I’m going to tell you a secret. Music festivals are rubbish. You have to remortgage to pay for a ticket, there’ll be other people there (and they’ll probably be wearing jester hats) and you can only drink whatever crappy beer they’re sponsored by (would you pay a fiver for a pint of Skol at home?). It’s also worth bearing in mind that you’re far more likely to return home with trench foot than a sun tan and worst of all (brace yourself) you might have to watch U2.
That’s why I’m going to break from tradition and do my final summary right here. I know I can be a bit of a tedious bore when I start talking about music (and there’s a lot to talk about) so here’s what I’m thinking – even if you don’t make it to the end of my magnificent octopus, as long as you make it through the next few paragraphs then my job here is done.
Here’s the nitty gritty: Maverick tickets cost around a quarter of what you might pay for some of the bigger festivals (and that includes camping). For that you get a huge (spotlessly tidy) campsite with static toilets in close proximity, which are clean and well maintained. There is heaps of choice when it comes to places to eat and great consideration has clearly been given to variety, which this year includes a creperie, burrito wagon, noodle bar, pizzeria, hog roast and all organic cafe amongst other things. The bar is well stocked with locally produced ales, lagers and ciders (there’s wine, water and soft drinks for the less adventurous) and a full English breakfast is available on Sunday morning. There are also various stalls and shops on site and there’s loads for the little ones to busy themselves with; indoor play areas, an adventure playground, face painting and of course the farm’s resident animals, which they’re invited to pet and learn all about. Anyone for ‘hug-a-bunny’?
Most importantly your ticket price will give you access to some of the brightest and most original musical talent on both sides of the Atlantic (around thirty artists appeared this year), all of whom make themselves available afterwards in the music store for signings and general chit chat. If that’s not enough you can get even more involved by participating in workshops and Q & A sessions with musicians.
If you’re still wondering if Maverick is worth a look then I feel bad for you because that means you’ve already missed out on four of the best weekends of your life. If you want incredible music in a clean, civilised, family and pet friendly environment and you don’t want to pay through the nose for the pleasure then there’s no doubt that this is the festival for you. However, if you’d prefer e-coli or a UTI and you’re one of those people to whom the Edge is a musician (and not a pizza), you can probably pick up some bogus Glasto tickets on ebay for the price of a beach front condo in Malibu
Here goes....
The party started at 17:00 on Friday 1st of July with all the evening’s entertainment taking place in the barn. Stompin’ Dave Allen opened the show, followed soon after by the Rejection (both are reviewed below after Saturday’s performances) but the weekend began for me with the formidable Dust Busters. This Brooklyn based three piece look fantastic – using their style to embody their sound and create a spirit of authenticity (further aided by the backdrop of wooden boards and hessian fabric the swooping of nesting swallows seemingly reacting to the music). They are an old time string band who blend a phenomenally eclectic array of influences to create a sound that is somehow so old and familiar and yet absolutely brand new. With three very different and yet perfectly complimentary voices, they employ banjo, guitar and violin to create their unique sound. They’re just great.
Rick Shea was the second performer of the evening, opening his show with a pretty, sentimental song that wouldn’t be out of place playing alongside the credits to a classic TV show. Rick is from California and performs with a confident self assuredness that speaks of experience. It’s a simple performance with just a guitar and vocals but there’s nothing lacking. His sound fills the room beautifully and with his lovely silky voice and knack for storytelling, Rick captivates his audience.
From Liverpool are the Good intentions. This is their third year at Maverick; having won the Going for a song contest two years ago (see Saturday for more information) they played their first full set at the festival last year. Joined on mandolin by Rick Shea (who also produced their album) and performing an exemplary collection of catchy, sweet, rootsy tunes with voices that blend together perfectly, they were the first artists of the weekend to fly the flag for British Americana and they did a sterling job.
