We decided our Tuesday outing would take place on Monday, the weather being the deciding factor. It was time to see a National Trust house dressed for winter. As members we resent paying to see a dressed NT house, so that was Waddesdon off the list. In recent years we have visited most Christmas dressed NT houses in the area, so decided to go a little further afield. We chose Mottisfont Abbey, it also seemed the rest of the world had also chosen this bright sunny day to visit. The car park was almost full, there was a thirty minute wait to get into the house. In hindsight, we should have had an early lunch or elevenses, and then visited the house, the queue certainly dissipated nearer 2pm.
The house had been decorated for Christmas along the theme of letters to Father Christmas and a visit to the North Pole (including a train!) with masses of trees and letters. Santas little helpers were busy organizing the presents to be delivered, along with lists of which children had been naughty or nice. Seems Stephen had been naughty. I loved the boys room, with a wigwam tent in the middle of the floor silhouetting the boys as they plotted to wait up and see Father C, and an electric model train (R thought “0” guage? LGB?) circling the room.
The winter garden was worth a visit. The walk along the river was alas closed. The ground was a little soggy underfoot, in fact we saw many flooded fields en route and masses of Old Man’s Beard in the hedges.
For years, the signs for the British Motor Museum in Gaydon on the M40 have teased us. We’d always meant to stop, but never found the time. Finally, the day arrived, and we embarked on our automotive adventure.
The museum isn’t just one building, but two. On our visit, there was also a conference happening, adding a buzz of excitement to the atmosphere. We even arrived in our Swedish designed, Chinese Built electric car, feeling a bit unpatriotic amongst the classic British exhibits.
Stepping inside, we were greeted by a timeline of British car history, with models from the late 1800s all the way up to modern marvels. It was fascinating to see how designs evolved, from early, clunky beginnings to sleek, aerodynamic beauties. The increase in the size of cars was startling.
Another area showcased futuristic concept cars, hinting at what our roads might hold in the future. Meanwhile, a film buffs’ dream awaited: British cars used in movies, including James Bond’s trusty Land Rover from Skyfall.
Leaving the first building, we crossed over to the second, home to a dazzling array of Jaguars and Land Rovers, alongside classic cars from other British marques. Each one whispered stories of engineering prowess and design audacity.
Overall, our visit to the British Motor Museum was a real treat. We were thoroughly impressed by the collection’s breadth and fascinating stories. The best part? Our tickets are valid for a year, so we can delve deeper into the world of British motoring on another day.
So, if you’re ever near Gaydon and have a passion for cars, the British Motor Museum is definitely worth a stop. You might just be surprised by the rich history and captivating tales found within its walls.
Rosemary and I attended the Gonville and Caius Commemoration of Benefactors Chapel Service and Dinner. The event is held annually to commemorate the benefactors of the college, naming the major benefactors since the foundation of the college on the 28th January 1384 by Edmund Gonville. (John Caius, the third founder, appeared in 1557.) The Commemoration of Benefactors service took place in the college chapel at 6.00pm. The service was followed by a feast in the hall, which was arranged in accordance with the memorandum of the second founder, William Bateman, dated 6 November 1352.
The celebrations began with tea in the Fellows Combination Room, where we met up with friends Richard & Andrea.
We then heard a lecture by Ms Merryn Somerset Webb, a Bloomberg Columnist. Apparently, she is an award-winning commentator on economics, financial markets, and personal finance, as well as a popular speaker and broadcaster. Her new book, Share Power, looks at how ordinary people can use the power they already have to make capitalism work for everyone. Ms Somerset Webb studied Economics at Caius in 1989, but later changed her degree course to History, as she wanted a first-class honours degree and was not going to achieve that in Economics (her thoughts not mine). Her lecture was very contentious, and in some cases, especially about renewable electricity, extremely contentious and to my mind plain wrong. She was baiting the audience and expected some comment on her renewable stance. She then launched into monetary policy, declining birthrates, immigration, and ownership of business. Some of this I did agree with, though her contentious thoughts on renewable energy will only have us fry.
After the lecture, we attended the Chapel Service. After the service, we made our way to the Senior Combination Room for drinks, and then to the hall for supper. The feast is a several-course meal with grace, matching wines and an address from the Master. Towards the end, the Caius Choir entertained us with various songs including ‘Ob-La-Di, Ob-La-Da’.
Following the meal, we retired to the Fellows Combination Room where we drank AnCnoc, a highland malt, cognac, and mingled with other guests, fellows, and choir members. It was interesting talking to the choir members, undergraduates, who seemed so earnest in their studies, a far cry from my days.
Well after midnight, we enjoyed a stroll across Jesus Green, disturbing a fox who was scavenging for food. He darted away in front of us and through a fence into a garden. We made it back to the hotel after 1.00am.
