Award-winning duo ROSIE HODGSON and ROWAN PIGGOTT have forged an intriguing musical partnership. Drawing upon their respective musical heritages their live performances are a fusion of the Irish and English traditions. This is hardly surprising since Rosie’s family is steeped in the songs and Morris dancing of Sussex, while Rowan’s father was a founder member of the Irish folk supergroup, De Dannan.
To add to the mix, Rosie is the lead vocalist with Irish band Crossharbour while Rowan was brought up in England and whose mother, Frances was an inspirational fiddle teacher.
Rosie is a songwriter, whose debut EP was well received but her engaging vocal style brings warmth and conviction to traditional ballads too. At her side Rowan’s wonderfully accomplished fiddle playing and vocal harmonies provide the perfect foil.
"Rosie & Rowan are at the forefront of the modern folk scene individually; together they form a powerful partnership that will surely accelerate their rise to the top. Songs crafted of the highest quality, sensitively delivered with haunting harmonies - and a cheeky smile!"
Heard And Seen
At one time Brighton had a folk club every day of the week - and all the now-famous names made an appearance. Essential to this thriving scene was the quality of the local resident singers and many’s the time that the likes of Tom Paxton and Ralph McTell had to work their socks after following the likes of this month’s guest TIM BROADBENT, Brighton born & bred (Hove, actually).
His precocious talents soon took him all round the world where his lightning-fast fingerpicking were matched only by his quickfire banter. Now resident in France he a fixture on the acoustic music scene across mainland Europe together with a superb fiddler from his adopted country, CHRISTIAN FROMENTIN.
With some great songs of his own plus an eclectic choice of the best of the rest, theirs is great package of great musicianship and humour.
Born on his grandfather’s farm in Ifield Wood, Martyn took off with a guitar and a head full of Sussex songs to work on a sheep farm in Australia. Working alongside the station hands he became fascinated by their old bush songs, “My jaw dropped,” he later recalled.
When he returned to England he became hugely influential not only for the championing of the traditional songs of Australia but also those of its new wave of songwriters. With his newly-acquired repertoire, delivered in with his trademark virtuoso style, he soon became a fixture in the clubs and concert halls of the UK.
Since then, his many prestigious collaborations with the great and the good of British folk music have been hugely important in our understanding of the links between our native traditions and those throughout the English-speaking world. He has featured on over 40 albums and continues to tour extensively.
Living Tradition said of his most recent album, Starlit Skies, “Heavenly ... superb on all counts”
Such was the impact that NAOMI BEDFORD made on our audience last year we jumped at the chance to welcome her back to The Nelson again - a rare exception to our policy of not rebooking guests within three years.
Because: she is an enthralling singer - mellifluous and passionate - who wrings the last drop of drama and emotion from the great ballads of the transatlantic tradition.
Let others add more superlatives:
"An English Emmylou" - Justin Currie (Del Amitri)
"Dreamy, fantastic voice" - Peter Buck (REM)
"What a voice!" - Mike Harding
"A favourite voice of mine I love to hear her sing" - Shirley Collins
"Intoxicating" - Chris Difford (10cc)
"Great voice" - Jools Holland
“We thought she had a fantastic voice" - Phil Hartnoll (Orbital)
And here are just some of the reviews of her most recent album, A History of Insolence
“Brilliant and original in equal parts” - The Independent
“Compelling ... impressive” - The Guardian
“Plenty of passion” - The Telegraph
“(Her voice) is easy to get besotted with” - Ian Anderson (fRoots)
"Unexpectedly wonderful" - Colin Irwin (Mojo Magazine)
"Achingly expressive" - Maverick Magazine
Naomi will, as usual, be accompanied by legendary alt-folk stalwart PAUL SIMMONDS, driving force behind The Men They Couldn’t Hang.
THE TWAGGER BAND
This most accomplished quintet plays an astonishing collection of instruments, producing melodic textures which revitalise traditional tunes, as well as exploring the delightfully unfamiliar.
At its heart is the most unusual pairing of two hammered dulcimers, heard alongside guitar, concertina, small pipes and whistles (to name just a few).
They are all fine singers too, with great harmonies and some showstopping comedy routines.
Because The Lord Nelson will not reopen until March 11th we have had to cancel once again. Rowan & Rosie have been rescheduled for October. We resume on April 4th when TOM PALEY will be joined by his son, BEN, on fiddle and vocals.
A pivotal figure of the great American folk revival, he influenced Pete Seeger and Bob Dylan and gave lessons to Ry Cooder and Gerry Garcia of The Grateful Dead.
After leaving Yale he took the New York folk scene by storm, “...as if John The Baptist had flown into town!” according to one reviewer. And Happy Traum remembers how, “Tom Paley became one of the best guitar and banjo pickers in the city, and was the inspiration of many, many other aspiring folk musicians.”
He formed a duo with Woody Guthrie, who praised his “slick, fine expert music” and he was a regular at the jam sessions at Leadbelly’s house, along with Sonny Terry & Brownie McGhee.
“Tom Paley was one nifty dude,” says fiddler Peter Stamphel. “More than anyone else he introduced the modern acoustic guitar and banjo-picking styles to New York. Before him, nearly everybody thrashed grossly on the nylon stringed guitar. Paley brought Travis and Scruggs to the Big Apple, clear as a bell.”
Later, Tom formed The New Lost City Ramblers, of whom Bob Dylan wrote: “Everything about them appealed to me - their style, their singing, their sound. I liked the way they looked, the way they dressed and especially I liked their name. Their songs ran the gamut in styles, everything from mountain ballads to fiddle tunes and railroad blues.”
“The New Lost City Ramblers pioneered the renaissance of southern mountain music and brought many traditional musicians into the mainstream folk music scene. They played music as used to be sung. In Tom Paley they had a superb guitarist and banjoist whose sardonic wit had become a hallmark of the Ramblers' stage shows.” Ray Allen, Folkways Magazine