Underneath The Stars Festival – 2nd-4th August 2024
And so we reach the landmark of the tenth Underneath The Stars Festival with a heavy heart. An annual event that’s become a staple of the festival calendar is taking leave, maybe a break, maybe not, but it’s been quite a ride with the Rusbys who are determined to make UTSf-X one to remember.
We’re blessed with much of the same baking hot weather that back in 2014, made for such an auspicious first event. Since then, the festival and the spirit has grown and earned UTSf a shedload of plaudits and awards. On Friday, John Smith tells us how it’s an amazing festival where you get a soundcheck with nothing else is happening on the other stage, and with compere Andy Atkinson rolling out his “hello stargazers” catchprase again, we’re right at home.
friday
It’s Cahalen Morrison who gets musical things going on the Little Lights stage. High pressure or low pressure? Who knows, but his immediate concern is how he’s unsure whether to don the sunglasses or not as the darkness of the tent contrasts with the blinding sunshine outside. Switching from banjo to guitar or abandoning both and singing unaccompanied, including the first of the banjo jokes, he delivers a set of songs from deep in the pines and the lowlands of the highlands. he even has time to take his left hand from the banjo neck to wipe away some sweat – perhaps banjo is easier than we thought!? Not the first of this year’s bill to include a ‘cover’, his is a Pretty Fair Maid that’s journeyed from Scotland via Appalachia.
Having previously played the festival with Holy Moly & The Crackers, Ruth Lyon kicks off proceedings on the Planets stage with a solo set. Going solo at Manchester Folk Festival means we know what to expect. Her Direct Debit To Vogue EP is again the focus and she and her band, including HM&TC’s drummer, Tommy on bass, chill out on some soulful vibes. Ruth of course, is an expressive performer, decked out in bright red as Wool, Clown and Trouble all add to the saturated colours that help create a lush atmosphere. She makes a journey to play solo at the piano, calling it “quite therapeutic” yet returns with the funky dub of Motormouth that maybe some might have had their first dance of the festival to.
John Smith – the man described by a fan in Bristol as “a lovely guitar player but you can’t sing” gives the first masterclass of the festival. He starts with the slow stuff before moving onto…”the slow stuff, and then…the slow stuff.” His new album The Living Kind provides the title track that ups the tempo and fair rollicks along and there’s even some quality audience participation on the “we need love” line, as the UTSf crowd give fair warning that they’re in the mood to sing and do a fine job of it too across the weekend. The guitar treatments add a depth to the ambience, be it on the electrics or the dalliance with some acoustic guitar. He even invites Cahalen Morrison back for a quick return to duet on what he calls their tenth anniversary.
He even does a bit of PR work for his touring companion Katherine Priddy (“the greatest car companion ever” he calls her – it’s all about anticipating the right moment for lemon sherberts) who’s next up on the larger Planets stage. As last week, she’s accompanied by George Boomsma who’s the perfect accompanist with the subtlety of his guitar and vocal work supporting without overwhelming songs that take the slightly grander recorded arrangements back to basics that spotlight her gentle tickle of the guitar strings. Dreamy and wistful and songs on the theme of home are the order of the day as she highlights the new album, The Pendulum Swing while cherry picking from The Eternal Rocks Beneath. Alongside the breath holding moments in A Boat On The River and The First House On The Left, Does She Hold You Like I Did shelves the ambitious mariachi/spaghetti Western album arrangement for a two guitar alternative.
And meanwhile. The name Fanny Lumsden might seem like a character from some Seventies British sitcom (blame Ronnie Corbett’s Timothy Lumsden character in Sorry! ) but you couldn’t be further from the truth. There are the ‘I (heart) Fanny’ T shirts on sale that add a touch of seaside humour, but fronting a lively big band, Fanny talks of all her roads leading to Underneath The Stars and bringing the Aussie weather with her in a set where fun pop and Beach Boys brightness cross swords with some wild bluegrass in the mix. There’s co-ordinated dancing and a medley of Aussie hit (Men At Work, Kylie, Olivia Newton John and, of course, AC/DC) plus a reminder that they’re recent winners of the independent country album of the year in Australia. It all goes in the pot, gets a shake and is poured out in a huge helping of fun on what’s turning out to be a blissful Friday afternoon. Discovery of the festival #1.
