Partick Folk Fest :: Glesga belongs to me!
Roots Review 2004Hugh Mackay
Given the success of the first Partick folk festival one can only wonder why no one thought of the idea before.
Having an idea/vision is one thing, converting that into an actuality is another matter altogether. In general terms this takes one who is driven, one whom has the energy and passion to see their idea, despite difficulties that may come their way, through to completion. In Mick West (aided by an enthusiastic team), the good folk of Partick Folk Club and beyond must be thankful that he came up with the idea in the first place.
One of Partick’s most famous sons, Billy Connolly, would, if he knew, (and who knows maybe he does) that Partick now not only boasts a Folk club but also a Folk festival, he would undoubtedly launch into a bunch of expletives exclaiming wonderment and joy at the news.
Being a long time devotee of this genre, I can well remember Connolly in his early days as a folk singer doing the rounds of pubs and folk clubs, The Scotia bar, The Montrose Folk club etc. It would be no surprise to me if at some future event Connolly were to turn up unannounced, the lure of visiting a folk fest in the very streets he spent his early summers playing (wearing short troosers and wellies!) being to much to resist.
The Fest kicked of with the burning of “The Bogeyman” which was accompanied by, Pipe bands and other live music, this was followed by a torchlight procession to “The Annexe” the venue that was to house the main events. Not being able to attend the opening ceremony I was delighted to be driving by the playing fields as the crowd warmed at the roaring bonfire, the rousing sound of the Pipe band filled the air, I could do little else but stop for a minute to listen and muse on my disappointment having missed the opening event.
Glesga Belongs Tae Me.
Mick West, Alistair Hulett & The Clutha
Despite my initial disappointment at missing the opening events, that paled quickly as I walked into The Annexe to be entertained by Mick West, Alistair Hulett and The Clutha.
In a rapidly filling venue it was as well I arrived early to secure a seat! As was mentioned previously this the first Partick fest must have had the organisers wondering on it’s success or otherwise, they had, as events turned out, nothing to worry about.
Mick West walked up to the mic, in front of a packed house, welcoming everyone he gave us two songs, despite the evening being titled “Songs of Glasgow” surprisingly he gave us a couple of numbers with a strong Irish influence, then, when you think of the positive contribution “Irish immigrants” have made to Glasgow and it’s culture it’s probably not that surprising. West’s contribution, as it turned out, was to be the only (musical) disappointment for me over the fest!
Let me explain; my disappointment was that expecting, nay hoping, for an extended contribution from the man himself my expectations were not met, (my disappointment compounded by the fact that I couldn’t make the Mick West band gig a day or so later). Ochone! Ochone!
Alistair Hulett.
To most, if not all lovers of songs that are evidential to the struggles of the workingman, songs that portray an accurate record of events that many in power would prefer us to forget, the name of Alistair Hulett is synonymous.
Glasgow has a proud tradition of producing and raising men and women who are fiercely proud of their roots, never afraid to stand up for what they believe in, regardless of the costs. In a set that was to enthral and delight, Hulett reminded and taught us in both story and song how our forbearers not only stood proud, but also stood shoulder to shoulder with one another against injustice. One can’t help but wring one’s hands in frustration as I look out on a selfish present day generation whom by comparison, are consumed by self, the very notion of solidarity being an anathema. Thanks to performers of the ilk of Hulett at least we won’t forget the struggles and solidarity that went before. (And hopefully learn a lesson from the same)
In a set that kicked of with “Mrs Barbour’s army”, a tale about a real life character that was hugely involved with the infamous Govan rent strike during the time of “The Red Clydeside” - a song which enforces the view that the common man can indeed be successful if we stand united, Hulett quickly endeared himself to his audience, with the warmth of his wit his easygoing story telling and both his wonderful vocal and excellent musicianship. Hulett is indeed an excellent guitarist.
In many ways Hulett is a walking singing history book, but I hasten to add, a hugely entertaining one. Listening to the way he informs about John MacLean the leader of the “Red Clydeside” movement and other stories besides, one could easily sit and listen as he chatted whilst strumming his guitar, he was that entertaining.
