For Folk's Sake » Bon Iver

Live | Bon Iver @ Hammersmith Apollo, 24th October 2011

For Folk's Sake — Wed, 09 Nov 2011 14:18:52 +0000

Okay so let’s just get this straight: there is more than just one man in Bon Iver. Everyone seems fixated on Justin Vernon, frontman and “face” of the band, but seeing them live was a real eye-opener. There were nine of them. NINE. From percussionists to a bloke with a huge saxophone, Bon Iver is clearly more than just one man. Admittedly, Mr Vernon took centre stage, but it was never The-Justin-Vernon-Show… far from it.

The band are touring their eponymous second album to a crowd who don’t seem overly familiar with it. They lap up the old stuff like a comforting milky drink, but seemed to get a bit restless during newer tracks, which FFS felt was a shame.

Obviously it was classics such as ‘Skinny Love’ and ‘Wolves’ that the audience was waiting for, as a hush came over the crowd as soon as the opening chords were strummed.

FFS’s highlights were Colin Stetson’s awesome circular-breathing-fest of a solo along with the 80s-inspired album track ‘Beth/Rest’, and the beautiful horn-filled ‘Towers’.

We must admit that ‘Skinny Love’ was bloody brilliant – they cleverly found a way to include the other 8 band members in a track that is in essence just good old Justin and his guitar. Getting the rest of the gang to clap and sing in the background gave the song a touching sort of team spirit vibe… FFS saw much weeping across the circle seats. (Oddly, our personal tearjerker was ‘Flume’… started with incredibly touching solo acoustic guitar and vocals.)

Another thing: the Hammersmith Apollo have got some serious issues with circle seating… we chose to buy seated circle tickets as we imagined that a Bon Iver gig is the sort of place that you fancy a bit of a sit down whilst weeping quietly into your lap. We’re sorry to say that most of the weeping we did stemmed from the fact that we were allocated CIRCLE STANDING tickets… aka standing at the back. We wouldn’t have let this dampen our spirits if there had actually been space to stand there… due to overcrowding we opted for sitting in the aisle. ERROR.

Not only did the beer man keep parading up and down the aisle with his stupid beer backpack and flag but, for some reason, the other audience members just couldn’t sit still. This meant that some of our weeping wasn’t due to the beautiful sounds floating up to us from the stage, but due to being trampled on by brogue-footed men en-route to the toilet… not cool.

Hammersmith Apollo, we have not lost faith in you yet. The situation was salvaged by some of the best lighting FFS have seen at a gig in years (if only we could have captured this on camera… from the back) ranging from a stark theatrical wash to a multi-layered red and blue state that seriously convinced us that we were in fact watching a very talented 3D hologram rather than nine real human beings playing their hearts out.

The venue’s pros and cons aside, Bon Iver were breathtaking and beautiful, and we can’t wait to see them again (without the beer man).

Fortunately enough, there were some people at the front, and those people had cameras. Enjoy.

Emily Friend

Live | Ed Sheeran @ Guildford Boileroom, 19 July

For Folk's Sake — Tue, 12 Jul 2011 08:14:33 +0000

Seriously deft on the loop pedal, with the voice of a choirboy-turned-rockstar and a guitar that hasn’t left his side in years, it’s not hard to see why Ed Sheeran’s show at the Boileroom sold out in less than twenty-five minutes.

It’s quite clear from the hours FFS spent in Sheeran’s presence that night that not only does he love guitar- led ballads, but he also loves telling stories. Almost every single song was introduced with an endearing tale about what inspired it, delivered with a cheeky grin.

Tellingly one song was introduced with just a couple of words. ‘Small Bump’, a haunting and beautiful ode to an unborn child, silenced the sometimes-boisterous crowd. This, and the other songs that Sheeran previewed from his debut album +, left us counting down the days until its September release. One song in particular, ‘Kiss Me’, was prefaced with the request “please don’t film this, I’ll get in trouble with my record label.” Now that is music to a fan’s ears.

The Boileroom was, literally, boiling. This tiny venue was intimate to say the least, making it easy for Sheeran to connect on a personal level with his fans (murmurs of “He looked at me!” were commonplace throughout). It seemed like he was really making an effort to include everyone in the room, and it worked.

We were pretty taken aback by the number of guys at the gig, having expected a huge crowd of teenage girls waving banners in the air. FFS was pleasantly surprised to see a real mix of fans, most of whom seemed to know the words (and we mean ALL of the words) to quite a few of the songs.

