{"id":25497,"date":"2026-08-02T07:00:00","date_gmt":"2026-08-02T06:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=25497"},"modified":"2026-07-30T10:04:02","modified_gmt":"2026-07-30T09:04:02","slug":"sidetracks-detours-2nd-august-2026-songwriters-invisible-angels-chapter-3-by-peter-pearson-norman-warwick-featuring-kate-wolf-and-julie-mathews-christine-while","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2026\/08\/02\/sidetracks-detours-2nd-august-2026-songwriters-invisible-angels-chapter-3-by-peter-pearson-norman-warwick-featuring-kate-wolf-and-julie-mathews-christine-while\/","title":{"rendered":"SIDETRACKS & DETOURS 2nd August 2026: Songwriters & Invisible Angels, Chapter 3 by Peter Pearson & Norman Warwick featuring Kate Wolf and Julie Mathews & Christine While + another annual festival in our Island Life"},"content":{"rendered":"
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Songwriters Chapter 3<\/strong> part 1 <\/p>\n\n\n\n

KATE WOLF – AN UNFINISHED LIFE<\/strong><\/p>\n\n\n\n

by Peter Pearson<\/strong><\/p>\n\n\n\n

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When Kate Wolf<\/strong> succumbed to leukemia in 1986, at the age of 44<\/strong>, her star was on the rise. The previous year she had returned from a short sabbatical (to spend more time with her family, after 12 years on the road and in recording studios) to appear on a nationally syndicated Austin City Limits (ACL) TV special<\/strong>. The much coveted in concert special raised her national profile several notches above the level she had already achieved from radio appearances, regular touring and a spate of large scale benefit concerts.<\/p>\n\n\n

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The PBS ACL performance, featuring Kate on guitar and vocals, Nina Gerber<\/strong> on guitar, mandolin and harmony vocals, Ford James<\/strong> on bass and harmony vocals and Randy Sabien<\/strong> playing violin and mandolin, was recorded and issued as a DVD<\/strong> and CD<\/strong> under the title An Evening In Austin<\/strong> (right)<\/strong>. It features some of her finest material. Sadly it does not include the song Across The Great Divide<\/strong> but at that time Kate would not be aware that this song would come to define her to folk fans outside and to some extent even inside the States.<\/p>\n\n\n\n

Her rise to fame in the States had been achieved on the folk circuit and preceded the boom that was just developing in the female singer songwriter fusion of folk and country, spawning the careers of the likes of Nanci Griffith<\/strong> and Mary Chapin Carpenter<\/strong>, and promoted under the banner of Americana.<\/p>\n\n\n\n

Kate<\/strong> was born Kathryn Louise Allen<\/strong> in San Francisco<\/strong> on January 27, 1942 and began her musical training at aged 4 with piano training from her grandmother. She played until she was sixteen but stopped in high school because she felt shy and self conscious. However, she continued her musical education, listening to country artists such as the Carter Family, Merle Haggard<\/strong> and Lefty Frizzell<\/strong>, whilst developing an interest in folk music via The Kingston Trio <\/strong>and The Weavers<\/strong><\/p>\n\n\n\n

At 19, she met Saul Wolf, a UC Berkeley architecture student and married two years later. Son Max was born in 1964 and daughter Hannah i<\/strong>n 1967. Encouraged by friends, Kate began to write songs and decided her future lay in music. The marriage ended amicably in 1970 and she moved to Sonoma County with the children, where she worked on a newspaper while singing in bars and restaurants in the evenings.<\/p>\n\n\n

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After a couple of years she formed a band, The Wildwood Flower, (left) <\/strong>with guitarist and harmonica player Don Coffin, who would become her second husband. One of her sidelines was hosting and singing on country music shows on local radio and through this she was offered funding for an album.<\/p>\n\n\n\n

After seeking advice from well informed sources she set up her own record label, Owl Records<\/strong>. The album, Back Road s(1976) was a Wildwood Flower band project and included the original versions of some of the most enduring songs in her repertoire. The song Emma Rose<\/strong> was self written but favourites Red Tail Hawk <\/strong>and Telluride <\/strong>were cover versions of artists she knew and felt should be recorded.<\/p>\n\n\n\n

The second album, Lines On The Paper<\/strong> (1977) again featured the Wildwood Flower<\/strong> but was augmented by a number of other musicians and marked the point where she started to establish herself as a songwriter. Recorded live in a bunkhouse the album became pivotal in her transition from covering other artists songs to establishing herself as a solo singer songwriter of melodic story telling songs. It was at this point she became involved with a fledging record label, Kaleidoscope Records<\/strong>, who would continue to issue her albums for the remainder of her career.\u00b4<\/p>\n\n\n\n

An early Wildwood Flower performance greatly influenced a young west coast musician, Nina Gerber.<\/p>\n\n\n\n

“Kate Wolf was the reason I became a professional musician”<\/em> says Gerber. “The first time I saw her perform with her band, The Wildwood Flower, I was so profoundly moved that I knew that night I would become a professional musician and would someday play in Kate\u2019s band. I followed her around until she finally hired me and we worked together for 8 years until she passed away in 1986. She was my boss, my mentor, my hero, my friend. Every note I play has a little bit of Kate in it.”<\/em><\/p>\n\n\n\n

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1979 marked Wolf’s <\/strong>split from Don Coffin and Wildwood Flower and the issue of her first true solo album,  Safe At Anchor.<\/strong> A collection of  self composed beautiful poetic love songs, it still stands up today as one of her best and established the template for all her albums to come. It features Nina Gerber (left, with Kate Wolf)<\/strong> on guitar with  backing vocals from the Cache Valley Drifter<\/strong>s<\/strong><\/em>, whose bass player Bill Griffin produced the album and would continue that role for the next eleven years.<\/p>\n\n\n\n

