Founding Editor Simon Broughton

Publisher & Managing Director Paul Geoghegan

Editor

Russ Slater Johnson

Assistant Editor

Emma Rycroft

Art Director

Juliet Boucher

Advertisement Manager James Anderson-Hanney Online Content Editor

James McCarthy

Listings Editor

Tatiana Rucinska

Assisted this issue by Spencer Grady

Marketing Manager

John Barnett

Marketing Assistant

Oscar Faulkner

Cover Image

Ellius Grace

Contributing Editors Jane Cornwell, Mark Ellingham & Nigel Williamson

Subscriptions Director

Sally Boettcher

Editorial Director

Martin Cullingford

CEO Ben Allen

Chairman Mark Allen

SUBSCRIPTIONS UK: 0800 137 201

Overseas: +44 (0)1722 716997 subscriptions@markallengroup.com

ADVERTISING

+44 (0)20 7501 6683

Branching out

There can be no denying the cyclical nature of music. In the early 2000s, aœer a decade in which Britpop, grunge and big beats seemed to rule the roost, there was a need for a little quiet and reflection. I remember discovering Lone Pigeon aœer wearing out e Beta Band’s e ree EP’s and then getting lost in the early records of his Fence Collective comrades, namely King Creosote and James Yorkston. In those winding guitar licks and sweet Fifeshire turns of phrases I lost many an aœernoon when I should have been studying. It was around the same time that Jim Moray released Sweet England and Eliza Carthy put out Anglicana, two albums that reimagined English folk music for a new generation, though I have to admit it was a trip back north of the border and an album by Appendix Out that kicked me into realising that there was something in those British songs of yore aœer all. Appendix Out was the group of Alasdair Roberts and their debut album,

e Rye Bears a Poison, was released in 1997 though I only came across it a few years later. e fragili of Roberts’ voice had me transfixed but it was the thought he put into every word and the simple, slow-building arrangements that kept me coming back for more. When I later heard him cover Ewan MacColl, Vashti Bunyan and the Incredible String Band, it was like a world opening up to me – oh, so this is where this music comes from? By the time he switched to

using his own name and releasing the odd album of traditionals I was fully on-board.

It feels like the circle has gone full round, as right now we are hearing folk music from a new generation of artists who are putting their own spin on age-old traditions, and which take up a fair few of this issue’s pages. What’s great about this new generation is how entwined they already are with each other and what has gone before. Martin Carthy appears on Angeline Morrison’s last album, which is on folk staple Topic Records, much like Jim Ghedi’s new record with Toby Hay. Lankum’s sound is far from traditional, though they always pay careful respect to their Irish forebears, likewise with Brìghde Chaimbeul who has paired up with Colin Stetson (have you seen him play the sax? – honestly, it’s astonishing), taking the Scottish smallpipes into the avant without ever detaching from the traditional melodies her songs are based on. en there’s the Broadside Hacks whose collaborative releases and Song Circle evenings are the Folk Clubs of the 21st Century. Folk music will never die, its roots are too strong. But, every now and again, a new branch will have a growth spurt and force itself into the picture. is new one’s looking pret good.

Russ Slater Johnson, Editor

CONTRIBUTORS THIS ISSUE INCLUDE

Catalina Maria Johnson A Chicago-based journalist, radio host and producer, Catalina’s focus is on how global music intersects with culture, identi and migration. She visits Austin, TX this issue to see if SXSW is back to normal (p83)

Justin Turford

Justin is a DJ, writer, creative producer and one half of international music advocates and par organisers Truth & Lies Music. is issue he leaves no stone unturned to curate our UK Festival Guide (p40)

Yijia Tu

Yijia is a Chinese musician, singer and ethnomusicologist based in the UK. She was once taught by Kadialy Kouyate, who she speaks to in this issue, along with Gao Hong, about their new collaboration (p38)

Songlines was launched in 1999 and is the definitive magazine for world music – music that has its roots in all parts of the globe, from Mali to Mexico, India to Iraq. Whether this music is defined as traditional, contemporary, folk or fusion, Songlines is the only magazine to truly represent and embrace it. However, Songlines is not just about music, but about how the music fits into the landscape; it’s about politics, history and identi . Delivered in both print and digital formats, Songlines, through its extensive articles and reviews, is your essential and independent guide to a world of music and culture, whether you are starting on your journey of discovery or are already a seasoned fan.

@SonglinesMag

facebook.com/songlines

instagram.com/songlinesmag

www.songlines.co.uk