Set in the attractive grounds of Hatfield House, Folk by the Oak was a much drier affair this year, with a gentle breeze blowing nicely through the coloured banners strewn around the site.
The sun came out as Megson took to the stage for a rousing set of songs of working life and the North-East. They started with Durham Gaol and the set was interspersed with talk of sausage rolls and trousers. Two Match Lads was a moment of poignancy before they treated the audience to The Longshot. Ostensibly a shot about supporting Middlesbrough FC, its true message is one of soldering on in adversity. They finished their set with Tally I O the Grinder and managed to rouse the audience from their picnics for a sing-a-long.
Next on stage, Spiro were a very different act. What they lacked in banter they made up for in mesmeric tunes and excellent musicianship. At times they were reminiscent of Lau, painting vast soundscapes, and clearly living and breathing their music. This was impressive stuff, with accordion, fiddle, cello, guitar and mandolin in the mix.
Away from the stage there was plenty to catch the eye and fill the stomach. Children’s entertainment was provided by storytelling from The Yarnsmith of Norwich, pottery, silk painting, as well as giant Connect 4 (also for the young at heart).
Inside the craft tent there were many retail opportunities as well as a chance to sit, knit and socialise for free. For the ecologically-inclined the Complete Wasters had an array of recycled gifts available.
A number of brave individuals had a go at shooting fearsome foam animals with longbows provided by the local Celtic Harmony Camp Iron Age village. Sadly I was given the task of slaying the rather cute baby bear.
Emily Smith brought a Celtic flavour to proceedings with songs from the Scottish lowlands, as well as her own compositions. The audience were treated to two tracks from her forthcoming album, delivered with her clear and captivating voice. Superlative accompaniment was provided by Jamie McClennan, Duncan Lyall and Anna Massie. A personal highlight was the Scottish ballad Plooman, sung in dialect.
Mawkin:Causley provided a change of pace with their cheery, cheeky and upbeat. Dave Delarre in particular seemed keen to showcase his skills with some tricky showboating. One of their final gigs before going separate ways, they were keen to entertain and the audience responded by crowding in towards the stage.
Their rendition of Germany Clockmaker was a high point of enjoyment, though perhaps a low point in tone! They further pleased the audience by playing two requested songs and finished with a rousing rendition of Cropper Lads, which saw the crowd find their full voice, joining in lustily.
Next up was Jackie Oates, with her new band. This was my first time seeing the new line up, and they impressed me greatly with their sympathetic and fitting accompaniment. It was an upbeat selection from Jackie and included some Cornish Nos Lowen (ceilidh) tunes. We were also treated to a number of her enchanting songs. She was very at ease with the crowd, describing Lake of Marsh Green as an early ’public warning song’ and was happy to provide the background story to the love song Hyperboreans.
Setting the party atmosphere for the night, Martin Simpson and friends produced a lively New Orleans-inspired bluesy set with the minimum of rehearsal, as last minute stand-ins for the Michael McGoldrick Trio. BJ Cole and Will Pound were resplendent in Hawaiian shirts, and simply splendid on their respective pedal steel and harmonica. Keith Angel and Andy Seward kept everyone in check with their powerful rhythm section, and Jon Boden made a welcome guest appearance on fiddle.
The picnic rugs and deckchairs disappeared as people began to dance, flocking to the front eager to engage with the spectacle on stage. Simpson standards like Stagger Lee and John Henry took on a new dimension with the six-piece band and rampant improvisation. It was no surprise that an encore was compulsory.
And so to close a wonderful day’s entertainment, Bellowhead took to the stage, starting off in typically rousing style with their newest crowd-pleaser New York Girls. Jon Boden was every inch the showman in his new silver suit, whilst the rest of the band seemed keen not to be overshadowed by being even sillier than usual. Special mention must go to percussionist Pete Flood, a whirling dervish when let loose from the drum kit, and Benji Kirkpatrick, who made a jaw-dropping leap from the stage at the show’s climax.
The band performed a mixture of old and new favourites, finding a balance that suited both the fervent front row fans, and those enjoying from further afield. Their version of Jacques Brel’s Amsterdam was the best I’ve heard, and truly a moment to savour. New to the set was Little Sally Rackett, a riotous, punk-inspired song, that saw much of the band switch to a plethora of percussion, and Brendan Kelly playing two saxophones at once. It also showcased the breadth of singing talent with some wonderful five-part harmonising.
As the set drew to a close both band and audience were giving it their all. Two encores were demanded, and these were accompanied by fireworks, although it was hard to draw your eyes from the energy being given out from the stage.
It was with weary legs that we retreated to the car after a day that was the perfect mix of cultured relaxation and unfettered exhilaration. Although only in its third year, the festival has gone from strength to strength and is now set to be a fixture in my calendar.
Review by Ellie White & Liz Osman.
