Day two of Fairport’s Cropredy Convention was one full of youth and experience with a wide array of genres on show.

Read our Day One round up here.

All live photography by Mike Ainscoe for At The Barrier.

FAIRPORT PRESS CONFERENCE

In recent years, the good chaps of Fairport have thought of a whole string of novel ways to get Day 2 underway. Past years have seen presentations by the likes of Roger Dean and Joe Boyd – this year, it was the Fairport boys themselves who opened their hearts to the lucky people of the press. A number of salient points were made during the discussion.

Many of us, Fairport included, are – let’s face it – getting on in years. When asked how much longer things will continue as they are, Simon remarked that, “The future is ‘ongoing,’ as it always has been. The band are looking forward to next year, and – probably – beyond.” Fairport credit their amazing longevity to their loyal supporters – the people in the field behind us as we chatted. “We’re not pop stars,” added Ric. “A Fairport show is a meeting of friends,” with Peggy adding: “Playing live is our forte. We love it.”

Peggy celebrates his 80th birthday in 2027 and plans are already well advanced for a lavish celebratory concert at Dudley Town Hall on 2nd November. Rumoured guests include Joe Broughton’s Conservatoire and possibly Richard Thompson. Could a ‘monster’ version of ‘I Heard It Through The Grapevine be on the cards?’ THAT would be something truly special…

A NEW ALBUM?

When asked whether a new album of original material could be in the offing, Fairport’s response could possibly be described as ‘optimistically coy.’ The band are collecting songs and tunes – Chris, in particular, has a few ideas and Ric is working on a tune that could feature Mr. Pegg making his recording debut on cello. Sounds interesting… Chris continues to collect instruments. During the band’s recent Douro Cruise, he picked up a ‘high tuned’ guitar-like instrument called a cavaquinho. And – he’s intending to put it to good use on that tentative next album!

There are no plans to discontinue the Cropredy tradition. The recent capacity reduction to the present 6,500 was an exercise in ‘Right-Sizing.’ It certainly wasn’t a downsizing measure. And, the festival will always be a single-stage event. And that’s the way we all like it.

CROPREDY PRIMARY SCHOOL FOLK CLASS

The festival programme describes the appearance of Katie Harris and her group of talented children as “The runaway stars of last year’s festival.” And it makes a good point. So stunning was the reception given to the children on their debut appearance that they just HAD to be invited back. And they tackled the daunting task of opening the second day festivities so very, very well.

Ms Harris has shaped her charges very effectively, coaching them not just to play their instruments and sing – both of which they achieve to admirable standards – but to put on a visual show that includes dance and stagecraft.

PROUD FAMILIES

Friends and family gathered in their numbers in front of the stage and the children’s arrival was greeted by a banner that read: “Cropredy Primary Scool – You Rock.” Indeed they do, as the children proved as they forged confidently and happily through a short set that included such familiar songs as Halloween guising songs Hey Ho and Soul Cake, the morris tune, Shepherds Hey, Geordie dance song Keel Row and the baffling diddly-dum-doh of Mary Mac. The set was uniformly superb and something that we all – especially the children – will never forget.

As was the case in 2025, it fell to head teacher Will Reeves (who also played bouzouki with the ensemble) to have the final word. He praised the children’s dedication – working for a whole year, one hour every week to prepare for the show and expressed his pride in what the children – with Katie’s help have achieved. We heartily second those words.

DANNY AND THE CHAMPIONS OF THE WORLD

Danny George Wilson (with orange Hawaiian shirt and a look of ATB scribe Seuras Og about him) brings his almost twenty year solo venture and latest album You Are Not A Stranger (plus a Springsteen tag) with him. With a band that sounds like it comes straight from the pages of a Roald Dahl novel, the lashings of organ combined with some frantic rocking and rolling is a lesson for the Primary classes that he follows and who’ve had their taste of a big time future.

