Folk Festival Diary – Day 3 Saturday

My Schedule for Saturday 22nd March 2025

1. Cutting Room Square - Saddleworth Morris Men

2. Halle St Peter’s - Broua (Tunisia)

3. Cutting Room Square - Roots Morris

4. Halle St Peter’s - One World Orchestra

5. Cutting Room Square - Wharfedale Wayzgoose Border Morris

   
   

6. Halle at St Michael’s - Caoilfhionn Rose

7. Halle St Peter’s - Memorial

8. Halle at St Michael’s - Lisa Knapp & Gerry Diver

9. Halle St Peter’s - Katherine Priddy

Northern Quarter, Manchester - Day three and Manchester was still bathed in sunshine, which is just as well as my day began outside. The Cutting Room Square played host to a spectacle of Morris Dancing – an absolute must for every folk festival, it was once decreed and it is now the law, by all accounts.

The Saddleworth Morris Men - …began the proceedings for me as I had a late start, the Wharfedale Wayzgoose Border Morris boys and girls had already performed by the time I got there, but I just had enough time to grab a portrait shot of them all before they headed to the various hostelries for some well earned refreshments before they returned to dance again in a few hours’ time.

Saddleworth Morris Men are organisers of the annual Saddleworth Rushcart, a traditional rush bearing ceremony. They perform traditional North West Morris and celebrated their 50th anniversary in 2024.

They’re not the subtlest of dancers as noise and theatre play a big part in their performances which all adds to the fun. There’s a six-piece band of minstrels to accompany those that dance and the sound of the big bass drum echoes all around the Square. They end their offering by holding a hat competition, the winner being chosen by a member of the public. Their hats are richly decorated with flowers and there’s a bit of a bragging rights thing between them all, which adds to the entertainment.

Now, before my next dancing session, I need to nip around the corner to Halle St Peter’s for a lesson in traditional Arab fusion courtesy of…

Broua - …who are a Tunisian-Dutch band that crafts a truly unique sound through their fusion of traditional Arab music with Mediterranean and contemporary influences. Comprised of Tunisian, Dutch, and French musicians, the group creates a unique sound that reflects the cultural and musical diversity of its members, allowing them to produce rich music, situated at the crossroads of various worlds while remaining deeply rooted in Arabic and Mediterranean musical traditions.

Their music is usually built around the use of diverse instruments, such as the double bass, guitar, violin, and "Oud," complemented by a variety of percussion and wind instruments – a combination that enables the integration of jazz, blues, and Latin music elements. Through their lyrics and melodies, they invite listeners on a musical journey that reflects their experiences and cultural influences. The group aspires to touch listeners' hearts through its music and live performances, solidifying its place on the international music scene. Normally consisting of half a dozen members, they will be performing as a trio, although this was almost too tough an ask as the Visa for one of the members only came through at the very last minute.

Being three in number didn’t seem to affect them in any way though as their performance totally justified the hassle and aggravation with the immigration authorities. Tonight, they blended a flute and a clarinet with a guitar and a violin, the latter by Wissem Ziadi who also took care of the vocals for a delightful concoction of rhythms. It was so well received that I hope that the Organisers can bring back the whole band next year for what would be something truly special. Fingers crossed anyway.

Roots Morris Dancers - Back to Cutting Room Square, just in time to see Roots Morris, the University of Manchester Folk & Ceilidh Society's brand new, progressive and inclusive Morris side take to the floor. They’re so new and a little inexperienced compared to the previous Dancers but this matters not as what they may lack in experience, they make up for in enthusiasm and all round general loveliness – and if you fancy having a go they’re on the look out for new members, so get yourself along to The Thompson Arms in Sackville Street, every other Wednesday, but which exact Wednesday’s, I know not so check out their Instagram page. There you go, advert over !

No rest for the wicked means I now have to head back from whence I came, to Halle St Peter’s for the One World Orchestra.

One World Orchestra – Eighteen global musicians, one bold musical vision getting together to bring peace and harmony to the world through music. Based near to Brighton but resonating far beyond the south coast, One World Orchestra transcends boundaries, creating a unique, sublime sound. Ancient instruments entwine with contemporary beats; salsa montunoes collide with Congolese harmonies, while authentic rhythms from around the world pulse through a journey of UK grime and Western classical motifs. These unexpected encounters forge a new vision of unity in a fearless declaration that our differences create the loudest, most beautiful noise.