The highlight of Friday evening for me (and arguably my find of the festival) was Norwich based Feral Mouth. With names that look like errors flagged by spell-check and influences listed as (amongst others) Bewitched, Daphne and Celeste and cheese and pineapple on sticks, you’d be forgiven for thinking they weren’t taking themselves very seriously. Personally, I think this kind of nonsense should remain the vehicle of bands with less talent and I think Feral Mouth do themselves a serious disservice here. I listened to this band prior to the festival and knew they’d be one to watch. They play raucous, irresistible bluegrass with rock and roll flair. The cello player struts around the stage with his cumbersome instrument as if he were in Rage Against the Machine. It’s brilliant entertainment, as if Paul McKenna had hypnotised Dave Grohl and sent him back on stage with a huge inflatable banana – sure, it might look a little weird but he plays that bad boy with such conviction that you’d be hard pressed to put your finger on what exactly is wrong with this picture. Occasionally they slow it down with tracks like ‘the Window’ (officially my new favourite song), that’ll give you goose pimples on the first outing and are slightly reminiscent of Moxy Fruvous’s ‘Wood’ album, which is a compliment of the highest order. I love this band.
It’s getting dark when Police Dog Hogan make their presence felt. This seven piece outfit are an unlikely looking bunch. Imagine walking into a hotel lobby, only to find that they’re simultaneously playing host to an accountancy firm’s Christmas do and a Dexy’s fan club meeting. They play urban bluegrass with great style and their sound is polished to perfection. They clearly know how good they are and they look like they’re having a great time, which the crowd really respond to. There’s a gaggle of rowdy kids at the front shouting for their favourite song (although that could just be because it gives them a chance to swear without being told off). The band are happy to oblige and ‘shitty white wine’ ensues (“it tastes like turpentine”), which is a scream and prompts the first audience sing-along of the weekend despite Rick Shea’s invitation for us to join him in a chorus of ‘¿que mas quiere, que mas puedo?’. Police Dog Hogan huffed and puffed and blew the house down, setting the bar very high for last year’s absentees, the Orbitsuns.
It didn’t matter how high that bar was though, or what kind of destruction Police Dog Hogan left in their wake, enter the wrecking ball that is the Orbitsuns to finish the job off. I was as excited to see this band this year as I was disappointed to miss them last year, if that makes sense. In short, very. Detroit’s ‘finest purveyors of low down and dirty outlaw country’ (I stole this because it was better than anything I had), you take one look at the Orbitsuns and know they’re gonna do something improper to you. The only mystery really is whether or not you’ll enjoy it. With a drum intro and bass that shakes the swallows from the rafters, they do cause you to wonder for a moment where they fit into this genre but then you hear those yokel vocals and that gorgeous pedal steel and you can’t help but smile. With mutton chops, trucker caps, a diamante studded telecaster and soooo many tattoos, they are loud, they are sexy and they are totally fecking awesome! It’s music you’d hear in a Tennessee roadside boozer before someone rudely wraps a bar stool around your head. A bastardised Johnny Cash cover was the ice in our Jack and I was left only to conclude that the Orbitsuns are very cool indeed (as I wandered trembling back to my tent feeling cheap and used and wondering what on earth my parents were going to say).
Saturday morning was glorious and I couldn’t have imagined a better way to begin the day than in the company of Roosevelt Bandwagon. This Anglo-Canadian outfit are no strangers to Maverick, having delivered a storming set at last year’ festival. As the opening act in the barn, with all its wild-west ambience, it was the perfect setting for their authentic blend of emotional, harmony-driven Americana. Musically, they are a very tight unit and the songs they played were well chosen and flawlessly performed. A lovely, chilled out start to the day.
Going for a song began proceedings on the outdoor Maverick stage. This annual song contest affords its winners the opportunity to perform a full set at the following year’s festival (last year’s winners, the Roselly’s, would perform later in the barn).
This year showcased five new acts, beginning with The Ivor Wilson Concept, a male duo whose raw and energetic country sound was sadly overshadowed for me by what I felt was a poor choice of song (lyrically and thematically inappropriate for the audience and time of day).
Phil Greenwood followed with a nicely contrasting soft and heartfelt song and though I felt that he perhaps lacked confidence slightly I did like his voice and could certainly see potential.