It was followed in 1981 by Close To You,<\/strong> widely regarded as her masterpiece. It contains the sublime Across The Great Divide<\/strong> as well as Like A River<\/strong> and the evocative Eyes Of A Painter<\/strong>, a remembrance of her grandfather. It also featured the prophetic song, An Unfinished Life. This was the first album she recorded with what became her regular touring band-Gerber on guitar, bassist Ford James, augmented by Bill Griffin, the great bluegrass guitarist and vocalist Tony Rice<\/strong> and pedal steel player Peter Siegal.<\/strong><\/p>\n\n\n\n

She began to tour nationally. On her east coast dates future Nanci Griffith Blue Moon Orchestra guitarist, Pete Kennedy<\/strong>, stood in for Nina Gerber. Kennedy was impressed by Wolf’s command of the audience. Referring to one of her earliest dates on the tour, at The Birchmere, Kennedy remarks recalls how “Everyone knew her song Friend Of Mine<\/strong> because it had been played on the radio a lot. She had this very strong charisma, a connection with the crowd from the very first note.”<\/em><\/p>\n\n\n\n

In 1983 Kate issued a double live album, Give Yourself To Love<\/strong>. The album is as good a starting point as any for those wishing to explore her catalogue. Whilst her own compositions form the core of this release, there are superb cover versions of  the Jack Tempchin\/Eagles song, Peaceful Easy Feeling<\/strong>, John Stewart’s Some Kind Of Love<\/strong> and Sandy Denny’s<\/strong> Who Knows Where the Time Goes<\/strong>.<\/p>\n\n\n\n

1984’s Poets Heart<\/strong> proved to be her last studio album. Many of her colleagues regard this as her most complete artistic statement. The title track and the song Brother Warrior<\/strong> are replete with personal statements.<\/p>\n\n\n\n

By 1985 she had a secure national reputation in the folk world, certainly in the States, perhaps not so much in Europe. In those pre Spotify days it was essential for U.S artists wishing to extend their horizons outside the States to tour Europe, promote their music and sell their product at the merchandise table, otherwise fans would only learn of them via fanzines and be forced to pay a fortune for import albums. Kate’s legacy has been secured purely on performing in the States and being championed outside the States by fellow artists, most notably, Nanci Griffith, Emmylou Harris and Tom Paxton.<\/strong><\/p>\n\n\n\n

In the next several months following her Austin City Limits debut, she experienced a notable drop in her energy levels and was eventually diagnosed with leukemia. Even while hospitalised she did manage to compose a song The Wind Blows Wild<\/strong> in honour of her folk singer friend  Wavy Gravy<\/strong>‘s 50th birthday all star benefit concert and curate tracks for a double retrospective album, Gold In California<\/strong>.<\/p>\n\n\n\n

She experienced temporary remission through chemotherapy and was optimistic about returning to performing again. However she took another turn for the worse after an ineffective marrow transplant and refusing further surgery, she started planning for the end.<\/p>\n\n\n

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Whilst Kate had secured her place in the folk music world in the States by the time of her death it was not until the release of Nanci Griffith’s folk cover album –Other Voices Other Rooms<\/strong>(left 1993<\/strong>), that the wider folk music world became aware of her. Kate’s song,Across the Great Divide<\/strong> was the lead off track on the album and its impact was such that a whole new audience began to explore Kate’s catalogue.<\/p>\n\n\n\n

Nanci Griffith was a great champion of Kate Wolf’s music and by 1993 had become an established recording and world wide touring artist. Her professional connection to Kate started long before the Other Voices album and goes back to early in her career in 1985. In that year Nanci, a great admirer of Kate, invited Nina Gerber to sit in with her at the Vancouver Folk Festival.<\/strong> Thereafter she continued to sit in with her and the Blue Moon Orchestra<\/strong> anytime they were in the same town.<\/p>\n\n\n\n

In 2023 Nina Gerber released her own tribute album-Time Is Funny That Way.<\/strong> In the album notes Gerber explains “the album is to honour a few of my good friends who have passed away but left some wonderful songs to live on”<\/em>. The album features Kate’s unreleased song,  <\/strong>and-together with tracks by amongst others, Sarah Elizabeth Campbell<\/strong> and Nanci Griffith. Elaborating on her choice of Nanci Griffith’s song Ford Econoline <\/strong>for the album Gerber recalls that when Kate Wolf <\/strong>was diagnosed with leukemia in 1986, Kate asked Nanci to take the gigs that she couldn\u2019t do. Nanci invited Gerber to accompany her on those shows. Gerber features on Nanci’s Other Voices album and was present on the US leg of the tour, including the recorded TV special and subsequent DVD.<\/p>\n\n\n\n

There was little similarity in voice or stage presentation between Nanci and Kate. Kate Wolf had a voice like warm velvet and lyrics that aimed close to the heart. Her songs were almost pure acoustic in performance with percussion virtually none existent. Her stage presence compelling but serene. Nanci was typically Texan in voice and strident stage presence with percussion often to the fore.<\/p>\n\n\n\n

Through the years since her passing, Kate’s significance in folk music history has become increasingly apparent. Kaleidoscope label manager,  Jeff Alexson<\/strong>, feels that had she lived, her work would have achieved mass popularity.<\/p>\n\n\n\n

When Kaleidoscope Records collapsed, Rhino Records<\/strong> acquired her catalogue. They have issued a number of post humous recordings-notably The Wind Blows Wild, Looking Back At You<\/strong> and the double album-Weaver of Visions<\/strong>. Meanwhile, her family continue to honour her legacy via their website Kate Wolf.com<\/strong>. The site has a treasure trove of information, digital downloads of her albums and previously unreleased live performances of her songs. Nina Gerber curates a subscription series called Kates Tape Archives<\/strong>, consisting of digitised recordings of reel to reel and cassette tapes from Kate\u00b4\u00b4s concerts, radio shows and living room sessions, many featuring songs previously unreleased.<\/p>\n\n\n\n

