Recent Guests 16 September

Honey & the Bear

Well what an amazing evening!
The first thing we all saw as we came upstairs into the folk club wasn’t actually Lucy and Jon. They had assembled all their instruments and equipment on our ‘stage’ then gone out to eat.
The centre stage was occupied by a double bass, at the sides of which stood two guitars, a ukulele and a bouzouki, whilst the floor was covered with a vast collection of wires, footpedals and microphones – a lot of tech which we saw was put to very good use later on.
After our usual floor singers, our guests made their appearance in good time to begin their first set with co-written songs, many of which are on their 2020 and 2026 albums. Their subject matter is interesting and varied, around themes of concern for climate change, the future of the planet, the natural world and the survival of our own species. They also sang more introspective songs which I think we can all relate to, including ‘overcoming struggles, coping with grief and the after affects of shattered dreams’.
Honey and the Bear have a confident and very engaging stage presence, working together extremely well, never seeming to falter in their powerful nuanced voices,  beautiful harmonies and skilled musicianship.  Many of the songs that evening are recorded on two albums, Journey through Roke produced during lockdown in 2020, the newest one, A Wish and a Tide just released this year.
The first song of the evening was indeed from the lockdown album. They wrote and recorded it to keep them going during ‘a very dark, scary and uncertain time in all our lives’.  The Swallow was the story of the swallows nesting in their neighbour’s garden with Lucy on double bass and Jon on guitar. It’s a very sweet up-tempo song with a chorus that is possibly the sound that the swallows make.
This was followed by The Sailor’s Daughter, then a song from their new album called The Air that we Breathe, another lively, well-written song celebrating their involvement in the planting of oak trees along their Suffolk lanes for future generations. Apparently the oaks will provide support for many creatures. Incidentally, the following day I came across a relevant quote posted by Bridget Cameron, ‘Imagine if trees gave off WiFi signals. We would be planting so many trees, and we’d probably save the planet too.  Too bad they only produce the oxygen we breathe!’
Close to the Edge is based on the Suffolk legend of the merman, who looks up through the water with curiosity about the world, a quirky, interesting song.  The final song of the first set, Tin, Tin was about the invention of the first hovercraft, a prototype made out of coffee tins and cat food tins, by Christopher Cockerell.
The Cruel Mistress from the second set, tells the sad story of the sea’s erosion of the Suffolk coast, which has forced many long-term residents’ homes to be dismantled before they fall into the sea: a rhythmic, haunting song.  Later they sang a spooky song called She Waits in Vain about a woman ghost waiting on the shore for her lover to return from Dunwich, a town which fell into the sea in the thirteenth century. This was followed by Freddie Cooper inspired by the 1996 rescue of the Red House lugger by the Aldeburgh lifeboat crew.  All on board were saved.
The final two songs of the evening, the only ones not written by Lucy and Jon, were Who Knows Where the Time Goes? by Sandy Denny and Caledonia by Dougie McLean.

For those of you who didn’t get to see Honey and the Bear, I would unhesitatingly recommend them. They were wonderful.

Our next guest is Virginia Kettle (with John Kettle) on 7th October

Maureen McGuinness on behalf of Carrington Triangle folk club.

Recent Guests

Feature night with the Jennifer Bell Trio

Our guests for a feature night on 29th July were The Jennifer Bell Trio, with songwriter Jenny on vocals and 12-string guitar (occasionally exchanged for a lute), Wilson Walker on fiddle, and Daniel Kittmer on bodhrán and backing vocals.


The first song of the evening, Ho! Sailors, is also the opening track of the trio’s recently-released mini-album Old Bones and Silver Fishes. Recounting the many ways in which a sailor can drown, it got us off to a cheerily grim start, ‘swimming with the fishes where the sun has never shone, rattling in the deeps with the bones’. From the same album we heard the merrily unsettling Silver Fishes in which rising seas mean farmers become fishermen (‘and we’ll all be dead in the morning!’), and Little Nut Tree in which the King of Spain’s daughter, having stolen the tree, unwittingly feeds herself to it (‘a meal of blood and bone’). The macabre is one of Jenny’s lyrical specialisms, disarmingly offset by the almost Elizabethan sweetness of her vocal delivery.
Wil’s sensitive bowing turned gently pizzicato on the poetic Song of the Strand (the no-man’s land ‘where it all began, neither sea nor shore’), while Dan’s harmony vocals were particularly effective on Colours of Harmony (a song of love for the lute and the lutenist, though the lute itself took exception to the 30-odd-degree heat in our upstairs room this evening and understandably declined to be tuned). The hooves of the horses which come flying out of the mist in Newmarket Anthem were beautifully evoked by bodhrán rumbles and fiddle flourishes.
A great range of characters and narrators is to be found among these songs. And so to Bedlam offers an inmate’s view of the crazyhouse (‘My mind is clear, just coloured up with too much life’), Foxtrot is a jolly singalong number observing a hapless fox in his efforts to, ahem, dance with three little wise hares, and a song which may be called Fish Food (my notes fail me at this point) gives colourful voice to a particularly angry mermaid (‘You dirty pink longpigs! You’re just fish food! You’re thick as plankton!’), with whom it was hard to disagree. Stirring original songwriting set to tunes in which echoes and snippets of trad and early music are never far away.
Paul Carbuncle

