Let me begin unashamedly by saying I am, always have been, and always will be, a massive Fairport fan, and one of the many reasons – the music is obvious – is the way they are with the people who come to see them. From the moment Steve Cash (the Tog) and I found seats on the front row – and what a shock that was: a seated gig at the Robin! – the band were out there in the audience, shaking hands and chatting, not sitting backstage and keeping themselves to themselves.
Opening conversation:
Dave Pegg (lovingly clutching an already half empty bottle of wine, which went up onto stage with him later): Alright, mate?
Me: Alright, Peggy. Any chance of a set list for the review I’m doing?
Peggy: Probably, mate. See Chris (Leslie) – he looks after all that.
Me: OK, but I’m probably OK. I know most of the stuff anyway.
Peggy: Good on you. I wish I did.
And that set the tone for the evening.
The next (pleasant) surprise was the support act. I suddenly realised that I’d supported Sunjay at a gig in Halesowen (he was top of the bill, I was bottom) and had been impressed then by the guitar work and vocals of such a young talent. Now, a few years later, here he was, in a big venue, still with the talent, but more confident and polished, playing a five-song set that was not too short to prevent him from showing off how much he’d progressed. As soon as he’d introduced himself, he’d built a nice rapport with the crowd, and his references to the local area – characters in Wolverhampton city centre, like the tramp who lived on a traffic island for several years, and his musical links with the likes of Eddie Walton of Stourbridge – kept the crowd well on side. Stand-out song for me was “Faith Healer,” about a street-preacher in Wolverhampton, but his version of Bo Diddley’s “Who Do You Love?” was really good too, making really effective use of a foot-pedal bass beat, and singing across what seemed like several bluesy octaves. There was even a bit of showmanship, lifting his guitar vertically into the air to finish off the song. The final song ( I think it was called “London Road”) saw his guitar work speed up, and speed up, and speed up to a nice climax, and warm applause from the floor. Impressive, Sunjay. I’ll certainly be picking up with you at, at least, one of the three gigs you’re playing in my hometown of Bewdley in the next few weeks, and recommending to lots of people that they do the same.
Now for Fairport, and, as it’s pretty obvious that I’m going to say they were, as always, absolutely brilliant, let’s start with the surprises. First, as I’ve already mentioned, that the audience were seated; secondly, that the band were seated, right across the front of the stage. Thirdly, no drums, Gerry (Conway) with a cajon and what the band called “an electronic toilet seat,” presumably, because, as Peggy told us afterwards, there were no roadies on this tour, and they’d turned up with the gear in their cars! On stage, the band talked about it being to create a “relaxed atmosphere,” and it did. Fourth surprise – the number of songs they played that I’d not heard them do before: “My Love is in America, Naked Highwayman, Hawkwood’s Army, Lord Marlborough” and “Lalla Rookh,” and I’ve been going to see them regularly, from “The Red Lion” in Kings Heath to half a dozen Cropredies, since 1970 at the Bath Festival. They were all done well, the stand-out being “My Love is in America,” which featured brilliant bass work from Peggy, and some beautiful violin from Ric Sanders. 
Instrumentally, Fairport are second to none. I’ve never seen a bassist as good as Dave Pegg – Jack Bruce included, Ric is more versatile, and, technically, as good as the Swarb, while Chris can play so many instruments expertly, from bouzouki and mandolin to guitar, penny whistle, and (I think), a recorder. Add the understated guitar work of Simon Nicol, and the equally understated percussion of Gerry Conway, and you’ve got one of the tightest musical units ever.
Fifth surprise – they didn’t start with “Walk Awhile,” which was song 3, but with an instrumental I didn’t know, called “Ye Mariners All” on the set list. Yeh – Peggy hadn’t forgotten our pre-gig conversation, and came up to me after they’d finished to tell me Chris Leslie was finding a set list out for me, which he did within five minutes. Think that says so much about the way the band treat people. Sixth surprise – a gentle, but reverent, piss-take of Maddy Prior ( the “Buffet Queen”) and Steeleye Span, towards the end of the set, which reworked “Gaudete” into “crudete and crisps for starters” acapella-style. Final surprise – that I’ve only just realised how good Fairport’s vocal harmonies are.
The set? A mix of the unusual, which I’ve already mentioned, stuff off the most recent CD – “Myths and Heroes, Clear Water, John Condon, The Gallivant, The Man in the Water” and “Bring Me Back My Feathers,” and a few of the classics – “Sir Patrick Spens, Crazy Man Michael,” and a real favourite of mine – “The Girl from the Hiring Fair.” All done fantastically well, as were the usual closing songs – “Matty Groves” and “Meet on the Ledge.”
Fairport Convention are of my generation, and I’ve been lucky enough to see them loads of times, always coming up with the goods. If you get the chance to see them, make sure you do it. You’ll be watching musical greats, who truly deserve the title of LEGENDS, as much for the way they are as people as the music they make. Maximum LOVE and RESPECT, guys – you deserve it – a hundred times over.
Click here for the full gallery, courtesy of Steve Cash.
