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Live Review – At the Barrier

Live Review – At the Barrier

June Tabor & Oysterband – Royal Northern College of Music, Manchester – October 12, 2024

They can trust in the power of music – their words, not mine. A mixture of wake, celebration and religious experience. No exaggeration despite the feelings of sadness as the end of the journey comes into sight and Oysterband prepares to travel to the undying lands where the river will finally end its course. The short series of dates with June Tabor at their side (and Ray Cooper – “Chopper” to us all – for a short time) is followed by a longer series of dates “just for the band”, as The Long Goodbye continues into the Year 2025 is enough. With around 20 dates across the UK (their final UK shows) scheduled for November/December, this special run is a special move to enjoy. Uplifting and inspiring.

We – the royal “we”/I – were only privy to a fraction of the journey. Perhaps most significant was attending the Folk Awards at The Lowry in 2012, when June and the Chaps and their album Ragged Kingdom received huge acclaim. June won Folk Singer of the Year and they played Fountains Flowing. Like they did tonight and yes, the words “to be a pilgrim” Despite it run through my head.

There is a lot of metal work in front of the stage. There are eight microphones available and at times all but one are in use, depending on where the chopper is positioned. Luckily the jumping around is limited, but the night before Alan Prosser nudges one of the amp microphones as he sneaks onto the stage to tune up a bit before the lights go out. Heath & Safety might have been involved in his case if they had discovered his stocking feet on the laminate floor, but there is probably a risk assessment in place.

After experiencing the same thing on the Fire & Fleet tour a few years ago, June felt a strange sense of déjà vu and took the stage in the long red velvet coat that has served her well. Most of the eight dates with this special combination were sold out. Their joint recordings, Freedom And Rain and Ragged Kingdom (now in reissued vinyl form), are both well-regarded collaborations, the latter particularly suited to the set, along with Oysterband standards giving June the odd breather.

Not that she needs it. Her voice remains strong and clear and she sings with purpose and passion. Not least when Si Kahn’s “Mississippi”, the second song, comes to an end and she explains: “Every time we play that I think, my God, what a song!” John Jones even teases her about the quiet whispers he heard when they recently met and sang together. “Where does that come from?“, he laughs. “I got it on eBay” she says expressionlessly.

Set one is layered like a finely crafted Bake Off challenge. One that deserves the Hollywood handshake. Oysterband songs – Meet You There (or is it Where The World Divides?) / By Northern Light – begin and end the set with A River Runs Through (which is a song that carries their signature message of late, as JJ continues to do). emphasized). its intro) and Roll Away, which robustly form the backbone around which the collective songs revolve; the sweet treats packed in the middle.

Fake true love is a goosebumps moment if ever there was one. Just as he accompanies June on Shiloh as they gather for an intimate gathering in the second set, Al Prosser selects a delicate melody on the acoustic and the band adds a subtly delicate background. He is praised by JJ as “the busiest man on stage. He seems to start every song,” as a tribute to his partner, who is as humble and ashamed as can be. Just as June avoids her reputation as “miserable” on several occasions, she even plays the role of JJ’s mother in a personal favorite, Son David, who stars in a set that’s hard to find fault with.

During the covers of Dylan (Seven Curses – all nine verses, just drones and rumbling toms), Joy Division (Love Will Tear Us Apart) and The Velvet Undergound (All Tomorrow’s Parties) there is a special moment in which June remembers the remembers the late Les Barker and has to sing his version of Roseville Fair unaccompanied. There’s a giggle or two in the banjo-destruction story, followed by a typically Telfer-dry intro (not being of the Scottish persuasion, we don’t understand the intricacies of the Dundee-Aberdeen rivalry) to Susie Clelland, that’s right the “great melody“, actually an exuberant one, that’s what he promises. Sean Randle briefly ignores the rumble of the toms, which were put to good use tonight with a clever 4/4 shuffle.

There is an equally dry intro for All That Way For This – “written in 1979 – when we were at the cutting edge of songwriting – about Brexit.“An acoustic trio forms on stage in one of many combinations that demonstrate the versatility of the device.” Perhaps it is the return of Chopper on bass and cello that gives Al Scott freedom to play guitar and mandolin to embellish, but with all due respect to Adrian Oxaal, whose presence has been constant and consistent, it feels somehow “right” to have him back in the crease, even if only briefly.

Of course, with this combination we are never too far from “tradition”. Juen introduces “Sweet Sixteen” as one of those songs that’s about “what’s going on.” She says: “The summary is: “Oh shit – I wish I had listened to my mother when I was sixteen.”.’” Six Oyster voices provide a rich backdrop contrasting with a driving arrangement by John Barleycorn that stomps through a clanging acoustic guitar part. Even Chopper gets lead vocals. Rich red spots of light add a poignant touch to the beautiful dance of “Dancing As Fast As I Can.” The chorus is majestic and not a little meaningless. Perhaps only achieved, although perhaps not, by the inevitable Curtis/Hook/Sumner/Morris classic, to which Oysterband and June have added their own unique interpretation. We are in Manchester after all.

Encores come much too early. A psych-folk thrash on White Rabbit – we won’t come forward and bang our heads on the stage like they did back in San Francisco, despite JJ’s “Come on, Manchester“Encouragement” – is sandwiched between a couple saying a warm goodbye. Dark End Of The Street and Put Out The Lights offer further well-placed poignant moments. JJ might even have a lump in his throat as he talks about singing them for the last time in Manchester.

Yes, a sad farewell, but a fitting farewell to and from Manchester for two names who are deservedly etched into the walls and halls of folk music.

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