Wednesday, May 17, 2017

New Music 2017 - Part 20 - This Is The Kit - Moonshine Freeze

As much as I love discovering music that is new to me, particularly so live, there is after ten years of festivals the opportunity to see progression. I could cite examples over a longer timescale than this but I am excited about a band that I first saw live playing the Walled Garden stage, at Green Man Festival 2015.  At that point they were touring the LP 'Bashed Out'.  This Is The Kit is appearing at Green Man Festival 2017 and the band will have a new LP from which to perform songs.

This Is The Kit - Moonshine Freeze (Rough Trade Records, 7 July 2017).

Here is This Is The Kit at that Green Man Festival gig back in 2015. The sun came out for the first time that day.

Walled Garden stage, Green Man Festival, 22 August 2015.

To categorise the music of 'This Is The Kit' is almost impossible and I like that: folky, bluesy, roots, and always just inventive, slightly off-kilter and gloriously, but tastefully, unpredictable. You can see why they are back at Green Man; also why Rough Trade and the band have signed some paperwork. It says a great deal about the ethos of all parties concerned.
One of the standout performances of Green Man 2016 was another Rough Trade artist and it wasn't even the first time that I had seen them live either; that was Warpaint.

Monday, May 01, 2017

Another musical journey.

I said that I would do this over the Easter break but I didn't. I'm now thinking that I need at least six weeks between such projects and it's not about finding the music. I love doing that - I wouldn't be writing at all if that were not the case. It's more the richness and variety that is on offer; I could write twice as many posts if I only listened to a quarter of the new (at least to me) music that I do. Posts like this are the ones I like doing the most. They are the most rewarding but they take the longest time to figure out. That's the excuses done.
If it raises awareness and sells a few of the artists' works then that is good enough for me.
Let's go!

The last post of this kind Imaginary Appalachia started in Canada. This one starts in Michigan and I'm not sure that we will get any further south this time, although the music might at times suggest that we have.

Red Tail Ring - Fall Away Blues (CD Baby, 2 September 2016).

This is the most recent release from the Kalamazoo, Michigan based duo that comprises Laurel Primo and Michael Beauchamp. Entirely acoustic, it contrasts new takes on traditional songs and tunes with new ones that tackle themes such as gun crime (something in traditional music that is as old as guns), immigration and environmentalism (both of which are barely less so). It is their fourth album release.

Now this.
It is, as the artist says, "more southern and more country influenced" than her first release 'Sad-eyed Lomesome Lady' and I will return to that in another post. Raised in East Vancouver, BC and now based in Saskatoon, SK (and also in Toronto)  this is all about... quite simply  the things that she wanted to write about and it is not going to get a party started.

Steph Cameron - Daybreak Over Jackson Street (Pheromone Recordings, 21 April 2017).

I only happened across this artist by a rare strike of fortune. Yesterday. It got me thinking and now writing again. It is as sparse and beautiful in its production as it is disenchanted, yet hopeful, in its content. The most important thing is that it is always questioning but never preachy.

This journey is not really about new music. I discovered the next record after it occurred to me that I couldn't recall having heard anything new from Canadian fiddle player and singer-songwriter Kendel Carson in a couple of years.  I found this... and if you like female vocal harmonies and multiple fiddle players this could be just the thing for you too.

Belle Starr - belle starr (Roaring Girl Records, 2 April 2013).

The two other artists are Stephanie Cadman and Miranda Mulholland. The trio had previously released an EP 'The Burning of Atlanta' in April 2012 but that is harder to find. In both cases there are quite a few covers.  I think that, to be found on the above-mentioned LP, the cover of Bruce Springsteen's 'Tougher Than The Rest' is particularly effective.

Not all the content relies on lyric and the fiddle tune 'Charity Kiss' is top-notch. It reminds me just how much I like this sort of music and, therefore, of Orcadian fiddle group Fara.
The penultimate track 'Art O'Leary' is an English translation of an Irish poem, 
Art Ó Laoghaire, set to music.  He fought for the Catholic cause with the Hungarian Hussars, in the army of Maria Theresa in the mid-late 18th century and survived that only to be murdered on his return to his family in Ireland.