In June 1996 the Kate Wolf Retrospective Concert<\/strong> was held to celebrate her music. Friends, family, and a sold-out crowd had such a wonderful time that it became an annual event. The festival, like many more in the post covid world, started to become unviable and the 25th and final one ended in 2022.<\/p>\n\n\n

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A superb aptly titled tribute album, Treasures Left Behind, <\/strong>was issued in 1998. The 14 track album features fourteen of the finest singer songwriters of Kate’s generation interpreting her songs.<\/p>\n\n\n\n

Kate Wolf left a treasure trove of music behind her. Some gorgeous songs and recordings that stand the test of time. Its tragic that her life was cut short by illness.<\/p>\n\n\n\n

              It\u2019s an unfinished life<\/p>\n\n\n\n

              that I find lies before me;<\/p>\n\n\n\n

              an open-ended dream<\/p>\n\n\n\n

              and I don\u2019t want to wake.<\/p>\n\n\n\n

              I\u2019ve crossed so many rivers<\/p>\n\n\n\n

              in search of crystal fountains;<\/p>\n\n\n\n

              I\u2019ve found the truest paths<\/p>\n\n\n\n

              always lead through  mountains.<\/p>\n\n\n\n

              I’ve  seen water on the sky,<\/p>\n\n\n\n

              and fire burning on the lake.<\/p>\n\n\n\n

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sidetracks & detours recommend Songwriters & Invisible Angels, chapter 3 part 1: KATE WOLF & friends & influences<\/p>\n\n\n\n

all songs recommended by sidetracks & detorus were availabl on Spotify<\/p>\n\n\n

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Mary Chapin Carpenter<\/strong> I feel Lucky<\/p>\n\n\n\n

Laurie Lewis<\/strong> <\/p>\n\n\n\n

the carter family<\/strong> wildwood flower <\/p>\n\n\n\n

haggard & nelson<\/strong> silver wings <\/p>\n\n\n\n

lefty frizzell<\/strong>,<\/p>\n\n\n\n

if you\u00b4ve got the money, <\/p>\n\n\n\n

I want to be with you<\/p>\n\n\n\n

always late <\/p>\n\n\n\n

don\u00b4t stay away <\/p>\n\n\n\n

if you can spare <\/p>\n\n\n\n

mum and dad\u00b4s waltz <\/p>\n\n\n\n

I love you <\/p>\n\n\n\n

look what thought did <\/p>\n\n\n\n

the kingston trio<\/strong> scotch and soda<\/p>\n\n\n\n

the weavers<\/strong> goodnight Irene <\/p>\n\n\n\n

kate wolf & wildwood flower<\/strong><\/p>\n\n\n\n

it ain\u00b4t in the wine <\/p>\n\n\n\n

emma rose <\/p>\n\n\n\n

the red tail hawk <\/p>\n\n\n\n

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telluride<\/p>\n\n\n

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kate wolf <\/strong><\/p>\n\n\n\n

I don\u00b4t know why<\/p>\n\n\n\n

lines on the paper <\/p>\n\n\n\n

you\u00b4re not standing `<\/p>\n\n\n\n

picture puzzle <\/p>\n\n\n\n

the heart trumpet vine<\/p>\n\n\n\n

I never knew<\/p>\n\n\n\n

amazed to find <\/p>\n\n\n\n

everybody\u00b4s looking<\/p>\n\n\n\n

the lilac <\/p>\n\n\n\n

midnight on the water<\/p>\n\n\n\n

lay me down easy <\/p>\n\n\n\n

safe at anchor <\/p>\n\n\n\n

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across the great divide <\/p>\n\n\n\n

leggett serenade <\/p>\n\n\n\n

like a river <\/p>\n\n\n\n

unfinished life <\/p>\n\n\n\n

friend of mine <\/p>\n\n\n\n

love still remains <\/p>\n\n\n\n

eyes of a painter<\/p>\n\n\n\n

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here in califfornia<\/p>\n\n\n\n

stone in the water <\/p>\n\n\n\n

close to you <\/p>\n\n\n\n

give yourself to love <\/p>\n\n\n\n

wind <\/p>\n\n\n\n

peaceful easy feeling <\/p>\n\n\n\n

the ballad of weaving <\/p>\n\n\n

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green eyes <\/p>\n\n\n\n

the hobo<\/p>\n\n\n\n

hurry home<\/p>\n\n\n\n

some kind of love<\/p>\n\n\n\n

who knows where the time  <\/p>\n\n\n\n

cornflower blue <\/p>\n\n\n\n

picture puzzle<\/p>\n\n\n\n

far off shore <\/p>\n\n\n\n

agent orange<\/p>\n\n\n\n

these times we\u00b4re living in <\/p>\n\n\n\n

sweet companion <\/p>\n\n\n\n

medicine wheel<\/p>\n\n\n\n

pacheco <\/p>\n\n\n\n

emmylou harris<\/strong> friend of mine <\/p>\n\n\n\n

tom paxton<\/strong> the last thing on my mind <\/p>\n\n\n\n

kate wolf <\/strong><\/p>\n\n\n\n

poet\u00b4s heart <\/p>\n\n\n\n

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caroline pines <\/p>\n\n\n\n

muddy roads<\/p>\n\n\n\n

all he ever saw <\/p>\n\n\n\n

brother warrior <\/p>\n\n\n\n

crying shame <\/p>\n\n\n\n

slender thread <\/p>\n\n\n\n

in china or a woman\u00b4s heart<\/p>\n\n\n\n

see here, she said <\/p>\n\n\n\n

laura mccan<\/strong> the wind blows <\/p>\n\n\n\n

kate wolf<\/strong><\/p>\n\n\n\n

lately <\/p>\n\n\n\n

sitting on the porch <\/p>\n\n\n\n

goodbye babe <\/p>\n\n\n\n

tequilla and me <\/p>\n\n\n\n

legend in his time <\/p>\n\n\n\n

oklahoma <\/p>\n\n\n

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going <\/p>\n\n\n\n

back road <\/p>\n\n\n\n

tish hinojosa <\/strong>river <\/p>\n\n\n\n

eric anderson<\/strong> close the door lightly<\/p>\n\n\n\n

iris demen<\/strong>t when love was young <\/p>\n\n\n\n

steve goodman<\/strong> the water is wide <\/p>\n\n\n\n

nanci griffith<\/strong> across the great divide<\/p>\n\n\n\n

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INVISIBLE ANGELS chapter 3 part 2<\/strong><\/p>\n\n\n\n

