Day two of Fairport’s Cropredy Convention 2025 turns out to be a bit of a stormer! All roads lead to Barcelona before Trevor Horn returns to close the night with a hit packed set.

CROPREDY PRIMARY SCHOOL FOLK CLASS

For years, Fairport’s Cropredy Convention had a link with the BBC Folk Awards, offering a slot to young folk award winners. Whilst that tradition seems to have petered out, new ones can be made. If Friday afternoon is anything to go by, offering the Cropredy Primary School Folk Class the chance to play onstage at Cropredy could be a tradition well worth building on.

With smiles in abundance, this group of 43 children wowed with their skills. They change instruments (of which there are plenty), configuration, involve dance, voices and bags of charm. An assembled group of parents and family members watch on with smiles just as big watching their young’uns knock it out of the park.

Over a short set, led by the county council’s folk teacher and singer, Katie Harris, the ensemble have people joining in with a bunch of traditional folk tunes and shanties that beguile the huge crowd. Naturally, there are a few pupils who are happy in the wings, but there are equally plenty that are happy with the limelight. The confidence they exude is incredible and it is an utter joy to witness such a lovely performance.

As headteacher, Will Reeves, takes the mic, you can see and feel the pride he has for his students. They are a credit to the school and this is a truly inspired festival booking. As parents congregated around the Field 6A gate, it was like home time with beaming parents waiting for their children.

PLUMHALL

They’re favourites of ours, and we were delighted (though not surprised…) to learn of Plumhall’s inclusion on this year’s Cropredy bill. You may recall that they made a cameo appearance with Fairport at the 2024 festival – this year, we were treated to the whole works.

In case you’ve been on Mars for the past couple of years, let’s refresh your memory. At its core, Plumhall is husband and wife duo Michelle Plum and Nick Hall. They hail from Brearley, near Bradford and, despite the fact that they’re a welcoming, outgoing couple, they write songs that are deep and thought-provoking, often with a tinge of the supernatural about them. Michelle has the voice of an angel, she and Nick harmonise beautifully and Nick is a wizz on any type of guitar that you’d care to name.

And, for Cropredy, Plumhall pulled out all the stops; they were supplemented by father-and-son pair David and James Crickmore on, respectively, keyboard/bass and drums. Their sound was magnificent.

The Plumhall message has got around the Cropredy crowd and they received an eager welcome as they launched into opening number, Crystal Ball. Lost London Rivers is a standout track from the band’s recent One Star Awake album and the drums and bass added real presence to Michelle’s and Nick’s vocal harmonies.

CITY STARLINGS

Michelle’s reflections on stable married life (“We don’t do anything in the same room anymore – except watch Emmerdale”) raised a laugh as the pair introduced City Starlings, a track from their 2020 album, The Ghost Of Noise. The rhythm section really drove the song along and the crowd quickly got the hang of the song’s “I’m up with the city starlings” chorus.

Nick recalled his first Cropredy visit (he was brought along by his dad to the 1992 show) as he dedicated the excellent That Further Shore ( another highlight of the One Star Awake album) to those no longer with us, but commemorated at Jonah’s Oak. Nick played his Gretsch electric guitar and we were, once again, reminded of what excellent vocalists he and Michelle really are.

We stuck with the One Star Awake album for Plumhall’s ‘Bond Theme,’ Way Down In The Well and Michelle shredded the air with the song’s prolonged closing note.

Plumhall are proud of their Yorkshire pedigree and their announcement that they’re from “…the wild frontier of the rhubarb triangle..” (it’s explained on Wikipedia, if you’re curious…) drew quite a roar from their followers, as Michelle introduced Cruel Adventures – another song from the The Ghost Of Noise album. James (aged just 19, he’s the youngest ever member of Plumhall) became the talk of the field as he delivered a driving drumbeat. He cites Dave Mattacks as a formative influence and, by gum, it doesn’t half show.

