It has been many years since I saw Barbara Dickson. 48 years to be exact. At the time she had just hit the charts with her first big success “Answer Me” and was the opening act for Eric Clapton at a multi-act concert at the Crystal Palace Bowl, London. The time before that she was the singer in a musical based around The Beatles, written by Willy Russell, John Paul George Ringo and Bert. Barbara performed many Beatles’ songs in that musical. That was around 1974 and I saw the musical at Sunderland Empire. I checked my blog for an entry on the musical and was surprised to find that I had not written about it. A schoolboy error which I must rectify one day soon.
Barbara has appeared around the region many times over the years and I have always meant to go and see her but for some reason, I never did. As this was her farewell tour I figured I should go along and see what the lady was like in concert on this last opportunity. The Glasshouse announced the show: “Theatric. Passionate. A triumphant finale. Legendary Scottish singer, songwriter, musician and actress Barbara Dickson has announced her Farewell Tour with her full band. In her own words ‘I played my first headline tour with full band in 1977. Now, in 2024, I’ve decided to make this one my last. A memorable occasion and a suitable celebration is required. Come and join us to make this tour the most special of all.’ Throughout her career Barbara has achieved countless accolades including two Olivier Awards for her role in Blood Brothers and Spend Spend Spend plus she was awarded an OBE from Her Majesty The Queen Elizabeth II in 2002.”
I had in my mind that Barbara would be a blend of pop, folk and musical theatre. I couldn’t have been more wrong. This lady has had a fantastic career which started in the folk clubs of her native Scotland and progressed through chart single hits into musical theatre. She told us that the first time she played in the region was at a concert at Newcastle Guildhall in 1971 alongside the legendary Sandy Denny. Now there is a great concert I missed out on. Her performance was in two parts with a short interval. She started at 7:30 PM sharp and the concert finished just after 9:30 PM.
The songs she performed were a mixture of her hits and some which harked right back to her folk club roots and were very traditional. A great performance with a wonderful mixture of tunes. Barbara was accompanied by an excellent band of musicians, including a guy who played a beautiful Scottish pipe. No photography was allowed. During the interval I purchased a couple of programmes and a tea towel! I also invested in a double Jack Daniels which always adds to the sense of occasion.
I am so glad that I took this last opportunity to see Barbara Dickson. I really enjoyed the mix of songs which included the aforementioned “Answer Me”, other hits and well-known tunes “January, February”, “Another Suitcase in Another Hall” and traditional folk songs such as “The Witch of Westmerlands”. She also performed a number of covers including a great version of Dylan’s “The Times They Are a–changin’” and several Beatles songs. She explained that the Beatles figured strongly in her concerts because she had sung their songs throughout her career starting with the aforementioned musical John Paul George Ringo and Bert and an album of Beatles songs which she recorded in the 1990s. Excellent renditions of “If I Needed Someone”, “Tomorrow Never Knows” during the first set and “Across the Universe” in the second set. Perfect.
Many thanks to Jan for photographing the merchandise and Chris for helping me manoeuvre the site.
Setlist: Set 1: Moonlight and Gold; Easy Terms; Reynardine; Willy’s Drown’d In Yarrow; Answer Me; Google for Goodnight, I’m Going Home; The Laird O’ The Dainty Dounby; If I Needed Someone; Tomorrow Never Knows.
Set 2: Lammas Moon; Faithless Love; The Witch Of Westmerlands; My Own Adventure; The Times They Are A-Changin’; Another Suitcase in Another Hall; January, February; Across The Universe.
Encore: MacCrimmon’s Lament; Caravans.