Anna Greenwood was the next hopeful to take the stage. She has a strong voice and a slightly bluesy but somehow summery sound (don’t ask me to explain), reminding me a little of Sondre Lerche.
We were then treated to ‘the snuggle song’ from resulting winner Lucy Sampson, her cutesy style embellished with a ukulele and improvised percussion in the form of a wooden box with a microphone attached which doubled as a chair.
Once again my tip for the top proved wrong (if you want to know which horse I put my money on, look for the one in the sombrero, lugging kids along the beach). For the record, I am not likening John Skelly to a donkey, merely lamenting at my continuing inability to predict a winner. I stand by this guy as my favourite. His straight-up, no messing around blues song was great and his voice (think John Coffey as seen in the green mile) is deep and powerful. I would have very much liked to have seen him again.
Although potentially catastrophic for the rest of mankind, I wished on Saturday that there were two of me because I would love to have attended more of the workshops in the Tack Room. Linda McCrae (claw hammer banjo), Rosalyn Dennett (violin) and perhaps most impressively Brooks Williams (who Rolling Stone credit as one of the greatest acoustic guitar players of all time) all made themselves available for tuition. Impressive, eh?
I did manage to catch a good portion of Everybody needs somebody – the Solomon Burke story, a moving and deeply personal film by Paul Spencer (who was jointly responsible for organising the festival) about the aforementioned gospel and soul legend, who sadly passed away last year. Paul was a close friend of Solomon’s and as such was afforded a rare insight into the life of a very private man, with which he has painted an intimate portrait for the rest of us so that we might better understand and appreciate this incredible man. I recommend that you see it.
Folk-rock band Songs from the Blue House performed the first full set of the weekend on the Maverick stage. Their performance was lively and energetic and their songs catchy and quick to register (the highlight of which being the understated and sweet ‘not that kind of girl’). It was a relaxed and uplifting start to the afternoon and in the blazing sunshine the ever growing crowd seemed to really enjoy songs from the Blue House.
Meanwhile in the barn, Sadie and the Hotheads were entertaining the audience with their unique blend of genres. Vocals and lyrics are provided by Elizabeth McGovern, who despite being better known as an actress (Oscar nominated at that), gives no indication that she has anything to prove and rightly so. She could easily silence the most vehement of sceptics with a single chorus. Her voice is exquisite. Mariah, Beyonce, Leona (not that we care) could all learn a thing or two about subtlety from this woman. She has a very natural voice and is wise to keep the vocals simple and without frills, thereby not detracting from the music which is skilfully composed by a strong cast of supporting players. Sadie and the Hotheads are a class act
Named after a Kursaal Flyers Song, the Ugly guys cranked up the volume on the Maverick stage with their Eagles and Burrito Brothers inspired branch of country rock. These guys are veterans with an impressive CV but they perform like men half their age. There is such energy and excitement when they play, you can tell that they are very much a live band. The songs are strong; catchy and upbeat, and they are played masterfully by a collective of extremely talented musicians. I received a lot of feedback about this particular band and can tell you that they were definitely an audience favourite.
At this time Danny Schmidt was holding a humble but very appreciative audience captivated with a collection of acoustic songs, each one prettier than the last. I’ve read numerous comparisons to the likes of Dylan, Coen and Waits and although I can think of no more impressive company to be in I think such likenings do Schmidt an injustice. He is an enormous talent in his own right – a skilled and confident guitarist and a lyrical poet with a voice that I can only describe as gorgeous. I’m sure that all who were present felt just as I did, that they were a part of something very special indeed. Simple and undecorated but one of the best performances of the weekend.