The Gallery
The Choir
The Menu
Ferat Prestige
Port poached chicory & goats cheese mousse: Quince purée, Romano pepper, avocado & lime emulsion.
Bodegas Rafael Palacios ‘As Sortes Val do Bibei’ Godello, 2016
Oi Va Voi, the London-based band that blends klezmer, dance, indie rock and alt-folk, delivered a stunning performance at the Cambridge Folk Festival 2023. The band, which has been active since 2000, showcased their musical versatility and wanderlust. The audience was captivated by the band’s energy and charisma, as well as the virtuosity of their musicians, especially violinist Anna Phoebe. The band received a standing ovation at the end of their set, and left the crowd wanting more. Oi Va Voi proved once again why they are one of the most innovative and exciting bands in the world music scene.
Jenny Colquitt is a rising star in the Americana scene, with a strong and expressive voice, impactful lyrics and winning melodies1. She was named as one of RnR Magazine’s ‘Ones to Watch’ in 2022 and won the FATEA ‘Female Artist of the Year’ award in 2021/20223. She performed on the Den stage at the Cambridge Folk Festival 2023, showcasing her talent and charm to a captivated audience.
One of the highlights of her set was the song Little Blue Boy, a lullaby-inspired tune that tells the story of a boy who falls asleep under a haystack while his animals wander off. The song has a gentle and soothing melody, with acoustic guitar and harmonica accompaniment. Colquitt’s vocals are sweet and tender, conveying the affection and concern for the sleeping boy. The song also has a touch of humour, as the animals try to wake him up but fail. The song is based on the traditional nursery rhyme Little Boy Blue, but Colquitt adds her own twist and flair to it.
Little Blue Boy is a song that showcases Colquitt’s ability to craft engaging and memorable songs, with a blend of folk, pop and Americana influences. It is a song that appeals to both children and adults, as it evokes nostalgia, innocence and warmth. Colquitt’s performance of Little Blue Boy on the Den stage was a delight to watch and listen to, and it left the audience wanting more.
f you are looking for a band that can make you dance, laugh and sing along, then you should not have missed The Chair at the Cambridge Folk Festival 2023. The Chair is an eight-piece band from Orkney that plays a fusion of folk, blues, rock, dub and klezmer music with a lot of energy and humour. They have been described as a “must-see festival band” and a “rampant ruckus of fiddles, banjos, accordions and drums”. Their latest album, Orkney Monster, is a tribute to the mythical beast that is said to lurk in the waters around their home island. The album features catchy tunes, witty lyrics. The Chair will played on stage 2 on Sunday at 4:30 pm. I did not regret seeing them, as The Chair delivered a show that left me breathless and exhilarated. The Chair is one of the highlights of the Cambridge Folk Festival 2023, and I am gladd I did not miss them!
I had the pleasure of attending the Cambridge Folk Festival on Sunday, July 30th, 2023, and one of the highlights of the day was the performance of Akram Abdulfattah, a young Palestinian-American violinist who mesmerized the audience with his unique and innovative music style. He played with his quartet “Awan”, which means “time” in Arabic, and they blended jazz with middle eastern and Indian influences, creating a rich and diverse musical experience. Akram Abdulfattah is a virtuoso on the violin, and he showcased his skills and versatility in every song. He also introduced each piece with a brief explanation of its origin and inspiration, giving us a glimpse into his culture and vision. He received national and international recognition for his talent and creativity, winning several prestigious awards. He also expressed his desire to use instrumental music as a tool to introduce the world to the Palestinian rich culture, legacy, and folklore. His performance was captivating, inspiring, and uplifting, and I highly recommend anyone who loves music to check him out. He is a rising star in the folk scene, and I look forward to hearing more from him in the future.
Hollie Cook is a singer and keyboardist who blends reggae, pop, and soul with a tropical flair. She has been making waves in the music scene since her debut album in 2011, and has collaborated with artists like Prince Fatty, Ian Brown, and Jamie T. She is also the daughter of Sex Pistols drummer Paul Cook, and the goddaughter of Boy George.
On Saturday, July 29, 2023, she graced the Stage 2 of the Cambridge Folk Festival, one of the longest running and most famous folk festivals in the world. The festival, which takes place in the grounds of Cherry Hinton Hall, offers a diverse and eclectic line-up of folk and roots music from across the globe.
Hollie Cook delivered a captivating performance that showcased her unique style and voice. She sang songs from her latest album, Happy Hour, which was released in 2022 and features a mix of upbeat and mellow tracks. She also performed some of her older hits, such as “Body Beat”, “That Very Night”, and “Tiger Balm”.