JULIE MATTHEWS & CHRIS WHILE<\/strong> (right)<\/strong><\/p>\n\n\n\n

sightings of invisible angels by Norman Warwick<\/strong><\/p>\n\n\n\n

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What a fabulous weekend, Port Fairy Folk Festival<\/strong><\/a> is like a master-class in how to run a BIG festival but still manage to make it feel friendly, inclusive and accessible. To the army of friendly volunteers, the stage crew and technicians, the stall holders and food sellers, right up to the festival management who work all year round in putting on such a major event – you are all amazing. Thank you, thank you, thank you, for the beautiful stages, fabulous accommodation and for making us feel so welcome. To the audiences that sought us out, supported our gigs and went out of their way to tell us their stories and memories of seeing us at Port Fairy over the last three decades, you made us feel very loved indeed. Our deep gratitude and love to you all.<\/p>\n\n\n\n

We had the honour once again of being part of \u2018Women Out Loud\u2019<\/strong>, a very special concert in celebration of international Women\u2019s Day, an idea that was conceived many years ago by former PFFF director Jamie McKew<\/strong> and is always a highlight of the weekend. This year we were blown away by the incredible talent on stage with us\u2026Grainne Hunt, Jules Stewart, Mary Coughlan, Felicity Urquhart, Emily Wurramara, Nico Paulo <\/strong>and hosted by Sarah Carroll and Matilda Hassall. <\/strong>So much diversity and two hours of wall to wall woman power, check them out! Thank you PF<\/strong> for including us once again in this incredibly special event.<\/p>\n\n\n\n

Musical highlights for us this weekend include<\/p>\n\n\n\n

Blair Dunlop with Holly Brandon<\/strong>, Robbie Cavanagh, Grainne Hunt with Jules Stewart, Liz Stringer<\/strong>, the unstoppable force that is Mary Coughlan <\/strong>and Felicity Urquhart<\/strong> and Josh Cunningham<\/strong>. Now that\u2019s a playlist worthy of any road trip!<\/p>\n\n\n\n

So, a few days off in Melbourne<\/strong> now before we head up the glorious Blue Mountains<\/strong> and to yet another wonderful festival. We are so blessed!<\/p>\n\n\n\n

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SIGHTINGS OF INVISIBLE ANGELS<\/strong><\/p>\n\n\n\n

Julie Matthews & Christine While<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

Please note this review first appeared in 2025 IN<\/strong> UK AMERICANA<\/strong><\/p>\n\n\n\n

all photographs are attributed to Marc Dinnage<\/strong><\/p>\n\n\n\n

The review wsas beautifully created by <\/strong>Graeme Tait<\/strong>, a child of the sixties, eldest of three, born into a Forces family. Keen guitar player since his teens, (amateur level only), Graeme has a wide, eclectic taste in music and an album collection that exceeds 5.000. He currently resides in the beautiful city of Lincoln.<\/p>\n\n\n\n

all photographs are attributed to Marc Dinnage<\/strong><\/p>\n\n\n\n

Making the relatively short, thirty-minute journey from my home in Lincoln, towards the county\u2019s premier americana music venue, the Town Hall in Kirton in Lindsey<\/strong>, I was constantly distracted by the setting sun as it slipped towards the horizon. The hands on my watch created a perfect vertical line, while the knowledge that in just a few hours the clocks would be going back and by this time tomorrow it would be dark, provided a stark reminder that winter is on its way. However, all negative thoughts were immediately banished by the pending excitement of seeing the undisputed queens of British folk music, guaranteed to brighten up the darkest corners of the world, whatever the season.<\/p>\n\n\n

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Chris While and Julie Matthews<\/strong> have been one of the leading forces in the British singer-songwriter scene for over thirty years. During that time, they have played over 3,000 gigs<\/strong>, appeared on over one hundred albums<\/strong>, written hundreds of original songs<\/strong>, and reached millions of people<\/strong> worldwide. Last September, they celebrated their incredible thirty-year collaboration by releasing their thirteenth studio album<\/strong>, the highly acclaimed \u201cDays Like These\u201d.<\/em> <\/strong>Together, they have been nominated no less than ten times<\/em> in the BBC Radio 2 Folk Awards<\/strong> in the \u2018Best Song, Best Duo, and Best Live Act\u2019 <\/strong>categories, winning \u2018Best Duo\u2019 <\/strong>in 2009. In addition, they have individually built an extensive solo body of work, as well as being members, recording and performing with both <\/em>Daphne\u2019s Flight <\/strong>and St Agnes Fountain<\/strong>. Tonight, they were making their long-overdue debut upon the hallowed boards of the stage at Kirton\u2019s town hall.<\/p>\n\n\n\n