Hope & Social – third time lucky with the weather as it’s sunny and dry! – come with the MC tag of “the espresso martini of live bands.” It amuses them greatly as they stride on and don their uniform blue with white trim jackets. Their mission is to get people on their feet and create a folk mosh pit. Hmmm, for the stubborn chair dancers, the legs only get stretched for an ovation at the conclusion of their set after the tempo reaches a fever pitch with All Our Dancing Days, but the uplifting sound of brass – even getting their own spotlight in the first number – is enough to cause a goosebumpy tickle. Does anyone else spot the James line inserted into one of the songs – “sometimes, when look into your eyes, I swear I see your soul…” – best not mention a Manchester (Lancashire!)band, but we may return to the thought later on Sunday.
As if Cambridge Folk Festival hadn’t done enough for the Scottish cause, Scotland is again in the house as Blazin’ Fiddles bring with them a set of frivolous and boisterous tunes, punctuated by the occasional airs that give any revelers a chance to catch a breath. Arch accompanist and solo artist in her own right (her Two Down album reviewed favourably on our pages) Anna Massie sits in the back row adding her own sparkle and effervescence. She’s a former sidekick in the Kate Rusby band and the Planets Friday finale sees Kate herself, for a change, headlining the opening night for a change but she’s omnipresent all weekend.
She appears in her new ‘childrens’ TV presenter’ denim jumpsuit decorated with not sparkly (!) but denim stars alongside her usual band of serial offenders. with a set that balances song and chat, filling us in with all manner of stories and tales that shoot off at tangents before coming round to the next song on the list. Whilst the current band is much more about atmospheric textures, even turning to three electric guitars for Cruel (although not in a Status Quo style rock and roll line up), the highlights come with a couple of dips into the catalogue. The Lark gets a stately treatment but there’s a the centrepiece of the (Mercury nominated 25 years ago!) Sleepless album pairing of Fairest Of All Yarrow and I Wonder What Is Keeping My True Love This Night where the line “the stronger I loved you the falser you grew” is a particularly poignant moment. Following the solemnity of the latter we get a reminder how easily ‘Yarrow’ adapts to Yazz’s The Only Way Is Up…possibly a contender to appear on Hand Me Down II. The brief return to a more organic sound is much appreciated. The boys’ tune set is suitably rabid and the bounce of Village Green Preservation Society is fabulous although when she almost makes through the Underneath The Stars encore, not the only tears of the weekend, we’re reminded that the countdown to completing ten years of UTSf is edging ever closer.
The top tip from no less a pundit than Scott Doonican, Oh My God! It’s The Church continue a fine tradition of explosive (some might call them WTF) acts that close out the evenings on the Little Lights stage with some revelry for anyone with energy to spare. With some new experiences for the youngsters who’ve stayed up, they’re on a mission to save souls with some high octane, kick ass rock and soul. they even have an intro from God him/herself, reminding us in a voice not dissimilar to the conscience of Rick the people’s poet in The Young Ones how (bloody) naughty we’ve all been and that it’s time for judgement. Thoughts of the grace of John Smith and Katherine Priddy are parked as we head into big neon worship; the right reverend Michael Alabama Jackson (sounds like a he wouldn’t be out of place as a member of the Doonicans) leaping and cavorting with his gospel attired acolytes. In the first (?) of several Yorkshire references across the next few days, he knows he’s in God’s own country – yet he’s recently been to Leeds – “and if that’s God’s country I’d hate to see Hell.“
Souls cleansed (sort of) and with a spring in the step and God’s love pursing through the veins, we’re all set, pumped and primed for a wild weekend!
saturday
One highlight after another. The regular appearance of the massed voices of the hugely deserved and acclaimed Barnsley Youth Choir on a Saturday morning is always heart warming. They revisit some of the key moments of their past performances; they do a bit of Coldplay and Kate and the ranks are swelled by the also hugely impressive, UTSf crowd /choir. Some particularly impressive body percussion en masse to create a rainstorm both enhances Rainbow and will have teachers in the audience filing that skill away for use back in the classroom. Scott Doonican even appears, enhancing his UTS appearances to sitting just below Kate in the count back, by appearing for Africa – and no ‘tweaking’ of the lyrics – but for once, even decked out in his blindingly colourful tank top, I’m sure he’d admit to being outshone by the hundred plus behind him
From world acclaimed Yorkshire choirs to world music. Suntou Susso throws a curveball into proceedings with a sharp turn in musical direction. World music and even a splash of flamenco and reggae basslines for starters. he brings the traditions of The Gambia. He gives a lesson – masterclass even- on the kora and the traditions of the Griots and while he has an ace band inn support, the highlight is his solo playing. Mesmerising and making what is invariably extremely difficult, look easy.
