Traditional folk storytelling from the woman’s perspective.
In the accompanying press release Jenn Butterworth describes her debut album as a “feminist statement”. Few would dispute that traditional folk songs are usually male-dominated, leaving women in very stereotypical roles. Folk is about storytelling so Butterworth, an accomplished and recognised exponent of traditional folk guitar, puts the women’s perspective first in these tales. Whether in traditional songs or her own compositions Butterworth looks to strength and struggle rather than just beauty or vulnerability. The result is a collection of flawlessly crafted, empathetic portrayals that combine a long-overdue reassessment of women in folk music. Her voice conveys both the traditional and contemporary, flowing on layers of sumptuous arrangements. There is nothing hectoring or pushy about Butterworth’s approach, whether a cover, traditional or her own writing her understated yet firm style only adds further weight to her message.
Jenn Butterworth is an established name on the folk circuit around her Glasgow base. An integral part of Kinnaris Quintet whose modern folk she brings to her solo venture, Butterworth has participated in several other projects including duos with Laura-Beth Salter and Will Pound. In 2017 Butterworth teamed up with Eliza Carthy, Lady Maisery and Karine Polwart to make ‘Songs of Separation’ that won Album of the Year award at the BBC Radio 2 Folk Awards. Two years later she was named Musician of the Year at the Scots Trad Music Awards. Though labelled solo, ‘Her By Design’ is another collaboration. Butterworth leads some impressive musicians including Seonaid Aitken whose violin and string arrangements are an essential feature as are Breabach’s James Lindsay on bass/moog and Louis Abbott’s drums and percussion.
Sandy Denny’s ‘All Our Days’ is the perfect opener with its emphasis on viewing humanity as one through the lens of nature to confront inequality. Butterworth’s brisker pace, livelier strings and firmer vocals blow a wind of determination compared to the original’s gentler breeze. Butterworth turns to the symbolism of Robin Dransfield’s ‘Fair Maids of February’ to address women’s safety. The innocent “Fair maids of February/ Why don’t you come out today” soon turns to “The first flowers to venture/ And now we’re lying beneath the snow”. If Butterworth’s airy vocals belie the gravity of the lyrics, the strings amplify the alarm of, “So take heed in February/ Or your fate will be like ours”.
‘A Toast’ is Butterworth’s own contribution to traditional storytelling. The quivering strings heighten the foreboding to her bewitching plot that begins with love and ends with the consequences of jealousy. It is not a spoiler to say that in this song the woman is not the passive one. ‘One in Ten’ shows that folk songs are not restricted to times past as Butterworth highlights endometriosis that affects, “One in ten women, but none in ten men/ And medical research not equal for them”.
Butterworth reworks the traditional song ‘Anachie Gordon’ to profound effect in ‘Jeannie’ as she tackles forced marriage from the woman’s perspective. Butterworth cries every tear and aches with all the pain of Jeannie who is compelled by her father to spurn her love for Anachie and forced to marry Lord Sulton. ‘Her Bright Smile Haunts Me Still’, its everlasting legacy to women makes a fitting close to this record, “Though her presence now is flown/ Her bright smile haunts me still/ Though her presence now is flown”. Despite its sadness Butterworth’s vocals ring with hope as the strings reach orchestral crescendo.
The storytelling of folk music is drawn from tradition but by putting the woman’s perspective first Jenn Butterworth demonstrates its contemporary eloquence.