Special guest Mikill Pane added an extra element to the night, joining Sheeran on stage to perform ‘Little Lady’, a version of Sheeran’s number 3 hit ‘The A Team’ with a dark twist (although we know certain members of the crowd were holding their breath for a surprise appearance from Devlin…)

From a loop pedal cover of ‘Wayfaring Stranger’ to YouTube folk-rap hit ‘You Need Me’, the crowd were enraptured throughout by the raw (and pretty sweaty) talent in front of them. Not many artists can get away with “shush-ing” their crowd, but Sheeran managed to control the perspiring room as if they were a group of toddlers waiting for story time.

Audience participation was key, with the crowd being divided into two at one point and becoming “Guildford Community Gospel Choir” (even the hard boys got their sing on).

Another highlight was his encore, which he did acoustically, standing on a slightly wobbly stool in the centre of the 250-strong crowd. Not only did he play his final three songs without the aid of microphones or amps, but also he managed to rotate around throughout in order to let the whole crowd get a good view (This did leave us wondering if he has superhuman powers, as FFS was feeling pretty dizzy just standing up at this point).

On the way out We overheard a girl saying smugly: “Thank god we have tickets to come back and see him again tomorrow.” We felt some serious jealousy. More please, Ed.

(We can’t believe We’ve made it all this way without mentioning that he’s ginger… Oh, there you go.)

Emily Friend

Album: Bon Iver – Bon Iver

For Folk's Sake — Wed, 22 Jun 2011 09:50:59 +0000

Justin Vernon returns with a more integral cast of collaborators for his second album as Bon Iver. The name is drawn from the French for “good winter” (bon hiver) and the often sparse instrumentation coupled with Vernon’s alternately hushed and soaring vocals seem fitting of that moniker.

The 10 songs on show, which were recorded in Vernon’s purpose-built April Base Studios in Wisconsin, showcase a fuller, richer sound in general than on 2007′s breakthrough For Emma, Forever Ago, a result of Vernon’s stated decision to “(bring) in a lot of people to change my voice… change the scene”. The upshot is that where that record was carried largely by Vernon’s acoustic guitar, there is something of alt favourites Grizzly Bear about its more ensemble-driven follow-up.

Several of the songs refer to a specific place, though seemingly not all are intended to evoke that location. The small village of Lisbon, Ohio is acknowledged by a short instrumental, Washington gets a surprisingly understated paean, while Vernon would appear to think fondly of a love in Calgary. The wilderness conjured up on Hinnom, TX, meanwhile, tallies with the description common to numerous religions of the Valley of the Hinnom as a place of slaughter – though Vernon’s reasons for locating it in Texas (there is no such town) are best known to him. All in all, a beautiful, haunting album.

Words: Tom White

Stream Bon Iver’s new album in full

Lynn Roberts — Fri, 10 Jun 2011 10:23:24 +0000

Bon Iver’s new album is another slice of magic, if you ask me, which you didn’t. But starting from now you don’t have to ask anyone. You can hear it for yourself, because it’s streaming over on the Guardian website.

And it’s lucky it’s good because in an interview with the Guardian’s Laura Barton, Justin Vernon said, “this album feels more like me than anything I’ve ever done”.

Bon Iver’s second album, confusingly named Bon Iver, is out on 4AD on 21 June.

The Folk Artist Twitter Directory

Stephen W Thomas — Thu, 06 May 2010 08:30:09 +0000

Below is our attempt at a comprehensive directory of folk artists currently on Twitter – of course, we aren’t Twitter deities and as such will almost certainly have missed out on certain artists. Let us know if you can think of any tweeting folk musicians in the comments below.

Akron/Family

Angus and Julia Stone

Asthmatic Kitty (Label)

Brian: FFS’s Mixtape-Making Owl

Broadcast 2000

Caitlin Rose

Cherbourg

Colin Meloy (Decemberists)

Damien Rice (PR Account)

Dev Hynes (Lightspeed Champion)

Divine Comedy (PR account)

Efterklang

Emmy the Great

Fanfarlo

FFS (Official Account)

Kurran & the Wolfnotes

Laura Marling (PR account)

Lisa Hannigan (PR account)

Lisa Mitchell

Lissie

The Living Sisters (PR account)

Local Natives

The Low Anthem

Midlake

Monsters of Folk (PR account)

