New and old did region’s top venues justice during 2018
ALAN NICHOL TAKES A LOOK BACK AT THE YEAR IN BLUES AND ROOTS
WHILST the continuous emergence of something new is a natural process in music just as it is in other aspects of life, 2018 has witnessed a distinct changing of the guard.
Whereas many artists whose careers began to flourish in the 1960s/70s are still touring – and still drawing big audiences – their one-time dominance is gradually, but inevitably, giving way to younger acts.
That process, however, did not prevent some iconic names from showing that they are not about to leave the stage quietly. The rather unflattering term “heritage acts” received some very short shrift indeed from a whole crew of over-sixties who are not quite ready for the rocking-chair.
Step forward Graham Nash, Joan Baez, Maceo Parker, Eric Burdon, George Benson, Mavis Staples, Toots Hibbert, Steve Earle, Richard Thompson and the Transatlantic Sessions co-leaders, Jerry Douglas and Aly Bain.
Each had big numbers in attendance for their respective shows this year at a variety of venues and proved, as the old adage has it, that there’s many a good tune on an old fiddle!
Nash and his trio (Shayne Fontayne on guitar, Todd Caldwell on keys) were at the SummerTyne Americana festival in July in Sage Gateshead’s Hall 1 and delivered a flawless set.
The pinnacle, for this scribe at least, was not one of Nash’s many classics, but a cover version of the Beatles masterpiece, A Day In The Life, which even the Fab Four did not perform anywhere outside the Abbey Road studio.
The festival also saw rare but vital performances by Natalie Merchant and Iris Dement, and a return to the region for Steve Earle among a broad-based festival line-up.
Prior to that, in May, Joan Baez enchanted a sell-out crowd (in Sage Gateshead’s main hall) as part of her Fare Thee Well 2018 tour. The previously effortless soprano, now moderated somewhat by age, was as convincing as it ever was.
With another much-lauded new album, 13 Rivers (Proper Music), Richard Thompson and his cracking electric trio belied the years yet again not just with his new material and trademark sinuous fretwork, but he never seems to forget the words, even on songs that are relatively obscure and often older than many audience members!
Mavis Staples at the Boiler Shop was on top form, too – and with a new lease of life as she proved on her recent chart success with Hosier – and a few months later the same venue resounded to the irresistible reggae romp of Toots & the Maytals.
Australian guitar showman Tommy Emmanuel was also on his usual scorching form at Whitley Bay Playhouse in May.
But what of the newer acts? Country music provided some big statements. The Brothers Osborne at
a rammed O2 Academy delivered a powerful show that was part-country, part-Southern rock with a striking light show to match. The audience needed little encouragement in raising the roof by singing along with several favourites from the band’s two albums to date. Similarly, Midland – with just their debut album, On The Rocks, in the shops – filled the Boiler Shop with an enthusiastic welcome and their completely soldout UK tour sets them up for even bigger things in the coming year.
Elsewhere, Kacey Musgraves, Father John Misty, the Shires, Sam Outlaw (with Molly Jenson) and the Secret Sisters, Mollie Tuttle and Kaia Kater, showed why their stars are rising fast, too. On the other hand, Texan Dale Watson and his band proved to be as popular and as much fun as he always has been.
On the folk front, Kathryn Roberts and Sean Lakeman, Martin Hayes Quartet, the Rails, Martin Harley, and Daniel Kimbro and Lau, expanded their following with newly-recorded work and live appearances. Established singers like Cara Dillon, Jon Boden and Kate Rusby were back here as well.
African performers such as Seun Kuti, Sona Jobarteh and Fatoumata Diawara electrified their respective audiences with some scintillating musicianship and real stage presence.
Also worthy of a mention was Diawara’s opening act, Belgian/Congolese Teme Tan, who brought a version of techno-world music to connect with an animated crowd and his instantly likeable personality. It set the scene perfectly for Fatoumata’s sublime, ancient yet modern, electric Malian folk.
Two American artists who are closely identified with the blues – Alvin Youngblood Hart and Corey Harris – had solo (largely acoustic) shows within a month or so of each other.
Jumpin’ Hot Club promoted both gigs at Gosforth Civic Theatre and those in attendance witnessed two men who may well be steeped in the works of some bygone masters, but manage to extend their repertoire to include, just as their forbears did, much more besides. The fact that the two intend to record together, along with Cajun musician Cedric Watson, in the coming year is a cause for celebration.
Ian Siegal – also often tagged as a blues performer but he too renders the term inadequate – and his band played a cracking show at Sage Gateshead’s Hall 2 in April in support of his latest album, All The Rage.
Siegal has won all manner of awards in roots/blues publications but the new record still managed to draw new superlatives from a variety of music critics.
In a year that also featured the 50th anniversary tour of Jethro Tull (at Newcastle City Hall), the long-running jazz ensemble, a return of the revised line-up of the Wailers, Sun Ra Arkestra, Hypnotic Brass Ensemble, blues-rocker Joe Bonamassa, and a wonderfully-performed tribute to Etta James by Australian team Vika Bull and the Essential R’n’B Band, simply demonstrates the wealth and range of what was on offer.
What the year did underline, if indeed that were necessary, is the fact that the region is blessed with some terrific venues of all sizes and that the appetite for live music – whether by oldsters or young-guns, mainstream or niche acts – is undimmed. Slàinte.