Our next guests are Honey and the Bear on 16 October, with the postponed visit by Virginia Kettle on 7 October

VIRGINIA KETTLE POSTPONED

Virginia Kettle has agreed with us to postpone her gig this Wednesday, 15 July, because of the clash with the Egland World Cup semi-final.

We are sorry about this. We hope Virginia and John will be back in the Autumn.

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Recent Guests, 17 June

The Rye Sisters

The Rye Sisters – Sue Pomeroy on guitar and Ishani Siriwardena on fiddle – are, as far as I know, unique as they are the only female duo in Britain singing the beautiful close ‘brother harmonies’ of Americana music. These harmonies started off in the United States in the 20s and 30s with duos such as the Louvin Brothers and the Delmore Brothers, culminating of course in the Everly Brothers. Sue and Ishani say they are now inspired by Gillian Welch & David Rawlings and Sarah Jarosz, amongst others


This is their second visit to our folk club and they have been singing together for ten years. I remember the first time they came here and we were blown away by their beautiful close harmonies. At that time most of their repertoire was from the American tradition but now they are writing their own songs and it was lovely to hear these new songs being performed with such aplomb and passion. The first one they did was Stuck in a Jam followed by South Bank but my favourite in the first set was a song called Tune by Tune by Heart, a song with a beautiful plangent melody. They finished off the first set with an ‘Americanised’ version of Last Thing on my Mind which everyone of course sang along to.

In the second set Sue and Ishani turned it up a notch and the evening really took off. My favourite song written by them was Waverley Station which had the emotional pull of a classic country song. Other highlights were I Wanna Sing that Rock ‘n’ Roll by Gillian Welch and They Don’t Know about Love by Kirsty MacColl. They finished the evening with a rousing version of Look Down That Lonesome Road popularized by Sister Rosetta Tharpe and, as encore, a moving acappella rendition of the gospel-like Stand Still. We all sang along and felt uplifted!
Mike Wareham


One more from our large selection of great floor performers: Penny Benford on Flute

Guest night 20 May

Winter Wilson

This is probably the fifth time Kip and Dave have been guests at the Club since I booked them after seeing them at the first Gate to Southwell Folk Festival. They started with the title song from their first duo CD “I hear Voices Sing” from 2003 which was pitched for sales at a fiver, but went on to a more recent lament of a mother for the son she had to give up for adoption Is It True His Eyes Are Like Mine?. The Freo Doctor then showed Dave’s song-writing flows as well in Perth, W. Australia as in Sleaford, before Kip showed that she writes and sings from personal experience in The Angry Mother. The only songs they sang that they’d not written were Judy Small’s anti- war song Mothers, Daughters, Wives and Joni Mitchell’s song A Case of You that she wrote  in Saskatoon, a prairie city they visited on their second Canadian tour, which has a statue of Joni.
Kip picked up her accordion to add to Anyone’s High Street an attack on the state of the nation in the last weeks of the Tories, and Dave’s other political song Hitch Up the Wrecking Ball was even more hard-hitting. Kip’s powerful blues singing has always featured in a set and we had a fine example in Old Habits although Dave couldn’t say if his riff was derived from Big Bill Broonzy or Robert Johnson. They ended each set on a high note, following Old Habits with the title track Home, which showed us that the place we call home is where our heart is.

Their second set built to a climax with Kip’s powerful rendition of Metagama, the ship taking young emigrants from Stornaway to Canada, then Storm around Tumbledown, which has led Dave to be recognised as a great song-writer, both of which had us joining the chorus with enthusiasm.
How do you top that for the encore? They had a great joiner-in with What Would Johnny Cash Do Now? and we all went home happy from a great night.  