This journey will end with a Canadian duo - Kacy & Clayton -  that has covered another poem set to music. This one is often regarded as trad. and anon. but in fact it is nothing of the kind. That song is not, however, on this that is their second LP.

Kacy & Clayton - Strange Country (New West Records, 6 May 2016).

For me the classic cover on this album is their take on 'Over The River Charlie' that is an American song of long standing.  It is not the song I was alluding to above, however.

That is 'The Dalesman's Litany' and it appears on the the 2013 album 'The Day Is Past and Gone'. It is in fact a 20th century song in the sense it is now known.
The words, originally a poem in Yorkshire dialect, were written and/or collected by Frederic William Moorman (1872 - 1918), the first Professor of English Language at the University of Leeds (1912 - 1918). The setting of it to a tune, by Dave Keddie of Bradford, Yorkshire, came decades later.
The first commercially released recording of this song that I am aware of is that by Tim Hart and Maddy Prior on their first record as a duo, 'Folk Songs of Old England Volume 1' (1968). On this the lyrics have been "translated" into more prosaic English. The duo later became the core of electric folk band Steeleye Span and the song became a classic of the British folk revival.
The thing about the version by Kacy & Clayton is its beautiful naïvety; i
t is all the better for the fact that a few of the many Yorkshire locations mentioned in it are mispronounced but, like so many before it, the song has crossed the ocean.

Saturday, April 29, 2017

New Music 2017 - Part 19 - Wrangled - Angaleena Presley

When 'The Pistol Annies' hit the world with a delightfully sardonic take on country, back in 2011, it would be fair to say that Angaleena Presley was the least well-known of the three and, perhaps actually rather importantly, the oldest. Miranda Lambert and Ashley Monroe were already better known.
She was also the last of the three to release a solo LP and that when it came was the brilliant, off-kilter 'American Middle Class' in 2014. It immediately caught my attention, in the time before Margo Price was known-about, for it's uncompromising take on the grubby underside 
of the American Dream.
The two have rather different takes on what at the end of the day is discrimination, inequality and sheer frustration. The thread is that they are both brilliant about putting them to words and then weaving those words into songs. Songs that people far away can still relate to. 

I'm not afraid to write this and not least because Britain has plenty of the same problems and I'm not one to try and deny that. It is a big issue and also a massively divisive one: Poverty, history suggests, does not tend to bring people together.

What I will say is that, of the most recent solo albums from each of the Annies, this is (and the others both guest on it, so its very clear they are still in touch) the the point when 'Holler Annie' finally becomes Angaleena the outlaw Annie.

Angaleena Presley - Wrangled (Mining Light Music/Thirty Tigers, 21 April 2017).

Pretty much nothing that she turns her lyric to, and therefore her voice also, comes out smelling of roses. That is telling it nicely; she often doesn't.
I don't even need to include the track-list because, in true old-school fashion, it is on the cover of the record. This release has multiple issues and one of them is that it may turn out to be amongst the best albums of 2017.
Yes, of course I would like to see Angaleena play live again.
 Not least because I know that she is astonishing. She is far better than my photography.

Stage 1, Cambridge Folk Festival, 31 July 2015.

Monday, April 17, 2017

New Music 2017 - Part 18 - Turn Your Face To The Sun - I Draw Slow

This is just so welcome news.
From Dublin, but also Americana and roots inspired, please embrace the return of 'I Draw Slow'. Centered around siblings Dave and Louise Holden the band is so much more than that.

I Draw Slow, Turn Your Face To The Sun (Compass Records, 21 April 2017).

I Draw Slow - Turn Your Face To The Sun:
  • Maria
  • My Portion
  • Same Old Dress Will Do
  • Garage Flowers
  • Apocalypso
  • Don't Wake The Children
  • Alveregna
  • Tell The Girls
  • Carolina
  • Twin Sisters
  • Crooked Life
This is Don't Wake The Children, taken from the new album...

