Richard Dawson
A unique talent, and one worth making the effort to discover.
Newcastle-born folk musician Richard Dawson has been lauded for his unique deconstruction of English folk music and, over the course of fifteen years and seven albums, has built up a loyal fanbase. It was not surprising, therefore, to find that the auditorium of Norwich Arts Centre was almost full on a cold mid-week December evening, and that many members of the Norwich literati were also to be spotted in the audience.
Opening support was from Cambridge country blues guitarist C Joynes, who I remember from his collaborations with the Dead Rat Orchestra. He is joined on stage by drummer Andy Cheetham and, apart from a troublesome guitar lead connection, turns in an interesting and eclectic set of tunes.
By the time that Dawson takes the stage the room has assumed a respectful and palpable sense of anticipation. The set begins with the unaccompanied ballad taken from his 2020 lockdown masterpiece, 'Republic of Geordieland'. Set in the poverty-strewn streets of 16th century Hexham, 'The Almsgiver' is a domestic drama of a father desperately looking for his son, who is out begging on the streets. Powerful and compelling, it has the audience hanging off every tortured word.
By way of contrast, and with Andy Cheetham back behind the drum kit, Dawson takes a seat and straps on his acoustic guitar. 'Thicker Than Water' (taken from last year's 'The Ruby Cord') seems to transcend time and space with its pained opening line, “I didn’t really comprehend that I was saying goodbye for the last time.” The frequent use of falsetto takes some getting use to, as does his lyrical phrasing and syllabic stress, but once your ears are tuned in correctly it is an exciting ride.
Songs about football ('Two Halves') and exercise ('Jogging') are brimming with contemporary vernacular, and are dropped into the running order punctuated by lively and tuneful instrumental pieces like 'Cumberland Rag'. The acoustic guitar is exchanged for a beautiful red vintage Burns electric, and is played with gusto and plenty of reverb, just like it should be.
Joking that the evening is like a greatest hits tour but without any hits, classic tracks such as 'Beggar' delight the audience, whilst new songs also get an enthusiastic reception. His delightful paean to allotment gardening, 'Poly Tunnel', is saved for the encore.
Dawson is a unique talent, and one worth making the effort to discover if, like me, his music had so far evaded you.