Being a massive fan of 
Now Nick Harper comes with some growing credentials including the following:
The extract below from Nick’s own site explains how he blends words, stories with music. He is also an excellent acoustic guitarist, by the way: “As 2020 got about its reckless mischief……Nick retreated to the studio. The resulting album couldn’t have been more of a great escape in every way. Phantastes is an ethereal dream realm of an album that explores the parallels of the seminal fantasy novel of the same name by George MacDonald and the beginnings of Nick’s own love story from 1982. Totally divorced from 2020 in time and space, the album has been enthusiastically received by fans seeking a temporary refuge from the here and now. Continuing his recent predilection for the spoken word, Nick cemented the bond between his music and the aforementioned book by recording an audiobook of Phantastes, with musical interpretations of George MacDonald’s poems and songs contained therein.”
So, on the recommendation of some friends and reading the above testimonies I went along with high expectations. After a short wait Nick took to the stage and it soon became obvious how many fans and friends this guy has. Everyone seemed to know Nick and his songs and there was quite a lot of banter between artist and crowd, no I would call them friends. This is somewhat reminiscent, although quite different, to the way in which his father Roy would interact and chat with his audience.
Each song was preceded by quite a lengthy, yet fascinating, explanation of how the song came together. Nick explained that some came in a matter of minutes and others took many years to gestate. There were references to his father, late mother, late grandfather and his daughter. This is clearly a close family, and that comes through in the stories and the songs. Sometimes I thought I could hear echoes of his father’s voice; only for an instant and then it was gone. Nick is his own man with a set of strong songs, lots of stories, and is an incredible acoustic guitarist to boot.
During the interval he kindly signed a copy of one of his albums which I purchased (see image). The second half continued with more stories and songs. Throughout the evening Nick replenished himself with shots of tequila, several of which he shared with members of the audience. All too soon it was over and Jan and I were out in the cold night air and into our taxi homeward bound (an intentional pointer towards one of Nick’s stated influences, Paul Simon, another being the great folk singer/guitarist Davey Graham, whose music he played before his set and during the interval).
A lovely evening spent with a great guitarist, singer and wordsmith. Many thanks to Jan for the photographs and to Chris for manipulating the site. Afterwards I went to his website and bought a T-shirt which also tempted me towards Roy Harper’s site where I also purchased a shirt. That’s me done on Harper merchandise for now. I have added an image of a flyer from when I saw Roy in 2019 just to round things off and take me back to my starting point.
“Before there was carolling, there was wassailing, where seasonal songs were exchanged for money, food and ale.” Such is the world of 
She is also the daughter of Norma Waterston, of the famous Waterston family, who also pioneered British folk. Like her parents, she is a collector of stories and travels the country singing traditional folk songs and seeking out the original versions, sometimes meeting the descendants of the original songwriters. So, the evening was a beautiful blend of traditional Christmas songs sung by Eliza and Jon, each of them sometimes playing violin and accordion.
The Fire Station was suitably decked out in Christmas lights and nice bright Christmas trees on the stage. This resulted in Eliza and Jon performing in front of a full house and in a wonderful Christmas venue. The songs all blended in, aided by a pint of Guinness before the show and a double Jack Daniels during the interval. I do remember “In The Bleak Midwinter” and the closing song dedicated very appropriately to Shane McGowan “Fairytale of New York”.
A very appropriate and pleasant run-up to Christmas performance by two performers who carry on the great tradition of British folk. Jan and I both enjoyed our pre-Christmas evening and our first experience of Eliza and Jon. Many thanks to Jan for the photographs and to Chris and Elaine for helping us manoeuvre the site.
From The Fire Station site: In November/December 2023, Eliza Carthy and Jon Boden combine their considerable talents and reputations within the UK folk scene, for the first time ever touring as a duo for a nationwide wassail across key venues. Presenting seasonal, traditional material on a stage decorated for the occasion, they will take audiences back to some of the oldest songs in the English canon, telling Christmas tales, spreading good cheer and lighting up the darkest days of the year, ahead of Christmas Day itself.”