It’s not the kind of folk music that you would normally expect, or I certainly didn’t, but you quickly learn that ‘folk’ is a very broad church, and that it may well be somewhere in the world. What matters most is that the good and kind people of Hallé St. Peters enjoyed every minute of it. Everyone, on a very packed stage, what with all the instruments and the performers themselves, took every opportunity to play their part. The audience also took their chance to join in when asked, which was a little surprising perhaps, with it being so early in the day, and no alcohol having been imbibed to release those inhibitions we can all have from time to time. Maybe next time they can take an evening slot and truly mix it up a little as you felt that it needed a bit more than a foot tap or chair shuffle to really appreciate what they can deliver. There was plenty of space for dancing in the aisles and all it would have taken is the odd beer or two. As with Broua, here’s hoping for something more next time.

Wharfedale Wayzgoose Border Morris Dancers - Now, the original plan was to head back to the Square for another round of Morris Dancing by the people that I’d missed earlier in the day, but this being Manchester, the rain has to make an appearance at some point, and it did, oh how it did, putting paid to any photography I was meant to do. The rain came down with a vengeance and made up for its scarcity over the past few days. The square was drenched as would have everyone else have been, if anything had taken place.

This was quite sad really as I was looking forward to another fine example of dance. The West Yorkshire side had brought speed, style and infectious enthusiasm to start off the day’s proceedings with their unique combination of classic and contemporary Border Morris, and it was a shame to see them come all this way for just the one performance.

So, there was only one thing for it, coffee and a bit of time to relax for an hour or so until the evening begins.

…which it does for me at Halle at St Michael’s

Caoilfhionn Rose – Manchester’s Caoilfhionn Rose has come of age as an artist, digging deep to find experimental new ways of expressing her wonder at nature’s beauty, her love of music in all its diversity, and her belief in the restorative powers that both afford in the troubled post-COVID world. Vigorous, searching and ever-curious, Caoilfhionn has found a voice at once ancient and modern, intrepidly exploring contemporary technology to transform traditional songcraft for the mid-2020’s. Caoilfhionn’s music is rooted in a knowledge of folk, jazz and all the twentieth century’s classic tunesmiths, and seems to create a magical, otherworldly space of her own imagining, blending her core piano with synths, and pitting a live rhythm section and saxophone embellishments against ambient samples and future-facing production techniques. Her third album ‘Constellation’ is available now on Gondwana Records.

Caoilfhionn displayed her talents using either a keyboard or an acoustic guitar as well as some charming vocals and was accompanied by her husband and collaborator Rich Williams on electric guitar. The third member for this evening, on saxophone, looked suspiciously like Jasmine Myra, but I could be wrong, so don’t hold me to it. I know I should do my homework better but with juggling so many performers in one day, something was going to give, and this might be it !

From ‘Constellation’, ‘Rainfall’ and ‘Josephine’ to ‘Drifting Dust’, ‘Flourish’ and ‘Momentary’, Rose showed off her wares from all three of her albums, but with a particular fondness for the latest, which wouldn’t have come as a surprise to anyone. In what may have been seen as an unusual choice as Support for Lisa Knapp & Gerry Diver, it didn’t disappoint and was ultimately well received by their audience.

Oh, and if like me, you’re wondering, it’s simply pronounced ‘Kee-lin’, apparently. No trolling now, I’m just by trying to be helpful !

The sad thing here, is that I have to cut the performance short, as it’s time to swap Michael for Peter and head back to my other venue this evening for the Support for Katherine Priddy, which comes in the form of…

Memorial – This fast-rising indie-folk duo provide support following opening slots with The Staves, Anaïs Mitchell and Richard Thompson. It’s a project rooted in friendship and fuelled by unflinching honesty. Ollie Spalding and Jack Watts were friends first, and songwriting partners second, and this quality sets them apart. They're marked by that peculiar alchemy when two voices become one, a special sense of human connection wrought through harmony and emboldened with experience.

Their self-titled first record was sculpted over the pandemic and released on Real Kind Records - the boutique Communion imprint chaired by Lucy Rose - the record displayed their core values. "The emotion has to be right," says Oliver. "When we record songs, we want to stay true to the emotion - as though those songs had just been written seconds before they were recorded." The success of their debut brought fresh experiences - collaborating with Flyte, Talos and Olafur Arnold and supporting the likes of Matthew and the Atlas, Christian Lee Hutson and Anais Mitchell - but also new challenges.