You might find that a little searching of the bands's earlier recordings is rewarding too. Just one example, and another video, is this.

  'Goldmine', taken from the 2011 LP Redhills .

Wednesday, April 12, 2017

New Music 2017 - Part 17 - The Vintage TV Recordings - Danni Nicholls

Three months into 2017 and the days are longer. I have some 2017 festival tickets booked but the summer still feels a way off. Over the Easter weekend I intend to embark on another virtual road trip through music whilst also considering the fact that logic dictates at least some of the defining LPs of 2017 must have now been released, the consequent problem there being that I may not actually know about them yet.
Before that I'm going to indulge in my liking for live recordings; to wit that which is the title of this post. I finally saw Danni Nicholls live at Truck Festival last July after a couple of false starts due to venue issues resulting in shows cancelled to the detriment of all concerned.

This comprises tracks from both LPs and 
I have mentioned them before in posts. They are 'A Little Redemption' (2013) and 'Mockingbird Lane' (2015).  The play list here is as follows:
  • Long Road Home
  • Leaving Tennessee
  • Beautiful Game
  • Hey There, Sunshine
  • Beautifully Broken
  • Between Forever and Goodbye
  • Where The Blue Train Goes
  • Let Somebody Love You
  • A Little Redemption
If you like this you will like both the studio LPs too.  I believe that her third LP is in the works. Be that as it may I strongly recommend that you also need to catch the artist live-for-real because even the best, most sensitively produced, live recording doesn't hold a candle to being there in person.

Danni Nicholls, Saloon Bar stage, Truck Festival, 16 July 2016.

Saturday, April 01, 2017

New Music 2017 - Part 16 - Heavy Heart - Keepsake

Another band that was new to me as the result of seeing it live at a festival is London-based five-piece Heavy Heart. This was courtesy of Truck Festival 2014 and here they are playing then.

Heavy Heart, Veterans and Virgins stage - Truck Festival (18 July 2014).

As I mentioned in my last post there are acts that once heard are not easily forgotten and Heavy Heart is one of those as far as I am concerned. Throughout 2016 the band raised its profile on social media by releasing a new song each month. If you missed all this you can download or stream the songs from these links. In early 2017 it was announced that these songs would also gain a physical status as 'Keepsake' through new independent label I Can & I Will Records.

Heavy Heart - Keepsake (I Can & I Will Records, 31 March 2017).

It is still available but there is a catch.  The release  is limited to 300 copies, all numbered and signed, and it is only available on raspberry-coloured 12" vinyl (£10 + p&p), which quite frankly is a bargain given the prices being asked for many main-stream releases on vinyl at the moment.
This is the track listing:

Side A:
Time Will Stand Still
Teenage Witch
High Dive
Pretty Thing

Side B:
What Became of Laura R?
Fever Dream
Late to the Party
The World Is a Gumball
The Way Home

Now all I need to do is see the band live once again.

Friday, March 31, 2017

New Music 2017 - Part 15 - The Secret Sisters - You Don't Own Me Anymore

It was only last weekend that I was discussing the impact that new music can have on me, particularly when blind-sided by something unknown and therefore quite unexpected. It has happened quite a few times now, most often at festivals, and it is a thrill that doesn't seem to diminish with each incidence thereof.
This is about one such act that I mentioned here and one that I am happy to report has resurfaced after a very challenging time that involved being dropped by their record label and various other soul-destroying events. This is one of the very few pictures I took then and long before all that happened to them:

The Secret Sisters - Garden stage, End Of The Road Festival, 5 September 2011.

I mention this because The Secret Sisters are back! Laura and Lydia Rogers had been writing songs in a desultory fashion and with no real expectations until towards the end of 2015 when Brandi Carlile coaxed them to play support for her in her native Pacific Northwest.
Then she 
told them that she was producing their third LP (that wasn't even written) in collaboration with her own co-producers the Hanseroth Twins.