Having extensively toured to promote the release of their latest album during the last few months of 2024 and the early part of 2025, tonight saw the duo\u2019s set draw from a broader selection of their back catalogue, and as they took to the stage, side by side, with guitars in hand, they immediately connected with the local congregation with the opening song \u2018Seventh<\/em> Wave\u2019<\/em><\/strong>. The following number, \u2018<\/em>Crow\u2019,<\/em> like the previous song, had originally appeared on the 2022 album \u201cWoman Of The World\u201d<\/em>,<\/strong> with Matthews now seated at the piano as While took the lead vocals on a track that was apparently initially inspired by a rather cheeky jackdaw. Despite transport issues a few days earlier that had resulted in the duo having to cancel an intended gig in Portsmouth,<\/strong> both While and Matthews appeared in good form, as well as good voice, with their exquisite harmonies excelling on \u2018Gone Girl Gone\u2019<\/strong><\/em> and \u2018Lucky<\/em> Today\u2019<\/strong>, a song from last year\u2019s release written by While for Matthews. Next up was a wonderful rendition of \u2018Carved In Stone\u2019, the oldest of the original songs from tonight\u2019s set, having first appeared on the 2010 album \u201c<\/em>Hitting The<\/em> Ground Running\u201d<\/em><\/strong> and featuring some delightful mandolin playing from Matthews.<\/p>\n\n\n\n

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Having intended to take the summer off and enjoy a well-earned break, the duo found themselves performing at seven different festivals throughout the season. In addition to this, they were also invited to participate in the BBC Radio 2 series, \u201921st Century Folk\u2019<\/em>,<\/strong> a program that pairs songwriters with individuals whose lives have remarkable stories to tell. While and Matthews were paired with Tom Yeo,<\/strong> who was born out of wedlock to Irish Parents in 1965, and was just two weeks old when his birth mother left him in a waiting room at Reading Station. Needless to say that in the hands of such skilled songwriters, While and Matthews took Yeo\u2019s story and turned it into a simply sublime, heart-rending song which they would perform on both the BBC\u2019s \u2018The One Show\u2019<\/strong> and \u2018Jeremy Vine\u2019s Radio 2 programme\u2019<\/strong>. This evening, they shared the song with the Town Hall\u2019s attentive audience, recounting the story behind the writing and the nerves of performing it for Yeo for the first time.<\/p>\n\n\n\n

In truth, most of While and Matthews\u2019 songs come with a story, whether it be from their own personal experiences, or, very often, stories from history that require re-telling. The next two songs from the first set were classic examples of the latter, with both inspired by the \u2018Child Migration Programme\u2019 that took place between 1920 and 1970,<\/strong> where as many as 130,000 children were shipped for a so-called \u201cbetter life\u201d,<\/em> mainly to Australia or Canada. Instigated by charities such as Barnardo <\/strong>and the Fairbridge Society,<\/strong> along with both the Anglican and Catholic Churches, these children were often told they were orphans, with many being separated from their siblings on arrival in a new and foreign land. One can only imagine the distress and heartbreak they had to endure. \u2018With Small Cases, Full Of Big Dreams\u2019<\/strong><\/em> and \u2018Pinjara Dreams\u2019,<\/strong><\/em> While and Matthews showed all their craft and wisdom, creating two songs that perfectly captured the sense of hope and despair, delivered with genuine, heartfelt empathy, which resonated around a hushed hall.<\/p>\n\n\n

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There was just time for one more song before the obligatory interval, with the title track from last year\u2019s album \u201cDays Like<\/em> These\u201d<\/em> closing the set with a burst of positive energy, which included some enthusiastic audience participation, sending everyone off to the merchandise stall, or should that read emporium, as well as the bar with a spring in their step..<\/p>\n\n\n\n

Two more songs from the \u201cWomen Of The World\u201d<\/em> album got the second set underway, including the title track, inspired by the plight of young girls in Afghanistan under the rule of the Taliban. <\/em>The second number, \u2018<\/em>Starfish Thrower\u2019<\/em>, <\/strong>has fast become a crowd favourite with its uplifting message delivered by Matthew\u2019s delightful and impassioned vocals, which were matched by While\u2019s on the melancholic \u2018<\/em>Long Lost Friend\u2019<\/em> <\/strong>that recounted her school days growing up in her hometown of Barrow. Next up was \u2018<\/em>Nothing Yanks My Chain (Like You Do)\u2019<\/em>, <\/strong>a co-write with the equally fabulous singer-songwriter Charlie Dore<\/strong>, that bristled with attitude, verve, and just a little hint of sass in the vocal delivery from While.<\/p>\n\n\n\n

At this point, the duo deviated from songs recorded under their own names to perform a track they recorded as part of Daphne\u2019s Flight\u2019s most recent album, \u201cFavourable Light\u201d<\/em>, <\/strong>released early this year. The quintet had intended to tour to promote the album, but due to founder member Melanie Howard\u2019s<\/strong> ill health, plans had to be changed, and though the tour went ahead with the remaining four members, it was announced as a farewell tour. While and Matthews were visibly moved as they explained to the town hall audience the gravity of Howard\u2019s condition, but also the emotional pride that Howard had given the remaining members of the band her blessing to carry on as a unit. With that, they delivered one of the high points of the night, and a truly emotive version of \u2018Ballad Of The Seven Sisters\u2019<\/strong><\/em> that resonated around the hall with a reverence that felt almost anthemic. The intensity was immediately contrasted by the following number as While sang with just minimal accompaniment on the sublime \u2018Our Corner Of The World\u2019<\/em>.<\/strong><\/p>\n\n\n\n

One of the standout songs from the duo\u2019s latest album was \u2018Kalamazoo\u2019<\/strong>,<\/em>  that told the story of the female workforce that worked in the legendary Gibson guitar factory<\/strong> between 1942 and 1945. Having built nearly 25,000 guitars from rationed materials during this period, including the highly prized \u2018Banner Guitars\u2019<\/strong>, the Gibson hierarchy tried to eradicate these women from its history once the war was over. However, John Thomas, an American journalist,<\/strong> uncovered this extraordinary act, revealing all in his book \u201cKalamazoo Gals: A Story Of Extraordinary Women & Gibson\u2019s Banner Guitars<\/em> of WWII\u201d<\/em><\/strong>.<\/em> While and Matthews have taken this story and, doing what they do best, turned it into one of the finest songs of recent years, high on energy with the most infectious chorus, it has fast become a fan favourite and a staple of their live set. However, this evening\u2019s rendition came with an added bonus, as just before starting the song, Matthews broke a string on her guitar, and to fill the void while the culprit was changed, While delivered a fabulous version of the 1952 vocalese song \u2018Twisted\u2019<\/em><\/strong> originally sung by Annie Ross<\/strong>, who had also written the lyrics.<\/p>\n\n\n\n