The audience was enchanted by her charisma and energy, and sang along to her catchy choruses. She interacted with the crowd, telling stories and jokes between songs. She also expressed her gratitude for being part of the festival, and praised the other artists who were playing on the same stage.
Hollie Cook proved that she is a versatile and talented artist who can blend different genres and influences into her own distinctive sound. She brought a tropical breeze to the Cambridge Folk Festival, and left the audience wanting more. She is definitely one to watch in the reggae scene, and beyond.
The Elephant Sessions are a Scottish indie-folk band that have won several awards for their energetic and innovative music. They blend traditional instruments like fiddle, mandolin and guitar with drums, bass and synths to create a sound that is both fresh and rooted in their heritage. They played on stage 1 of the Cambridge Folk Festival on Sunday, July 30, 2023, and delivered a stunning performance that had the crowd dancing and cheering. Their set included songs from their latest album, What Makes You, as well as some older favourites like Wet Field Day and Lament for Lost Dignity. They also surprised the audience with a cover of The Proclaimers’ I’m On My Way, which they dedicated to their fellow Scots who were headlining the festival. The Elephant Sessions proved that they are one of the most exciting and original bands on the folk scene today, and left the fans wanting more.
Angélique Kidjo is one of the greatest artists in international music today, a creative force with thirteen albums to her name. She performed at the Cambridge Folk Festival 2023 on Sunday, July 30, at the Cherry Hinton Hall2. Here is a short review of her show:
Angélique Kidjo dazzled the audience with her vibrant and eclectic mix of musical influences, from West African traditions to American R&B, funk and jazz. She sang in multiple languages, including her native Fon, Yoruba and French, as well as English and Spanish. She also paid tribute to some of her musical heroes, such as Miriam Makeba, Celia Cruz and Nina Simone. She invited the crowd to join her in singing and dancing, creating a joyful and energetic atmosphere. She also shared stories of her life and activism, expressing her passion for women’s rights, education and environmental issues. She ended her show with a stunning rendition of her hit song “Agolo”, which earned her a standing ovation from the festival-goers. Angélique Kidjo proved once again why she is called “Africa’s premier diva” by Time Magazine.
Today was another dry day for the folk festival. Sunday was definitley going to be a bit iffy. Andrea, Richard and SImon were coming to the festival. We met up and watched what we wanted to.
Angeline Morrison and The Sorrows Band delivered a stunning performance at the Cambridge Folk Festival 2023, showcasing their album The Sorrow Songs: Folk Songs of Black British Experience. The album, which was released in 2022 to widespread critical acclaim, is a work of re-storying, of lives and experiences, into songs in the folk style. It shines a long overdue spotlight on the historic Black experience in the UK folk tradition, which dates back to at least Roman times, yet is often hidden, forgotten or unacknowledged.
The band, composed of Angeline Morrison (vocals, autoharp), Cohen Braithwaite-Kilcoyne (anglo concertina, vocals), Hamilton Gross (violin, vocals) and Clarke Camilleri (banjo, guitar, vocals), blended influences from the Caribbean and Orkneys, where they have roots, with elements of soul music, literature, 60s beat pop sounds, folklore, myth and the supernatural. Their songs explored themes such as slavery, racism, identity, love and loss, with a deep love, respect and curiosity for traditional song.
The highlight of their set was the haunting rendition of The Brown Girl and Other Folk Songs, a song cycle based on the ballad of The Brown Girl (Child 295), which tells the story of a Black woman who is rejected by her lover for a fair-skinned woman. Angeline Morrison’s voice was captivating and emotive, conveying the sorrow and resilience of the protagonist. The band’s harmonies and instrumentation were exquisite and atmospheric, creating a spellbinding effect on the audience.
Angeline Morrison and The Sorrows Band are a rare gem in the folk scene, offering a unique and powerful perspective on the history and culture of Black British people. Their performance at the Cambridge Folk Festival 2023 was a memorable and moving experience that will stay with me for a long time.
Le Vent Du Nord was one of the highlights of the 2023 Cambridge Folk Festival, bringing their infectious and energetic Québécois folk music to the main stage. The band, composed of five multi-instrumentalists and singers, delighted the audience with their mix of traditional tunes and original compositions, sung in French and English. Their repertoire ranged from lively reels and jigs to poignant ballads and songs of protest, reflecting their rich and diverse cultural heritage. They also demonstrated their impressive musical skills on instruments such as the hurdy-gurdy, the fiddle, the accordion, the guitar and the banjo. The band’s charisma and humour, as well as their interaction with the crowd, made their performance a joy to watch. Le Vent Du Nord received a standing ovation from the enthusiastic fans, who sang along, clapped and danced to their catchy melodies. Le Vent Du Nord proved once again why they are one of the leading forces in Québec’s progressive francophone folk movement.
