Gilmore & Roberts
Navigator Records
Ok, this is the third album from folk duo Katriona Gilmore
and Jamie Roberts who, in general, play fiddle and guitar retrospectively, both
contributing vocals. Since their first release in 2008 they’ve steadily
increased their fanbase, through impressive Radio 2 award nominations and
nationwide tours alongside Fairport Convention, as well as performing in other
much loved projects.
I have to be upfront and say I am no fan of folk music. That
is some sweeping statement, I accept, and genre is rather irrelevant these days
anyway. What I have enjoyed about Gilmore & Roberts in the past is that
they have stuck to what I see as fairly trad-folk roots, but adapted them to
their own style. Regardless of my tastes, I can admire that especially against
a backdrop of the popularisation of folk-pop (Mumford & Sons, that girl
that is always on Radio 2, and the rest). If nothing else, there was always a
sense of honesty to their work.
The Innocent Left
sees this approach continued. A selection of guests appear across the record
performing anything from flugel horn to lapsteel, showcasing not only the
diverse productions touches, but also the regard the duo are beginning to be
held in by a wider folk community. But at the core, the songwriting is sharper
then ever, with a distinct set of Pop dynamics drawing a tight leash around the
kind of folk self indulgencies that can sometimes infuriate me. Shuffle & Deal, which features
Larkin Poe, is a classic, subdued and ghostly number and is quickly followed by
Louis Was A Boxer, a Jamie Roberts
tale about a chap who would often come into the Subway Jamie worked in. It’s an
understated number that focuses on the minutia of life, and equally the joy of
simple storytelling through song.
My appreciation of this album was helped no end by being
present at its launch in Barnsley (Jamie hails
from there). The elements of folk I don’t enjoy: unimaginative structures and
lyric themes, plodding self indulgence and yawning over-sincerity were joyously
absent and the essence of the tracks played, and present on this album, shone
forth. This is deeply technical music, but is driven by a passion of
expression, which I think is a tricky line to walk. The album itself is
certainly well paced and balanced. A fairly pop structured first half gives way
to a pair of instrumentals and a traditional arrangement before working towards
the playful close of the impressive The
Stealing Arm.
The musical dexterity on show and the rich vain of folk past
and present means this record will undoubtedly be popular in folk circles. But
for me, despite containing elements of both, it isn’t folk and it isn’t pop.
But it certainly isn’t folk-pop either. It’s cleverer than that, but also much
simpler; it’s a great record. Uplifting and thoughtful, irrelevant of how
deeply you choose to experience it.
Dean Freeman
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