With that, it was time for the final number, with \u2018<\/em>Pride\u2019<\/em> <\/strong>proving the perfect closer, offering the local congregation the opportunity to join in with the chorus, their vocal contribution throughout the evening proving a hit with the duo on stage. Unsurprisingly, the demand for an encore was almost deafening, with While and Matthews finishing with their distinctly unique version of the classic song \u2018<\/em>Tennessee Waltz\u2019<\/em>,<\/strong> which again encouraged audience participation, though singing proved difficult with the hilarious antics being delivered by the duo on stage. As the final notes of the final song of the evening\u2019s show were played, the crowd rose as one, offering a well-deserved standing ovation for a truly fantastic performance from the true queens of the British folk singer-songwriter scene. Long may they reign.<\/p>\n\n\n\n

Now back in th UK, Julie Matthew and Chris While have recently enjoyed a fabulous weekend at Trowbridge Festival in beautiful Wiltshire. <\/p>\n\n\n\n

Their comments are not only testsament to their love of the music community.<\/p>\n\n\n\n

W<\/em><\/strong>hat a great festival, so friendly and relaxed, great sound crew and helpers and warm appreciative audience. We had a great concert on Saturday and we\u2019re delighted to have Miranda Sykes join us for the whole set. What a star she is, a joy to be around on and off the stage and great to set up camp together for a whole weekend along with her beautiful family (and by extension, ours) Dan and Wilfie. Big thanks to Wilf for raising the rainbow flag in all the right places when we sang \u2018Pride\u2019 <\/strong>. Home now with full hearts and great memories.<\/strong><\/em><\/p>\n\n\n\n

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sidetracks & detours<\/strong> have collated a comprehensive playlist of songs by Julie Matthews and Chris While<\/strong>: Songwriters & Invisible Angels, chapter 3 part 2: JULIE MATTHEWS <\/strong>& friends amnd influences<\/p>\n\n\n\n

all songs arerecommended by sidetracks & detours and were available on Spotify at date of pub\u00f1ication<\/p>\n\n\n

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grainnie hunt<\/strong> dance<\/p>\n\n\n\n

john stewart <\/strong>naked angel<\/p>\n\n\n\n

mary coughlan<\/strong> god bless the child <\/p>\n\n\n\n

emily wurramara<\/strong><\/p>\n\n\n\n

black smoke <\/p>\n\n\n\n

Imenda <\/p>\n\n\n\n

wake up <\/p>\n\n\n\n

ngayuwa <\/p>\n\n\n\n

stomping ground <\/p>\n\n\n\n

blue moon black sea <\/p>\n\n\n\n

nico paulo<\/strong> learning my ways <\/p>\n\n\n\n

daphne\u00b4s flight <\/strong><\/p>\n\n\n\n

lay fallow <\/p>\n\n\n\n

how glad I am <\/p>\n\n\n\n

goodness of man <\/p>\n\n\n\n

emmylou harris<\/strong> son of a rotten gambler <\/p>\n\n\n\n

gregson & collister<\/strong> for a dancer<\/p>\n\n\n\n

chris while, kellie while<\/strong> <\/p>\n\n\n\n

give me wings <\/p>\n\n\n\n

Mississippi <\/p>\n\n\n\n

talk to me of mendocino <\/p>\n\n\n

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While & matthews<\/strong><\/p>\n\n\n\n

my mother\u00b4s eyes <\/p>\n\n\n\n

westward <\/p>\n\n\n\n

shadow of my former self <\/p>\n\n\n\n

walk the line<\/p>\n\n\n\n

generation game <\/p>\n\n\n\n

distant as the poles <\/p>\n\n\n\n

even the desert bears a seed <\/p>\n\n\n\n

piecework <\/p>\n\n\n\n

seven years of rust <\/p>\n\n\n\n

steady breathing <\/p>\n\n\n\n

perfect mistake <\/p>\n\n\n\n

on my way <\/p>\n\n\n\n

thorn upon the rose <\/p>\n\n\n\n

starting all over <\/p>\n\n\n\n

class reunion <\/p>\n\n\n\n

kalamazoo<\/p>\n\n\n\n

I will carry you <\/p>\n\n\n\n

trusted mistrusted <\/p>\n\n\n\n

king of sheds <\/p>\n\n\n\n

come to me<\/p>\n\n\n\n

days like these <\/p>\n\n\n\n

lucky today <\/p>\n\n\n\n

like the sun <\/p>\n\n\n\n

our corner of the world <\/p>\n\n\n\n

blood red moon <\/p>\n\n\n\n

thirty years along <\/p>\n\n\n\n

girl gone wrong <\/p>\n\n\n\n

class reunion <\/p>\n\n\n\n

love has gone to war <\/p>\n\n\n\n

the devil in me <\/p>\n\n\n\n

hard to be the way <\/p>\n\n\n

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the weight of loving you <\/p>\n\n\n\n

starting all over again <\/p>\n\n\n\n

from this wood <\/p>\n\n\n\n

I can\u00b4t stay <\/p>\n\n\n\n

shot through the heart <\/p>\n\n\n\n

the fool on the hill <\/p>\n\n\n\n

the leaving <\/p>\n\n\n\n

the jewel in the crown <\/p>\n\n\n\n

blue songs on a red guitar <\/p>\n\n\n\n

angels walk among us <\/p>\n\n\n\n

digging holes <\/p>\n\n\n\n

lonely morning blues <\/p>\n\n\n\n

find my way back home <\/p>\n\n\n\n

tyre tracks in the snow <\/p>\n\n\n\n

the heart may be right <\/p>\n\n\n\n

white water running<\/p>\n\n\n\n

only one man <\/p>\n\n\n

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I only want to be with you <\/p>\n\n\n\n