Looking for perfect moments within our imperfect lives, Memorial have displayed an extraordinary sense of character to drive themselves forwards. "We've let go of trying to make everything sound perfect," says Jack. "Being vulnerable in that way means that the end product is truer to you than it ever could be. There's a realness to it." Memorial have taken true ownership of their lives, pushing through enormous challenges to unlock new aspects of their artistry, and actualise their dreams.

The pair may have had to pull on all of the experience that they gained when Supporting the likes of Richard Thompson, as tonight it’s a full house with many more looking to squeeze themselves into any available space, such is the draw of Ms. Priddy, but the boys performed well enough, especially when they acknowledge themselves as being quite depressive, and keep getting told to be more upbeat, which they attempted with at least one song, about their adulterating fathers, called ‘Words’. Make of that what you will.

This was a performance that seemed to go all too quickly and despite having a morose overtone, could have been with being a bit longer, perhaps then, the boys could have whipped us up into more of a frenzy – of sorts. As it is, we’ll have to be grateful for what we received and look forward to our headliner.

Now, to retrace my steps from whence I came and it’s time to head back to Halle St. Michael’s…

Lisa Knapp & Gerry Diver – Two people that don’t need an introduction, but again, they’re going to get one. Considered to be a dynamic duo that fuses their deep-seated love for English and Irish folk traditions into a vibrant project that's as grounded in tradition as it is daring in innovation.

With Lisa Knapp’s distinctive voice and her skill in weaving the ancient with the contemporary, alongside visionary composer and multi-instrumentalist Gerry Diver’s fiddle virtuosity and trailblazing production, this award-winning pair create an auditory journey that honours the past while boldly stepping into new musical territories. An innovative partnership that’s poised to enchant both traditional music purists and new seekers, promising a fresh, exhilarating spin on folk music’s timeless tales.

Lisa Knapp's debut album Wild & Undaunted' in 2007 saw her emerge as a distinctive voice in British folk, becoming known for her captivating vocals and highly imaginative approach. Deeply rooted in the folk traditions of Britain and beyond, she also garnered a highly coveted BBC Radio 2 Folk Award for her songwriting on 'Hidden Seam'. Her 2017 release, 'Till April is Dead ~ A Garland of May', featuring Blur's Graham Coxon, now celebrated as a modern classic, is an exhilarating deep dive into historic songs and rituals of May. Recently, her voice graced the closing song of the Oscar-nominated film "Living" (2022). As part of the Hack Poets Guild with Marry Waterson and Nathaniel Mann, she's released 'Blackletter Garland' (One Little Independent 2023), showcasing her ongoing evolution and collaborative spirit in the folk scene.

Gerry Diver, a visionary composer, producer, Irish fiddler, and multi-instrumentalist, has significantly impacted the folk scene. His innovative "Speech Project" featured folk icons like Christy Moore, Shane MacGowan, Martin Hayes, and others in a collaborative masterpiece described as 'groundbreaking' by The Guardian. Diver's role as an award-winning producer shines in his contributions to a host of contemporary folk albums. Diver has displayed his versatility by working with a broad spectrum of artists, including Damon Albarn, Sinéad O'Connor, Tom Robinson, Benjamin Zephaniah, and many others, showcasing his ability to transcend musical boundaries. His creative prowess extends to the cinematic and television realms, where he has written soundtracks for various movie scores and BBC dramas, further establishing his reputation.

Those in the know, so that’s not me, suggest that these two are an interesting mix that justify the saying that ‘opposites attract’. Knapp’s humour and all-round down-to-earth attitude contrasts well with Divers ‘I’m doing what I normally do, it’s just that there’s an audience, of which I won’t pay any real attention to’ persona – or is my ignorance and naivety really showing through here ? It matters not though, as it’s really enjoyable to the point of being endearing.

Knapp played away to her hearts content on autoharp and violin, whilst managing all of the vocals and Diver juggled laptop with relentless loops and samples, headphones and a violin frequently and threw in a bass drum at times too.

Most of the tracks came from ‘Hinterland’ initially, with only ‘Loving Hannah’ not making the set list. ‘When in New York’, ‘Old Time Musicians’ and ‘Blacksmith’ brought up the rear and left a packed house richly rewarded for having to dodge the deluge of rain that blighted their way to the venue.