Stompin’ Dave Allen returned to the main stage for his second performance of the weekend, having been the opening act in the barn the previous evening. Dave is a huge favourite with Maverick audiences, performing a short but electrifying set. In brief, he plays violin, banjo and guitar, at times singing or playing harmonica. Did I mention that he does all this whilst dancing? Yes, at the same time. If there are any women reading (and if so I’ve no doubt they’ll also be cooking the tea and giving birth to a 12lb baby) I’m sure they’ll tell you that multi tasking is very much a female endeavour but let me dispel a myth. It’s b****cks! I’m a woman (anatomically at least) and I can just about muster adding milk whilst stirring. God forbid that I do something ambitious like read the paper whilst walking back to my chair (this kind of mental acrobatics never ends well). At times I might find my glasses in the fridge or put my clothes on inside out. Basically, I can do all manner of things at once but I’ll do them all badly.
I attended Dave’s Appalachian flatfoot dance workshop in the Tack room on Saturday afternoon and after around an hour I didn’t see a single attendee who was doing it properly. It’s extremely difficult, as I imagine is playing the violin for instance. Were you to ask me to do both things simultaneously, I suspect that rather than singing along I would instead be wearing underpants on my head, sticking pencils up my nose and saying “wibble”. Stompin’ Dave is a God amongst men (and a lesson in multi tasking to boastful women). Go see him if you’re lucky enough to get the opportunity.
Next up on Maverick stage were Society. Dave Allen is a hard act to follow but this West Sussex three piece do so comfortably and with flare, melding influences and bringing a tried and tested formula bang up to date. With lovely three part harmonies that add extra depth to their uplifting and well crafted melodies, Society are fantastic.
As an antidote to the hectic bustle of the main stage, in the laid back surroundings of the barn we were treated to a performance from the Ragged String Band. Having closed last year’s festival in style, East Anglia’s finest performed another terrific set, expertly comprising blues, folk and country to a rousing reception.
Back at the main stage the pace softened slightly with the appearance Oh my Darlin’. Having deservedly received a critical nod from the Western Canadian music awards, these four girls play traditional country music but they do so with style and elegance. They play beautifully, harmonise well together and are gifted songwriters. What this festival is all about.
Next to perform in the barn were the Roselly’s, winners of last year’s Going for a song contest. Their set is crammed with terrific songs, emphasised by the pretty voice of lead singer Rebecca Rosewell. They look like a different band to me from last year, oozing confidence and proving with every chord that they can stand proudly shoulder to shoulder with any of the other acts here. The Roselly’s are a triumph and proof that the song contest is more than a bit of fun. They are more than deserving winners and I really hope that this is just the start of something big for them.
Spectators at the Maverick stage couldn’t have known what was about to hit them. I also found that I was checking the program to see who they were – according to the schedule the Travelling band should have been next but who were these guys? Surely a band that look like Bill and Ted just dragged them from Seattle in 1993 for a school project couldn’t possibly have opted for such a crappy name, could they? On the plus side, that is the only negative thing I can say about them. They are ice cool and their sound is almost impossible to describe. Reviewers cite everything from psychedelia to country and pop as their influences and I heard traces of heaps of bands entirely unrelated to this genre that they still somehow clumsily fit into (Radiohead and Soul Asylum for example). It’s a great big untidy mess that I get a headache just thinking about and it’s absolutely brilliant! A great big delicious, sexy mess of everything I love about music. They’re a bunch of young guys from Manchester doing something really creative and personal. They’re brilliant and they’re heading out on tour. Don’t miss them.
Kacey Cubero was seemingly not daunted by the technical problems that delayed her set in the barn. And why would she be? This lady is a seasoned professional and the recipient of a great deal of critical acclaim and accompanying accolades. Kacey brought her soulful brand of alt-country from California to Suffolk with a relaxed confidence and self assuredness that comes with knowing you’re good. And she really is good. Accompanied on pedal steel and with a deep, bluesy voice and acoustic guitar she led us through a very enjoyable set of original songs.
The final band of the day to take to the Maverick stage are Blue Rodeo. I cannot understand why this band aren’t huge, although as I understand they are certainly a big deal back home in Canada, where they’ve picked up a great many awards during their staggering twenty five year career, including five Juno awards as band of the year (unheard of apparently) and the keys to the city of Toronto. So why are they a virtual unknown here? With soaring poppy melodies and exquisite harmonies, this is music that does more than make you sing or dance. This is music that makes you feel. Blue Rodeo are master craftsmen in their field – skilled musicians and incredible songwriters. Blue Rodeo were definitely the highlight of the Maverick stage and absolutely the right choice to play us out.
