Photographs by Sarah Rix
It seems like there’s a lot to dislike about folk music right now. Sure, it seems like it’s a genre at the height of its popularity – at least in terms of commercial success – and you can’t get very far without bumping into a Lumineer. But among the modern rock radio fans, it’s a little bit unsettling to hear Mumford & Sons sandwiched between Queens of the Stone Age and Arcade Fire. It seems out of place and, though there’s a demand, even the most ardent of pop-folk fans has to admit there’s a limit to their love of fast-paced mandolin strumming.
But this isn’t really the story of banjo-wielding bands singing true-to-their-roots love songs that are catchy in the beginning, but ultimately overplayed. Stornoway, for whatever reason, has eluded that popular designation. Too highbrow? Maybe. They’re certainly not a band you’ll hear on The Edge, or even the CBC for that matter. And this may be a good thing.
They deserve the success – don’t get me wrong. It’s just that this is a folk band that is: a) Genuinely, sonically amazing and b) One that I’m not actually sick of. Selfish? Absolutely. But let me enjoy the intimacy while they’ve still got it.
The English band’s third visit to Toronto (they’ve visited before in 2010 and 2011 – both times playing at the El Mocambo) brought with them a new album, 2013’s Tales from Terra Firma. Their sophomore record has had a sleepier reception in comparison to its 2010 predecessor, Beachcomber’s Windowsill. Live, however, both albums work exceptionally well, hitting hard and taking on an immediacy their studio work doesn’t quite capture.
“Knock Me On The Head” was a good, opening reminder of Stornoway’s strengths – Oli Steadman’s steady, energetic basslines; Rob Steadman’s complex percussion; keyboardist Jon Ouin’s consistent layering; and vocalist/guitarist Brian Briggs’ ability to command a stage with a clear, pristine voice. They were joined on stage by two additional instrumentals: A violin player and a multi-instrumentalist who did everything from trumpet to saw a piece of wood for “Here Comes The Blackout.”
It wasn’t the only time a band member brought out wood either; Rob Steadman took out a small axe to chop a piece as part of the band’s percussion on “Farewell Appalachia.” He’d also add to the song’s looped backtrack by ripping newspaper. It’s this sort of instrumentation that’s totally original, oddly effective, and why Stornoway is a band you need to see live to fully appreciate the details.
“Fuel Up,” a song from their debut, got the crowd chorus going, Briggs telling the audience Toronto fans tend to sing the most. He also pointed out that the night before in Montreal, there had only been about five people there.
Another from their new album, “(A Belated) Invite To Eternity,” read like a Vampire Weekend track put through a folk blender. Popular songs “Zorbing” and “I Saw You Blink” were, as could be expected, crowd favourites, the latter only slightly dampened by an incredibly off-key crowd member attempting to sing along.
Proving the vocals should be left up to them and that it’s not just the instrumental layers that make them a proficient live act, they also stripped down. Briggs took “November Song” solo, stepped back from the microphone with just a guitar in hand. They’d repeat the semi-unplugged shtick closer to the end of the set as well, the band’s four core members, one guitar, a single microphone, and their violinist at the front of the stage for “The Ones We Hurt The Most.”
There’s no stone left unturned when they’re up on stage. Whether it’s unaccompanied or with a 12-stringed guitar and an off-the-wall sonic landscape, Stornoway make the type of triumphant, intricate music that very much deserves a big audience. So enjoy them in this capacity while you can – after all, eventually those Mumford & Sons fans are going to grow up and expand their repertoire.
Check out Stornoway‘s website.
Many thanks to Collective Concerts for media access.