GHOSTLY SOUNDS & EERIE BACKGROUNDS

The Haunting, another favourite from the One Star Awake album was performed with real passion, before Michelle took time out to explain why so many of Plumhall’s songs have a supernatural flavour – “… I’m not a believer in that sort of thing, but Nick is …”. And, as if to prove it, ghostly sound effects provided an eerie background to Silent Voices.

And we stuck with the ghostly theme for Uniondale, a song from Thundercloud, Plumhall’s 2014 debut album. Nick’s guitar parts were stunning and Michelle delivered what was, quite possibly, her best vocal of the afternoon.

The pace was building and the field was rocking for Fire Next Time as Nick and Michelle swapped lead vocal roles before combining on the chorus with their signature glorious harmonies. And Nick’s guitar solo was a delight, during the song’s extended coda.

Always save the best till last. It’s wise advice, and Plumhall know it. James excelled once more as he rattled around the kit during the marvellous One Star Awake, before Plumhall rounded off a fantastic set with Dust Devil – probably THE standout song from The Ghost of Noise. They rocked with passion and we loved it. And then they were gone. But fear not – Plumhall will be back. Of that, we’re sure!

CHURCHFITTERS

A gentle yet discordant penny whistle trill opens the set as Churchfitters saunter on. Chunky strumming on a hubcap bodied guitar lifts the mood. This is just a taster for the innovative set of instruments on show to a curious Cropredy audience. Their ‘industrial folk’ style quirkiness continues with Rosie playing, bodhran style, a tea tray looking like it had been purchased from a Welsh seaside gift shop (probably more unwanted but they found a use for!) The instruments add amusement to a spellbinding set of songs.

Expectantly, the crowd wonder what will come next to accentuate a song about the difference between people who are ‘old’ and those who are just ‘older’. Close inspection reveals a banjo. It’s a jolly lively start before a story remembering the courageous folk of Derbyshire, who averted the plague spreading through the NW by installing their own lockdown (ring any bells!). The content may be grim but the music still jaunty.

INFECTIVE JIGS

The musical saw, an instrument seen regularly in music and review show halls, is played melodically by Chris as Boris and Rosie put together some ZZ Top style moves. Despite the tuneful nature, nobody was dashing off to the nearest B & Q.

Churchfitters pulsative riffs in their jigs are infective and sometimes jazzy. When singing about the exploits of the much maligned Richard III, during the Lady Of York, a pseudonym of said ruler, there is a mix of trad folk styles too. This also romps along with a ZZ Top sway.

Cropredy audiences fear the sound of thunder. Using a kaleidoscope shape cylinder for the final song Thunder, Churchfitters replicate the sound. You can pick out some classical melodies on careful hearing but through all the jollity created by their inventive instruments their is piles of adept musicianship through the thoroughly entertaining hour.

KING PLEASURE & THE BISCUIT BOYS

The award for the sharpest dressed band of the weekend has to go to King Pleasure & The Biscuit Boys. They’ve played Cropredy before so they know what they’re getting into.

King Pleasure leads the band through his vocals, additional sax work and a magnetic stage presence amplified by his facial expressions on the screen. Salsa, rumba, rock ‘n’ roll, boogie woogie, blues, jazz and various stops in-between are all on the menu for King Pleasure & The Biscuit Boys.

With a reputation stretching back decades, this band are masters of R & B (the original, not the Destiny’s Child type). Matt Foundling gets plenty of shout outs on the keys as King Pleasure works the crowd like the pro he is. Some moments on the mic feel like they wash over people but it does not throw the band. They carry on regardless and succeed in their aim to get people moving, dancing, clicking, swaying and tapping those feet.

When you want a band to do exactly as they say on the tin, King Pleasure & The Biscuit Boys fit the bill. They’re hard rocking and Cropredy shows its appreciation as they leave the stage.