Gangstagrass was one of the most surprising and exhilarating acts at the Cambridge Folk Festival 2023, bringing their unique blend of bluegrass and hip hop to the main stage on Saturday night. The band, led by Brooklyn producer Rench, combines authentic bluegrass instruments and vocals with rap lyrics and beats, creating a new genre that bridges the gap between urban and rural cultures. Gangstagrass is best known for their Emmy-nominated theme song for the FX television show Justified, “Long Hard Times to Come”, which they performed with gusto and swagger.
The band’s setlist featured songs from their latest album, No Time For Enemies, which debuted at #1 on the Billboard bluegrass chart in 20202. The album tackles themes such as racism, social justice, unity and hope, with a deep respect for the roots and traditions of both genres. Songs like “Freedom”, “Ride With You” and “Ain’t No Crime” showcased the band’s lyrical skills and musical versatility, as well as their ability to engage and inspire the audience. The band also played some of their older classics, such as “Bound to Ride”, “Barn Burning” and “I’m Gonna Put You Down”, which had the crowd clapping, stomping and singing along.
The band’s chemistry and charisma were evident throughout the show, as they interacted with each other and the crowd with humour and warmth. The band members are Rench (vocals/guitar/beats), Dan Whitener (banjo/vocals), Brian Farrow (fiddle/vocals), R-Son The Voice of Reason (vocals) and Dolio The Sleuth (vocals). They each displayed their impressive musical talents and personalities, creating a dynamic and diverse sound that appealed to both old and young fans of folk and hip hop.
Gangstagrass proved that they are more than just a novelty act, but a serious and innovative force in the music scene. They delivered a stunning performance that was one of the highlights of the Cambridge Folk Festival 2023, showing that rap and grass can indeed mix harmoniously.
Baskery are a trio of sisters from Stockholm who have been making waves in the folk and roots music scene with their unique blend of banjo, guitar, bass and harmonies. They call their style “banjopunk”, “fierce folk” or “nordicana”, and they are not afraid to mix the straightforwardness of punk with the subtlety of singer/songwriting. They have toured with Robbie Williams, Gary Clark Jr and Brandi Carlile, and have released four albums and two EPs.
I had the chance to see them live at the Cambridge Folk Festival, where they played on Stage 2 on Saturday, July 29th. They delivered a stunning performance that captivated the audience with their energy, charisma and talent. They played songs from their latest album, Coyote and Sirens, as well as some older favourites like “One Horse Down” and “Fall Among Thieves”. They also covered some classics by Led Zeppelin, Fleetwood Mac and The Beatles, giving them their own twist.
The sisters have amazing chemistry on stage, and they interacted with the crowd with humour and warmth. They also showcased their impressive vocal skills, switching between lead and harmony parts effortlessly. Their instruments sounded great together, creating a rich and dynamic sound that filled the tent. They used a variety of effects and loops to add layers and textures to their songs, making them sound fresh and original.
Baskery are one of the most exciting bands I have ever seen live, and I would highly recommend them to anyone who loves folk, rock or anything in between. They are definitely preferable to Abba, in my opinion. They are a band that deserves more recognition and exposure, and I hope they will come back to Cambridge soon.
Niteworks, a band from the Isle of Skye, delivered a stunning performance at the Cambridge Folk Festival 2023. They closed the stage on Saturday night with a fusion of bagpipes, drums and keyboards that had the crowd dancing and cheering. Their music is a blend of traditional Gaelic songs and modern electronic beats, creating a unique and captivating sound. They were joined by the talented Beth Malcolm, who added her haunting vocals to one of their tracks. She sang in both English and Gaelic, showcasing her versatility and range. The highlight of the show was their rendition of “Air Fàir an Là”, a song that celebrates the beauty of Skye and its people. The band and Beth Malcolm received a standing ovation from the audience, who were clearly impressed by their talent and energy. Niteworks are a fabulous band that deserve more recognition and appreciation for their innovative and inspiring music. They are one of the best acts to come out of Scotland in recent years.
The Cambridge Folk Festival kicked off its second day with a late start, giving the attendees plenty of time to catch the bus and enjoy the ride. On my way to the festival, I met a colourful storyteller who had performed at Glastonbury in the kid’s field. He entertained me and the other passengers with his interactive stories that involved remembering the order of some animals. It was a fun way to test our memory and imagination. A good Alzheimer test?
I arrived at the festival site and headed to Stage 3, formerly known as the Club stage. This name change had caused some discontent among some long-term folk fans, who felt that the management was ignoring their feedback and losing the charm of the festival.
Stage 3 featured some lesser-known artists who showcased their talent and diversity. I watched a couple of acts there and was impressed by their originality and passion.