A lesson too in getting into a groove and running with it that passes for ‘Heartland Rock’ and the guitar of Paul Lush regularly takes off on extended guitar solos to get lost in. We might, but fortunately they don’t as the easy on the ears vibe dominates the perfectly sequenced Friday lunchtime set. Along with the occasional sound bite or sample, I’m In Love offers a peaceful easy feeling with some Doors-y electric piano standing out as prime decoration.

“Some of you have put your dancing shoes on early – it’s good!” he observes as Waiting For The Right Time crosses swords with the more, dare we say, Punky (although probably more ‘Rootsy’) Heart & Arrow. If there’s one memory to take away from D&TCOTW at Cropredy it’s when he sings “the drummer’s playing every beat of my heart” as his band knock it out of the park in the style you anticipate from that Springsteen tag. As noted by AJ Clarke as they take the applause, “lovely songs and some great moves.” Great stuff.

DANNY BRADLEY

Even what appeared to be his finger warm-up exercise was outstanding before we were treated to one of the finest exponents of guitar in the country. He astounded the Cropredy audience with tunes, which like his Liverpool inspired song, had healing powers.

He doesn’t so much play the guitar, as strokes it with panache. Each stroke paints delightful soothing notes. Each one pets your ears . When he adds brief pauses you eagerly anticipate the next notes which were as evocative has some of his lyrics…deja vu in his eyes / then up gloves and worn out soul examples of the many he conjures. When he sings Cairn Girl with an Irish lilt acapella style he has 6500 pairs of ears spellbound. There is virtual silence blanketing the field. Even the generators gently whir in respect before he finger picks a gentle jig.

POWERFUL VOCALS

Inspired as a child by Richard Shindell, he plays a rendition of Fishing recalling many hours of listening on car journeys.. At times his voice has a natural James Taylor class of delivery. He plays Appalachian style with fiddle and banjo vibes transferred to guitar. His calm voice when talking belies the power in his vocals he can create and amidst all the stunning guitar work there is in built rhythm to which you could sway or tap your foot…but gently! Songs which will be on his next album reflect his quirky look at his everyday observations from his experiences at art school and from visiting a bakery with a secret revealing parrot.

Danny is one of our best kept secrets with a confident delivery which was not even deterred by a call from his dad while on stage. I hope he remembered to call him back to tell him how well he went and he will surely be back.

THE CELTIC SOCIAL CLUB

Completely decked out in dapper black wares, The Celtic Social Club ooze a certain charisma. Boasting a seven strong line up, the collective have many strings to their bow. They take a group bow before opening with You Should Know: a song bristling with a bassline reminiscent of Jet’s Are You Gonna Be My Girl. 

Taylor Byrne is a magnetic presence as ringleader. He orchestrates the crowd perfectly. El Dorado sees the band ‘on the road’ as they encourage the crowd to holler back the line in response. With an atmosphere growing song by song, you can always get a measure of a bands impact at Cropredy by how the crowd at the front grows. The Celtic Social Club succeed in growing their audience, but also get people shaking their hips. 

Packing a folk groove, the group have a real zest for a bouncy tune. Pauper’s Funeral showcases many dimensions to the band; thumping bass and drum, brilliant violin lines, electric harmonica, superb vocals and irresistible energy. Dead End has a more folk punk vibe in the style of Frank Turner whilst retaining their own identity. 

As one of the best turns of the whole weekend, The Celtic Social Club are a band that sit perfectly at festivals like this. They have the type of tunes that grab your attention; but more importantly, they hold your attention. And it’s clear that The Celtic Social Club come to have fun; their smile, rousing music and enthusiasm will infect any crowd. 

MARSHALL GILMOUR WEBBS

Formed after coming together on David Gilmour’s 2024 tour as his backing singers, Marshall Gilmour Webbs have got some serious vocal chops. The quartet elegantly appear on stage and play a set of silky, hypnotic songs with same level of elegance and precision. A mixture of harps, guitar and keys are accompanied by some of the sweetest four part harmonies you are likely to hear.