circle round the sun <\/p>\n\n\n\n

separate lives <\/p>\n\n\n\n

the waiting room <\/p>\n\n\n\n

charl\u00f1ie dore pilot of the air waves <\/p>\n\n\n\n

julie matthews <\/p>\n\n\n\n

such is life julie<\/p>\n\n\n\n

the devil in me <\/p>\n\n\n\n

love me or not <\/p>\n\n\n\n

blue songs on a red guitar <\/p>\n\n\n\n

colours of love<\/p>\n\n\n\n

love can build bridges <\/p>\n\n\n\n

nothing you can\u00b4t be <\/p>\n\n\n\n

nothing you can\u00b4t be <\/p>\n\n\n\n

girl gone wrong <\/p>\n\n\n\n

love is abandoned car<\/p>\n\n\n\n

jewel in the crown <\/p>\n\n\n\n

shot through the heart <\/p>\n\n\n\n

the light in you <\/p>\n\n\n\n

train <\/p>\n\n\n\n

angels walk among us <\/p>\n\n\n\n

crashing to your knees <\/p>\n\n\n\n

pat shaw & julie matthews<\/strong> <\/p>\n\n\n\n

down in the tall grass <\/p>\n\n\n\n

ball, anchor and chain <\/p>\n\n\n\n

all the way <\/p>\n\n\n\n

storm damage <\/p>\n\n\n\n

road to eden <\/p>\n\n\n\n

go north <\/p>\n\n\n\n

the moon & st christopher <\/p>\n\n\n\n

turning point <\/p>\n\n\n\n

til all the people <\/p>\n\n\n\n

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the thorn upon the rose <\/p>\n\n\n\n

sound of time <\/p>\n\n\n\n

bridge of hope <\/p>\n\n\n\n

while matthews sykes<\/strong> pulling weeds <\/p>\n\n\n\n

sugarcane jane<\/strong> alabama <\/p>\n\n\n\n

Julie Matthews<\/strong> all around the world <\/p>\n\n\n\n

julie matthews<\/strong> The unspoken word<\/p>\n\n\n\n

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LENDANEAR to Island Life<\/strong><\/p>\n\n\n\n

Festival Time<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

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Lanzarote\u00b4s Teguise Ayuntamiento (council)  has invited residents and visitors to take part in this year\u2019s Las Nieves Festival<\/strong> (right)<\/strong>, one of the island\u2019s oldest and most cherished religious and cultural celebrations.<\/p>\n\n\n\n

Running from 29 July to 5 August<\/strong>, the festivities honour Nuestra Se\u00f1ora de las Nieves<\/strong>, whose links to Lanzarote stretch back more than 300 years. The celebrations combine religious devotion, traditional music, sporting competitions and community gatherings at the Santuario de Las Nieves.<\/p>\n\n\n\n

Nuestra Se\u00f1ora de las Nieves was declared Lanzarote\u2019s first patron saint by the island\u2019s General Council in 1725<\/strong>, after local representatives made a solemn vow seeking her protection from drought and other hardships. Three centuries later, the annual festival continues to draw thousands of people, reflecting its enduring place in the island\u2019s cultural identity.<\/p>\n\n\n\n

Cabildo president Oswaldo Betancort<\/strong> said preserving traditional celebrations also means preserving the memory of those who shaped Lanzarote.<\/p>\n\n\n\n

\u201cThe festival is part of our shared heritage that unites us as a people and deserves to be passed on to future generations,\u201d he said, adding that the island council remains committed to supporting events that strengthen Lanzarote\u2019s cultural identity.<\/p>\n\n\n\n

Pilgrimage and Traditional Music<\/strong><\/p>\n\n\n\n

As in previous years, a large marquee will be erected beside the Ermita de Las Nieves to provide a meeting place for residents and visitors throughout the celebrations. A food stall will also be available, with the venue hosting many of the festival\u2019s musical performances and activities.<\/p>\n\n\n\n

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The programme begins on 29 July<\/strong> with the traditional envite<\/strong> tournament: sidetracks & detours<\/strong> have been told that this is a competition  of bet<\/strong>, stake,<\/strong> , bid<\/strong> or offer<\/strong>, depending on context. Envite is a traditional Canary Islands card game ( el envite<\/em> ), being a team-based game of strategy, secret hand signals, and raising stakes across three played hands per round. See left<\/strong> for typical cards found on Lanzarote.<\/p>\n\n\n\n

This will be followed by a truco<\/strong> tournament on 3 August<\/strong>. Truco<\/strong>, originally from Valencia, is a card game, also popular in The Balearic Islands, South America and Italy, in which tricks are gathered. It is usually played by. two people or two teams of two or three players each.<\/p>\n\n\n\n

The official opening ceremony takes place on 31 July<\/strong>, featuring a proclamation by Santiago Ram\u00edrez Curbelo<\/strong>, followed by a performance from the group Calicanto<\/strong>.<\/p>\n\n\n

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Calicanto \u00a0<\/strong>group,\u00a0\u00a0shown left performing at the magnificent Convento snata Domingo theatre<\/strong>, in Teguise<\/strong>,formed more than ten years ago by a group of women in love with folklore but eager to explore new musical genres, have a new album out called\u00a0Song To The Love Of A Decade<\/strong>\u00a0 which includes a selection of its most endearing songs that capture the essence of love in all its forms, from joy to heartbreak.This all-female musical group from Lanzarote, now known for its unique style that blends traditional rhythms with genres like jazz and pop.<\/strong> Calicanto has released several albums and performed at numerous festivals and music events both in Spain and abroad. They have received numerous awards and accolades for their work, including the Canary Islands Popular Culture Award in 2019.<\/p>\n\n\n\n

