It was Celtic Connections’ hottest ticket, despite its late insertion into the programme, following Michael's death, the news of which cast a huge shadow on the day of the festival's press launch. This evening represented a breaking out, beyond the folk club or specialist radio show. Michael willfully retreated from conventional, wider success, and to follow him sometimes felt like being in on a secret. This evening brilliantly demonstrated that Michael's uniquely creative and generous work will live on and on. The whole company assembled on a dark stage, as the unmistakable voice of Michael Marra intoned Psalm 118 from Martyn Bennett's monumental Liberation: in death eternal life, "marvellous in our eyes". Thank you.There it was, to begin the concert. Support us from as little as £3 per month – it only takes a minute to sign up. If you appreciate what we do and feel strongly about impartial local journalism, then please become a supporter of Shetland News by either making a single payment or monthly subscription.
He feels the contemporary roots scene in Scotland is buoyant, enlivened by the presence of Celtic Connections. I like to write songs, but also tackle a wide range of songs from other places.” “This idea that a bad song someone has written themselves is of more value than someone else’s songs. “The word ‘cover’ gets bandied about too much these days, and it’s potentially devalued the art of interpretation,” Noakes says. He places a lot of value on “the art of interpretation”, a staple of folk music tradition and something so much greater than merely mimicking an original arrangement. Amid a rich field of contemporary songwriters his reading of ‘Mississippi’ was a near show-stealing moment, something he modestly admits “went very well and got a lot of positive attention”.
This writer first came across Noakes at a 70th birthday tribute to Bob Dylan at the Celtic Connections festival in 2011. That influence is still there in guitarists in that field, and not one to be underestimated.” “He was able to put it to exceptional use as accompaniment for fiddlers, which up to that point had normally been a pianist’s job, a style that was jazzy and chordy but also had that rhythmic vamp. Michael Marra wrote ‘Schenectady Calling’ in reference to the American radio station that played jazz records, that Peerie Willie used to be able to listen to loud and clear in the northern hemisphere. As a musician he was exemplary, but also that whole connection he had. “Peerie Willie was a most interesting man. “We’ve known Aly Bain since he first came south in the 1960s, and I remember being aware of Tom Anderson. He is very aware of Shetland’s musical heritage, and hopes this will be “the first of a number of visits”. Though Dickson has played in the islands once before, it will be a maiden – and long overdue – visit to Shetland for Noakes, whose life in music has taken in time as a member of Stealers Wheel and regular appearances on iconic shows including John Peel and the Old Grey Whistle Test. “The songs cover the whole period, dipping back into the 1950s: a celebration of our interest in and love of the popular song all our lives.”
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