Moseley Folk: the only festival where you can watch a mid-Atlantic-styled alt-country act amidst a band of scurrying youngsters having a hay fight. Moseley Folk: the only festival which epitomised the sentiment of ‘Sunday morning coming down’ on a Friday teatime by the sequential scheduling of Seth Lakeman’s fiery fiddle playing and Nadia Reid’s absorbing Kiwi noir. Moseley Folk: the only festival where the blissful tones of Laura Marling persuaded the rain clouds to halt their activity. Regardless of where the 2017 renewal of the Moseley Folk Festival stands in comparison to its eleven previous stagings, this year’s had an alluring pulse that ignited a weekend of eclectic music. Whatever the persuasion, style or origin of influence, it’s all folk music dressed in many coats.
Although the scheduling does allow the utmost dedicated festival music fan to absorb themselves into close on forty acts across the twin main and Lunar stages, reality requires brief periods of easing off. Of course when to vacate that close up stage proximity can add to the conjecture and lead to just offering casual observations on artists like Jose Gonzalez wooing an enthusiastic main stage gathering on Saturday. Similarly, positive reports of Roddy Woomble doing likewise the following day surfaced, but there are times for a cup of tea and the lure of the mightily impressive Emily Mae Winters playing a super set on the aforementioned Kitchen Garden stage tucked away in a corner of Moseley Park.
|Courtney Marie Andrews|
Before we head back to the core of Moseley Folk and the songs of our home isles, a quick mention for Kaia Kater and a brief glimpse into the roots world of this Canadian banjo player. Noon hadn’t yet struck when she took to the stage, but soon had the early gatherers hooked with her style of folk music, even to the extent of inducing a little dancing. For those interested Kaia returns to Birmingham later in the year to open for Rhiannon Giddens in the Town Hall show; this is an event not to be missed.
Amy Macdonald and Laura Marling were the respective Friday and Sunday night headliners. Comparisons are aplenty on a literal level including a rapid rise to the top barely before reaching the ripe old age of twenty. Both brought plenty of fans to the festival, no doubt hooked into their contrasting performing styles. Amy decided to break away from her full band sound that has formed her pop-rock tonality for this event, bravely stripping all the electrification out and letting her popular songs feed an expected audience. Laura maintained the convention that surrounded her touring year in support of the excellent album SEMPER FEMINA, even to the extent of keeping the set list in tact including a spinetingling rendition of the Townes Van Zandt composition ‘For the Sake of the Song’. This format is a fuller sound than some of her previous acoustic outings and generally in line with the tones of her latest two records.
|Shovels & Rope|
We now are entering the territory where folks may be screaming ‘what about this highlight or that band’. So to tackle just a few, let’s start with The Magic Numbers rolling back the years with a main stage set on Friday evening. This double brother-sister combo cranked up the volume considerably, probably rocking out most over the weekend, capably led by Romeo Stodart on lead guitar and impressively supported by Michele on bass. The set was a mixture of singalong crowd favourites at the beginning and end, sandwiching a batch of new songs signalling an attempt to re-capture the heady days. To an outsider, they brought vitality to the festival and variation to add to the eclectic nature.
|Emily Mae Winters|
The festival’s Lunar stage is often the source of the eclectic offering and this was exemplified by the toe tapping rhythmic tones of Nifeco Costa & Babcock Jazz, just as the threatening rain kept its distance on Sunday afternoon. Later in the evening, Birmingham’s own crazy band The Destroyers thrilled newbies and regular festival goers alike with a raucous set splitting the more cultured acts of Kate Rusby and Laura Marling. The Trembling Bells proved regular visitors to this stage, playing to their loyal Birmingham followers twice, including a set with Mike Heron of Incredible String Band fame.
Just a final few quick words for Standing Waves who were that band enjoyed amongst the hay throwing and all the artists playing the Kitchen Garden stage. Sadly, only Ashland on Friday and Emily Mae Winters likewise on Sunday drew me away from the main two stages, but this is no slight on the artists who make this an essential festival feature, alongside the bar!
So apologies for not mentioning your favourite act of the weekend, or not eulogising enough about them. There is also no guilt in stating that the three pre-festival transatlantic favourites lived up to expectation with Scott Hirsch joining them. On Friday night, Courtney Marie Andrews was the star. By Saturday, Shovels & Rope had pushed her to the limit. However, the final word lies closer to home. Laura Marling, you were magnificent and the perfect send off until Moseley Folk Festival resumes its position as the city’s leading outdoor music attraction twelve months from now.