First up was Heather Ferrier who was a remarkable performer who combined tap dancing and accordion playing in a dazzling display of skill and rhythm. She played a variety of tunes, from traditional folk songs to modern pop hits, while tapping her feet in perfect sync. She also engaged the audience with her witty banter and charming personality. She was a joy to watch and listen to.
The stage was then taken over by Maddie Morris, a solo folk singer who captivated the audience with her guitar and storytelling skills. She sang songs that reflected her personal experiences and social issues, such as gender equality, mental health, and environmental activism. She also shared some anecdotes and insights between the songs, making the listeners feel connected and inspired. She was a powerful and authentic voice of folk music. Unfortunately, my time was limited because I wanted to see Symbio for the second time.
But Symbio’s enchanting journey didn’t stop there. As the festival’s energy lingered in the air, the duo found themselves enthralling an intimate audience within the marquee at the Coldham Common campsite. Here, their music found an even deeper connection, wrapping around listeners like a comforting embrace, resonating within the cozy confines.
Symbio’s performances were more than just musical interludes; they were journeys of the soul. The intricacies of the hurdy-gurdy and the harmonious dance of accordion and kickbox demonstrated the boundless potential of folk instruments in the hands of true artisans. Their presence at both Stage 2 and the campsite marquee marked a pivotal moment in the annals of the Cambridge Folk Festival, etching Symbio’s name into the hearts of all who had the privilege to bear witness.
Jinda Biant is a singer-songwriter who blends blues, folk, and Indian classical music into a unique and captivating sound. He started his musical journey by playing tabla at a young age, and later picked up the guitar and learned from the legends of blues and rock. He released his debut album “Restless” in 2022, which featured his powerful vocals, slide guitar, and stomp box. He also appeared on BBC Radio 1’s Huw Stephen’s Show and gained recognition for his originality and talent.
This year, Jinda Biant performed at the Cambridge Folk Festival, one of the longest running and most famous folk festivals in the world. The festival, which started in 1965, showcases a diverse and eclectic mix of music from different genres and cultures.
Jinda Biant is a rising star in the folk scene and was a must-see act at the Cambridge Folk Festival. His live performance was electrifying, inspiring, and unforgettable. Don’t miss your chance to see him in action and witness his musical journey.
I took a break from the music and explored the festival grounds. There were gardens of colourful flowers, a pond with ducks, and some smaller stages with different acts. I tried to snap a picture of a duck at the pond, but it was not easy. Then I returned to Stage 1 for the last four performances.
Eliza Carthy, one of the most impressive and engaging performers of her generation, performed at the Cambridge Folk Festival in 2023 .
Eliza Carthy had been twice nominated for the Mercury Prize and had won numerous other accolades over her 20-year career. She had performed and recorded with a diverse array of artists including Paul Weller, Rufus and Martha Wainwright, Patrick Wolf, and Bob Neuwirth . Eliza Carthy had revitalized folk music more than most and captured the most hardened of dissenters with intelligent, charismatic, and boundary-crossing performance.
Eliza grew up immersed in the world of traditional music. She still divided her time between touring and recording with her legendary parents, Martin Carthy and Norma Waterson, as well as engaging in numerous pioneering solo and band projects. In what had become something of a parallel career, Eliza had co-presented the BBC Radio 3 World Music Awards, been a regular guest-presenter on the BBC Radio 2 Mark Radcliffe Show and had made many appearances on BBC TVs ‘Later with Jools’. In her own right, Eliza had been the subject of an hour-long ITV documentary (‘Heaven & Earth’) and ‘My Music’ on Channel 5.
Eliza Carthy performed with her band ‘The Restitution’ at the festival on Friday, July 28th. The Restitution band was known for its splendid performances that were sure to leave you spellbound.
In conclusion, Eliza Carthy’s performance at the Cambridge Folk Festival was one that I didn’t want to miss. With her captivating voice and engaging performances, she was sure to leave me wanting more.
The Cambridge Folk Festival 2023 was a memorable event for many reasons, but one of the highlights was the performance of Lady Blackbird, the rising star of soul and jazz music. She sang fantastically, captivating the audience with her powerful voice and emotional delivery. Her backing group, composed of some of the best musicians in the scene, proved very rewarding, providing a solid and dynamic accompaniment to her vocals. Lady Blackbird performed songs from her debut album, Black Acid Soul, as well as some covers of classic tunes by Nina Simone, Billie Holiday, and Aretha Franklin. She received a standing ovation from the crowd, who cheered and clapped for more. A very good performance from her indeed.
Arrested Development brought their unique blend of hip-hop, soul, funk and Afrocentric vibes to the Cambridge Folk Festival, delighting the crowd with their energetic and uplifting performance. The band, formed in Atlanta in 1988, played a mix of their classic hits and new material, showcasing their political and socially conscious lyrics.