SKIPINNISH

When was it that bagpipes got so darn sexy, but it now seeming that a festival without pipes is as old hat as a steam submarine. And who was the first performer to bring bagpipes to Cropredy? Answers please, but here we were, day 2, and up for a second dose. And if Peatbog Faeries, the night before, had one set of highland pipes, havers, these guys have two. A first visit for this Tiree institution, now in year 26 of their existence, if the Peatbogs offer a techno-trad fusion, Skipinnish are avowedly more folk rock in their stance, playing a mix of their own songs and those from the tradition, often as not in the original Gaelic.

DRAMATIC AND MOODY

The set opened with a dramatic and moody synthscape, brooding magnificently in the background, and Andrew Stevenson, standing front stage, for a tone setting near solo on his pipes. This was Theid Mi Dachaigh, and Cropredy became, in an instant, one of the Hebrides. As his bandmates trooped on they were straight off and into business, the business of high octane rocking reels, starting with The Hag. Whilst he and second piper, Alistair Iain Paterson, were equally often playing whistles, of all different sizes, it was when they both took to the pipes that the grand swell of sound, thus produced, brought all in the crowd to, one way or another, rapture.

Meanwhile, on the other side of the stage, the hunched, standing figure of Archie McAllister could be seen, sawing away at his fiddle, one foot stamping rhythmically the stage, like a man possessed. Beside him and on a chair, the calm zen of Angus MacPhail was shining through, effortlessly shaking out flurries of notes from his accordion. Towards the back, the rhythm section, keyboards, drums and bass, for yes, in Scottish music, the piano is as much time keeper as provider of melody. In the 11 years since I saw them last, how is it that Rory Grindlay, grinning away constantly behind his kit, still looks so young? As does newer recruit, Charlotte Printer on bass.But who have I forgotten?

NOT JUST INSTRUMENTAL BLUSTER

For all the pell mell hurly burly of Highland and Island instrumental bluster, Skipinnish are also very much a vocal band and band for songs. These often reference the world they come from, a world where their neighbours are fishermen and boatbuilders, and, for every golden sunset, there are storms and shipwrecks. And the figure who started the set at the back, with his acoustic guitar, well, that is Norrie MacIver, one of the finest singers on the Scottish circuit. Also an entertaining master of ceremonies, it was as he sang songs about homesickness, The Island, that the softer side of the band came forth, an unashamedly nostalgic song that errs just on the right side of shortbread tin, bringing a tear to the eye of anyone with even an ounce of Scots blood in their veins.

As they mixed sentiment with high voltage instrumental thrills and spills, one highpoint came with a spirited cover of Rung’s Alba, another as MacIver taught the audience some Gaelic for a chorus, admittedly just one word. The more serious side came out with Last Of The Hunters, a song about the fishermen who brave our waters, a song introduced by MacPhail, the emotion then running in his fingers, as they cascaded through the notes, like waves.

CROPREDY TURNS TARTAN

A cover of Runrig’s Alba produced a spirited audience singalong and a sense that, were it to be asked, Cropredy would turn tartan overnight. I can honestly say the reception, for 4pm, a time when a quiet tactical snooze might otherwise be sought, was astonishing, one of the strongest of the whole weekend. Unfortunately, it was all too soon that the familiar strains of Walking On Waves cranked up, their long time and long term set closer, a song that never fails to bring a crowd into unselfconscious song, It didn’t this time, either. Hang that snooze, I’ll sleep on Sunday.

CITY FUNK ORCHESTRA

Featuring a certain Mr. Pegg on bass (not that one, his son Matt), City Funk Orchestra set about delivering a smooth selection of 80’s soul and funk covers.

Imaani and Angelo Starr share out vocals as they hype the crowd in the late afternoon sun. Backed by a band that have played with a diverse range of artistes like Bee Gees, Michael Jackson, Chaka Khan, Incognito, Van Morrison, Seal, Joe Cocker, Culture Club, Donna Summer, Sister Sledge, City Funk Orchestra are the perfect band for such festival surroundings. On a day that feels beautifully chilled with great music, the CFO put a glide in the stride and dip in the hip.

