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Review by Tom Harland & Chris
Silver
There are few single examples of traditional revival as
resplendent as When Maggie Gangs Away by the Lori Watson
Three. The song manages to evoke its original context and
universal quality with an interpretation that is not overtly
grounded in tradition. Yet there is no attempt to crowbar
in contemporary influence simply for kicks. The song is
delivered by a beautifully crafted guitar, a masterfully
lilting accordion, and a luxuriant vocal.
Perhaps Lori Watson and her other two represent better than
any other folk unit what has been termed a "new folk
revival," if indeed such terms are valid. They are
obviously and unashamedly young, and have emerged out of
a more structured programme of traditional music teaching
than Scotland has ever before experienced, yet at points
their performance has an almost punk like energy. They seem
intent on fusing tradition with new influences, although
this is clearly not done for the simple novelty factor.
This was the Lori Watson 3's homecoming gig after a long
summer tour in Scandanavia which has clearly matured their
unique and tight blend of fiddle, vocal, guitar and accordion.
Personally I found Fiona Young's accordion to be the most
masterfully played instrument on the stage (and in the context
of this trio that really is saying something) a perfect
exponent of the “accordion renaissance” and
one of those rare occasions when you hear previously unheard
sounds from a seemingly predictable instrument. Innes Watson's
guitar had one of the best sounds I have ever heard from
an electro acoustic guitar with fretwork to match. However
they did not seem to be too engrossed in their own talent,
and there was a clear realisation that relying on virtuosity
does not necessarily create good music.
However, attempting to point out the best musician on the
stage that night misses the point entirely, one of the things
I found highly admirable about the trio was that they functioned
perfectly as a unit, their remarkably dynamic Capon Tree
stood out as a perfect example. While the skill of Lori
is obvious, she did not seem to take on the dominant role
for the majority of the performance. Yet her voice remains
amonmg the sweetest, purest and most emotional of any Scottish
female vocalist.
The one sticking point in their performance at St Bride’s
were the several black holes between the sets that were
filled with in-jokes about Swedish insects. The on stage
banter was a bit lacking and belied there confidence as
performers. Maybe the RSAMD should consider starting a course
in this field. In a concert weighted towards the instrumental
it is important both to set up a rapport, and to give the
music a good context. To be fair however we were all thoroughly
engaged in Innes Watson’s search for love by the end
of the concert.
The concert included tunes as songs from their debut album,
"Lori Watson: 3", as well as a number of facinating
new offerings which will appear on a second album due for
release in 2008. Any discerning folkie would be well advised
to be first in the queue for a copy of the hottest property
on the Scottish folk scene.
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