Katherine Priddy – Since Richard Thompson described her as, 'The Best Thing I’ve Heard All Year', her star has risen exponentially, and she’s quickly become one of the most exciting names on the British scene. In November 2024, she released Close Season, a single with Poet Laureate Simon Armitage and her haunting vocals and distinctive finger-picking guitar style have seen her sell out a headline tour and support world class artists including The Chieftains, Loudon Wainwright III, Vashti Bunyan and Guy Garvey.

Over the past two years, she’s performed on Later…With Jools Holland, at the BBC Proms and played well-earned spots at prestigious festivals such as the Glastonbury Acoustic Stage, where she also performed live on BBC 2, Green Man, Cambridge Folk, where she was awarded the Christian Raphael Prize, End of the Road and Beautiful Days. Her lyrics are particularly noteworthy – a tribute to her life-long love affair with literature and poetry and the stories she weaves are transporting. It is clear that, despite the delicate nuances of her sound, Katherine Priddy is not a fragile wallflower, but a woman who means business.

Tonight, the Halle St. Peters is sold out and such is the demand, a good number of people have been allowed to stand at the back of the hall and down the sides, and so, at the ninth hour of the second half of the day, she took to the stage and proceeded to captivate everyone, holding them gently and subserviently in the palm of her hand for the whole 75 minutes, give or take.

Oh my.

Priddy is ably assisted this evening, by George Boomsma, a highly skilled guitarist and a fine singer / songwriter in his own right, and the perfect accompaniment, as he so often is. You can’t help but like Priddy, her voice and playing is an absolute pleasure to witness and her banter with the audience just adds to the whole experience.

Throughout the entire set there were many times when you could hear a pin drop, in a packed venue, with just the sound of two guitars and one solo voice and an audience of avid listeners with brows deep in concentration. A big challenge for a photographer who has to get around a hall so that the images come from more than one direction though. It’s like shooting at a Catholic Mass - which I’ve done enough times to know when you can move and when you definitely can’t, so my training has served me well tonight. It’s a good job that I wore shoes that had soft soles because anything less on a wooden floor like this, echoes all around the place especially when you’re in what was once a church, that to this day still retains its extremely high roof, arches and pillars, none of which lend itself to heavy duty ‘togs getting around during soft, subtle performances, with an audience that is hanging off every note !

…and Finally, - I have to confess, I am absolutely shattered. Wrecked. And I ache from head to toe ! Oh, and I have a good few thousand images from the past three days still to edit, so there’s definitely no time for the wicked ! !

Every time I shoot a festival, I promise myself that I’ll take it easy and not overdo it. Stick to a number of images in the hundreds Mark, don’t go mad, but somehow, I always get wrapped up in the moment. Paranoid that the eyes were closed when I need them open, that the accordion wasn’t ‘spread’ enough for maximum effect and, my nemesis, that the microphone obscured too much of the performer’s face. The trials and tribulations of a gig photographer, still very much serving his apprenticeship.

Despite my petty moans though, I’m floating on air, on what I’ve just experienced. My first full foray into the world of folk music and I’m smitten. From the subtlety of Anna McLuckie to the blissful harmonies of The Deep Blue and the all-round raucousness of The Longest Johns, it was fabulous from start to finish.

I had a few reservations about folk music before – borne out of nothing but pure ignorance, or naivety as I prefer to see it as. I now know that you can take the word ‘folk’ with a huge pinch of salt. As I’ve said before, it’s as broad a church as the word ‘jazz’ is, and there’ll definitely be something that you will enjoy, not least because you’ll get wrapped up in the moment and find yourself swaying, tapping and joining in with lyrics you’ve never heard before in your life.

The vibe is different too. I can’t say it’s an age thing as folk, it would appear, reaches every age group. If you think it’s all bearded old fogies, think again – they are there - but they are also quite out-numbered. Folk is very much a young and trendy thing as it is an older generation thing, but what’s blatantly obvious to the point where it hits you when you’re least expecting it, is the niceness of it all. People are friendly and happy to chat about anything. There’s no moodiness, everyone is there to have a good time and the vibe is infectious. It’s how the world should be.

…you can download the festival brochure to see what you missed and prepare for next year, by clicking here…

Let the Fun Come Back Next Year !

…and please let me be part of it all, once again !

Written in association with

Manchester Folk Festival