It’s been an age since seeing Belinda O’Hooley and Heidi Tidow. They’ve been doing family things; little Flynn is in the audience, later waving his wand on stage and then munching ice cream in the signing tent, and Belinda has been treading solo waters. The hard work shows and maybe she’s been listening to some of her old prog rock records judging by the evidence of some Wakeman-esque fluidity on the piano. However, absence makes the heart grow fonder and all that, as they regale us with their Colne Valley Hearts, irreverent humour and what Kate would call “totes emoshe” moments. Engaging, intense yet glass fragile, they espouse strong messages, support and champion diversity and have a pride in their homes that shines through on Chimneys, Moors And Me. There’s a pin drop silence in the poignant Two Mothers, yet you’re never very far from a bit of fun, with a twinkle in the eye and a shift to the rumble of Gentleman Jack or Beryl (“she were born wi’ nowt“) that celebrates the wonderful achievements of cyclist Beryl Burton – and, surprise surprise, another famous Yorkshire icon.
Straight from Y Not Festival, Dolores Forever do what Fanny Lumsden did on Friday and fire out a set of vibrant pop songs – with an emotional one thrown in, one of those ‘I’m here for you ‘ type of offerings. In football terms, it’s two guys at the back keeping the beat and triggering a sample or two and two girls at the front providing the striking power. A reliable formula but it works. The focus is colour and energy and a song that goes “shut up and eat the pasta!” – not a bad philosophy by which to live your life. The Yorkshire/Copenhagen combination of Hanna and Julia probably need the carbs to fuel their lively stage act, as the Jazzmaster rings out as they continue ploughing the the festival trail singing “I’m having the time of my life!“
One time top three album selling artist Rumer – hmmm, not one for the fans of the Skinny Listers or Doonicans of the world. Sometimes the contrast works, sometimes not. Philip Selway back in 2015 had me absorbed while people were leaving the tent in disgust, only pausing to complain at the sound desk that it was too loud. Pleasant enough but perhaps the time to get some food and visit the loo in one of the lulls of the weekend. Or alternatively, just sit and chill out to some inoffensive classy music played by a skilled band and a singer with a smooth and soulful voice.
Beans On Toast gets the award for the most words in a set for the weekend and an extra award for managing to remember so many words without an autocue or prompter disguised as an ipad on the mic stand. His are the usual wry but irreverent observations, castigating vegetarians which he is himself now (“but I wasn’t when I wrote the song!“) and the ills of chicken farming while tackling subjects from litter picking as a form of mental health therapy and his now ever present daughter. The more recent focus is geared towards an astute philosophy not without lashings of sentimentality, so it hardly comes as a surprise when he sings a love song – I’m Home When You Hold Me – or something as touching as Send Me A Bird. There’s some sprightly guitar playing too, so even when he stands the floor speaker cabs in bare feet (always wise as Skinny Lister’s Lorna in her dancing shoes found to her cost…), there’s a growing maturity abut Beans On Toast
From world music, to coffee table CD coolness and BoT irreverence, we head to Ireland for a bout of Dervish. “Look at you there,” (you’ll have to imagine the accent) exclaims Cathy Jordan on viewing a tent full. ” She spots the number of people already gathered in the mosh pit and leads the sextet in tossing out a bucketful of dance and hollering opportunities amidst some of their more gracious airs. Heading back as far as the fifth century for song, while some remain comfortably seated, all around the tent edges, there’s a pincer movement of dancing supporters kicking off their shoes to “the biggest and the best in Irish music” – Andy Atkinson is always good for a quote. And Dervish are proof in the pudding. Buoyed up by another fabulous contribution from the UTS audience choir Cathy admits: “This is nice work to be getting out of bed for!“
He also reminiscences about the very first UTSf when the second stage was in the bar and Keston Cobblers Club had people dancing on the tables. I don;t recall – probably on a steward shift at the inflatable planetarium at the time. “Do we look ten years older?” asks Matthew Lowe. They don’t although Julia has had a baby in the interim so hopefully the point is proven. It might be ten years but the songs are instantly familiar; Lazy Days and Your Mother soon have the dance moves returning to the muscle memory and there’s the comforting oompah-pah-ing of the tuba that’s the equivalent of the prog rock bass pedals, making the ribs rattle. The plinkety plonk of The Heights Of Lola, spoon accompaniment too – a perfect example of the friendly appeal of Keston Cobblers Club.