Arrested Development proved that they are still relevant and innovative, as they incorporated elements of jazz, blues, gospel and rock into their sound. They also interacted with the crowd, sharing stories and messages of positivity and empowerment. The band received a standing ovation from the fans, who appreciated their musical diversity and authenticity.
The Cambridge Folk Festival is supposed to be a celebration of folk and world music, but this year it made a huge mistake by inviting the Proclaimers to headline the main stage on Friday night. The Proclaimers are a Scottish duo who have been milking their one-hit wonder, I’m Gonna Be (500 Miles), for decades. The Proclaimers seemed to be playing every festival around this year, but they should have known better than to show up at Cambridge. Their performance was out of place.
Back at the Campsite
Back at the campsite Symbio were weaving their magic for the third time. A stayed and listened with a pint in my hand.
After a short break, it was back to festivals. I have three in a row. The first is a four-day event at Cambridge. The Cambridge Folk Festival has been held annually since 1965 with a small Covid break. It is held at Cherry Hinto Hall, with extra camping at Coldham Common. I was going on my own, Rosemary did not want to participate, and I was allowed to go on my own. I would meet up with some uni friends for one day on Saturday.
I arrived at Coldhams common at 1.30 and was placed in the main camper van section. Previously I had been positioned along the hedge.
Once set up and ready to go, I headed off to catch the bus to Cherry Hinton Hall. The free bus services (well paid for in the ticket price) is fast and often. I soon arrived on site, refreshed myself with some beer and went to search for some music. I have created a list of bands to see, and those to avoid at all costs. This was done through creating a music play list on YouTube music, and the fabulous crowd populated site called Clash Finder. This allows you to rate the bands, find the clashes, and finally take notes of what you saw. It runs excellently on full screen Web browsers, and as a webapp from a shortcut on your mobile phone.
In the heart of summer, as the sun-kissed fields of Cambridge resonated with the harmony of tradition and innovation, one band stood out among the myriad musical talents that graced the stages of the renowned Cambridge Folk Festival in 2023. Hailing from Scotland’s rich folk heritage, Gnoss delivered a captivating performance on Stage 2 that left audiences both entranced and invigorated.
Gnoss, a quartet comprised of Aidan Moodie (vocals, guitar), Graham Rorie (fiddle, mandolin), Connor Sinclair (flute, whistles), and Craig Baxter (bodhrán, percussion), embody a youthful spirit deeply rooted in the folk traditions of their homeland. The band’s name, derived from the Scottish word for “a fleeting glimpse or glance,” serves as an apt metaphor for their music—a fleeting glimpse into the past, intertwined with a contemporary flair.
As they stepped onto Stage 2 at the Cambridge Folk Festival, Gnoss immediately forged a connection with their audience. The intricate interplay between fiddle and flute, guitar and mandolin, created a musical tapestry that transcended time and space. The band effortlessly bridged the gap between ancient ballads and original compositions, evoking a sense of nostalgia while also breathing new life into traditional melodies.
Gnoss’ performance was a testament to their deep respect for folk traditions. Their renditions of traditional tunes were imbued with a level of authenticity that showcased their reverence for the musical ancestors who came before them. Yet, it was their original compositions that truly demonstrated their prowess as contemporary folk musicians. The melodies and lyrics of these original pieces wove stories of love, loss, and the human experience, resonating with listeners on a profound level.
What set Gnoss apart was their ability to seamlessly blend tradition with innovation. The spirited rhythms of the bodhrán were juxtaposed against the intricate harmonies of the mandolin, creating a dynamic soundscape that defied categorization. The band’s vocals, delivered with an earnestness that reflected their connection to the lyrics, were punctuated by instrumental solos that showcased their technical prowess.
In an age where musical genres often become rigid boundaries, Gnoss stands as a shining example of the possibilities that arise when artists embrace both their cultural heritage and their creative instincts. Their performance at the Cambridge Folk Festival reminded us that music is a living, breathing entity that evolves with each new generation of musicians. It’s a reminder that the melodies of the past can find new homes in the hearts of those who carry them forward.
As the sun began to set and the stage lights bathed Gnoss in a warm glow, their final notes hung in the air, carrying with them a sense of camaraderie that united the performers and the audience. The applause that followed was not just a celebration of a remarkable performance, but a recognition of the power of music to transcend time and bring people together.
Gnoss left an indelible mark on the Cambridge Folk Festival in 2023, their melodies echoing long after the final chords had faded. Their performance was a testament to the enduring magic of folk music—a genre that has the unique ability to transport us to bygone eras while inspiring us to forge new paths. And in this delicate balance between tradition and innovation, Gnoss found their place, reminding us that in the world of music, the past and the present are harmoniously entwined.
