Bellowhead are a folk phenomenon; they have won the BBC Folk Award for Best Live Act four times, as well as the award for Best Group, their last album Hedonism, recorded at Abbey Road, was the Roots Album of the Year and with appearances at Glastonbury and on Later… with Jools Holland the band’s profile keeps on rising. Vision talked to Paul Sartin; oboist, fiddler and vocalist; about the band’s past, present and future.
First of all I’ve heard many myths about how Bellowhead came into being but how did you personally get involved in the project and how did the band develop into what they are today?
I was waiting backstage at a gig in Baldock, when I got a call from Jon Boden and John Spiers, who were sitting in traffic on the M25, asking if I’d like to join a English folk big band. The idea had been floating around for several years, and the folkies all already knew each other – it’s an incestuous scene. The mothers of Pete Flood, our drummer, and Jon, also knew each other, and so Pete got asked, then helped to draft in the brass section. The tuba/helicon/sousaphone was only added a year or so later – since then we’ve only had two personnel changes. Over time we’ve become more relaxed in our approach to music, in that we leave space for improvisation, and feel freer to alter arrangements – the process is becoming more organic. We’re also extremely relaxed on stage, in more ways than one!
Bellowhead have a unique sound, mixing traditional folk with all kinds of madness. How would you describe the music you make?
‘All kinds of madness’? That’s a pretty good start! We are rooted in the English tradition but present it in a huge variety of ways, bringing along the multiple influences and idiosyncrasies of the band members, all tied together with a dedication to partying on stage.
You’re a big group, how to you write/arrange and rehearse together? Lots of jamming sessions or something more formal?
Usually one member of the band will bring along an arrangement – dots – and present it to the band, who then proceed to rip it to shreds. We rehearse on tour – currently we’re looking at material for a new album. We do our best to be formal . . .
Some of the more recent stuff such as in Hedonism seems to move away from the more traditional tunes we saw on E.P.Onymous. How do you see Bellowhead in terms of the prejudices some people may have about ‘folk’? Was there ever a temptation to grow a long beard and buy a tweed waistcoat?
Nothing wrong with tweed – I have a Harris Tweed jacket, thank you very much. But I’m still far too young to grow a beard. That being said, John Spiers grew silly moustache (that’s a tautology) for the Movember charity. As I said before, we’re more relaxed about things, and that extends to our choice of repertoire, although whatever we do has to have some link, textually, musically or thematically, with the tradition. For example, although ‘Amsterdam’ is by Jacques Brel, it’s about a sailor and his community, and the melody is almost identical to ‘Greensleeves’. Folk music has to evolve to survive, and should always respond to its contemporary environment – that’s what we do, so we’re following a traditional precedent. I’m personally quite happy to wear the ‘folk’ label – stuff other peoples’ prejudices!
There has always been a hugely varied set of influences evident in Bellowhead’s music (my favourite being the reggae-folk live versions of ‘Hopkinson’s Favourite’). What would you say are the most important influences outside of traditional music in your work? What are you personally listening to at the moment?
Between us we work in every genre from experimental jazz to cathedral choirs; I don’t think anyone influence is greater than another, but what is important is that we bring these along to share, and that we try to make the music entertaining and engaging. I’ve just been listening to some Bing Crosby, believe it or not, in preparation for a new arrangement – watch this space!
Bellowhead have an anarchic attitude to folk music. Do you experience much criticism from folk purists? If so, how do you respond to such criticism?
We had a little bit of sniping in the early days, but if it goes on now I’m blissfully unaware of it. The ‘folkies’ in the band all have a deep knowledge of, and respect for, the tradition and I think that’s generally known and acknowledged. Plus we all have thick skins and are congenitally insensitive.
You play all kinds of unusual instruments, some of them homemade. Where do you get inspiration for your creations from? What’s the weirdest instrument you own?
Pete, our drummer, is the main instrument maker. A lot of his kit seems to have been pilfered from his mum’s kitchen. I’ve got a one-string fiddle, a Madeiran dancing doll percussion stick, and a swanee whistle, all of which require a high level of expertise.
You are famed for enthusiastic live shows. Is performing live the most important part of being a musician to you?
Without doubt. It’s the whole point of music! Oh, and it’s also the bit that pays the rent.
Is it difficult to get some of that live energy down on record?
Yes, but on our last album our producer, John Leckie, put us all in one room (at Abbey Road!) to help us capture the live experience. Recordings are never a substitute for gigs, but they do allow you to be creative in a different way.
Recently you have seen a lot of television exposure and have played huge venues but I remember the days of seeing Bellowhead in village halls. What has been your favourite venue to play? Where are you looking forwards to playing?
We had a great trip to Portugal a few years ago – we combined the festival (in a castle) with a busman’s holiday. The hospitality, the weather, the gig – everything was perfect! Cropredy Festival last year was great too – playing at the festival run by your childhood heroes (Fairport Convention) and being encored by thousands of people. Next year we’re doing our first full-length Continental tour, which is very exciting.
There’s been a lot of coverage recently about a sort of British folk renaissance, with younger people especially reclaiming traditional music. Do you think this is really the case?
There are certainly far, far more young people embracing the tradition than twenty years ago. When I was a teenager I was the only person under about 50 at my local folk club, and now, particularly at festivals, the age demographic has altered significantly. Courses such as the folk degree at Newcastle have certainly been a factor in this, but there’s a thirst out there for live music, with substance.
What’s in the ‘pipeline’?
Europe and, who knows, maybe further afield. We’re already working on material for a new album next year. We’ve just released a new live DVD. There’s a lot going on. Soon we’ll all have luxury yachts and private jets.