West Coast Folk Festival – 12th-14th January 2024

Visitors to Blackpool’s Winter Gardens are greeted by a statue of Morecambe and Wise, so the question must be, whether the newest festival on the calendar will bring us sunshine – even in the middle of January.

We welcome ‘Folky D’ – that’s Merry Hell backroom maestro Damian Liptrot – to the pages for a comprehensive overview (and views) of the weekend.

Assembled as a replacement for the annual treat that was The Great British Folk Festival and substituting the jewel of the North for the glory of Skegness, we were promised a similar extravaganza of legends, established artists, rising stars and newcomers. 33 acts across 3 stages – but with the main acts concentrated on one stage, rather than divided between 2 halls.

Retained for Skegness was The Introducing Stage, where aspiring acts get to play to a decent-sized audience, with each gaining the opportunity to return the following year for a place on the main stage, according to a daily audience vote.

Kicked off by in energetic style by Thrifty Malone, 4 guys from Gibraltar, aiming to have the best time on stage and off, just as with the other 2 stages, we were treated to an illustration of how widely the folk genre can range.  Friday saw contrasting yet complementary singer-songwriting stylings from Lizzy Hardingham and Anna Renae, both of whom showed why they are in increasing demand, and whilst neither really needed an introduction now that they are relatively established perfomers. Final act The Superphone, offered up a fusion of folk and classic rock layered with musicality.

Whilst the venue for the introducing stage was impressive, nothing could prepare the first-time visitor for the opulence and grandeur of the Empress Ballroom, so it was goodbye to another Skeggy tradition of wiping your feet on the way out, though one ritual did remain – that of the queue for the best seats starting much earlier than was required! With the audience in a horseshoe arrangement in cabaret-type seating, there were great sightlines for everyone, along with space to dance at the font – but more of that later. 

First up, Bella Hardy brought self-admitted sparkle to the event and accompanied by Sam Carter offered evocative and emotional songs of both darkness and light, that were gratefully received by a good-natured audience, looking to confirm that their decision to visit Blackpool had been the right one.  The Friday legend du jour, Tom Robinson (and Band), despite his own reservations about marrying his punk past to his folk festival present offered all the songs you would want to hear, without relying simply on a greatest hits set – with space for well-received solo spots for his acoustic guitarist and the inclusion of a song from the latest album – albeit one that had resonance with the current times!  Full marks for the quality of the between-song banter, excellent (largely self-deprecating) anecdotes and a final flourish with the motorway song that everyone wanted to hear and many were ready to dance to.  All this setting the scene nicely for headliners Skerryvore, though they left nothing to chance, with a well-choreographed entrance and an energy level that never dropped, other than to provide a little contrast and the opportunity for some phone-light anthem appreciation. With a crowded dance section from the off and some smart onstage moves, the first night could be gauged as a success.

The third stage, billed as The Acoustic Stage (though with a pretty decent PA) provided a folk club feel. Gently ushered in on Saturday by Adam Nosworthy, another new name. His blues-inflected folk has a downbeat element to it, that gave rise to one of the best introductions of the weekend as he reveals that, whilst Gary Barlow enjoyed his set, his overall review was that he should “f***ing cheer up.” In contrast, Will Riding, familiar to many attending from the North West region, charms with a more humourous take on the world, finding wonder in the minutiae of life. Similarly, habitues of the North West venues need little introduction to father/daughter combination Louise and Chris Rogan. With Louise blessed with a voice of rare beauty and power, they entertain with a mixture of historic references and glimpses of family life – taking us to Wigan for the death of a highwayman and into their home for a lullaby for a child/grandchild, all done in a fine style.

Back in the main room, Craig Joiner owned the big stage.  With songwriting credits that branch out to the likes of Bonnie Tyler and Steps, appearances that span Cropredy and Hard Rock Hell and a folk career woven around stints in rock band Romeo’s Daughter, while his songs drew on the folk tradition, historic themes and tales of time gone by, their delivery had extra interest through the inclusion of elements of his rock persona. 

Joshua Burnell is a young man with a plan – to someday play at The Albert Hall, and having missed him at Cropredy, being otherwise engaged with friends at the fringe, I was interested to see how he is progressing and whether his goal is in sight.  What I did see was a well-delivered mixture of folk, rock and prog, a frontman in a shimmering shirt who knows all the moves, a band tighter than something very tight indeed and a cameo spot for the guitar hero sideman – in short all the ingredients to push all the right buttons for those of us for who all these things matter – the encore was deserved and delivered with a  high octane take on Tam Lin that had the floor bouncing.  Good luck to him and his journey will be tracked.

