MIRANDA LEE RICHARDS UK TOUR WITH GOSPELBEACH
Saturday 19th August - Green Man Festival, Wales
(Guest appearance with GospelBeacH)
Monday 21st August - Prince Albert, Brighton
Wednesday 23rd August - Moth Club, London
Friday 25th August - Mono, Glasgow
Saturday 26th August - The Crescent, York
Sunday 27th August - The Castle, Manchester
“Her low gospel tones and fearless approach also align her to Nina Simone, a key influence creatively and thematically” — Uncut
The new album from young African-Canadian roots phenomenon KAIA KATER couldn’t come at a better time. As a new generation takes the reins, American roots music is needed more than ever to remind us of the troubled pathways of our own history. Born of Afro-Caribbean descent in Québec, KAIA KATER grew up between two worlds: one her family’s deep ties to Canadian folk music in her Toronto home; the other, the years she spent learning and studying Appalachian music in West Virginia. Her acclaimed debut album touched on this divide, but her new album, ‘NINE PIN’ (set for release on September 2nd, through Proper), delves even further, and casts an unflinching eye at the realities faced by people of colour in North America every day. Her songs on the new album are fuelled by her rich low tenor vocals, jazz-influenced instrumentation, and beautifully understated banjo, and they’ve got as much in common with Kendrick Lamar right now as they do with Pete Seeger. True to her roots in Appalachia, the title of the album comes from a traditional square dance formation in which a woman stands alone in the middle of a circle of people turning around her. As a double meaning, it’s also one of the pins in bowling that keeps getting knocked down. Surrounded yet alone, constantly in the line of fire, this album speaks beautifully to the seasons of a young woman’s life. As a new generation of artists like Rhiannon Giddens, Leyla McCalla, and Dom Flemons are reclaiming the black roots of North American music, KAIA KATER steps into this dialogue with ‘NINE PIN’, bringing a powerful new voice to the conversation.
Recorded in just one day in Toronto, ‘NINE PIN’ was produced by both KAIA KATER and acclaimed Canadian artist Chris Bartos (The Barr Brothers, Jonathan Byrd), who also produced her last album, ‘Sorrow Bound’ (Kingswood Records). Few artists could pull off such a polished, cohesive album in one day, but KATER felt that this actually lent focus to the project. “This album was written to be something to listen to from start to finish,” KATER explains. As a concept album, ‘NINE PIN’ weaves between hard- hitting songs that touch on modern issues like the Black Lives Matter movement (“Rising Down,” “Paradise Fell”) and more personal narratives speaking to life and love in the digital age (“Saint Elizabeth”). And while these larger stories are deftly crafted, this is really an album of moments. KATER’s acappella voice speaking to the loneliness of a city in “Harlem’s Little Blackbird” while solo dance steps echo in the background, the muted hesitancy of Caleb Hamilton’s trumpet breaking the trance of “Little Pink,” the smoke of electric guitar that cuts through “Saint Elizabeth,” the wave- like ebb and flow of piano behind the plaintive love poem “Viper’s Nest...” All of these moments point to an artist wise beyond her years.
If elements of Toni Morrison seem strong in KATER’s lyrics, that’s no accident. As KATER explains: “Toni Morrison once said: ‘If there's a book you want to read, but it hasn't been written yet, then you must write it.’ I tried to understand those words for a long time. I pored through her novels at 15, and again at 18 as I arrived in the steep hills of West Virginia. I read her novels at 20 on a series of small buses headed through the mountains of Matagalpa, Nicaragua. Music and poetry are the languages I speak. Any time I travel, words come walking back with me. They have souls and histories. They create me and I create them.”
‘NINE PIN’ may be the opening chapter of KAIA KATER’s book, as Morrison would say, and in writing her own story, KATER speaks powerfully not only to her heritage, but to her vision of what this music can mean to a new generation.
SARAH JANE SCOUTEN
2017 UK TOUR
Tuesday 3rd October
Cramlington Folk Club, Cramlington
Wednesday 4th October
Woodend Creative, Scarborough
Thursday 5th October
Black Swan Folk Club, York
Saturday 7th October
Music @ Craigie Folk Club, Scotland
Wednesday 11th October
Running Horse, Nottingham
Thursday 12th October
Crail Folk Club, Fife
Saturday 14th October
Wychood Folk Club, Oxon
Sunday 15th October
Nest Collective, London
Tuesday 17th October
Leith Folk Club, Leith
Saturday 21st October
Cellar Bar, Cardigan
Fri 25 August - Blues Kitchen, Shoreditch (London's Got Soul)
Sat 26 August - Volks, Brighton (Brighton Mod Weekender)
Canadian Juno award winning songwriter Amelia Curran reveals plans for new album Watershed, due for UK release on 21st April, through Six Shooter Records, following 2014’s critically acclaimed They Promised You Mercy.
Amelia Curran is a songwriter, activist and mental health advocate from St. John’s, Newfoundland. Curran’s music is distinguished by her intricate and elliptical lyrics, geologic in their resilience and oceanic in their depths. Over the course of a decade, Curran has built a shoreline of song, a place of radical, perpetual collision of matter and form. As she leads us to the ever-eroding lip of the abyss, Curran’s music helps us make sense of the heart’s imperceptible, relentless attrition.