This re-focussed the songwriting; the experiences of the previous few years becoming material for whole new set of songs and this is the result.

The Secret Sisters - You Don't Own Me Anymore (New West Records, 16 June 2017).

The Secret Sisters - You Don't Own Me Anymore
  • Tennessee River Runs Low
  • Mississippi
  • Carry Me
  • King Cotton
  • Kathy's Song
  • To All the Girls Who Cry
  • Little Again
  • You Don't Own Me Anymore
  • The Damage
  • Til It's Over
  • Flee as a Bird
That is the playlist and this is the opening song. I can't wait to see them live once again.

Friday, March 24, 2017

New Music 2017 - Part 14 - Holly Henderson - Opium Drip EP

So this is another 2016 release that I missed. No surprise there I suppose, but what a fail this was. 
Holly Henderson has history as a guitarist known as 'Kitty Vacant' in all-female punk group 'The Sex Pissed Dolls'. I realise that this isn't getting me off to a promising start when it comes to enthusiasm for the artist, who hails from Maidstone, Kent. In terms local to here Maidstone evinces the same kind of sympathetic condescension as Trowbridge. Both are very forgettable county towns.

She decided to break away from the outright noise [although she now also plays with Los Angeles-based multinational hard rock outfit DORJA --- about which I shall mention more very soon] to record solo stuff that shows that she is a sensitive guitar player and
 also a fine songwriter too. The result is this, which she regards as an EP but at seven tracks and almost 33½ minutes in length is at least a mini-album. She is entirely responsible for the cover artwork too.

Holly Henderson - Opium Drip EP (self-released, 30 August 2016).

This is the playlist:
  • Breakdown
  • Life Has a Bug (I Fell Ill)
  • Side Streets
  • Your Hands
  • Cold Cold Heart
  • Opium Drip
  • The Game
A full LP is to follow soon and apparently the only track from the EP to appear on it will be the song 'Opium Drip'. If it is as good as the EP then it will be quite something.

Tuesday, March 21, 2017

New Music 2017 - Part 13 - Oka Vanga - Dance Of The Copper Trail

Thanks to many people, not least the band, this is the next in a series of posts about new music that has grabbed my attention for all the right reasons.

Oka Vanga - Dance Of The Copper Trail (Crazy Bird Records, 31 March 2017).

Oka Vanga - Dance of The Copper Trail:
  • The Wicken Tree
  • Capercaille
  • Ashes To The Wind
  • She Moved Through The Fair
  • Don't Let The Clouds Roll In
  • The Devil's Tide
  • Song of the River
  • Rose of the Hill
  • My Sweet Guitar
  • Out Of The Fire
  • This Train
The heart of this duo is husband and wife Angela Mayer and William Cox, the former from South Africa and the latter from London, but what you get here goes far beyond anything that those facts might begin to reveal. This is their second LP, following 'Pilgrim' of 2014 that was instrumental. If songwriting and singing talent was hidden under a bushel then, neither is the case any longer! This album also features Patsy Reid from Scotland on fiddle and Oliver Copeland on double bass. The variety in the songs is just about perfect.
'The Wicken Tree' is a new revelation of many an old theme; 'She Moved Through The Fair' is a song about as venerable as any that can be reliably traced - the air is likely of mediaeval origin and may have origins in the music of south-eastern Europe. Regarded as of Irish Tradition numerous versions, yet still recognisable as such, are to be found throughout the folk canon of the British Isles and especially so in the Romany communities of Ireland as well as further afield, particularly in North American tradition.
The lyric is usually adapted to fit the place and circumstance so it is probably rather recent by comparison. It has been serially adopted by players and singers wherever have found themselves, often far away from their native home, and this elective mutability is another key attribute of folk tradition.
You could 
sing about the hardships of cod fishing on the Newfoundland Banks when stuck in drought-stricken Oklahoma during the years of the dust bowl and depression, if only for the sake of remembrance. Most likely you would still sing but about things more immediate and pressing.

