Music Blog

Last year I wrote that these bands could represent a significant shift in North American folk music, perhaps even “a renaissance...”. It was probably an overstatement, as was pointed out to me then, by this station’s music director.

A year on, here are two acts - one Polish-American and the other from Newcastle, England - who blur the boundaries of ‘folk’ by the use of classical instrumentation. They’re both convincing - and indeed, I’d like to saying are each are redefining folk... but I’ll hold back this time around (perhaps it’s that the majority of bands & singers sound too similar that I get more excited about muscular folk music delivered with fine voices and intricately varied music).

The headlining band were The Unthanks, a touring seven-piece with two sisters interweaving wispy yet intoxicating lead vocals and adding a chamber music element to very traditional British folk songs.

The sisters say they are less influenced by female folk singers than by the “bawdy harmony singing of male North East bands like The Keelers (of which dad George is a member) and The Wilsons”, yet it’s notable that each has the ‘huskiness’ characteristic of June Tabor. Their vocals though, are  quite unique, especially in combination: Rachel Unthank’s being the more forceful, while younger sister Becky’s is almost ethereal - in harmony it’s a mesmeric swirl.

The odd name, Unthank is an uncommon family name in Northumbria, England - and as it happens there’s an Unthank Park in North Portland, which I’d pointed out to their manager and in which they had happily posed. Look out for a press shot of that soon on their website.

The five musicians played accomplished, supporting roles, anchoring the songs, adding discretely to  the banter and occasional three or four part harmonies. Further interest came from the singers’ idiosyncratic Geordie accent - often incomprehensible even to British people (Rachel Unthank helpfully explained a few words and pointed out the commonality with Norwegian) - and some fabulous Northumbrian clog dancing from both ladies; it was a nice touch as they teetered, balancing on one high heeled foot and tugged off each shoe to switch to clogs (a distinctive regional style) which in turn added a percussive twist and an some unexpected visual dynamism.

It all felt very real, there was no fuss or show, just quality presented with good humour and confidence. A proper treat.

The new album by The Unthanks, Here's the Tender Coming, is out now.


The Unthanks rightly congratulated the opening act, who they’d been moved to come out and listen to, with the pianist making a quip about ‘Ashia’ being “too good - we won’t have you again...”.
Ashia Grzesik certainly exceeded my expectations; utilising her full vocal range and putting in a virtuoso performance on cello, accompanied only by accordian.
Is this folk? It’s mixed with classical, but yes it’s folk, most certainly: Grzesik sang of her Polish Grandmother’s numerous ploys to discourage her family from moving away from home; ranged through intimate tales, both emotional & mature, tossed in jaunty escapades; and sang in English and Polish. It was nicely varied and consequently never boring - unlike repetitious acts.

I should mention her voice - a sumptuous but delicate soprano which scales, sometimes violently, but to good effect, to a forceful almost ‘rock’ vocal. This mix requires some skilled songwriting, which from this set, she seems well capable of. Grzesik also nailed a mid-twentieth century film vocal style on a song which I believe was about Rita Hayworth.
Grzesik is worth paying attention to, she has a new album on its way later this year, and also features in the Portland Cello Project and Mark Burdon’s Vagabond Opera, certainly a talent to see live.

Photo © Wlodzimierz Grzesik 2010