancing only did they speak,

Expressions, Tones, intertwined mixed emotions frantically

Erupt, corrupt you saw poison in each character’s guts

Each motion, devastation, made you attentive to their synchronisation

Each subtle flow, every blow, every dramatic move, each hard gesture that looked smooth

One scene was a circular pattern with no gaps, just them walking in bare feet,

Tight, narrowed direction they walked, as the drumming tone hit home

Witnessing to all, who gathered interpretations of their own

Mine was the constant spinning of a world, that we live in

Formulating different connections and identities to who’ve we’ve grown in.

The elements of every dance move, physically so strong, gripping you at your feet as they exhilaratingly, followed along.

Enchanting your mind, through the multiple conventions,

The tree upside down, made you wither into your own imagination

Native tongue, of French descent, grasped a different interpretation.

Charismatic music echoed, as the dancers moved in utter fabrication.

Different themes of love, social dynamic’s was explored in a world of dark, comic indication.

Animated features, made you laugh, a penguin and its posture, of what the dancer conveyed it to be, was interestingly unique.

Another power scene, portraying to the viewers that your interpretations to what exists, in your head is how it ought to be.

Freedom to express, talk as you like, stand up, obnoxiously move in a crowd, being big, swaying loud, being persistent in what you do and speaking in your comfortable native tongue in a community, where no-one understands accept you, Is entirely down to you.

That was my connection with Folk, and the production design as well as the dancing crew, grew on me.

So fortunate to attend, and watching the dancers pull through till the end.

Folk to me is living in a surreal world that mentally, emotionally and physically, comes alive as a believable, existing world where you desire to survive and let your feelings stay alive.

Review NDCW Autumn Tour ‘Folk’ by Helen Joy

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(4 / 5)

Profundis, They Seek to find the Happiness they Seem, Folk

Profundis

In whispered tones of reverence, I am told: it is, oooh, wonderful, you’re in for a treat…

A woman in purple stands hugging herself in dance. She is singular, beautiful.

The spot light shifts to a gloriously sexy scene, a woman in white revelling in her spot-lit body writhes on the stage. She is right in front of me, I can see into her eyes. I am mesmerised. Carted away by men in black, the performance erupts into a fantasy of colour, dance, commentary, music and comedy. It is at once surreal, curious and charming. Sinister. Younger audiences find this funnier; we are awkward, we laugh in the wrong places. The dancers say that they find their voices in dance not in language but have enjoyed this challenge, being free to be themselves, to speak, to interpret freely within the confines of the psalm. De Profundis.

It is the creation of genius. It has the feel of a masterpiece. It is an abstract painting come to life. It is Kandinsky dancing. Of all the images, I am left with the man in red knuckling his way across the floor, man as ape as movement to music. A treat, indeed.

The Seek to Find the Happiness They Seem

Dance partners in black and navy and they trip through the dark, faces lit like portraits looming out of Rembrandt. Oh, this is exquisite. They are so lovely to watch. Perfectly in unison, Fred and Ginger ducking and diving and dancing in front of us, I can feel the warm swoosh of air across my face as they sweep past.

To Richter, they fail, their sense of loss and confusion is complete.

Folk

Bosch. It is a Bosch in all its painted madness cavorting in front of us. It is a crazy world. It rises from the soil of Autumn leaves into this crepuscular land. It is a topsy turvy place, a slight inversion, sensitive to struggling personality, to groupings, pairings and isolation.

Something warm and heavy, muted and visceral, carefully cadaverous, so beautiful from a distance but gently sinister close up. It is a convoluting palette of earth. It is breathtaking.

To see these dancers up close and personal, the bandages on their toes, the straps around their knees, the sweat on their faces, each muscle flexing, is to see perfection. To hear their feet feel the ground, to see expression in every tiny movement, is to see beauty.

I want to pull this piece into the night air, I want to let them free to scatter real leaves, dancing under real trees.

I want to press Stop: I want to fix them like statues and examine every moment. I cannot watch it all and I have missed so much but oh, I have taken something magical, ethereal, wonderful away with me.

http://www.ndcwales.co.uk/en

Enjoyed:         14th November, 2016 at NDCW, Cardiff

Profundis

Choreography:             Roy Assaf

Music and Sound:       Uoon I, Alva Noto (Vrioon Electronic)
Enta Omri, Umm Kulthum (Original 1964 Live Recording)

Lighting Design:          Omer Sheizaf

Costume Design:          Angharad Matthews

Costume:                     Deryn Tudor

Angharad Griffiths

 

They Seek to Find the Happiness They Seem

Choreographer:        Lee Johnston

Music:                                    Max Richter

Lighting:                     Joe Fletcher

Costume:                   Zepur Agopyan

Dancers:                    Matteo Marfoglia, Elena Thomas

Folk

Choreographer:        Caroline Finn

Visual Artist:             Joe Fletcher

Music:                                    Assorted (see website below)

Lighting:                     Joe Fletcher

Costume:                   Gabriella Slade

Dancers:                    Josef Perou, Camille Giraudeau, Matteo Marfoglia, Mathieu Geffre, Angela Boix Duran, Elena Thomas, David Pallant, Josie Sinnadurai, Ed Myhill

 

 

http://www.ndcwales.co.uk/en/what-s-on/autumn-tour-folk/