One of my particular favourites, given just a couple of listens through the whole album so far, is 'The Devil's Tide'.
I'm wondering if this has subconsciously to do with the fact that last week was the fiftieth anniversary of the disaster that was the wreck and foundering of the oil tanker 'Torrey Canyon' off the SW coast of Cornwall on 18 March 1967. The French called the shoreline pollution that the spill caused "la marée noire" - the black tide.  It is in fact about a quite different peril 
on the high seas - piracy -  and in this case a female pirate from Co. Cork, Ireland!

Here is the aforementioned 'She Moved Through The Fair' performed live:

There is also a song about the plight of coal miners 'Rose Of The Hill' and one about railways 'This Train', so that has most of my folk interests covered.
This is the variety you get here and it is well worth your time to explore it. Oka Vanga is well and truly added to my list of acts to see live.

Saturday, March 11, 2017

Imaginary Appalachia - a road trip through Americana.

These posts are the hardest kind to write but, perhaps because of that, also some of the most interesting and rewarding to attempt.  I was never one for writing fiction when at school and I doubt that I could do it convincingly now.

We start this trip, the title of which is inspired by the title of his 2015 EP, with Colter Wall, a native of Saskatchewan, Canada. His first LP 'Colter Wall' is coming soon.
Colter Wall - Colter Wall (Young Mary's Records/Thirty Tigers, 12 May 2017).

This is a live version of 'Kate McCannon' from that LP, recorded in 2015. He supports Margo Price on her US  spring tour.

This next artist isn't from Appalachia either and is not so well known in her own right as perhaps the songs and certainly the artists for whom she has written or co-written. This collection is about the place, quintessential rural America, which she remembers as the home of her grandfather in Puxico, Missouri. It is all her own but the supporting musicians and the production (by her husband Mike Wrucke) is absolutely top class.

Natalie Hemby - Puxico (GetWrucke Productions, 13 January 2017).

In this next record we are finally approaching Appalachian territory; Rayna Gellert, a co-founder of Uncle Earl, is a traditional fiddle player with roots deep in mountain and string band territory.

Rayna Gellert - Workin's Too Hard (SoundStory Records, 20 January 2017).

She is also a fine songwriter and this, following 'Old Light: Songs From My Childhood and Other Gone Worlds' (2013), is the second release in her pursuit of that space. Her desire in this is that innovation need not be, and indeed should not be, stifled by the desire to preserve tradition. Both outcomes can co-exist to the benefit of all.
Of the seven tracks here five are written or co-written by Rayna Gellert. The other two are interpretations of the traditional songs 'Oh Lovin' Babe' and 'I'm Bound For The Promised Land'.

This next record is a paean to the value of the journey itself rather than the knowledge of its ultimate destination.

Julie Byrne - Not Even Happiness (Grapefruit Record Club, 13 January 2017).

If you like finger-picked acoustic guitar and contemplative lyrics, as I do, this might be right up your street. Originally from Buffalo NY she has travelled and lived across much of the continental USA in places as far removed from each other as New Orleans and Seattle. Sometimes she briefly heads to Europe too. If all goes as planned then our paths will cross in August as Julie Byrne plays Green Man Festival 2017.

The journey's end is this album, likely  the best known artist/album of the five as a result of her work with Carolina Chocolate Drops and then her 2015 LP 'Tomorrow Is My Turn', which was all covers and now this that is not.  Whilst the record was quite certainly planned, conceived and recorded before the denouement was known, the title and subject matter could hardly have been more prescient.

Rhiannon Giddens - Freedom Highway (Nonesuch Records, 24 February 2017).

Rhiannon Giddens playing fretless banjo, Stage 1, Cambridge Folk Festival  -  1 August 2015.

Well that's it for this post. Five albums, one soon to be released and four already released in 2017 and we're only just approaching the Ides of March!
There is certainly no shortage or variety of new music that a little exploring can't uncover. The only problem with trips like this is that as soon as one is over the bug bites again. It is time to start planning the next.
The question is should it be Antipodean or Scandinavian?

