Reviews
Guo Gan ‘Swordmen’ Trio
Over the last two decades, Paris-based erhu virtuoso Guo Gan has established himself as one of the leading ambassadors of...
Reviewed by Charlie Cawood in issue: October/2022
Roforofo Fight
Following Fela Kuti’s trip to the US in 1969, he returned to Nigeria with a revolutionary mission, changed the name of his...
Reviewed by Nigel Williamson in issue: October/2022
Andalussyat
Françoise Atlan & l’Orchestre Arabo-Andalou de Fès
French-born of North African Jewish parents, Françoise Atlan was one of the first singers to explore the Andalusian repertoire shared...
Reviewed by Simon Broughton in issue: October/2022
Where the Big Lamp Shines
Where the Big Lamp Shines marks the official recording debut of The Often Herd, self-described as ‘progressive bluegrass based in...
Reviewed by Doug Deloach in issue: October/2022
The Great Irish Famine
Ronan Kealy, aka Junior Brother, from County Kerry, was hailed The Irish Times’ Best Irish Act 2019, when his debut,...
Reviewed by Tim Cumming in issue: October/2022
Ailan Songs Project: Four Winds
Indigenous singer and social historian Jessie Lloyd is the daughter of Joe Geia, a member of pioneering 1970s/80s Aboriginal band...
Reviewed by Seth Jordan in issue: October/2022
Bergå Folk Project
Sometimes, even the best folk bands can make an album that feels a bit like another re-hash of the tried...
Reviewed by James Rorison in issue: October/2022
Frey
Hot on the heels of the release of Solana’s Mirage (reviewed in June 2022, #178) comes this haunting solo album...
Reviewed by Kevin Bourke in issue: October/2022
Open the Road
Celtgrass pioneers We Banjo 3’s love affair with Americana has seen the Galway-based foursome build a formidable Stateside profile in...
Reviewed by Michael Quinn in issue: October/2022
Hundinuiaõis/Bulrush Bloom
From Estonia, Eva Väljaots plays the kannel, one of the plucked zither-like instruments shared by the Finno-Ugric cultures around the...
Reviewed by Simon Broughton in issue: October/2022
