Co-Operative Cambridge Folk Festival
Friday
Even though it was clouding over outside it was about to warm up on mainstage, fired by the sheer physical energy of Edward II who are part way through a reunion ten years after they split up.
In their day they virtually invented folk reggae as they morphed from being Edward The Second And The Red Hot Polkas into simply Edward II.
They are not the spring chickens they once were, but that doesn't stop them cavorting all over the stage with undiminished enthusiasm. It's an enthusiasm that's obviously infectious, getting the crowd really moving, in that bobbing up and down style only carried out by people at a festival.
The balance between folk and reggae, soul, funk and even a little ska varies through the set, but a highlight for me was a dubbed cover of "Wild Mountain Thyme", it just seemed to be one of those songs that struck the moment.
You know that something special is happening when you get a band, audience, band cycle going on. Even when they slow the set down, as much for their own recovery as anything, they keep the momentum and vibe flowing.
Edward II have been considered to be the ultimate festival band, certainly they were and still are one of the most entertaining bands on the circuit. It's a short reunion, but one that will live long in the memory of those fortunate enough to see it.
The Folk Against Facism t-shirt is clearly on display, but unfortunately the accordion strap has obscured the word against, maybe be not designed to be worn with a strap. It's the sentiment that's important. You only have to listen to Edward II for a short moment to understand the importance of multiculturalism in their music. English folk, like that of it's Celtic cousins is proud of it's roots, but not so proud that it's not influenced by those it comes into contact with on it's journey.
It wouldn't be Cambridge without at least one member of the extended Waterson family on the bill somewhere. This year it's the turn of the extended family as a whole to make an appearance.
Many regard The Watersons as the royal or should that be Royle family of folk. Certainly the importance of the family in ensuring the future of folk music, not only during the great revivals, but also during the dark years, can't be under estimated, particularly when it comes to the vocal only tradition.
Eight Family members take to the stage, Mike Waterson, Norma Waterson and Martin Carthy from the early version of the band, together with Oliver Knight, Rachel Straw, Eleanor Waterson, Maria Gilhooley and, of course, Eliza Carthy.
As individuals they have a collection of voices that it would be difficult to match anywhere, combined into a single unit, it's hard to avoid the clichés, such as spine tingling and making the hairs on the back of your neck rise.
Not only that but they've got such an extensive repertoire of songs they can draw on from so many of the English regions and traditions, some of which have their origins in pre-Christian traditions, such as the cylindrical songs.
Some of what we're hearing on stage would be as familiar to generations past as it is to us, but rarely sung quite like this.
It's one of the things I like about folk music, no matter what you do to change it, develop it, add to it, there is always a place for the music's history to sit alongside it's future.
Stage One takes a break which gives me the chance to catch up with a couple of old friends, most of whom I only see at Cambridge. There's time to catch something to eat and something to wash it down with before heading back into the fray with the first blues of the festival, in the shape of Susan Tedeschi.
An ex-graduate of the famous Berklee College, Susan Tedeschi has forged herself something of a reputation on the blues circuit.
It used to be said that a female guitarist has to be twice as good to get half the recognition, if that is the case, it's an apprenticeship that has served her well as her guitar work is nothing short of blistering.
Her voice is pure blues to boot. She wouldn't so much charm the birds from the trees, rather blast them branch and all and have them roasted before they even reach the ground.
That much vocal power comes with responsibility and ms Tedeschi holds it below the point at which the sound becomes a screech.
She's got a good group around her. Where would rockin' blues be without a Hammond? You can argue the case for a complete horns section in a blues band, but if you're only going to have one, then it's got to be a sax. Another guitar, bass and drums complete the line up, together it's one heck of a combo.
I'm inspired enough to know that I'll be checking out her cds in the concessions tent later in the weekend.
Susan is on for an hour, it feels shorter. She can rip the blues to pieces and then rebuild through a slower more measured number. It's pretty close to a faultless set.