In Canada, Curran has won or been nominated for JUNO Awards for three consecutive albums now and is firmly established as one of the country's preeminent poetic songwriters. Outside of Canada, Curran's work has made an impression; both the BBC's Bob Harris and Folk Alley's Linda Fahey, two influential engines of folk music discovery and appreciation, have recognized Curran's work. In spite of its small-scale international release, They Promised You Mercy, Curran's last album, mreceived 4 star reviews in The Telegraph, Mojo and Maverick Magazine. Curran has toured regularly in the UK and Europe, and her appearances in the USA have included showcases at Folk Alliance and AmericanaFest.
Watershed, Curran’s newest album, marks a threshold and a directional change. The tenor of this new album is openness (not to be confused with optimism), a reflection in part of Curran’s increasingly public efforts to battle the stigma of mental health issues in the arts. As a whole, the album calls for compassion and unification as a breakwater against the sea of cruelties we inflict upon each other, and upon ourselves.
NED ROBERTS is a hotly-tipped, London-based folk musician, who has drawn comparisons with the likes of Tim Hardin, Nick Drake and Leonard Cohen. With a timeless quality to his sound, a poetic turn of phrase, excellent musicianship and a perfectly judged vocal sensibility, his songs sit comfortably amongst the classics of the Laurel Canyon era.
Lights On The River is the first single to be released from his new album, which was recorded in LA and produced by Luther Russell (Sarabeth Tucek, Richmond Fontaine, Noah & The Whale) who discovered Ned some years ago and has championed his music ever since. The highly anticipated new album Outside My Mind is due for release on March 24th on Aveline Records.
Outside My Mind felt a long time coming for Ned, with songs written over a period of three or four years. Largely an album of love-songs, both hopeful, devastated, and all things in between, the album was in a sense cathartic to record, a way to explore a moment and also to move beyond it.
The recording in LA was a much quicker process. They went into the studio with 15 acoustic guitar demos, and within 5 days came out with the finished record. “Recording to tape kept things tight explains Ned, we didn’t have endless reels, so couldn’t indulge in take after take. I enjoyed these practical limitations as they really focused the creative process, and kept everything fresh.”
His eponymous debut (2014) brought him to the attention to the UK media, with plays on BBC 6 Music (Lauren Laverne, Gideon Coe) BBC Radio 2 (Huey Morgan, Jo Whiley) as well as BBC Radio Scotland. The album also received outstanding reviews in the national press, including rave reviews in Guardian and Uncut magazine.
No stranger to the road, Ned has toured the UK extensively. He attained a much sought after support tour with celebrated US songwriter Anais Mitchell, and has also supported the likes of Joe Pug, Micah P. Hinson, The Delines and Sarabeth Tucek.
He has also toured the West Coast of the US, embarked on a 14-date tour of Germany, as well as gigs in France, Spain and Italy.
RELEASED SEPTEMBER 2016 ON AVELINE RECORDS
"Her tales leave you breathless" - MOJO ★★★★
"Songs so quirky and unexpected that it's impossible to imagine anyone else performing them, following none of the more conventional styles of songwriting. And it actually works" - GUARDIAN ★★★★
Known for her quirky, insightful, poetic lyrics and insidious melodies, RUTH THEODORE is excited to announce the release of her fourth solo album CACTACUS on September 23rd 2016 on Aveline Records.
The recording sessions saw Ruth crossing the Atlantic to collaborate with Todd Sickafoose, best known for his work with Ani DiFranco, as well as recently producing two award winning albums for Anais Mitchell.
Ruth travelled and performed her way through California and up into Oregon, to work alongside a stellar cast of musicians including organist Rob Burger (Tom Waits, Willie Nelson), percussionist Mathias Kunzli (Regina Spector, Lauryn Hill), and violinist Jenny Scheinman (Lucinda Williams, Lou Reed).
Ruth is so much more than a singer-songwriter. Her use of unconventional guitar techniques and unique tunings has thrilled listeners and dumbfounded peers since the release of her 2007 debut 'Worm Food'.
CACTACUS features Ruth's distinguishable songwriting style and honest lyricism at its core. Her voice, guitar and piano, cocooned in soulful male backing vocals contribute to a deliberate sexual tension, most prevalent in the abstract and moody 'The Carcass And The Pride'. Theodore's string and vocal arrangements are deliberate and dramatic, whilst Sickafoose softens the edges with depth and texture. Songs such as 'Everything is Temporary' and 'Loop Hole' refer back to Ruth's much loved patch of land in Hackney, whilst 'Scavengers' is a playful but fierce social comment on the rapid influx of privilege to the arts of East London. First single 'You Can't Help Who You Love' tells the story of a battle with cancer form the perspective of the carer (which was four years in the writing), where as 'Kissing in Traffic' and 'Wishbone', are out and out love songs.
Following the recording and release of the first of her three self-produced records through River Rat Records, Ruth moved on to a tiny narrow boat with no heating or electricity on the River Lea in East London. This has been her home for the last 10 years. The river and the land on which she moors have been a great source of inspiration, and keen to continue creating on the water Ruth has single-handedly converted a larger boat into a studio space which has become the base for her band and other local musicians and is now home to one of the most unique and truly intimate house concert music events in London.
Her albums have received critical acclaim from the UK media, with reviews running in The Guardian & The Observer, whilst also achieving national radio play on BBC Radio 3 and BBC 6 Music, alongside rave reviews in music magazines Mojo, Q, fRoots and more.
Sun 25th June - Somerset, UK - Glastonbury Festival
Tue 27th June - Dublin, Ireland
Thu 29th June - Edinburgh, Scotland
Sun 2nd July - London, UK
Tue 4th July - Rome, IT
Wed 5th July - Milan, IT
Fri 7th July - Barcelona, ES
Cruilla Barcelona Summer Festival
Sun 9th July - Rudolstadt, Germany