Jon Boden: “One half of Spiers & Boden, lead singer of the mighty Bellowhead and with his own successful career as a soloist and with Jon Boden & The Remnant Kings and Jon Boden & The Remnant Strings, Jon has been a major name in English folk music for over twenty years with more BBC Folk Awards than any other artist. Add in a performance in the Hollywood movie About Time, his role singing/playing the theme tunes of both the BBC Radio 2 Folk show and The Archers, and his place as a respected singer songwriter for both theatre and the folk scene, with his soon-to-be-released the third and final album, ‘Last Mile Home’, in his post-apocalyptic trilogy, Jon is a musical force to be reckoned with. Jon, together with John Spiers, also did a stint in The Ratcatchers, the backing band for Eliza Carthy in the mid-noughties, so has a long association and friendship with Eliza that has led naturally to this very special show.”
Eliza Carthy: “Twice nominated for the Mercury Prize and winner of innumerable other accolades over a 20 year career, Eliza has performed and recorded with a diverse array of artists including, Paul Weller, Rufus and Martha Wainwright, Patrick Wolf and Bob Neuwirth. Eliza grew up immersed in the world of traditional music. She still divides her time between touring and recording with her legendary parents, Martin Carthy and Norma Waterson as well as engaging in numerous pioneering solo and band projects. Eliza has co-presented the BBC Radio 3 World Music Awards, been a regular guest-presenter on the BBC Radio 2 Mark Radcliffe Show and has made many appearances on BBC TV’s ‘Later…with Jools Holland’.
The rock legend, rock god, who is Robert Plant continues to follow his muse and play intimate venues such as The Glasshouse when he could be filling arenas or stadiums if he were to sing more Led Zeppelin songs. He has now established himself as part of the band Saving Grace and retains a strong faithful fan base. His fans continue to go to see Robert Plant sing with a relatively unknown female vocalist, Suzi Dian (who has an exquisite voice), and perform a set of quite obscure folk/world/country songs which the majority are not familiar with. I am glad that he does so and I once again came away from the concert feeling so fulfilled, elated and exhilarated.
From The Glasshouse website: “Transcendent. Brooding. May cause swaggering. Robert Plant’s Saving Grace, the co-operative features Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar), and Matt Worley (banjo, acoustic, baritone guitars, cuatro). Since forming in 2019, Saving Grace have received numerous acclaims for their live shows with Bob Harris describing it as ‘One of the best gigs I’ve seen in years’ .”
I was due to meet my old friend, John, at the concert. However, a road closure on the A1 resulted in a series of diversions which prevented him from making the journey from North Yorkshire. To my shame, I missed the support act and chose to have a pint of Caffrey’s in the bar prior to Robert Plant and Saving Grace taking the stage at 8:45 PM.
Saving Grace is very much a band. Of course, people had turned out to see the main man, Robert Plant. But Robert is simply a singer in the band along with Suzi. The set comprised songs which Robert, unashamedly, has chosen because they have influenced him and touched him over the years. The set has changed since I last saw this band. There were several more unfamiliar songs, but some have been retained from last time I witnessed them in concert at Middlesbrough Town Hall including the traditional ballad “The Cuckoo” and classic progressive/psychedelic tracks which have influenced Robert including “It’s a Beautiful Day Today” by Moby Grape. This time some Led Zeppelin classics have crept back into the set including “Friends” and “The Rain Song”. And wonderful renditions they were. Lovely.
The stage setup was quite basic with a simple curtain backdrop naming the band and unobtrusive lighting. But the music remains exquisite, challenging, soulful and beautiful. Robert shares the vocals with Suzi and, in many cases, took us through the story of the song and what it meant to him. He recalled old times in Newcastle at the legendary Club a Go Go and an encounter with Graham Bond. It was soon 10:15 PM and the lights went up to signify the end of the show. But the crowd weren’t ready to leave just yet. Everyone stood up and cheered until the band returned.
For the encore we were treated to the Richard Thompson song “House of Cards”, a return to Led Zeppelin and a wonderful rendition of “Gallows Pole”. The final song was performed a cappella with the band all coming together at the front, arms entwined, singing the beautiful “And We Bid You Good Night”. We wandered out into the cool dark Gateshead night, everyone chatting and looking at each other, each of us knowing we had just had the privilege of experiencing something very special and unique. The taxi ride flew over and I was soon safely back home.