The New Pornographers

Owen Pallett (Final Fantasy)

Peggy Sue

Rebecca Taylor (Slow Club)

Rufus Wainwright (PR account)

She & Him (PR account)

St. Vincent

Sweet Billy Pilgrim

The Swell Season (PR account)

The Swell Season (Glen Hansard)

FFS Exclusive competition: Win a T-shirt designed by Rilo Kiley, New Pornographers, Bon Iver and more

Lynn Roberts — Mon, 20 Jul 2009 09:18:10 +0000

For Folk’s Sake have teamed up with The Yellow Bird Project, which asks indie artists to design t-shirts for charity, to offer two FFS readers the chance to win a t-shirt by their chosen band.

Artists involved in the project include Bon Iver, The New Pornographers, The Magic Numbers, The Shins and Au Revoir Simone. For a full list of artists see The Yellow Bird Project’s website.

To be in with a chance of winning one of the the t-shirts just follow this link and sign up to The Yellow Bird Project’s mailing list before midnight on 26th July.

Good Luck!

FFS’s Glasto part #1: Rich Furlong – Slow Club, Fleet Foxes, Animal Collective, Bat For Lashes, Bon Iver, Blur

Lynn Roberts — Mon, 13 Jul 2009 12:10:18 +0000

“I hate Glastonbury so much, I really do.” Now, as festival gambits go, this is a feisty (if not downright wreckless) one. However, 10 minutes into a Worthy Farm debut marred by sound problems, tetchy stewards and an unresponsive crowd, Slow Club perhaps have the right to be a little miffed. Fortunately, as the set develops, Rebecca’s spikiness serves to cajole the initially apathetic Guardian Lounge crowd to life and lends the songs a feverous energy which, coupled with the pair’s increasing confidence on stage, gets people on their feet. Such is the group’s enthusiasm, that by the time Giving Up On Love has rollocked its way to glorious conclusion even the floating voters have no choice but to get up and boogie. The world is going love Slow Club, or Rebecca is going to have words…

Fleet Foxes are an impressive bunch, no doubt about it. Not a note out of place, no harmony falters, and when their glorious harmonies and pastoral, folked out loveliness are married to songs as strong as White Winter Hymnal and Your Protector, the Pyramid Stage crowd take a collective swoon of summer joy. However, without the anchor of truly memorable melody, the vocal work is often impressive rather than enjoyable, leaving large portions of the set to drift into the open air. Of course, this is a band with only one album under their belt, and to be so high up the bill is certainly a feat, but there is nagging feeling that this is a case of too much too soon.

The Park Stage, far off the beaten track and ignored by many, offers a Friday night double-header for those willing to make the trek. The Horrors are a band on form, having gone a public opinion about-face following the release of Primary Colours, and their every move reeks of assurance and restrained confidence. Where once he scaled any available rafter in a manic bid for spectacle, Farris Rotter now offers a menacing stillness front of stage, against which the band’s towering gothic oddities provide a suitably epic backdrop. Animal Collective follow and bring an increasingly lubricated crowd to various stages of loose-limbed rapture with Fireworks and , latterly, Summertime Clothes. As on record, the band succeed in using a genuinely original blend of folky electronica to create their own world, drawing you in and making it so that you never want to leave.

A disappointing lack of fancy dress greets Spinal Tap on Saturday afternoon, but for the initiated their set still constitutes a major highlight. It’s all a joke, of course, but the fact remains that the songs, indeed the entire concept, would not work if they were not so lovingly well observed and, let’s be honest, well written. In- jokes and guest slots abound, but the highlight is a fleshed-out version of David St. Hubbins’ showtune Saucy Jack. As Jarvis joins them for the finale of Big Bottom, the feeling remains that there are more than a few bands on this bill who could learn a thing or two from Tap.

On a bill reflecting the current fad for all things girl-n-synth, it is Bat For Lashes’ diversity and willingness to genre-hop that stands her head and shoulders above the competition. While Daniel and What’s a Girl to Do? show that Natasha Khan can bring the dance, it is the more varied, pared-down and melancholy moments in which she really connects with an increasingly frazzled, third day of a festival crowd in need of soothing and sympathy. Just what was needed at this hour.

Bon Iver plays two sets and, as might be expected, works better in the intimacy of the Park compared to the wide open emptiness of the Other Stage. Indeed, there are times when Justin Vernon risks being drowned out by the throb of Roots Manuva way over on the Jazz Stage. However, such is the power and quality behind his hushed vulnerability that the crowd is mesmerised and, by the time Wolves has reached its crescendo, we are all converts.