The Feeling, a lighter and poppier headline for a Sat’dy neet, start with a hit and go from there – Fill My Little World (right up right up) is one you might not be able to name but one that has you singing along as soon as you hear the chorus. They (should) have enough in their locker for a plentiful set but play safe-ish and head back to a faithful cover of Video Killed The Radio Star. There are some mutterings on the campsite called into question the political correctness of another of their covers – Freddie might have carried it off a few decades ago in stadia around the world, probably saying “it’s only a f**king song darling!“, but a family friendly festival in a Yorkshire field might be less forgiving to Fat Bottomed Girls (who make the rocking world go round – apparently).
Rumba De Bodas finish a night that has MC Andy – he’s becoming a bit of a star, determined to make the most of the final UTS that seemingly contains every one of his favourite bands – almost apoplectic and hoarse with excitement. as he introduces the “Afro funk dance machine.” From Italy. The blend also skirts the realms of psychedelia as the lights spin to reveal the striking image of singer Rachel Doe. Saturday club night is in capable hands and another programming tick in the box for Eddie Barcan.
sunday
The festival notebook reads: “woke up to the soft patter of rain on the tent. Either that or the Barnsley Youth Choir had gathered to click their fingers and slap their knees in campsite 5.” It’s the former, but after 2023, I’m grateful for an uneven but dry floor.
King Zepha, from Leeds , Yorkshire, naturally, kicks off the day at the ungodly festival hour of 11.15. I’m engaged in my own form of worship on the day of rest so stroll up nonchalantly for Brown Horse. Their relaxed country rock (from Norfolk, but hang on for the Yorkshire takeover) sees a set that combines new songs, songs from the first album Reservoir and their first ever single. They’re on something of a fast track with the pedal steel (and songwriting) of Emma Tovell the central ingredient. Their folky roots see the banjo and fiddle – played from the armpit – trading places with the electric rock instruments as they ease from the organic to a heavier sound.
Simeon Hammond Dallas on the other hand heads onstage in an outfit that has someone at the barrier stage whispering”ooohh, those shoes!” spotting a particularly impressive pair of glittery heels that would provide something of a challenge to anyone not as cool and funky as Simeon. We saw her last at the club session at the 2023 Manchester Folk Festival, but she’s less folk and more soul today. The influence of a trip to Nashville has made a mark and there’s a heavy tribal rumble from the drum area in Hundred Lovers that also drives Wild Woman – a couple of tunes with some autobiographical bent – allegedly. “Do you like blues?” she asks before adding a portion to proceedings
This year’s ‘An Audience with’ just has to see Kate Rusby on the sofa being probed by Nick Ahad from Radio 4 and BBC Leeds. Never short of a detailed answer to any prompt which can easily head off into uncharted territories, Kate’s a dream subject. Aside from the usual Bangles/Manic Monday/first gig in Holmfirth topics, there are also some interesting and perceptive questions sent in by the audience and insight into her early days of performing – involving singing/playing in another room as a result of the hard to believe acute shyness as a youngster. She’s surely ready to tell her story in an autobiography…
Several moments have her in “you’re gonna make me cry” mode as UTSfX is clearly an emotional time for all, but she’s a trooper (from Yorkshire after all) and battles on, joined by Damien O’Kane, adding some tasteful guitar lines mid verse, for the musical portion that sees them perform Yorkshire Couple. A song which uncannily has featured in the last of the audience questions and includes lines that would be worthy of Hamish Hawk (or The Doonicans…).
And it’s The Doonicans who are on next, packing the little Lights stage to overflowing, although a little space appears when the crowd are urged forward at the end of the set to support the Scott Doonican dinghy crowd surfing bonanza. But first and foremost, it’s the first chance for many of us to witness the new five piece line up. The new direction is apparent immediately as they do a familiar one – Lady In Greggs – but with delivered with a ferocity often saved for Place Of Spades. This is definitely the sharp end of the wedge and clear declaration of intent that the BS/VD reinvention is a different beast.