During the set Robert made reference to some of his musical influences from the West Coast of the USA including the aforementioned Moby Grape, the Grateful Dead and Jefferson Airplane. I will use the latter reference to squeeze in a couple of images of items which I have recently acquired, courtesy of my aforementioned good friend John, who now lives in the USA. He was visiting a charity shop over there and came across a collection of items which had been donated by the estate of Marty Balin, original member of Jefferson Airplane.
John very kindly picked up a few items from the collection including, to my delight and fascination, a recent magazine/comic featuring Alice in Wonderland, on which of course the classic “White Rabbit” was based. A beautiful addition to my hoarders collection.
They blend folk, world music and roots in a “sprawling soundscape of songs ranging from the orchestral through psychedelic pop and ethereal pastoral ballads and beyond, tipping its hat to a myriad of musical influences and styles. All delivered with the drama and exquisite vocal harmonies The Shining Levels are known for.” The venue is quite intimate and holds 30 people, so Jan and I arrive quite early to ensure a good view of the proceedings. I partake in a lovely large glass of red and a salami wrap. Perfect.
The performance is in two parts. First the band play music inspired by local author Benjamin Myers book The Gallows Pole, which I have seen them perform before, and which has recently been televised as a major BBC TV series. After a short interval the content of the music changes to songs to support Pat Barker’s book The Silence of the Girls. Pat Barker is another, quite famous and successful, local author. Both sets combine readings from the book with a selection of songs based around the themes within the story.
“Inspired by the real life events of 18th century Yorkshire criminal gang the Cragg Vale Coiners who operate in the Upper Calder Valley in the Pennines, the album’s source material …… has rapidly become a modern cult classic. Drawing on a shared childhood and background with the author (songwriter Dave is best friends with author Benjamin Myers).
The Shining Levels’ music explores themes from the book: an England divided, the potency and mystery of remote rural landscapes, industrial progress, the changing seasons, shifting fortunes, self-delusion and self-aggrandizement, poverty vs wealth, societal power structures – and strange visions of mythical creatures …… The bucolic meet the technological, and the rural collides with the digital to thrilling effect.” (Piccadilly Records, 2019).
As described above, the music is a mix of folk and swirling, meandering songs which tell aspects of the dark days discussed in the book. Vocals are shared between all four: Laura who also makes excellent use of a loop machine, Christina who plays haunting flute, Jenny who accompanies the others with atmospheric violin and singer-songwriter Dave who also provides solid backline with keyboards and guitar.
Part 2. The Silence of the Girls.
The book is described as: “The Silence of the Girls is an electrifying revision of The Iliad which for the first time gives voice to the women enslaved by the Greek army headed by the god-like warrior Achilles, through the main character Briseis.” The readings are quite haunting, as is the music, each song focusing on one aspect from the book.
Of course, I am biased, being the very proud father of one of the members Laura, but the short quotation above also demonstrates just how haunting a combination their music can be. The performance is over far too soon and then we are off into our waiting taxi. Soon we are back home, having met up with Joanne, who helps me back into my bed, the music still swirling around in my head.
The Shining Levels are: Laura Smith – Lead vocalists and looper extraordinaire; Christina Cuthbertson – Vocals, flute and percussion; Jenny Clewes – Vocal and violin; Dan Coggins – Songwriter/Producer – bass, guitars, keyboards, weird noises and vocals and Davey J – Songwriter, bass, guitars, keyboards, piano and vocals. Dan was not present this evening, but will perform with the band at their next show (which I will also attend) at Durham Gala Theatre.