They introduce themselves with a self referential song that is both funny and classy. It showcases the quartet’s affable nature as well as their talent. When Romany Gilmour drops the line ‘I know I look like my dad in the 70’s,’ there are plenty of laughs around the field. Romany also takes the lead on Between Two Points, given an ethereal Depeche Mode style feel.

Although they don’t have any recorded output released just yet, there are plenty of songs in the canon. Straw Into Gold has some great harp work and as they play In Full Colour, written by Charlie Webb, a few soothing raindrops fall on the crowd which are a refreshing as the music. Creation of Delight and The Melling written by Hattie Webb see the entranced audience maintaining their spellbound state of mind through their exquisite melodies. A real highlight is when Louise Marshall throws down an incredibly soulful number. Her vocals move away from the lilting to full bodied gospel grandeur. It is spine tingling.

THE GREAT GIG

It is Louise Marshall who raises another cheer, playing the opening bars to Pink Floyd’s Great Gig In The Sky. A rush of people get their cameras out as the audience respectfully silenced themselves. Hanging on to every ooh and aah, it completely transfixes. It would also surely would have impressed Mr. Gilmour as a proud dad as he sat on/at the barrier in front of the stage with wife, Polly Samson.

There was an element of prog and rock too in their closing numbers with Gilmour and Marshall combining with mellow vocals which eventually built up with some strongly strummed guitar. The audience demanded more and were rewarded with more enchanting harmonised singing and a delightful cover of Minnie Ripperton’s Les Fleurs. Recorded material is on the way from the quartet. We can’t wait to hear more!

BREABACH

With the sound of bagpipes soundchecking and, when it comes to Scottish folk bands, the regular presence of arch double bassist and bringer of the lower sonics, James Lindsay, some classy contemporary Folk from North of the border is in the air.

A quintet of all rounders whose take on Folk sees them just as capable of whipping up a storm or crafting tunes and song which provide the balance of  soothing and wistful.  The latter is led by Megan Henderson’s ethereal vocals to add to her fiddle repartee, that drifts in gossamer airs across the open field that wouldn’t be out of place in a widescreen Peter Jackson/Tolkien fantasy visual.

A CONSTANT SHIFT OF PIPES

There’s the bonus of the appearance of arch Scottish collaborator and general musical wizard Ross Ainslie adding his massive musical presence. Aided and abetted by his sheaf of notes on a music stand, he’s on a constant shift of pipes, whistles and stringy strumming things. For some it may be akin to one of the seven levels of Dante’s Inferno, yet when he teams up with Conal McDonagh not just on the whistles, but for a double dose of bagpiping the set takes off.  Yeah –  we had it with Skippinish in 2025 and Breabach show a brave heart and spirit in the skirl of the pipes. You simply can’t deny the thrill when a Folk band rips into a set of swirls, skirls, jigs and reels twisting and winding across the bouncing guitar accompaniment.

It’s not all about Scotland either. Musical connections with Canada and New Zealand form part of the repertoire as does a trip back to the first song the band recorded some twenty years ago. Ewan Robertson reminisces over the Celtic Connection reward of a support slot with our Fairport heroes. Playing Rolling Hills Of The Borders seems totally apt today and proof that it really does all come round again.

SPOOKY MEN’S CHORALE

When Spooky Men’s Chorale last played Cropredy nobody left the field without a smile on their face and a song in their heart. That was repeated in 2026 with an enthralling performance and not a note out of place. Led by spookmeister Stephen Taberner with dry wit and wry humour, they are well worthy of their high billing rivalling the harmonic delivery of any top choir, classical or folky.

Their introduction included a rather mysterious handshake and they showed that not only are they top quality singers they will give anything a go like detailed surgery, removing nasty asbestos and even air traffic control!

