|  See
dickgaughan.co.uk
also: edinburghfolkclub.org.uk
Review by Chris Silver
There are few singers with the credibility, consistency
and capabilities of Dick Gaughan. The terms ‘national
treasure’ and ‘Scotland’s finest’
have been deservedly applied to Gaughan, although bearing
in mind the man’s firm stance as an outsider (or in
his own words an ‘outlaw and dreamer’) It is
unlikely that he revels in such titles.
Yet the question any follower of a legendary performer is
bound to ask is, will he manage to succeed in living up
to his own body of work? The answer is yes. Gaughan remains
on excellent form, with his resplendent guitar playing and
mellow yet gutsy voice as keen as ever. I have always found
that Gaughan’s vocal is one of most emotive in Scottish
music, and the fact that some see it as an acquired taste
demonstrates this further. The ability to draw out opinions
on the basis of style is the mark of an excellent singer.
A further tribute to his longevity and consistency was that
Edinburgh Folk Club was filled with old and young audience
members in roughly equal numbers for its first show of 2008.
The venue was ideal Gaughan territory, with enough intimacy
to fully appreciate his more solemn moments, and a crowd
large enough to soak up his many rousing numbers.
Personally I have always enjoyed the singer’s interpretation
of ballads over his contemporary songs, indeed it was probably
his treatment of them that first sparked my own interest.
Sadly ‘Westlin Winds’ was the only pre 20th
century song we were given. However a key part of Gaughan’s
project is to sing contemporary songs in a traditional manner,
and to treat with the same social significance, without
any crass feeling of ownership or a potentially selfish
artistic pride. The result is a journey through Gaughan’s
personal and national history that is a thoroughly communal
experience. There was a point in the evening when, remarking
on the inadequacy of Scotland’s largely fictional
history, he said ‘Thank god for folk songs’
a remark that sums up the significance of his own work as
well as any.
Amidst the celebration of the value of folksong there is
also another factor at play, the short sharp side to Dick
Gaughan that reminds you, whether you like it or not that
there are things worth singing about. There is a firm impression
on the collective conscience that when we fail to remember
the real rogues and villains, or triumphs and teachings
of the past, we get further and further away from changing
the present.
Of course this is all down to the essential energy of Gaughan’s
expression and the sense of defiance that can only inspire.
It is perhaps inevitable that when going to see him there
is the worry that ‘the flash fire of youth would slowly
turn cold,’ but as he continues to assert at the age
of fifty, he is as fired up as ever.
<< Back to REVIEWS
page
|