Singers who contributed earlier included Nick, Hugh, Phil Hind, Blossom (pictured above), Sarah and Paul.
Martin Smalley

Feature Night 29 April

Sarah Farrell

Our guest on 29th April 2026 was Sarah Farrell, of this parish, launching her debut album “Stoat-Hearted Woman”. From the moment the doors were opened the room filled to capacity and beyond. Mustelid mania, some called it. Only those bearing pitchforks were turned away.
With beautiful voice and dexterously-fingerpicked guitar, Sarah treated us to a delicious mixture of traditional songs, tasteful covers, and her own compositions. There was also an earnest speech, the contents of which sadly cannot be reported as your reviewer was sent to fetch fresh towels during its delivery.
Highlights among the trad numbers were an unaccompanied Sweet Lemony (pleasant and sorrowful), a slightly-reworded North Country Maid (pleasant and arboreally contentious*), a delicate Banks Of Green Willow (pleasant and disturbing), and a rousing Pleasant And Delightful (pleasant and delightful).
The eclectic selection of songs written by others ranged from early 60s material right up to the present year, all performed with captivating clarity, taking us from Tomorrow Is A Long Time (Bob Dylan, 1962) to Weary Arms (Carsie Blanton and The Burning Hell, 2026), via It’s Over (Roy Orbison, 1964), A Pair Of Brown Eyes (The Pogues, 1985), Tougher Than The Rest (Bruce Springsteen, 1987), For What Is Chatteris… (Half Man Half Biscuit, 2005), and Bottom Of The World (Tom Waits, 2006), swerving only to avoid Wonderwall (Oasis, 1995). Special mention goes to the impeccably ferocious rewrite of Love Me, I’m A Liberal (Phil Ochs, 1965).
Not one of the songs mentioned so far appears on “Stoat-Hearted Woman”, which is an album of entirely original material. From among its thirteen tracks we were treated to the righteous defiance of Wrong Of Way, the profundity of Scattering My Tarantula’s Ashes At The Recreation Ground, the life-unaffirming wisdom of (You Can’t Eat) Monkey Nuts In Bed, the pongine injustice of Joe Martin, the forlorn howl of Environment Song, and, with Steve Benford accompanying on a second guitar, the gorgeous chip-cob blues of Chip Cob Blues. Add to this the appearance of Lunch Break Blues, a gem of a song too new for the album which it was launching. All share the wit and charm of a gifted songwriter.
A swift exit-poll amid cries of “Huzzah!”, “Cracking!”, “Perfectly normal!”, and “Marvellous!” strongly suggests that we should book Sarah again. Meanwhile, fill your ears with this:
https://sarahfarrell.bandcamp.com/album/stoat-hearted-woman
Paul Carbuncle

* Ellum and rowan are available to those who choose to disbelieve in ivy trees.

Brilliant solo from Steve Benford (as usual) as well as accompanying Sarah

Previous guests: Alden Patterson, April 15

Christina Alden and Alex Patterson

In their third very welcome visit to the Carrington Triangle, Christina and Alex again brought their unique blend of contemporary and traditional music to a very appreciative audience. In a small club like ours without a PA their intimate and engaging delivery comes across beautifully. Christina sings in a lovely pellucid, plangent voice and Alex closely harmonises in intertwining countertenor – although they sing English music they told me that they have been influenced by Americana style harmony singing. Christina, usually plays fingerpicking guitar in her inimitable eight to the bar strumming technique while Alex adds gentle melodic texture on the fiddle. This was how they began the first set, soon settling in to one of their most famous songs The Mountain Hare. Many of their songs are inspired by animals or nature and this was a feature of their performance tonight.
      I really enjoyed their interpretation of traditional songs — for instance, Christina played clawhammer banjo and Alex his 1950s Martin tenor guitar for My Flower, My Companion and Me and Sing John Ball, both given a distinctive Appalachian flavour. They followed this with Hunter, about a magical bond between a brown bear and a grey wolf, and then the beautiful A Hundred Years Ago which celebrates the birth of their daughter Etta. When they sing together, Christina and Alex often look at each other and it seems to the audience as if we are being included in intimate, emotional moments. This is one of the unique aspects of their performance.
    High spots in the second set included The Greenland Shark about ‘the oldest living vertebrate on earth’ that lives up to 500 years! ‘ 500 years I swam these seas, calling, calling for you.’ Safe Travels, the title track of their new album, and Our House both celebrate the  importance of human community in our lives and were a fitting finale to the evening. For encore they did a rousing version of the shanty Blow Boys Blow with Alex playing spirited bluegrass style fiddle – great stuff! 
Mike Wareham

Jon Marsden, another of our great collection of floor singers

18 March 2026

Bob Fox

Bob Fox playing guitar

On Wednesday, 18th March, our guest at the Carrington Triangle was Bob Fox from Seaham, a former coal mining town, about six miles south of Sunderland, hence he specialises in songs from the North East.
After the usual half hour of floor singers, Bob moved onto the ‘stage’ with an ease of manner, immediately engaging with the audience through interesting and amusing stories and song introductions, He began with My Love is in America by Chris Leslie, a wistful, haunting song about a young man whose girlfriend is forced to leave him in order to emigrate to the States with her father. This was followed by a song about the Sunderland naval hero, Jack Crawford, sometimes called The Hero of Camperdown. It tells the story of how he ‘nailed his colours to the mast’ during that battle in 1797.
The third song, The Year Turns Round Again, was from the theatre production of War Horse, in which Bob appeared as Song Man, followed by another song from that production, Learning to Plough, where Joey the horse had to be taught how to ‘ plough a good furrow’ for a Devon village competition.
Bob told us that he had to learn to play the melodeon for War Horse, and had one made in Gateshead to look like an early twentieth century instrument (Just a bit of info for melodeon enthusiasts!).