In contrast to their amusing jollities, their love song Sweetest Kiss Of The Heart was simply a thing of beauty capturing sensitive moments and creating an intimacy unexpected with such a large crowd. Humour is never far away and there was plenty of it it in that traditional Swedish folk song……Dancing Queen or when they brought on a brick tableau which they simulated urinating on!

They have a poetical conscience without being divisive yet poignantly supporting Ukraine delivering a patriotic melody. Their sentimental side also came out using the words of Tennyson dedicating Crossing The Bar to lost friends. Their version of Queen’s Bohemian Rhapsody was full of visual and vocals gags but like the rest of their performance delivered with choreographic precision and class. Another stellar turn at Cropredy, and another sea of hearts won.

RICHARD THOMPSON WITH ZARA PHILLIPS & SPECIAL GUESTS

Richard Thompson never fails to entertain with his carefully selected setlist of favourites – his and ours – from yesteryear, recent times and a smattering of the delights that Richard has prepared for his forthcoming album, Hippies, Thugs and Heroes (scheduled for release on 16th October).

His set, cleverly split into three sections, began with a solo acoustic performance. Turning of the Tide – the opening track to Richard’s excellent 1988 Amnesia album was first up, followed by ever passionate Dimming Of The Day – an all-time RT classic. We had already been overwhelmed by an artist with magical fingers in Danny Bradley and now we had one of the all-time masters of the guitar to enjoy . Pharaoh – another Amnesia track – follows and Richard even survived a moment of corpsing when he could not refrain from chuckling in response the audience participation.

The delightful Beeswing closed his solo set but the theme remained acoustic as Zara joined him, adding harmonic vocal support on Johnny’s Far Away – a deep(ish) dive back to 2007’s Sweet Warrior album. And the two voices blended beautifully.

SHE TWISTS THE KNIFE AGAIN

The forthright She Twists the Knife Again (another solid gold Thompson classic) was followed by a stirring version of The Rattle Within – a song from the oft-overlooked 13 Rivers album (2018). The crowd were entraced by the instant appeal of the song’s swingy country flavour. Then – back to more familiar ground – but not before he admonished his fans for not buying Bright Lights on its release (although quite a few of us did…). And, once again the harmonies were smooth and deliciously tempered as Richard and Zara delivered a delightful rendition of old favourite Withered And Died.

A group of wandering chaps “(…calling themselves musicians – I met them at a roundabout)” were invited on stage. Richard donned his electric guitar as Simon Nicol and the two Daves – Mattacks and Pegg took their places. It was going to get loud… The augmented ensemble ripped into new single Cocaine Walking, Booze Talking – an enticing insight to the treats that Richard will be unleashing this autumn. Simon was playing his Kellogg’s Cornflake box guitar – just like he did when Richard’s band played here in 1983!

THE HITS!

A lively, bouncy Everybody’s Stealing (another taster from the forthcoming album) made its debut appearance, before Richard, Zara and the band turned their attention to the HITS. Wall of Death – arguably Richard’s most famous and most popular song – romped along, as the band sound got heavier and louder. Shoot Out the Lights was next, before Hand of Kindness – a song that many of us associate indelibly with Cropredy, after so many many fine performances of it in that very field. Peggy gave us some funky bass on the footstomper Hand Of Kindness. And for a memorable set-closer, what could be better than a rollocking version of Tear Stained Letter (no saxophones unfortunately, but I’m not sure that many people noticed – the sound was so intense).

The call for more was relentless but Richard announced that he and the band hadn’t rehearsed anymore. He wasn’t going to get away that easily, though and the patience of the baying, ecstatic audience was rewarded as he reverted to solo for a spine-tingling 1952 Vincent Black Lightning to send everyone happily out into the late, warm night.

Come Friday morning, Richard’s set was the talk of the village. Certainly, a few of our writers have seen RT upwards of 50 times and we reckon that Cropredy 2026 might just be the best Richard Thompson show we’ve ever seen. do you agree?

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