This brings me to my only real quibble about Saturday’s line-up (and the festival as a whole).I think that perhaps some of the artists on the main stage would have been better suited to the barn (songs from the Blue House and Oh my Darlin’ specifically), whereas some of the performances in the barn (Police Dog Hogan and the Orbitsuns – reviewed below) are a much bigger draw and deserved more exposure than the barn can afford. The barn became uncomfortably crowded when these bands performed and it was sometimes difficult to see from the back, which would not have been a problem on the outdoor stage. I do understand that the nature of their performance is perhaps more appropriate to an evening environment (and they are certainly the highlight of the day and therefore the obvious choice to close the show) but I would have liked to see them do both – perhaps Friday night in the barn and Saturday afternoon on the Maverick stage.
As the main stage shut down for another year, there was excitement in the barn with the arrival of festival favourite Brigitte DeMeyer. This lady blew me away last year with her incredible voice and laid back bluesy style. If anything I think she was even better this time around. Accompanied on (amongst other things) trombone (brilliant!) by stand in band Two Fingers of Firewater, she’s a charismatic performer, at ease with her audience. Embracing gospel, country, rock and blues amongst other genres, the songs are accomplished and stylised and that voice – well, it’s simply astonishing; moody, soulful, embracing. What a show.
The pace quickens with a second set of the weekend from Dead Rock West. There are many audible influences filtering through their music, but above all this to me it’s good old fashioned rock and roll and it’s a welcome change of direction. The music is lively and exciting and the shared vocals from Cindy Wasserman and Frank Lee Drennen blend perfectly together. The whole performance is seamless and is very well received by the audience.
As the Maverick stage closed, the Peacock cafe opened. It’s a bare bones, acoustic showcase and cutting the figurative ribbon was Brighton based Danni Nichols, who quickly packed the place out with her personal brand of heart-on-your-sleeve country. There’s a good variation of pace in her songs and her voice is lovely, deep and powerful. There’s nothing to hide behind in this kind of stripped down setting so you simply have to be good and she is.
Bob Collum follows with an excellent set full of toe tapping catchy songs. Hailing from Oklahoma but now residing in in the UK, Bob Collum is a gifted songwriter, who hasn’t lost touch with his country roots. This is old school Americana, reminiscent in places of such greats as James Taylor and the Eagles.
Next up is Linda McCrae, considered to be something of a pioneer of roots music. She has an extraordinary voice which she employs to full effect with a yodelly vocal style. It’s honest and powerful and is nicely accompanied with claw hammer banjo.
At this stage I ducked out to the Tack Room, where the Rejection were playing an acoustic set for a small but overawed audience. Led by Norton Money frontman Dan, their old time tunes were perfectly suited to this intimate environment. I very much enjoyed Norton Money at last year’s festival but I have to say that this new project impressed me even more. Joined by Stompin’ Dave on banjo and with Dan’s young son also lending vocals, the whole thing is extremely neat and note perfect, with the most beautiful vocal harmonies. I regret that I missed their set in the barn the previous night but I think the low key setting probably demonstrates their talent even better.
Back at the Peacock cafe Will Scott introduced us to his unique mix of Americana, soul and blues. Scott is gifted and innovative, a skilful and insightful songwriter with a fantastic voice. Deep and seductive, it adds further emotional resonance to already spine tingling compositions. A commanding performance - I loved him!
