In the bustling cultural landscape of London, a new generation of musicians is breathing life into the rich tapestry of folk music, forging a captivating connection with the legendary artists of the past. This article delves into the intriguing relationship between these young innovators and their esteemed predecessors, exploring how they are not merely imitating, but rather reinterpreting and reinvigorating the timeless traditions of folk music.

Bridging the Generations: A Harmonious Dialogue

Honoring the Legends, Carving a New Path

Two recent performances in London have provided a fascinating glimpse into the dynamic interplay between the young musicians of today and the revered artists of the "second revival" of the mid-20th century. At a tribute to the legendary Les Cousins club, Bridget St. John, one of the club's many alumni, took the stage, supported by the Cornish painter and musician Daisy Rickman. Rickman's collaboration with John Altman, exploring the work of another Les Cousins alumnus, Nick Drake, proved to be a powerful and evocative experience, seamlessly blending the old and the new.Rickman's low, melancholic voice perfectly captured the essence of Drake's rich melancholy, while Altman's saxophone cut through the atmospheric guitar playing, creating a captivating and deeply moving performance. "It was really special," Rickman reflects, "We hadn't rehearsed, so we ran through the songs just once before the soundcheck." For Rickman, it was an honor to support St. John, "one of my biggest female folk influences from that time."

Reclaiming the Spirit of the Past

The second performance, held at the MOTH Club in Hackney, celebrated the 80th birthday of The Young Tradition's Peter Bellamy. A diverse group of musicians, including members of Goblin Band, Shovel Dance Collective, and Brown Wimpenny, came together to pay tribute to the influential folk artist. The event was a mix of live performances and recollections from veteran music journalist Ken Hunt, but the most poignant moment came at the end, when the entire ensemble performed a collective rendition of Bellamy's "When I Die."Mataio Austin Dean, a member of Shovel Dance Collective, reflects on the significance of the event, noting that Bellamy's widow was present and expressed her approval, stating that "he would have been happy and amazed to know that all these people who wouldn't have been alive [at the same time as Bellamy] are carrying on what he's doing." Dean, who cites Bellamy as a significant influence, particularly admires the "confrontational nature" of his singing with The Young Tradition, and has sought to emulate that energy in his own performances.

Embracing Diversity, Honoring Tradition

However, these young musicians are not merely imitating their predecessors. They are infusing the traditional folk idiom with their own unique perspectives and experiences. Daisy Rickman, for instance, acknowledges the importance of finding and celebrating female and femme musicians within the folk world, echoing the sentiments expressed by another Les Cousins veteran, Rose Simpson of the Incredible String Band, who spoke of the challenges faced by women in the 1960s and 70s scene.Similarly, Mataio Austin Dean draws inspiration from the likes of Shirley Collins, another iconic figure in English folk music. However, Dean emphasizes that his approach is not about stylistic imitation, but rather a philosophical alignment with the belief that it is the songs themselves that hold the power, rather than the artists who sing them. "Some people who come to trad stuff, their only point of reference is the 60s folk revival, and they're establishing themselves in relationship to that or in opposite to that. I don't see myself as doing that. I like to think that we're going back to the same source material that Shirley Collins was looking at – the traditional singers, the collections, the manuscripts."

The Enduring Spirit of the Scenius

This sense of reverence for the past, combined with a desire to filter it through their own unique socio-economic contexts, is what makes the new generation of folk musicians so captivating. Daisy Rickman evokes Brian Eno's concept of "scenius" – the collective intelligence of a group of people – to describe the vibrant energy that was present in the 1960s folk scene, and which she believes is still palpable in the work of artists like Bridget St. John.The performances witnessed in London serve as a testament to the enduring spirit of this "scenius," as the young musicians seamlessly interlock with the legacy of their predecessors, creating a harmonious dialogue that transcends time and space. It is a testament to the power of music to bridge generations, to honor the past while forging a bold new future, and to celebrate the enduring spirit of the folk tradition.