Co-Operative Cambridge Folk Festival
Sunday
So far everything I've heard this weekend has come from Europe or North America, all that's about to change with a visit to Stage One to catch Malian diva, Oumou Sangare.
One of the few artists in the world to have a car named after her, Sangare has never looked back after being discovered as a wedding singer. She's not afraid of controversy either. She has spoken out about as well as featured in songs, topics such as forced marriage.
She is an artist that strongly believes in personal freedoms for both genders that you are entitled to have a choice in what happens to you. It's one of the reasons she has struck a chord with so many people across not just Africa, but the wider global population.
She's brought a large band with her, but the stage crew have had their late afternoon break and everything's ready to go on time. Her band look like they've been warned about the British weather, but it's been a hot and sunny day and it's all feeling rather good.
It's sounding pretty good as well. The first song kicks into life, there's plenty of action as the stage kicks into life. A couple of backing singers come to the stage carrying what look like large gourds that have been chopped in half and then covered in beads.
The bowls are twisted and thrown about, the beads create a percussive rustling sound. There's clear day light when the bows are thrown into the air, to be caught as they return. It's all bright and atmospheric and the great lady hasn't even been spotted yet. A round of applause suggests that's about to change as Oumou Sangare appears on the stage carrying a beaded bowl of her own. This is breath taking and we're not even past the first song.
Most of the songs are sung in French, but that makes little difference, sometimes you really don't need the words to understand the sentiment and feeling behind the delivery. Reluctantly the photographers leave the pit.
I consider trying to make my way back in through the audience. I suddenly realise how hungry I am with Oumou on Stage One and Cara Dillon on Stage Two, now is a good time to eat.
One of the team, Allan has done me a big favour and my annual nacho grande challenge is waiting for me when I get back to the media caravan. Not only does it mean I've got time to eat with out rushing(thanks Allan) it also means I can listen to the music of Oumou Sangare whilst I doing it. A small fold up table and a plastic chair have suddenly become the best restaurant in the world and I don't even have to leave a tip.
I completed the infamous nacho grande this year, but it was definitely smaller than previous years so the sense of achievement was somewhat diminished. That I was able to wash it down with a pint speaks volumes.
From one hot dish to another, if you'll forgive the blatant sexism for the sake of a decent link, in the shape of Imelda May. I've seen Imelda perform a couple of times and judging by the number of Sunday only ticket holders in the audience, many sporting quiffs, there's a fair few that have bought tickets especially for this.
Quite simply, Imelda May is a real live wire. Whilst best known for her rockabilly filly, she's also an incredible torch singer, her version of "Walking After Midnight" really has to be heard. It's no wonder that comparisons are being drawn to the late great Patsy Cline
Similarly, there is no one that can do "Tainted Love" quite like Imelda, it's now hers, the rest are merely following in her wake on that.
Imelda is an artist that makes full use of her stage. She effortlessly strikes the right looks and poses. Her clothes and make up could come from anyone of thousands of 1950s trash novels, she really looks the part and my goddess does she sound it.
We get everything from rockabilly, to western swing, torch country and skiffle. She's got one of the best rhythm sections in the UK and a lead guitarist that can run off rock 'n' roll licks until the cows come home and for a good few hours after that.
You can't fault her one man horn section either come to that, that's when he's not fulfilling the role of percussionist, even carryng off the shakey eggs with some finess
I don't think there was anyone on stage or in the audience that didn't have at least one part of the body moving during the whole of the set. Regardless of the style that she's delivering, Imelda May nails it. More importantly she's starting to take the genres back into the public eye and you can bever argue with that, it's been underground long enough.
In short all the ingredients for a set, that common consent marked down as the best of the festival.