Some fine festival moments, then, but Glastonbury 2009 can only really belong to Blur. Damon Albarn emphasises the “positivity” surrounding their recent reunion, and with this in mind they clearly pick tonight’s set based on which songs are the most enjoyable to play. Hence we hear the hits, but lesser-known numbers such as Oily Water also make an (equally welcome and well-received) appearance. What really strikes is the energy of the band, ripping through their catalogue with the kind of punky fire that characterised their early days. The crowd love it, the band love it, and it’s a fitting conclusion to what has been an amazing festival.

Words: Rich Furlong

Part #2: Joe Downie – Stornaway, Regina Spektor, Noah and the Whale, Emmy the Great

Part #3: Adam Wilkinson – Dan Black, The Dead Weather, Bombay Bicycle Club, Nick Cave & the Bad Seeds

Peggy Sue, Bon Iver and Beach House to play Green Man

Lynn Roberts — Tue, 03 Mar 2009 12:07:17 +0000

FFS loves festival line-up announcement time, and today is the turn of the spectacular Green Man, who have confirmed folkies Bon Iver, Beach House and Peggy Sue for their August festivities.

To add to the excitement this year, organisers are offering Holiday Tickets, which allow festival goers to stay on site for full week of folk fun.

Green Man, which will run from 21st-23rd August in Brecon Beacons, is now in it’s seventh year and has previously hosted Bonnie ‘Prince’ Billy, King Creosote, Adem and Iron & Wine.

The line-up so far is:

Peggy Sue
Bon Iver
Beach House
Wilco
Wooden Ships
British Sea Power
Errors
Megson
Pivot
It’s A Buffalo,
She Keeps Bees
Golden Animals
6 Day Riot
No Thee No Ess
Sound Carriers,
Peter Broderick
The Amorphous Androgynous (AKA Future Sound Of London)

Tickets are available now from the festival website

Words: Lynn Roberts

Peggy Sue and Laura Marling added to Camp Bestival bill

Lynn Roberts — Thu, 19 Feb 2009 14:10:00 +0000

The organisers of Camp Bestival today announced that Laura Marling, Blue Roses and Peggy Sue would join the Dorset festival’s already stellar line-up.

The folksters join acts like Bon Iver, PJ Harvey (no, she’s not folk, but since the female contingent of FFS is in love with her we couldn’t leave her out) and awesome-o new signing Marina and the Diamonds. West Country revellers can also expect comedy from the likes of Marcus Brigstocke and Phil Jupitus and poetry from Scroobius Pip.

Camp Bestival takes place on 24th-26th July at Lulworth Castle in Dorset. For tickets and more information see the website.

Words: Lynn Roberts

Bon Iver

Lynn Roberts — Thu, 08 Jan 2009 15:06:28 +0000

Having only released one album and one EP under the moniker Bon Iver, the attention that Wisconsin-native Justin Vernon has received is more than astounding, but definitely deserved. His stripped-back folk, gorgeously layered with a fragile voice, evokes not only isolation and heartbreak, but sun-lit glimmers of hope.

They Say: “Every album is a product of time and place, but For Emma, Forever Ago more than most. Bon Iver (an intentional mis-spelling / adaptation of \\”Bon Hiver\\”, French for \\”good winter\\”) is the work of Justin Vernon, who spent three months alone in a log cabin in Northeast Wisconsin, living off the land, splitting wood, and hunting for food – a voluntary exile. And although this wasn’t the archetypal spell in the wilderness that many artists seek out, a deliberate scheme to create a ‘masterpiece’, some very special music was born out of the experience. For Emma, Forever Ago is the unexpected, triumphant result.” (http://www.4ad.com/boniver/profile)

Discography:

For Emma, Forever Ago (self-released, 2007)

Blood Bank EP (JagJaguwar, 2009)

[On the 30th June 2009, he'll be performing at Hyde Park as part of the Serpentine Sessions.]

Profile: Jason Williamson

Bon Iver has designed a t-shirt for The Yellow Bird Project. All profits go to Interval House. For more about the Yellow Bird Project, or to buy a t-shirt click here.

For Folk's Sake » Bon Iver

Live | Bon Iver @ Hammersmith Apollo, 24th October 2011

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