Or perhaps some East Coast singer-songwriters...

This is an idea that only really crystallized for me today. In truth it has roots that go back much further. Consider this a start - a declaration of my intent to do something. In a strange way the catalyst was reading the Latitude 2013 line-up. I had so many good times there in 2007-2011 but I really don't regret the fact that I'm not attending in 2013. There are of course many acts/artists that I'd like to see - some of which I already have seen and others that, at the festivals that I am attending this summer, I will have the chance to see in smaller surroundings. Aside from that, Latitude in east Suffolk is a long way from home - a round trip of almost 500 miles - and that costs in both time and fuel. I suspect that, sooner or later, the lure of Latitude will tempt me back.
All I need to do now is work out what it is that I want to write.
In some ways the hardest part is now done - for me the hardest part of any project is getting started and this entire blog is a fine example of that!

Samantha Twigg Johnson performing with 10-string cuatro at Folk Weekend Oxford 2013.

Studio stage, Old Fire Station. In this instance the artist, originally from Illinois but now based in Oxford, UK, and album 'Organ of Habit' (2007) were unknown to me up until this point.

This is not however the case with the following. The 2011 album 'Strangers Who Knew Each Other's Names', by New Yorker Annie Dressner, has been known to me for a while.

Further to that she has been on my list (albeit a rather lengthy one) of artists that I wish to see live. That particular issue has been neatly resolved as she too has moved this side of the pond and, even better still, is one of the artists at Frome's Acoustic+ on May 24. 

Folk Weekend Oxford 2013 - The Pub Sessions

I caught part of several of these and they provided some of the highlights of my weekend. The first was that in James Street Tavern on Friday evening and, before I go further, this is exactly the kind of pub that we must all treasure and support: see here. I had never been there before - and first impressions count more than most - so I shall start somewhat after midnight or, in other words, very early Saturday morning...

A little time and some more ale later but still going strong.

This next is from the session in the café-bar in the Old Fire Station on Saturday afternoon, which was a monster in terms of both duration and participation.  This is just a snapshot of the centre of the musical melée at this time.

I did some counting ... this included nine fiddles, four melodions, three flutes, two clarinets (and a fair few other instruments too) all playing together. It worked beautifully.  The next picture is another view of the same, focussing on reed instruments including two piano accordions, and taken just seconds later.

Next to mention is the 'Scandinavian Sessions' in the 'Far From The Madding Crowd' pub on Saturday. It was fascinating not just for the music played but also for the instruments used to play it. Here are two of them...

In the foreground is a fiddle with nine strings, only four of which you can bow while the remaining five are sympathetic. The other even more complicated instrument, which is being played, is a nyckelharpa and it has sixteen strings, of which twelve are sympathetic, and both instruments are now largely confined to Scandinavian music - the nyckelharpa to Sweden in particular. The long, dark, winter nights must make the development of such complicated creations appealing but, I have to say, the effort was well worth it; they both sound absolutely wonderful.

Folk Weekend Oxford 2013

I booked my ticket for Folk Weekend Oxford, the second edition of this festival, the very same evening that I heard the first rumours that the second edition of Frome Folk Festival (February 2013) would not be taking place as planned. That said, I would very happily have attended both and I very much hope that it will be possible to do exactly that in 2014.
  

Before I start on more detailed commentary concerning who and what I saw I have to mention my respect for the organizing committee and all the volunteer stewards and technical staff. From the printed programme to the nitty-gritty of keeping everything on-track and running-to-time across multiple venues, which is no mean feat in itself, they also arranged for near perfect weather too. That is a big ask, especially in light of the last year or so!
On offer were performances by large ensembles in almost incredibly intimate venues, such as Oxford Fiddle Group in the Studio at The Old Fire Station.
  

Slightly more than half the OFG seen here in the accompaniment of Appalachian tap dancing. I would have needed a fish-eye lens to get the whole picture in a venue that seats about fifty. I might try stitching two pictures together in due course. The audience outnumbered the performers by only a ratio of 3:1!

To this, for the taking of which I had to turn my back on the gaze of Apollo.
  

Emily & The Tunesmiths, playing under the watch of the Greek Gods,

in the atrium of the Ashmolean Museum.

I shall head to The Old Fire Station Theatre for just two of the acts that I saw there. For now these are focussed on just one artist from each, although both acts and their sets were sublime.

On Saturday, Tyde... with Andrew Waite playing piano accordion.

  

On Sunday The Melrose Quartet.

Richard Arrowsmith playing melodion.

    

That, I'm delighted to say, was not even the half of it and that is to say nothing about the sessions.