The last time I had the pleasure of being in the company of 
The Laundrette announced the concert thus: “For more than 50 years Martin Carthy has been one of folk music’s greatest innovators, one of its best loved, most enthusiastic and, at times, most quietly controversial of figures. His skill, stage presence and natural charm have won him many admirers…….Trailblazing musical partnerships with, amongst others, Steeleye Span, Dave Swarbrick and his award-winning wife (Norma Waterson) and daughter Eliza Carthy have resulted in more than 40 albums… [Including]… 10 solo albums. [He has]…influenced a generation of artists, including Bob Dylan and Paul Simon.”
Martin looked great wearing a brightly coloured shirt, a red scarf which he removed and placed on his guitar case, and two gold earrings in his left ear. He is a great storyteller, starting each song with a prolonged introduction setting the scene for the tale which would unfold in the song, and explaining to us from where, and from whom, the song originated. Sometimes he might have to think a little in order to remember the names of the songs origins, but hey, respect to the guy who is now in his early 80s. Each song comes from a poem, an old folktale, or an ancient ballad. He crafts each one carefully. He includes the traditional “Scarborough fair” which features on his first, early 1960s, album and was since made famous by Simon and Garfunkel, Paul Simon probably having picked up the song from Martin when he toured the UK folk clubs in the 1960s.
Another song was about Bendigo: “The Noble Fox-Hunting, also known as Dido Bendigo and The Duke’s Hunt, is a hunting song from England. English folk song collector A.L. Lloyd describes the song: “A stirring old hunting song known all over England from Cumberland to Cornwall.…… and, though the name of the sporting Duke may vary, the list of hounds stays much the same. Country people must have loved to roll the grandiloquent syllables of names like Dido and Bendigo around their mouths… The song has had a long life and still flourishes.” …… “Dido Bendigo describes the excitement of a noble fox hunt: the Duke of Wellington and some of his noble friends set out with their brave fox hounds, and each fox meets with a dreaded fate as they try to escape.” (
Now this guy is a bit of an enigma. I guess you would say he has a very dedicated cult following. And rightly so. However, everyone I told I was going to see 
The last time I saw Richard Hawley was probably over 10 years ago when he was the support act for one of my personal heroes (and his apparently), Nancy Sinatra at the Sage Gateshead. I have missed the last few times he has been in the north-east and I thought it was about time that I picked up on him again, particularly when the show was local and in such an intimate, new, lovely, purpose-built concert venue. We arrived in time to catch the support act 
“Uk progressive folk singer-songwriter & guitarist. And using the words of others: 
But there is much, much more to this guy than a simple 50s/60s influenced singer. Sure you can hear those influences now and then, but Hawley has his own style transcends easy description and blends rockabilly, 60s music and blues, with more modern sounds. 
Now with collaborators like that, you really can’t go wrong, can you? The only song I really know is “Tonight the Streets Are Ours “, but the rest of the set is excellent. Hawley has surrounded himself with an excellent band including a second guitarist who complements Richard’s own style and a great blues harp player who emerges from the side of the stage at various times to add his rasping harmonica. Some of the songs are quite dark and the lighting in the venue is set up well to emphasise this. My carer for the evening, Jackie, sees some of Nick Cave in Hawley. I don’t disagree. Hawley, like his support act, is a true northern guy, wearing his Sheffield style and accent proudly on his chest.
On the way out I buy some merchandise which is also quite individual and quirky. As you can see, I get a tea towel, a couple of badges and a natty little musical box which, when turned, plays a Richard Hawley tune (you can choose which one). No programme or T-shirt for this guy. Too conventional, I guess! A great show by a wonderful artist whose cult following is no doubt growing and at one stage we may see him break through to the mainstream. But maybe Richard Hawley is just fine the way with things the way they are.
“I do what no man before me has ever done, I kiss the hands of the man who killed my son,” declares Priam when he prostrates himself before Achilles begging for Hector’s body. “And I do what countless women before me have been forced to do,” Briseis thinks bitterly, “I spread my legs for the man who killed my husband and my brothers.”
The Durham Launderette is a quirky venue which is, yes, a real launderette in Durham which features bands on the evening playing in front of the washing machines! It sounds crazy but it works well. 