That’s confirmed with wholesale tweaks in the set; Flat Packs returns and even a new one appears with Garys Numan’s Cars becoming ‘Spas’ and some new set pieces for the neeeew members. Tom (or is it Dave) Doonican and Mojo Doonican (Bingo Night) both get their set pieces but the new star in the firmament is Jeremiah Rickenbacker Doonican III. A rootin’ tootin’ roisterer who spins the wheel and reads from his bible of philosophy and also reverts back to his deep Yorkshire roots with the most authentic version of Tarn Life to be heard. All the while switching twixt mandolin and fiddle where he takes up the duel with the Devil in fine style.
Damien O’Kane and friends – he starts with two (Anthony Davis on keys and ace percussionist but leathering the kit today, Cormac Byrne) but is subsequently joined by nephew Orran showing his prowess and progress on fiddle, Sam Kelly, Kate naturally and finally and at last, an appearance from Mystery Inch partner David Kosky. The set, although “banjo heavy” dips into much of his music with the Summer Hill belters Strands Of Magilligan and The Breaking Of Omagh Jail joining and The close Of An Irish Day from Areas Of High Traffic supplemented with his trademark tune sets. As good as his set at the 2021 ‘outdoor’ version of UTSf? I’d say with the bonus of the Kosky appearance, a resounding yes!
Hamish Hawk plays a blinder. He’s featured on several occasions with great enthusiasm on the ATB pages courtesy of our Scottish correspondent Gareth Allen and he’s absolutely spot on. Hamish delivers a personal highlight of the festival, an opinion shared by fellow snapper Phil Carter, and is simply a revelation. Hitting the sort of marks set by The Lottery Winners last year, the tent slowly filling with a crowd who might have been initially curious judging Hamish as something along the lines of the dance moves of Morrissey and Ian Curtis via Kevin Turvey and the Divine Comedy gone post punk, but were confronted by a set that cleverly seduced and got better and better. Spiky guitar, new wavey/new romantic dance lines and some lush melodies to die for (see Rest & Veneers and Elvis Lookalike Shadows) it’s a kaleidoscopic menu. He tells us were’ going to be treated to some uptempo ones “that come at you like a kick in the head” and taking into account some rather astute lyrical cleverness that see dancing Gay Gordons at my funeral or paying over the odds for a seat with the gods and songs such as The Maurianian Badminton Doubles Champion, 1973 in his armoury, how can he fail. The future is Hawk. Check out Hamish’s Why I Love on Ivor Cutler here
Sheffield/Yorkshire singer Lucy Spraggan makes sure the UTS choir is well used again, giving them another opportunity to shine. She’s easy and natural, and comfortable enough to stand up front on the expansive stage with guitar and drum risers backing her. Evidence that the X Factor can work, the several strings to her bow are focused on a strong set of uplifting an inspirational messages and there’s a warm feel about the Planets stage as we head to the final lap.
However, an encounter with Skinny Lister dominating the Little Lights stage is one to be savoured. Bette rlater than never, their first appearance (although bassist Scott stood in with The Longest Johns last year) could go down as one of legend. An hour of prime Skinny, complete with the flagon of rum and much roistering, rattling and roaring. From the off they’re in at the deep end, hollering about following your fearless heart and walking down your own path on George’s Glass. The only concession to a pause is Colours as they belt through their usual riotous set with all manner of audience interaction that’s come to be an expected part of Skinny Lister live.
Lorna is particularly lively, informing us how she’s been working out and offering arm wrestling challenges to all and sundry. The band sing Arm Wrestling In Dresden as she heads into the crowd for a few bouts…”How did you do?” asks Dan on her return (where she gets to sing Mantra). “Really bad…” As a bonus we get an appearance of Max and Lorna’s dad, Party George, who sings William Harker as the Listermania rolls on relentlessly with Max this time atop the front speaker cans for John Kanaka.
With choruses of Bold As Brass, Trouble On Oxford Street and Rollin’ Over ringing in the ears after a brilliant hour of shanty punk. we finish our weekend with a snippet of Bill Bailey. He catches us up with what he’s been up to, highlighting particularly his new hairdo which he confesses to making him look like an badly generated AI version of Billy Joel. He’s not wrong. The highlight might be his honky horn take on Enter Sandman that never fails to please. And as Hope & Social’s Gary Stewart ends the night with the bubbling Graceland album, there’s a moment to reflect on ten years on Underneath The Stars.
It may be back, who knows. The standard line is ‘never say never’ which is a suitably non-commital one considering how many final outings have been followed not too long after by returns and comebacks. We shall see, but 2024 will prove to be one which will live long in the memory banks. As Bono said at the U2 show which rang out the eighties, maybe time to go and dream it all up again.
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