Tuesday, March 07, 2017

New Music 2017 - Part 12 - Threaded - Of What We Spoke

First off,  this is their début album from 2015, so not 2017. The reason I am including it here is that having managed to avoid discovering it for eighteen months or so and I'm guessing I might not be the only one.
Secondly, I really like it and I feel that it is too good not to share. Suffice to say 'Threaded' is another act on my list of priorities to see play live.

All classically trained at the Birmingham Conservatoire, Threaded comprises:
  • Jamie Rutherford - vocals, guitar
  • Ning-ning Li - violin
  • Rosie Bott - clarinet
Their music is contemporary folk, both tunes and songs, not least for the inclusion of clarinet. As far as I am aware these are all new compositions but if I'm wrong about that please let me know.  This is the track list:
  1. The Living Room
  2. Left Off
  3. Captain Markham
  4. A Secret Charm
  5. Dreamfire
  6. Mr. & Mrs. Jones
  7. Drafted
  8. The Courtyard
  9. Flat 71
  10. Return to Penpole Wood
  11. Crosse/Parrack
  12. You Will Always Be The One
This is a taste of what to expect.

Sunday, March 05, 2017

New Music 2017 - Part 11 - All Our Exes Live In Texas - When We Fall

Sometimes, maybe it is that time of year, I awake to the idea of Spring, albeit as yet unrealised, and some ideas of silliness that befit the March Hare. This is exactly that - the band name is stupendously unhinged - and  it comes from Australia;  Sydney for the most part.
This is just pure delight --- unadulterated and un-adult-rated. reckons that it is rock while reckons it is pop and that only shows that it's not so obvious that it can be pigeonholed. I'll just say that it's a whole lot of fun because it is easy to take music too seriously and there is no real need to do that. The album art effortlessly rolls back four decades and then some, into the bargain.

All Our Exes Live In Texas - When We Fall (self-released/Whirlwind Entertainment LLC, 3 March 2017).

When We Fall - All Our Exes Live In Texas:
  • The Devil's Part
  • I'm Gonna Get My Heart Cut Out
  • Boundary Road
  • When the Sun Comes Up
  • Tell Me
  • Parking Lot
  • Candle
  • Sailboat
  • Oh Lover of Mine
  • Don't Cry
  • Childhood Home
  • Cadillac
Modern folk-harmony anyone. If anything at all it has echoes of The Pipettes (at least to me) and on the other hand it is rather less cynical. Does it really matter when it sounds this good and that Pipettes album is now ten years old? Of course it doesn't!

These acoustic sprites are:

Hannah Crofts  ---  vocals, ukulele
Georgia Mooney  ---  vocals, mandolin
Elana Stone  ---  vocals, accordion
Katie Wighton  ---  vocals, guitar

Just something to make the coming week seem a little better and remind one that there is always so much new music out there waiting to be discovered, enjoyed and championed.

Saturday, February 25, 2017

Girls That Own The Blues

This follows on from my previous post about Rebecca Downes. It is easy to underestimate what is going on here and the title of this post is adapted from the title of one of the songs on this next EP
Quite possibly you have seen me reference Joanne Shaw Taylor in the past and both are, coincidentally, from the West Midlands. The thread of live music, including recorded releases thereof, continues here.

Elles Bailey is from Bristol and her second EP, 'The Elberton Sessions', was recorded  live (self-released, 2016).

I very rarely post links like this but listen and then buy it and maybe her previous EP 'Who Am I To Me' (2015) too.  She is right near the top of must-see live artists in 2017.

Note added 7 March 2017:
Elles Bailey's full length is due in June, title t.b.a.

This next artist is one I have seen live several times before and would quite happily see once again. This is her latest LP, and the follow up to 'Dirt On My Tongue' (2013). This picture harks back to the days of that self-released début album, the interest it garnered and the touring that ensued.

