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One Night In Gateshead

Venue: The Sage
Town: Gateshead
Date: 2nd March
Website: http://www.doonanfamilyband.co.uk/

Taking my seat amongst a sell-out audience for this much -anticipated highlight of a series of concerts under this banner, the excitement at the prospect of the occasion was fizzling in the air. It's a big stage at this Gateshead venue and for those who don't know, it was designed principally for orchestras. So the sight of chairs, mics and instruments stretching the width of the stage was an intriguing vision. And when Kathyrn Tickell (curator of these events) took the stage for her introduction, she admitted that she was so overwhelmed that she was close to tears. Such was her own excitement

One by one, the members of some of the North East regions' foremost families of Folk quietly took their seats; The Wilsons, The Doonans, The Unthanks and The Elliotts. First, it was Doreen Elliot who gave us a potted history of the Birtley Folk Club, whose 50th Anniversary this show was marking. With the homely air of a Mrs Cannybody ( a term used for those lovely B&B landladies of yore who would provide home from home for touring musicians), she reflected on the wonder and pride with which her late father, Birtley Folk Club founder Jack Elliott would have observed tonight's event. It certainly was a long way, she ruminated, from the day in 1963 when he received encouragement from Pete and Peggy Seeger, no less.

Fittingly, it was The Elliotts that opened proceedings with a terrific, funny, acapella spot from Doreen's husband, Bill Henderson. Their take on The Blackleg Miner followed, after an anecdote about "Uncle Peter's funeral", an event apparently attended by Unthanks Senior, George. It was a tale, which in the telling, set the template for the evenings' inter-woven heritage and talent of each of these assembled families, enmeshed with the people, spirit, pride and consequences of, the pits.

The Mighty Doonans were next up, in their new, full-on Folk Rock format; an astonishing assemblage of family talent that now includes Mick Doonan's daughter, Rosie; Ben Murray (son of Phil), drummer Jamie Luckley (son of Stu), along with multi-instrumentalist, Ian 'Walter' Fairbairn - musical partner in mischief of The Doonans' Phil Murray back in the heady days of the legendary, post Lindisfarne - stalwarts, Jack The Lad. Opener 'Step It Out' proved to be The Mighty Doonans statement of intent, featuring as it did Frances Doonan's sax alongside Dad Mick - and Jamie and bassist Phil locking in as well as Motown's Funk Brothers. Folk got Soul, anyone? And all capped by Frances' wonderful step solo. Ben at the piano, accompanied by Rosie for 'Banks Of The Nile' was proof positive that this same band could also be as dark as anything from the Richard Thompson catalogue.

From further South in what was the ancient region of Northumbria, The Wilsons from Teesside began their first set with 'Byker Hill' - a jaw-dropping master class in the power and passion of the musically unaccompanied human voice. In this case, five of them. 'Sea Coal' epitomised much of their own regions' role in the North East's mining heritage, but they were quick to acknowledge too, the debt owed to the Birtley Folk Club not only by themselves, but by the songs' composer, Graham Miles. Closing their set with 'When I Die' - an Apalacian spiritual, The Wilsons were a revelation.

Also from the pen of Graham Miles, 'Great Northern River' was The Unthanks first offering of the evening. They too, acknowledged debt to The Elliotts: "...they taught us not only to not take things too seriously, but also its about having a bit craic!". The darker side of life in the pits was shown to spine-chilling effect with 'The Testimony of Patience Kershaw' - a song which perhaps to this writers' mind best personifies 'The Unthanks' contribution to Folk: moving forward whilst glancing back. George - with additional Wilsons - treated us to his own 'Tar Barrel in Dale' , easily evoking the smoky aroma of that Christmas time tradition, but in this ultra-modern concert hall in the 21st Century and accompanied by the massed ranks of the Gateshead audience.

Opening up the second half by rather sweetly mentioning that her voice "wasn't quite up to it", Doreen and Bill's duet was both touching and poignant; lump in the throat time. Clearly, there was no need for her to explain that, as a duet, "it will only be *half* as bad!". Bill's solo 'Doon To Shields' was at once beautiful and funny. 'Which Side Are You On' followed - a song from Harlan County in the US and wryly 'dedicated' to Ed Miliband.

Reversing the first half's running order, The Unthanks', led by George, treated us to 'Miner This, Miner That' a song reflecting on the pitman's lot and how so many of them would pay the ultimate price. The songs' sign-off - "... and my arsehole I leave to the Tories", ringing around the room to whales of laughter and closing the circle on The Elliotts' first anecdote, earlier in the evening. As if to emphasise the shared thoughts, events and heritage of all the families, the actual recorded voice of Jack Elliott was next to resound in the huge auditorium, causing a hushed silence. His image painted proud and clear on the Miner's Lodge banner positioned centrally, high and proud above all the musicians and accompanied only by piano, this brief, thoughtful piece gave way to the three female Unthanks voices for a stunning 'Guard Your Man Well'.

'John Barleycorn' was given The Wilson treatment next: grist to the mill for them, as they explained, being enthusiasts of the ol' brew themselves. Reminding us in their introduction of the influence of Alex Glasgow on the music of the region, their interpretation of 'Close The Coalhouse Door' was breathtaking.

Now into the home straight, Doreen returned to the mic - quipping "By, them Wilsons are a bit noisy, mind - but not as much as these lot!" - The Mighty Doonans launched into 'Ee Aye Aa Cud Hew' one of five newly recorded songs performed by them tonight. If it's possible to be both disturbed and touched by a song, this was one - and there was a potent danger in the massed ranks of the band, as well as a sense that perhaps the traditionalists may take a little longer adjusting to this updated version of The Doonans, who seem to have embraced the same 'music hall- meets -folk- and-the-spirit-of rock n roll' ethos so beloved by fans of the rather marvellous Jack The Lad. Once again, on the night Ensemble Doonans flipped things on its head, when this time, Rosie - in full 'chanteuse' mode that could also give Imelda May a run for her money - took to the piano, accompanied by Ben and replete with sax solo from Mick and guitar solo from Walter. Whatever the song was (sorry, Rosie!) its a possible 'Summertime' for a new generation and star quality stuff. The Kinks' 'Dead End Street' - another of The Mighty Doonans recent recordings, must have caught few folks out with one of their typical curve balls - the whole motley crew (including dual fiddles from Walter and Kev and both Mick and Frances on sax) - clearly having the time of their lives.

Finally, that classic 'Where did all that time go?' realisation arrived - when the massed ranks of Elliotts, Wilsons, Unthanks and Doonans swamped that big ol' stage for 'A Miners Life'. A song sung throughout countless folk clubs, it was perhaps the only fitting finale to this event - one which personified the relationship between families and the culture of the miner - an event that had managed to retain the spirit of all those the folk clubs and perhaps, Birtley Folk Club in particular. Some how, The Sage even felt that small, such was the love in the ether on the night. As the audience began to file out, the stage was left to Doreen and Bill. Head in her hands, Doreen was overwhelmed. She turned to Bill and kissed him. Then they hugged...

This was an event full of unique combinations - including the never to be forgotten sight of Frances Doonan , flanked by Rachel & Becky Unthank joining together with some fabulous footwork. They had a ball and so did we. 'Cropredy On Tyne' ? Nah. It was much, much more than that. This was history, bonny lad.

Ian Wood
Pics illustrative not taken at gig