Hulett principally though is a singer songwriter, a committed socialist he is not afraid to put his principals into action. In a fairly recent and highly publicised protest that ran and ran, local people in Govanhill took matters into their own hands as the local authority tried to close their local pool facility. A sit-in, in the best tradition followed, only to be stopped by the violent intervention of the forces of Law and Order! Hulett wrote a brilliant parody of Woody Guthrie’s classic “This Land” about the protesters experience entitled “This Pool”, which went down a storm, great stuff indeed.
There was little doubt that the rapport between audience and artist was complete as huge and passionate applause and cheers supported every song.
During one of his chats talking about anti-war songs he made the telling point “ a bayonet is a weapon with a working man at both ends”. Profound stuff. In a performance that not only included workers songs, Hulett dazzled with some great Blues guitar during the number Trouble in Mind.
Taking us to the interval was the self-penned and wonderful “ Destitution Road ”, a song about The Highland Clearances. Hulett was correct when he made the point that if it happened today it would be called Ethnic Cleansing. This stunning but poignant song records what it must have been like when the Gaels of Caledonia, were forced from their homes, this unflinching, satirical song deserves a much wider audience.
Despite closing on a desperately sad episode in Scotland ’s history and one which shouldn’t be forgotten, EVER, having given an excellent performance to a greatly appreciative audience, Hulett walked off to rapturous and well-deserved applause.
As the crowds headed for the kitchen for their home made soup and food, Christmas pies etc etc (they know how to look after their guests in Partick), I chatted to Hulett. There was little doubt he enjoyed his set as much as the audience. You can read more about the man and his work here on the pages of Rootsreview soon as he is being interviewed by Simon Wallace.
The Clutha
The second half brought us the wonderful The Clutha, Mick West in his introduction made the point that The Clutha had a sound all of their own, to which I could only concur, even though I hadn’t heard them live for 20 odd years.
I have no doubt that many thought The Clutha had disappeared over the musical horizon settled back into the relaxed life, live events being nought but a memory, of course whilst maybe not recording albums they are very much live and kicking! As a packed out Annexe was about to find out.
Opening with Robert Burns Heilan’ Laddie this rousing rendition soon had the crowd clapping and footstompin’. The Clutha had set out their stall! Having heard The Clutha live many years ago it is perplexing to me that this innovative outfit didn’t shine more over the years. Chatting to my old mate Arthur Johnstone, a well-known vocalist of the left wing songs like Alistair Hulett, he informed me that he is indebted to The Clutha for teaching him the workers’ standard, The John MacLean March.
Back to the gig! Although there was much clapping and footstompin, in contrast we had the sensitive and the poignant the delightful Hush-a-by a lullaby that also doubles as a Lament, a song about a young single parent struggling to raise her bairn with out a father, (not a modern phenomenon it would seem!) Of course the night wasn’t all songs, being The Clutha pipes had to be included, a rousing set of tunes which included The Merry Boys of Greenland brought the house down, a set that induced impromptu dancing in the spaces folk could find!
Aye, this was a night not to have missed, and I have yet to mention “Child Ballad 275!!!” you really had to be there!
The joyous time that folk were having increased as the night went on, more a party than a festival, just the way that folk should enjoy themselves, great community singing one minute to the tear inducing the next, emotions all over the place as we enjoyed great songs from the stirring Gallowa’ Hills to the affecting lament from the Borders, A Border Woman’s Lament. If you are not familiar with this song do yourself a favour go find out about it.
There was a raft of magnificent songs and tunes that followed Hamish Henderson’s John MacLean March, The brisk young Sailor/Glesga Jean a furious set of jigs and reels that had drink spilling all over the place as tables were clattered and feet stomped as the crowd showed both there approval and enjoyment and finally closing with a song from Bonhill in Dumbarton.
This was truly a fabulous evening, and one that I am confident all who were there would happily experience again. Thankfully they won’t have to wait until next year’s fest, all they have to do is become a regular at Partick Folk club. See you there.