Bob Fox playing melodeon

Towards the end of the first set came a song by Jez Lowe called Greek Lightening about a couple trying to get by on benefits, dreaming of a holiday in the Greek islands, but having to settle for day trips to Roker and Whitley Bay. As a northerner myself, I don’t happen to think those choices were a bad alternative, but a life on benefits is not much fun.
Bob began his second set with Champion at Keeping Them Rolling about old-style long distance lorry drivers. It was written by Ewan MacColl, and Bob did mention, in his humorous way, that Ewan, who was really English pretending to be Scottish, sang as a Geordie (well, why not ?!).
Peppers and Tomatoes was next, a political song by Ralph McTell referring to how the Orthodox Serbians and Catholic Croats got along with each other until Serbia, supported by Russia, went to war, intent on divide and conquer tactics.
The Whitby Tailor  was a rather quirky music hall song in which a shy young man, trying to date a young woman, suggests, after too many drinks, that they swap clothes. He ends up half naked while she runs off in his trousers, the pocket containing all his money!
Bob followed with such well-known Geordie songs as The Bonny Gateshead Lass, When the Boat Comes In, The Lampton Worm and The Water of Tyne, ending this very entertaining evening with ‘ Big River’ by Jimmy Nail, another well-known Geordie.
Inspired by Bob’s mention that Sunderland people were not Geordies but Mackems, I did a bit of research into these names.  Apparently Mackem originates from Sunderland’s shipbuilding heritage, ‘we mack’em and they tack’em’, meaning, of course, ‘we make the ships and they take them out’. The name Geordie, on the other hand, possibly originates from the support Tynesiders gave to King George 2nd, during the 1745 Jacobite rebellion, or perhaps the nickname for local coal miners who used safety lamps or ‘geordie lamps’ as designed by George Stephenson. There is much rivalry between Geordies and Mackems, stemming from sides taken during the Civil War, industrial competition and football teams.
Just thought you might like to know all that.
Yes, it was, in Geordie-speak, a champion night, having that canny lad back after a ten year gap. We all enjoyed his many chorus-songs, his powerful ­­– and at times very passionate ­­–  singing, skillful guitar work, his melodeon playing, and well, his northernness!

Floor singers Matt Blick and Phil Harrison
Great floor singers again: Matt Blick and Phil Harrison, even cooler than usual

Maureen McGuinness, on behalf of Carrington Triangle folk club.

18 February 2026

Paul Carbuncle Album Launch

This month’s guest was Paul Carbuncle, launching his new CD Reverse Canterbury Pleasure. The title is the name of a peal of bells: you can interpret it as you wish.

Paul has connections across a much wider social activist and music scene than folk clubs like ours, so he attracted a wide range of admirers. Often it’s the job of a guest performer to win over the audience and to provide some background and justification for their songs, but we were all on Paul’s side (and knew a fair few of the songs) right from the start, so he just got on with the music, and gave us two well-filled sets – 29 songs in all. Many were from the new record (Drinking Money, My Name is Dessie Warren, A Tree Song), but there were welcome favourites like Cookie’s Old Cries of Nottingham (with a tribute to Cookie’s help in recording and performing on the CD), Pig Farmer, Isambard, Deport First, The Mermaid (with Blossom demonstrating the ‘three times round’ bit), Ben Kenobi….

Paul’s performances are always powerful and impressive. His singing is beautifully clear, so it’s possible to make out every word (a skill that’s not that common, unfortunately), and, more importantly, he conveys the meaning of every word, too – and all the songs have a message or a story. His guitar style is quite idiosyncratic, and often fast and furious, but the power and vigour of this playing can be deceptive: it’s not all sound and fury. His left hand is wonderfully dexterous up and down the fingerboard, and the right hand is really precise, as well as rapid.

The CDs Paul brought sold fast, and he was kept busy in the interval with a queue of people wanting them signed (if you missed your chance, CDs and downloads are on Bandcamp). There were mugs and T-shirts available, too. There was already someone wearing a T-shirt by the beginning of the second half.

At the end of the night, Paul had difficulty getting away, because of the queue of people waiting to tell him what a great evening it had been. They were right.

Phil Harrison and Rob Duley, two of our excellent collection of floor singers

Hugh Miller