Each passing song draws a greater response and more tushes swaying. When they leave the stage, the ovation and clamour for more leads to a rare Cropredy encore. The quality of the musicianship is first class and the vocals are pristine.

URBAN FOLK QUARTET

UFQ saw the return of Joe Broughton to the Cropredy stage, albeit, this time, in the somewhat reduced circumstances of his “other band”. Here, he, his wife, the Galician fiddle player Paloma Trigás, banjo superlatist, Dan Walsh and the eight limbed percussion machine, Tom Chapman, produce their considered folk fusion, all tempered with tangs of jazz, rock, avant-garde and more, all the more remarkable with the only electricity being their own. All possessed with manic energy, anything and everything they play is mainlined with precision and underwritten with enthusiasm. And, in the case of Trigás, an unquenchable beaming smile, one step away from hysteria.

A BACKWARD INSTRUMENT FOR BACKWARD FOLK?

Opening with The River Is Wide, this is a funky little tune, sung by Walsh, with beautiful violin from Trigás, her husband toting a nifty guitar, with custom sound holes, later to be shared with Walsh. Chapman has a marvellously Heath Robinson mini-kit, based around his cajon, but with footpads for extra effects, such as hi-hat, and a teriffic wood block sound.

Plus, if anyone previously thought the banjo a backward instrument for backward folks, now was the time for some education, as Walsh then introduced a medley one instrumentals, to include his own Whiplash Reel. This is his homage to Indian music, and, if it is quite extraordinary on record, live it is something else. Playing his 5 strings like the Lord knows how many strings there are on a sitar, this seemed impossible, were it not happening. And not slow old Within You, Without You sitar, lightning fast, well, whiplash. Extraordinary.

Jaleo Bus had Broughton back on fiddle, a beautiful and lively tune that has each the fiddles swooping about each other, like swallows in the sky. At some stage he had also picked up a mandolin, courtesy the same designer as his guitar, with identically placed and shaped sound holes. (It also featured horse noises, which was, um, interesting…) Guests often feature on UFG albums, so what could be better than having one of those guests here to play that part, live? Luckily young David Pegg wasn’t far away, ambling on to the respect he deserves. Staying for two songs, the first was Solsbury Hill, that one, and I can confirm it works almost twice as well, live. Long Time Traveller followed, an old timey country hymn, with fumes of Shady Grove/Matty Groves about the melody, helping to get Peggy’s hand in before tomorrow.

TOP TABLE TRIANGLE

Emboldened by the success of rhythmic clapping at Thursday’s performance, Broughton then endeavoured to teach the crowd in the even more intricate time signature of 11/8. For his composition, The Circus, he was very kind to our failings, but the song was great. A Pink Floyd reggae hornpipe anyone? Well, they have one in their haversack of fusions, and I definitely caught the percussive nod to Money. Time, finally, for Chapman to explain the workings of what was to follow, a medley of tunes they describe as their Techno-jig, letting us all into his multilingual capacity in describing the movements necessary to take part, the old big fish little fish beloved of ravers worldwide. So, in French, Spanish and more.

With full audience participation of now rather more polish, the band jig and play this with such glee that one might swear they had never ever played it before, especially Trigás, whose face was now fit to burst, not least when Chapman returned triangle to the top table of percussion. Or tried to, with wonderful results. Follow that? Impossible. This band just get better and better. Downsized festival? Fergeddaboudit!!

EL PONY PISADOR

As the saying goes, if you know you know… by now, anybody that witnessed El Pony Pisador’s performance at Cropredy absolutely know! Having heard a surfeit of Celtic and English traditional jigs and reels, El Pony Pisador added their unique Catalan style to proceedings. Their high octane performance, comical delivery and endearing nature cut straight to the hearts of everyone.