Following another storming set by the Orbitsuns in the barn was Otis Lee Crenshaw, the notorious alter ego of better known comedian Rich Hall (Crenshaw’s nephew we’re told). Crenshaw is a country singer with serious attitude, which could be something to do with his time in the slammer or his numerous failed marriages (all to women named Brenda). Rich Hall’s performance was a real departure for Maverick and it was a smart move. The show was hilarious from start to finish. The songs are superb, not only funny but catchy and sung well (Hall has a pretty good voice). The spoken comedy between songs is superb and he is brilliant at ad-libbing, focusing much of the show on audience participation, even seemingly composing lyrics on the spot about a man in the audience played to the tune of ‘Big John’ (Big Willy). Even a power failure in the middle of his set didn’t faze him (what better opportunity for a spontaneous chorus of Kumbaya). Absolutely tremendous.
Brooks Williams was to give the penultimate performance in the Peacock cafe. Named one of Rolling Stone’s top 100 acoustic guitarists I was disappointed to miss his workshop in the Tack room on Saturday afternoon but what a joy this man is to watch. It goes without saying that he is an absolute master with a six string but Williams’s talent doesn’t end there. He is personable and funny and easy to relate to when he shares anecdotes in between songs, which are themselves catchy and upbeat. On top of it all he has a beautiful voice that you just melt into. Brooks Williams is impossible not to like.
Melanie Safka closed the show in the Peacock cafe and it was a lovely way to wind down the evening. Melanie is something of a legend, opening tonight’s set with her song ‘Beautiful People’ which reportedly inspired the first ever waving of cigarette lighters and candles at a concert when she played it at Woodstock. That may have been over 40 years ago but the song is just as moving and poignant today. Melanie certainly drew a large crowd, so much so that many were watching from outside, unable even to get into the Peacock cafe. It was a sensational performance. She has an incredible voice, so powerful and easily able to convey emotion. She certainly still has it – if anything she has even more of it! Melanie is great.
For those who weren’t ready to admit defeat, there was more to come over at the barn with Maverick regulars, the Vagaband. If Melanie Safka wasn’t your thing, these guys are a raucous, high energy alternative for those determined that the party was just getting started. Raging through a collection of original tunes and popular classics, the Vagabond merge every conceivable genre in a honky-tonk orgy of folk, swing, country and rock ‘n’roll. They’re always exciting to watch and they’re a huge hit with the crowd. A great show.
Sunday, as always, is the gospel brunch and it’s a laid back, gentle way to begin the day (especially for those nursing a sore head from the previous night). We’re back in the barn for the remainder of the weekends acts, beginning with the brilliant So Last Century String Band. They play upbeat bluegrass with gorgeous three part harmonies, and fantastic lead vocals provided by singer Jaime Regan. This was a delightful way to begin the wind-up. The highlight was “Oh Mary don’t you weep”, where they led the crowd in an enthusiastic sing-along. I absolutely loved their performance and could have watched them all afternoon.
The Henry brothers opened their set with “Hank Williams favourite song” – ‘death is only a dream’ before explaining that they “Usually play death songs and murder ballads”. With just a guitar, double bass and harmonies to die for (see what I did there?), it’s all deliciously morbid. They look fantastic and sound just as good. Where the previous band played fast paced, upbeat gospel numbers, they focused on the more sombre stuff (as might be expected). “Strictly this isn’t gospel, it’s sanctified blues but we’re gonna do it anyway” etc. I loved their performance and if the music wasn’t enough, they’re very funny too – ending the show by telling us all to drive carefully before breaking into a number about a gruesome road traffic accident. Brilliant.
Jeni and Billy hail from Virginia and Maryland respectively, bringing with them a wealth of wisdom and experience. Their sound is very pretty, their voices contrasting yet complimenting perfectly. Jeni’s delicate and simple gospel tones balanced with Billy’s backing vocals, which remind me a little of Mark Olsen. The idea is to give us a glimpse into Appalachian life, which Jeni does by talking us through a typical Sunday from her childhood in her Smith Ridge Community. It’s very cleverly put together; Jeni is a lovely story teller, the songs are terrific and we’re even treated to some more flatfoot dancing and an a cappella number at the end.
Anyone still with me? Cool, if you’ve made it this far then you were either there or wish you had been. Either way – happy camping, I’ll see you next year!
Yee-haw!