With regular Foakies host Tom Fairnie absent (he's apparently in a caravan in the highlands writing songs), it was left to Mark Barnett to host the evening's antics - and if I may say, what a fine job he did. Mark opened the evening with a few originals including 'Closed For Prayers', a particular treat - as guesting with him was Steve Rutherford on mandolin. Barnett apparently met Rutherford whilst rolling home drunk one evening in his stairwell - and this was his first ever public performance. I think this is the first time I've seen an instrument other than a guitar feature at Foakies (though I have missed a few), and it really added to the sound - an excellent start to the evening.

Up next was Ken Hastings. If you've ever read any previous reviews by myself - you'll know I'm not Ken's biggest fan, but I was subdued this time by a more personal number from Hastings, dedicated to his wife on their 37th anniversary - thanking vintage Calypso singer 'Si Grant' (I may have that name wrong) for bringing them together. This was a pleasant departure from his usual "funny" songs, it was heartfelt and it meant something. The "funny" songs were not ruled out entirely though, 'Carnage at the Folk Club' commented on the large amount of deaths in folk songs, essentially a list of folk songs in which people die. He certainly got his point across.

At this point I must praise Barnett's decision to extend the breaks slightly, so they were slightly more smoker friendly, and allowed for the social aspect of the evening to blossom a little more than normal.

Bill O'Dare started off the second set with a song he learned from Ralph McTell, a Big Bill Broonzy song ' Come Home Robert Johnson', my notes read "good, but not folk". His 3rd song was much more in the folk tradition 'The Day That All The Lights Went Out, and 47 died' (perhaps one for Ken Hasting's reportoire). A fantastic song, which I am told we can expect to be able to hear on an album to be released soon.

Mike Dillon took to the stage after Nancy Summerville's poetry readings on a multicultural Scotland. Mike is apparently working on a Tolkienesque novel at the present time and of course has been heard on the Garden Sessions in episodes gone by. As a pre-curser to the Scottish elections, Mike opened with a poem entitled 'Bastards' - I'm always wary of this one size fits all mentality regarding politicians (as it can only give them license to misbehave), but I was comforted by his closing line "...at least this time, they're our bastards."
Whilst I found Dillon's poems extremely engaging, they were difficult to follow - a handout might not have been a bad idea. His attack on middle/upper class students of Edinburgh University (or "ya's") 'No Wee Marys' added some much needed social commentary to the evening. By this point, Dillon was certainly the most popular with the audience, and was undoubtedly the best all round entertainer. I wish though, that he could sing in the style he employed for his acapella number, natural - folkie and powerful - instead of what he seems to prefer, which sounds quite different - almost a carbon copy of his american name sake Bob Dylan. I moan, but I really like Dillon's songs - the lyrics mean something, and I think that most people could identify with his final song, with lyrics such as "...too long at the diggars, too long at the bar, too long at the eighty shilling, time won't stretch that far."

The headlining act was Rachel Dawick, who used to sing with the all female band 'Ruby Blue', she is a New Zealander who's been living in Scotland for some time now. Her first song was unnacompanied - 'St. James Infirmary', it showcased a very powerful voice and was certainly the most folkie of her set. Dawick is reminiscent of english singer/songwriter 'Kate Bramley' and has something of the Mama Cass about her (her voice, that is). 'Time Travellers Wife' was a song which caused me to retreat to Pedant's Corner though - the song talks of a woman who is constantly waiting for her time traveller husband - now, call me crazy, but I thought one of the main advantages of time travel would be that you'd never have to keep anybody waiting ever again!!? Outwith my pedantry though, I did thoroughly enjoy Dawick's set - specifically 'Shadows', which had some beautiful guitar (possibly in the infamous DADGAD tuning) - a haunting yet energetic, moving song which verged on the anthemic.