In a harmonious convergence of melodies and folkloric fusion, the band Symbio took the stage by storm not once, but twice at the revered Cambridge Folk Festival in 2023. This Swedish duo, comprising Johannes Geworkian Hellman on the enchanting hurdy-gurdy and LarsEmil Öjeberget wielding both the spirited accordion and the rhythmic kickbox, captivated audiences with their unparalleled artistry.
On Stage 2, under the open sky of musical camaraderie, Symbio’s ethereal tunes resonated through the festival grounds, weaving a tapestry of sounds that transcended borders and genres. The haunting yet uplifting notes of the hurdy-gurdy, masterfully handled by Hellman, blended seamlessly with the evocative tones of Öjeberget’s accordion, creating an atmosphere that transported listeners to a realm of pure sonic enchantment.
It was a warm summer evening in Cambridge, and the crowd was buzzing with anticipation. They had come to see one of the most exciting bands on the folk scene, Ibibio Sound Machine, who blended African and electronic elements into a unique and infectious sound. The band had been formed in London by producers Max Grunhard, Leon Brichard, and Benji Bouton, who were inspired by the golden era of West African funk and disco, as well as modern post-punk and electro. They had recruited singer Eno Williams, whose mother was from the Ibibio people of Nigeria, and whose lyrics were based on folk stories and proverbs from her heritage. The band also featured guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip PK Ambrose, trombonist Tony Hayden, trumpeter Scott Baylis, and saxophonist Max Grunhard.
The band took the stage with a burst of energy, and launched into their first song, “Let’s Dance”, which was also their debut single released in 2014 on Soundway Records. The song was a catchy invitation to join the party, with a driving beat, funky horns, and Eno’s soaring vocals. The crowd responded with enthusiasm, clapping and dancing along. The band followed with more songs from their self-titled first album, such as “The Talking Fish”, “The Tortoise”, and “Woman of Substance”, which showcased their diverse influences and styles. The band also played songs from their second album, Uyai, which was released in 2017 on Merge Records. Uyai means “beauty” in Ibibio, and the album explored themes of empowerment, liberation, and identity. Some of the highlights were “Give Me a Reason”, a protest song about the Chibok girls’ abduction in Nigeria; “The Pot is On Fire”, a celebration of life and music; and “One That Lights Up”, a tribute to Eno’s mother.
The band’s performance was electrifying, and they had the crowd in the palm of their hand. They mixed traditional instruments like the talking drum and the ekwe with synthesizers and drum machines, creating a sound that was both familiar and futuristic. They also interacted with the audience, telling stories behind their songs, cracking jokes, and teaching them some words in Ibibio. The crowd loved it, and sang along with Eno when she taught them the chorus of “I Need You to Be Sweet Like Sugar”, a sweet love song from their latest album Electricity, which was released in 2022 and produced by Hot Chip5. The album was praised by critics for its bright, buoyant, and innovative sound.
The band ended their set with a bang, playing their hit song “Electricity”, which was also the title track of their new album. The song was a blast of pure joy, with a catchy hook, a groovy bass line, and a horn section that sounded like a brass band. The crowd went wild, jumping up and down, waving their hands in the air, and singing along with Eno. The band thanked the crowd for their support and left the stage to thunderous applause. They delivered an unforgettable show that left everyone feeling energized and happy. They had proven once again why they were one of the best bands on the folk scene today.
We met up with friends (Bill, Viv, Norman and Valerie) at Packwood House. This was our first visit to this National Trust house. (But why? It is an easy drive from home for us.) The weather was atrocious with torrents of rain. We arrived early and went straight to the cafe. It was a genuinely nice National Trust one which opens at 9.am and was very well used. Many people were there seemingly just to meet up with friends.
Bill and Viv arrived, followed by Norman and Valerie. Having had hot drinks and yummy cakes, we headed out to the house where B&Vs daughter Jenny came to join us and introduce her baby son to us.
Packwood House is a Grade I listed Tudor manor house in Packwood on the Solihull border near Lapworth, Warwickshire. The NT has owned it since 1941. The house began as a modest timber-framed farmhouse constructed for John Fetherston between 1556 and 1560. The Fetherston family owned the house for more than 300 years, until the death of the last member of the family in 1876.
In 1904, the house was purchased at auction by Birmingham industrialist Alfred Ash. Alfred Ash was a bit of a character. He was known for his sharp wit and his love of practical jokes. One of his favourite hobbies was to play pranks on his guests. One of his favourite pranks involved the house’s very narrow, spiral staircase. Ash would often hide at the top and wait for his guests to come up. When they did, he would jump out very suddenly to scare them.