Jo Harman, Cheese & Grain, Frome. 27 October 2013.

Jo Harman - People We Become (Total Creative Freedom, 3 February 2017).

She has released a live album too, for live is the theme here, and it was recorded in 2014 for the BBC, no less, and the venue was hardly shabby either.

Jo Harman and Company - Live at The Royal Albert Hall (Total Creative Freedom, 27 October 2014).

New Music 2017 - Part 10 - Rebecca Downes - BeLive

My liking for, and the revival in fortunes of, the live album is something that I have mentioned in the past. Few are more welcome or rewarding than this.

Rebecca Downes - BeLive (Mad Hat Records, 27 January 2017.)

I have seen Rebecca Downes live a few times and she and her band are always top of their game. The studio CDs are good, really good, but live there is just a whole new dimension. For want of a better one that word is tension - you discover that the power she sings with is far away from some studio-created phenomenon.
Rebecca Downes was voted 'Best Emerging Artist' and 'Best Female Vocalist' at the British Blues Awards 2016 and this thirteen-track recording, that includes a few covers as well as many of the band's own songs, is where you get to find out why. Nothing, of course, is a substitute for attending a live gig.

Cheese & Grain, Frome, 8 May 2016.

Friday, February 10, 2017

Festivals - a road trip through music

In the last week or so all three festivals for which I have a ticket have released details of the first tranche of artists that are appearing. Perhaps it is worth mentioning that in all cases these are festivals that I have attended on multiple previous occasions and so I had established trust sufficient to purchase tickets prior to having any associated acts announced.

Not all of this post concerns artists announced as mentioned above but it does go some way towards explaining my method and rationale for discovering music that is new or new to me and why festivals play such an important rôle in that. The road trip analogy is apposite - it is a journey for which there is a defined starting point but neither is there a predictable end point or a route.
In addition there is the BCR analysis of this approach, which is similar to the formula applied to assessing the economic value of public works projects. In this case it stands for Benefit-Cost-Risk (as a calculation), rather than Benefit : Cost ratio!

Festival tickets are good value in comparison with individual concert tickets (assuming one makes good use of what is on offer) and there is far less time and money spent on travel.  One can take risks on seeing artists that are little known because if disappointment strikes, and occasionally it does, there will always be others to see instead.  There will also be completely unexpected delights (one from EOTR 2016 here), however much pre-festival homework one does. Indeed I am coming to the conclusion that it is possible to do too much beforehand and that it stifles instinct.

With that in mind here are a few artists that I have on my radar.

Courtney Marie Andrews - Honest Life (Loose Music, 2017) plays End Of The Road 2017.

This one however is not playing the UK festivals as far as I am currently aware.  If she turns up at a festival I am attending then I'll be watching. This is another great album of careworn alt-country.

Goodluck Man - Carson McHone (Good Horse Record Company, 2015).

In recent years there have been accusations that a number of festivals (and I'm not going to name names before you ask, just figure it out for yourself) book a relatively small proportion of female (or female-fronted) acts, particularly as headline artists.
Just for a moment let us put that aside. Here is something that is almost never mentioned at all.
Gaelynn Lea is one of the most astonishing virtuoso fiddle players of recent years, of both her own and traditional music, but you may possibly never even have heard of her. She is playing End Of The Road 2017 and is on my must-see list.

Here are her interpretations of the traditional Scottish song 'The Parting Glass' although it is now often most associated with emigration from Ireland, and 'Brenda Stubbert's Reel' (and similar spellings) that is an Irish tune that has become particularly associated with Cape Breton Island, Nova Scotia, Canada. Music travels!  Gaelynn Lea herself is from none of these places; she hails from Duluth, Minnesota.

The Songs We Sing Along The Way EP - Gaelynn Lea (CDBaby, 2016).

Consider it and then read this article and watch the longer live set. You hadn't guessed that had you?

That seems a natural place at which to end this post. I shall return to the road-trip theme soon. There will be some male artists too on the second leg of this haphazard journey.