Sunday 3

As he introduced the first of his numbers, Jarleth also took the opportunity to praise the Young Tradition scheme. He said that he’d learnt from it at every single stage. It’s not just those that make it through to the finals that benefit, but because each phase includes workshops and advice, everyone that takes part comes away with something. (Entry forms can be downloaded from the Radio Two site.)

Susana Seivane showed us what can be achieved with pipes when incorporated into a group setting, Jarleth is playing solo and takes us down more traditional ground. That said you can hear in his playing distinct elements that announce a player keen on establishing his own identity.

Like other folk musicians, Jarleth, is not a one instrument man. Whilst uillean pipes might be his first love, he’s not above two timing them with guitars and penny whistles.

I would have liked to have heard more, but it’s time to move back to Stage 1 in order to catch multi-grammy award winning, western swing band, Asleep At The Wheel.

In their 30 odd year career, the band claim to have notched up in excess of three million tour miles as well as more than 20 albums. Even so it’s the first time they’ve played Cambridge which just goes to show you can normally find something new if you try.

A long career has seem them flaunt with a number of different styles around a theme and then managed to get through a number of them here, country rock, swing, country, a hint of bluegrass.

No matter what they were singing it was hard to lose sight of the band’s front man, Ray Benson. Ray’s six foot seven and with a presence to match. So even when one of the other guys was off on a solo, you found yourself looking to see what Ray was up to.

It was ok, but I wasn’t enthused enough to stay for the whole set. I’d made the mistake of not giving Jim Moray a good listen to the day before and I wasn’t about to repeat the mistake.

Back at the Radio Two Stage Jim, is just getting on stage as a quarter of the Jim Moray 4. The set started off quite rocky, but there was a constant traditional undertone that washed against the consciousness. It soon became very obvious why he picked up the Horizon award this year.

There’s quite a few musicians in the side of stage area that have made the effort to get over here for the set, Jim Moray is definitely making waves.

After a couple of songs with the band, Jim switches from guitar to keyboards for a couple of solo numbers that also help emphasise the emotive quality of his voice, something that gets lost in the harsher numbers.

The band rejoin him on stage as he reverts to the guitar. This time there is a stronger traditional edge to the sound, but not without flirtations with other genres. By the time it’s over there’s a very audible clamour for more.

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