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One of the festival\u2019s most anticipated events, the popular pilgrimage to the Ermita de Las Nieves, takes place on 1 August<\/strong>. Hundreds of pilgrims are expected to make the journey before presenting offerings to the Virgin, accompanied by performances from Altaja<\/strong> and the Nuestra Se\u00f1ora de Guadalupe<\/strong> folk group.<\/p>\n\n\n\n

Altaja <\/strong> state that their aim is to  rescue, disseminate and promote traditional Canarian folklore. I find that very laudable because I think the island\u00b4s folklore is held in its heart and is passed down from generation to generation. It is a huge part of our tourist attraction and these songs seek the root and the route taken by the Lanzarote diaspora.. <\/p>\n\n\n\n

The evening concludes with a major folk music festival featuring Los Gurfines<\/strong>, Son los del Puerto<\/strong>, Son del Norte<\/strong>, and Los Valles<\/strong>.<\/p>\n\n\n\n

Los Gurfines<\/strong> are a well-known traditional music group from Lanzarote, officially called Parranda Los Gurfines they are <\/strong>specifically linked to maritime areas such as Puerto Naos<\/strong> or Arrecife. <\/strong>They play traditional Canarian music, providing entertainment at patron saint festivals, parranda gatherings (as strolling troubadours of old)  and are popular events throughout the island<\/p>\n\n\n\n

 because of their active participate in local festivities, pilgrimages and nights of celebration throughout the different municipalities and neighbourhoods of Lanzarote,<\/p>\n\n\n\n

Among other groups appearing at the festival  Son los Del Peurto<\/strong>, a musical duo and flamenco group<\/mark> formed by two brothers from M\u00e1laga, Spain, known for singing in the streets and at private events.<\/p>\n\n\n\n

Son del Norte<\/strong>  a group from the island of Lanzarote,<\/strong><\/em> . play various types of music including Cumbia, <\/strong>a popular musical rhythm and folk dance style that originated on the Caribbean coast of Colombia. They aslo  blends African rhythms, iIndigenous instruments, and Spanish melodies. They also deliver Ranchera <\/strong>music, a popular genre of music from Mexico that takes its name from the ranch lands on which the style was originally performed. Although the music embraces rural themes, its popularity spread during Mexico\u2019s Revolutionary to urban center all over the country. Mexico\u00b4s history is intimately tied to a sense of national identity that emerged from the ashes of the Revolution, which ended almost 30 years of dictatorship. Under Porfirio Diaz, Economic growth was a great success and hailed in the world as an example to follow but at the same time massive lands were dispossessed with landholdings privatized and sold.

This conflict between rural poor and economic success created the imbalances in society that would cause the Mexican Revolution. The end of the Mexican revolution brought new job opportunities to Mexico\u2019s major cities. The music that Mexicans from rural areas brought with them, helped new communities of workers recall the familiar earthy sounds of a country life left behind.

Ranchera songs are characterized by dramatic emotion and topics of love dominate poetic lyrics. Sentimental ranchera singers, their voices charged with a contagious emotion, are often capable of moving to tears even their most hardened listeners. Waltz, polka<\/strong> and bolero<\/strong> inspired rhythms accompany the singer along with sudden cries of emotion that highlight the singer\u2019s sorrowful mood. Beginning in the 1930s, Mexico produced hundreds of comedias rancheras, films that presented the nation with a studio packaged vision of rural life along with the humour and music. By 1950, ranchera music had become the most popular music genre in Mexico.<\/p>\n\n\n\n

There will also be the indie-folk band, Valles,<\/strong>  performing at the festival, who will provide another examples of the tides that transport music from continent as it creates new communities of immigration and emigration.<\/p>\n\n\n\n

.Festivities continue with the torneo de ronda<\/strong> on 3 August<\/strong>, before reaching their climax on 5 August<\/strong>.<\/p>\n\n\n\n

Following the traditional breakfast of hot chocolate and churros for pilgrims, thousands are expected to gather at the Santuario de Las Nieves<\/strong> for religious services, culminating in the solemn Mass at midday and the traditional procession.<\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 9th<\/sup> AUGUST<\/p>\n\n\n\n

a year as poet laureate<\/strong><\/p>\n\n\n\n

featuring<\/strong><\/p>\n\n\n\n

SAMMY WEAVER<\/strong><\/p>\n\n\n

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SIDETRACKS & DETOURS SUNDAY 16th<\/sup> AUGUST 2nd<\/sup> 2026<\/p>\n\n\n\n

Michael:<\/em> a film about art for arts\u00b4sake ?<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 23rd<\/sup> august 2026<\/p>\n\n\n\n

Buddy Mondlock is a songwriter !<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 30th<\/sup> AUGUST 2026<\/p>\n\n\n\n

Too Darn Hot: live jazz<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 6th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

Canary Cruising,\u2026cool<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 13th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

secretly recorded live gigs legitimised on line?<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 20th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

Waiting For Godot and Music At Lunchtomes<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 27th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

r.i.p. David Alan Coe, songwriter and unreliable narrator<\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Songwriters Chapter 3 part 1 KATE WOLF – AN UNFINISHED LIFE by Peter Pearson When Kate Wolf succumbed to leukemia in 1986, at the age of 44, her star was on the rise. The previous year she had returned from a short sabbatical (to spend more time with her family, after 12 years on the […]<\/p>\n","protected":false},"author":2,"featured_media":25537,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-25497","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25497","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=25497"}],"version-history":[{"count":14,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25497\/revisions"}],"predecessor-version":[{"id":27231,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25497\/revisions\/27231"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/25537"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=25497"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=25497"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=25497"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}