Their set is part dance workshop, part language lesson as audience participation instructions lift the whole field. It will be a lasting and endearing image as they encouraged the field to be lit by phone lights and torches. Whilst there is a reduced capacity, the field at this moment looked packed and utterly magical.

CATALAN FLAVOUR

With traditional songs like John Kanaka and Leaving Of Liverpool given a Catalan flavour, there is also time for multiple dance routines, meditation, Turkish flamenco, circle pits and a wall of folk (nee death) thrown into the the energetic performance. Superbly skilled, yodelling and throat singing add further strings to their bow. For the uninitiated this sounds like a high pitched digeridoo! Mocking the Australian officialdom in their efforts to overcome some errant emus brought much approval from us whinging Poms – and a brilliant conga led by Debbie. Well done, Debbie!

Any early nerves for these young talented chaps evaporate quickly; there isn’t a dull moment watching their prancing and emulating Ian Anderson with one legged instrument playing. Novelty act they are not; many will be looking to witness their musical expertise on their Autumn tour of the UK later this year (details here). As far as exceptional turns go, El Pony Pisador earn a raft of new fans and a place in the pantheon of great Cropredy performances.

TREVOR HORN BAND

The question reverberating around many mouths in the field is ‘how do you follow that?’ after El Pony Pisador’s masterclass in festival frivolity. Well, when you’re Trevor Horn and you have a jukebox of songs the size he has, it is no surprise that he and his band step up to the plate.

Assisted by the omnipresent Lol Creme, he and Horn lead proceedings on the mic. They have a lovely rapport that emanates warmth. They thank members of the band sincerely as they deliver solo turns. Ryan Molloy is a big part of the band; he leads Two Tribes as it thumps around the field to open the set. He pops up throughout for the Frankie Goes To Hollywood songs as well a great version of Yes’ Owner Of A Lonely Heart.

Another singer that takes centre stage more than once is Izzy Chase. She has been in and around the Trevor Horn band for a while and has played at Cropredy as part of the band before. She sings LeAnn Rimes Can’t Fight The Moonlight excellently up front and backs up the band excellently as part of the backing singing corps. Said corps smash it out of the park with All The Things She Said, too!

RUBBER BULLETS

With Lol Creme in the ranks, there is always going to be a sprinkling of 10CC magic. Rubber Bullets, now celebrating its 52nd birthday, is absolutely stonking. The band look like they’re having a ball and Lol has a huge smile on his face as the song ends. The crowd reciprocate the joy.

Marillion’s Steve Hogarth is another one of those who appears with Trevor Horn regularly. He waits in the wings with the backing singers before stepping forward to sing Seal’s Kiss From A Rose. One of the biggest surprises of the evening comes in the form of Bruce Woolley. He arrives onstage to sing one of his biggest song writing credits; that of Slave To The Rhythm. Musically, the way Trevor Horn adds an extra dose of funk with his bass work is to die for. Woolley feels each lyric and it adds a special flavour to the song.

Woolley was a member of The Buggles with Horn. Video Killed The Radio Star is superb and Living In The Plastic Age feels like it deserved more than number 16 chart position it achieved upon release in 1980. Nowadays, chart postions mean less, back then, you were judged by them. Horn is humble on the mic talking about how he shouldn’t be trying to write songs!

A TRIUMPH

The Trevor Horn Band have now played Cropredy a hat trick of times. Each passing performance showcases the great skill of top musicians and singers, and the highest quality of songs. At festivals, people want a singalong and to forget the wear and tear of daily life for a few short days. Friday at Cropredy 2025 is be one of those days that will have people talking for a while.

Many comments across social media talk of how great the children were at the start of the day, or Churchfitters were with their unique instrumentation, or the bombastic energy of El Pony Pisador. Wherever your allegiances lie, this was a tip top day of music.

Read our round up of day one here.

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