. Pat Barker herself approached the group suggesting they give her novel a similar treatment, very much enjoying the synergy of music and literature.”
We arrived early and took our seats close to the front for a good view. The music of the Shining Levels is difficult to categorise. They blend folk, world music and roots in a “sprawling soundscape of songs ranging from the orchestral through psychedelic pop and ethereal pastoral ballads and beyond, tipping its hat to a myriad of musical influences and styles. All delivered with the drama and exquisite vocal harmonies The Shining Levels are known for.”
The evening was a mixture of songs by the band further illustrated by some readings from the book, which I found quite harrowing in the graphic descriptions of female abuse by the men in the Greek army.
The album The Silence of the Girls has just been released by the Butterfly Effect label. In fact, the albums arrived at the venue hot off the press and we bought one of the first copies, getting the inner sleeve signed by the entire band.
The Shining Levels are: Laura Smith – Lead vocalists and looper extraordinaire; Christina Cuthbertson – Vocals, flute and percussion; Jenny Clewes – Vocal and violin; Dan Coggins – Songwriter/Producer – bass, guitars, keyboards, weird noises and vocals and Davey J – Songwriter, bass, guitars, keyboards, piano and vocals.
The great song “American Pie” is etched in my memory for reasons, which sleep after time I will explain below. 
American Pie was recorded in May 1971 and a month later received its first radio airplay. Thirty years later, it was voted number 5 in a poll of the 365 “Songs of the Century” compiled by the Recording Industry Association of America and the National Endowment for the Arts. Issued as a double A-side single in November 1971 and charted within a month. Interest from the media and public sent the single to #1 in the USA and Don to international superstardom. Every line of the song was analysed time and time again to find the real meaning. Don refused to sanction any of the many interpretations, so adding to its mystery” (Sage Gateshead website).
The Lincoln Festival had a magnificent lineup with Rod Stewart and the Faces, the Beach boys, Rory Gallagher, Humble Pie (now Steve Marriot was definitely a boy), Genesis, Strawbs, Status Quo, Joe Cocker, Monty Python!, Stone The Crows with Maggie Bell, Lindisfarne, Nazareth, Atomic Rooster, Slade and many others. Anyway, appearing on the Sunday afternoon, as I recall, was a guy called Don Maclean sandwiched between excellent performances by Status Quo (who were busy transitioning from a pop band to the number one boogie machine) and the magnificent Humble Pie (with Steve Marriot excelling himself as a great soul and blues singer “my skin is white, but my soul is black”). “American Pie” had just been in the UK singles chart and was, by then, a global hit with its very enigmatic lyrics, which we all know now are loosely based around the death of Buddy Holly, a hero of Don McLean. The festival had been plagued by showers of torrential rain but, just at the point Don started singing “American Pie” the rain stopped and the sun came out. It was a truly magical moment and we all stood up (the boys singing and dancing on the top of our hay barn). From that point on I was a fan and I went to see Don McLean several times after that at Newcastle City Hall. He went on to have many other hits including the beautiful “Vincent” about Vincent Van Gough.
So roll forward 50 years and my carer Jan and I are seated at the back of the Sage waiting to see Don McLean. This was Jan’s first Don McLean concert and for me, it was probably around 40 years since I last saw him. I lost touch with him, sadly, along the way. Support act was 
Thanks to Jan for her photographic skills.
Seeger in concert. Her track “I’m Gonna be an Engineer” had been a favourite in our house, featuring on a family play-list we’d created for my daughter. The obvious feminist messages of this track had sparked my interest and made me intrigued to hear more of Seeger’s output. So, when Dad told us of the up-coming Sage concert, both Dale and I were keen to go. Baby-sitter secured, Dale and I headed to the Sage where we met up with Dad and his carer Jackie.
Seeger “saw folk music as inherently political” referring to it as “the expressions and artistry of people who are not in power.” (Freedman, 2017) It was evident from this concert that Seeger’s performance was not just a musical expression but more-over an externalising of a set of beliefs.
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