Edmonton Folk Music Festival 2015

I attended the Edmonton Folk Music Festival, which happened this year from August 6-9. It was quite an exciting event for me. For starters, this was the first year I actually attended on all four days.

You can read my full report at DigitalJournal.com. However, here are some of the personal highlights for me.

I really wanted to see The Duhks, from Winnipeg, first up on the main stage on the Thursday evening. The group combines folk, country, and bluegrass with a contemporary flair.

The highlight of my Friday was seeing Oysterband. From various parts of the UK, these men in black first blew me away at the 2009 Folk Fest and have been one of my favourite bands ever since. Socially conscious folk that is extremely melodic and deep.

Saturday was my long day at Gallagher Park. It was a huge treat to see Tinariwen from Mali present their wall of sound to Edmonton for the first time.

Richard Thompson, singer/songwriter and guitarist extraordinaire, was on the main stage later in the evening.

Also, I wanted to see the hill in the darkness in person for the first time. I have seen many photos of the hill and grounds in the dark, but I could finally take a few of my own.

Despite my late night on Saturday, I made it to the park bright and early on Sunday morning to see Hanggai from China in concert. Layers of sound with traditional and contemporary instruments, throat-singing, and the ability to get everyone on their feet dancing.

Also, as an Inside World Music exclusive: Frazey Ford, a singer/songwriter who was a founding member of the Be Good Tanyas, allowed us media types to film her first three songs in their entirety. She was on the main stage on the Friday evening to replace Sinead O'Connor, who cancelled her entire summer tour due to health issues. The Folk Fest made a great decision in picking Ford, whose lilting vocals soared over the hill.

CD Review: Alas...Alash!

Alash

Alash

Independent Release

In recent years, a slew of musical abums and compilations devoted to throat-singing from the steppes of Central Asia have graced the stores and charts. Those familiar with Huun Huur Tu, Egschiglen and Hanggai should pick up Alash's self-titled 2007 album of Tuvan throat-singing songs. Alash's ensemble does not incorporate Western instrumentation or modern beats. Instead, they present traditional songs with traditional instrumentation. Moreover, the liner notes detail the types of string and wind instruments used, including igil, kengirge, shynggyrash, limpi, murgu, byzaanchy, and doshpuluur. The instruments evoke images and sounds of nature indicative of indigenous Tuvan surroundings of grasslands, rivers, and animal galloping. At times the vocals seem otherworldly, but that only adds to the mystique of the Tuvan musical culture. The liner notes include a brief introduction to the music, throat-singing styles, and lyric translations from Tuvan to English by Sean Quirk. ~ Matthew Forss