Alfred Ash’s son, Graham Baron Ash, inherited the house in 1925. Graham Baron Ash was also a bit of a character. He was a philanthropist and conservationist. Like his father, he had a good sense of humour.
He decided to restore Packwood House to its former glory, so he spent the next two decades buying antiques, of the correct era, reclaimed salvage. and appropriate artwork. He had the house decorated in a traditional Tudor style. He also worked on the gardens, having them restored and adding a number of new features, including a yew garden and a lake.
Graham Baron Ash was a generous man, and he decided to leave Packwood House to the National Trust in memory of his parents. In his ‘Memorandum of wishes’, Baron Ash stated that all furniture should be kept in the same position, that no extra furnishings should be added, and that freshly cut flowers should be placed in every room. The National Trust has been careful to preserve the house and gardens in their original state. And we duly noted the many vases of cut flowers.
Here are some funny facts about Packwood House:
The house has a secret passage that leads from the library to the chapel.
The yew garden is home to a number of topiary shapes, including a dog, a rabbit, and a sheep.
The house is said to be haunted by the ghost of a former housekeeper.
Unfortunately, not all the rooms in the house were open; some of the downstairs rooms were closed due to being “rested”. There were an extraordinary number of longcase clocks. The National Trust room guides were very informative, and good humoured.
After touring the house, we walked out into the rain and visited the garden (complete with fantastic herbaceous borders), spending a significant amount of time in a summerhouse out of the rain. We did manage to view the topiary shapes, and cloud hedges,
We dried off in the cafe before heading off to Leamington Spa for an excellent supper and the night at Bill & Viv’s. We admired their recently refurbished sash windows and the evidence of Viv’s green fingers. After supper, we played a wooden memory game that V&N had recently discovered, Trickier than it first appeared.
The next day it was bright and sunny but with large rain clouds. At any moment it could be sunny, or it could pour. After a good, hearty breakfast We headed into Warwick on the bus, and after the mandatory visit to the charity shops, we headed to Saint Mary’s Church. Norman had worked here on an archaeological dig in 1975 after leaving Cambridge. This beautiful church is full of history & interesting features after standing for 900 years. The Norman crypt is the oldest part of the church, dating back to the 12th century. It is a vaulted space with pillars and arches, and it is said to be haunted by the ghost of a monk. There was part of a medieval ducking stool on display.
The church has three organs, of which two are operational and used at various recitals.
The Beauchamp Chapel is a magnificent example of 15th-century Gothic architecture. Built to house the tomb of Richard Beauchamp, the Earl of Warwick, it is said to be one of the most important tombs in England.
The church has connections with the armed forces, with old military flags on display. St Mary’s Church hosts regular services for military personnel and their families. These services are a way for people to come together to pray for those who are serving, and to remember those who have died in service.
Not so nice was a plaque to the memory of Enoch Powell. Apparently, Powell was a regular worshipper at the church. After his death in 1998, he was buried in the adjoining churchyard.
We ate lunch in a small cafe called the Thomas Oken. Oken was a wealthy Mercer who died in 1573 leaving his fortune ‘for the relief in need’ of Warwick residents. It was full inside, so we sat outside and ordered drinks and food. Then it started to rain. Thankfully, space became available inside. The weather soon improved, and we were able to continue our tour of Warwick in the dry,
Once we had finished, we walked down towards Warwick Castle and visited a small private garden called The Mill Garden. This was super special, quiet, secluded spot. It is a privately owned, half-acre informal cottage garden located on the banks of the River Avon. Julia Measures, is the current owner. Her family has owned the gardens since 1938. Her father Arthur worked on it for 60 years.
We headed back to Leamington Spa on the bus, and then, after a restorative cup of tea & biscuit at B&V’s, we drove home
We visited Wells Farm in Little Milton. This was an organised trip by BBOWT. The reserve is a working farm, managed on a traditional rotation basis. The hedge margins are more than six meters wide, giving plenty of habitat for insects and birds. The fields have a mixture of soils. from chalk to sand and wet clay. Walking the fields, it became obvious as the soil types changed.
We were given tea and coffee in the Little Milton village hall. A wonderful village hall with an integral community run post office, shop and cafe.
The fields had many flowers and insects. The bird life was sparse, but then there was a group of 40 plus people walking around. It would be interesting to spend time there quietly.
BBOWT have the land on a 999-year lease, on the condition it is managed as an environmental farm. The lease was gifted to them by the previous owner. One does wonder how we could survive if all agriculture was performed in this same way…..
We celebrated our 41 years of bliss with lunch at the Black Horse in Thame where we sat outside in the courtyard at the back of the restaurant in the sun. Lack of photos of all our courses shows how concentrated on their eating we were.