Out of the main hall and back to the introducing stage and another wide-ranging selection – Rob Clamp, upbeat and engaging throughout, Hayley McKay brought energetic, country-tinged folk and with every other act apparently coming from Yorkshire (as many Humberside residents still claim to do) Katie Spencer, who surely needs little introduction, intertwined the two instruments of her guitar and voice to great effect, conjuring up the twin ghosts of wide open spaces and fine musicians of the like of John Martyn and Bert Jansch.

Kiki Dee (another Yorkshire Lass) and Carmelo Luggeri – having also missed them at Cropredy and having no expectations, an hour in their company was 60 minutes well spent – their relaxed but often intricate arrangements of originals, the hits and interesting covers (Kate Bush and Neil Young) proved immersive and strangely therapeutic.  Of course, the finale of I’ve Got The Music In Me, did lift the pulse rate as intended.  Much enjoyed.

With Cara Dillon unable to attend, Louise and Chris Rogan stepped up from the Folk Club setting of their earlier performance to the expanses of the main stage without breaking stride.  Once again, their classy interplay of keyboards and guitar and the two voices held a much larger audience in the same way as it had before.  Currently out on a solo tour, look out for Louise and ‘That Voice’ if it comes near you.

Surprised as I was by Kiki and Carmelo, I was unprepared to be flabbergasted by Richard Thompson as he marked his visit to Blackpool with a cover of Stanley Holloway’s famous monologue, The Lion and Albert – or at least enough of it to perplex the audience, who were prepared only for the classiest of acoustic folk from the master of the genre.  Once he had demonstrated his delight at being by the seaside, he then reverted to type and delivered the set we were waiting for.  Chattier and more self-revelatory than I have seen him in the recent past, he seemed to relish the location and the setting, though he had warmed up earlier, accompanying Zara Philips.  Congratulations to the organisers for their coup in landing RT, if the event is to continue (fingers crossed) then hopefully they will be able to attract more headliners of his calibre).

The final day started with 2 delights for many in the audience.  On the Acoustic Stage, Joe Bayliss found the space between John Martyn and Nick Drake and occupied it well, while Honey and the Bear made friends in the North, making a rare appearance in this neck of the woods.  Now established as festival favourites, they seemed to guarantee a warm reception when they venture this way again.

The Yorkshire massive then returned with acoustic duo Heslop and Stringer thoroughly entertaining the Acoustic stage while Gaelforce, who I was keen to see, didn’t disappoint the main stage crowd.  A mixture of trad tunes, given musical power by both classic folk-rock instrumental prowess and the added skirl of the bagpipes, plus added colour from the likes of the most fabulously threatening version of The Coal And Albert Berry it has ever been my pleasure to hear.  The lads seem to be getting themselves out and about – so it should take little effort to catch them while you can.

With the final day already matching the quality of the previous two, the Introducing Stage didn’t disappoint either, along with a final acoustic showcase for the soulful folk-pop of Chloe Chadwick.  Palmerston combined the energy of the Pogues, the class of Eagles and a fine line in humour as they made the most of their journey from Milton Keynes.  Rather than having them rolling in the aisles, Hannah Scott is a complete contrast, bringing home the range of folk music on offer.  Her intimate and personal songs have a fragility that resonates on a different level, with at least one audience member admitting to having been moved to tears. All this prefaced The Jon Palmer Acoustic Band – my discovery of the weekend – enough energy to light up the nearby tower, their joy illuminated the venue with feel-good folk-rock with spirit and a conscience.  They were able to take it back down to just 6-voices and a cajon without losing the impetus and as winners of the public vote, will grace the main stage next year – should the event return.

The final flourish in the big ballroom began with a good-natured, warmly humorous set from Dean Friedman, leading into the Webb Sisters.  Returning to action after seven years and 250 gigs on the road with Leonard Cohen followed by a career break appears to have left them refreshed and eager to reconnect with audiences, quite literally as they ended their set off the stage and among the audience, treating them to a version of Cheap Trick’s I Want You To Want Me, highlighting their delight at a return, the interplay between their main instrumentation of harp and guitar and an apparently effortless intertwining of their voices.

With the previous two acts being relatively relaxed, a big performance would seem to be in order to round off the weekend, something that Eddi Reader was ready and able to deliver.  From the bold and brassy, to the finale channelling the spirit of Frank Sinatra, a previous occupant of the stage, through hints of a Fairground Attraction reunion, aspects of Robbie Burns and a name check for the much missed Trash Can Sinatras, as the audiences waltzed away into the night, having previously graced the dance floor to In The Wee Small Hours, all the talk was of hopes for next year, based on the enjoyment of this.

Musically diverse, within a given genre, a high-quality line up at all levels of billing and a good few surprises, all good, the organisers are to be praised and encouraged to return for what will hopefully become a staple of the festival calendar.  Quick mention for the venue – magnificent – and the volunteers, staff and facilities – all faultless.

Onwards, upwards and fingers crossed for more of the same in 2025!

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