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5 PICKS
FROM THE CELTIC CONNECTIONS PROGRAMME Zoe Muth & The Lost High Rollers The year in Americana 2011 belonged to Gillian Welch and her album The Harrow & the Harvest, but amongst a promising field of young female country singers, Zoe Muth stands out. With her ear for an instant melody and fondness for a bleak lyric, the Seattle native is a natural successor to Emmylou Harris, Loretta Lynn and Welch. The Arches, Glasgow, Sat 21 Jan. Jack Bruce with Lau The Cream legend teams up with arguably Britain’s most innovative contemporary folk band Lau, percussionist Jim Sutherland, keyboardist Andy May, guitarist Taj Wyzgowski, drummer Chris Peacock, bassist Nico Bruce and Mr McFall’s Chamber, for a mouthwatering evening of music unlikely to be heard again. Alas. Old Fruitmarket, Glasgow, Wed 25 Jan.
King Creosote and John Hopkins One of the albums of 2011, the duo’s Mercury-nominated Diamond Mine stands out as one of the most important collaborative albums of recent years. Pairing Fence Records boss Kenny Anderson with electronica artist Hopkins has left fans desperately wanting more, which makes this one of the festival’s hottest tickets. O2 ABC, Glasgow, Thu 26 Jan.
World Turned Upside Down Taking its name from an English Civil War ballad, WTUD is an exploration of the relationship between folk music and protest song. Justin Currie and Karine Polwart are joined by Palestinian singer Kamilya Jubran, Native American songwriters and activists Pura Fé and John Trudell. Royal Concert Hall, Glasgow, Wed 1 Feb. Vieux Farka Touré One of Africa’s biggest music stars and son of the late Malian guitar legend Ali Farka Touré, Vieux Farka Touré (pictured, above) continues to break new ground in African guitar music with his third album The Secret. Recorded in Bamako and New York, and deeply rooted in the traditions of his homeland, it’s an intense and innovative blend of blues, rock and jazz. The Arches, Glasgow, Sun 5 Feb. (Rachel Devine)
5 Jan–2 Feb 2012 THE LIST 75
STEREO TO MONO Stereolab member Laetitia Sadier made an unexpected return to music as the band’s hiatus continues, and found a new voice in doing so, finds Rachel Devine
I n 2009, when Stereolab announced plans to go on indefinite hiatus, the group’s spectral-voiced singer Laetitia Sadier prepared for a life away from making music. Her other project, the pop quintet Monade, ended the same year. Suddenly, after 20 years of touring and recording, the road ahead seemed destined to take a different turn; most likely in a new career as a London-based shiatsu professional. ‘I didn’t think I would carry on in music. I was ready to stop,’ she says. ‘But it seems like the universe reached out to get me.’
When Sadier was given money to release a solo record on Drag City, the shiatsu qualification was put on the back burner. Critics lavished praise on The Trip, released in 2010, a short but compelling album of fragile, lo-fi torch songs; Sadier’s transition to solo artist was deemed a success. Moreover, it has given her a renewed confidence as a performer. ‘I WENT FROM BARELY BEING ABLE TO PLAY MY GUITAR TO
REALLY
ENJOYING IT’
end of the year, will look outward. ‘It will be less introspective and hopefully won’t be about grieving, although there might be songs about my little sister,’ she says. ‘I feel what’s going on in the world right now is quite intense. It’s clear that something must change. For a songwriter it’s quite an inspiring time.’ Balancing songwriting with a message is a challenge that excites the French-born singer. ‘It [political song] is not very conducive poetically; it resonates differently than, say, a love song. I don’t want to be overtly political and come out with slogans. I want it to be subtle. You have to think a little harder than just ‘fuck the system’ and instead think of ways of coming to it sideways.’
Sadier will record the album after Christmas before heading to Glasgow – where she plans to perform some Stereolab numbers plus new material – and then on to Chicago to complete the tracks by Spring. Although happily domiciled in London with her son Alex, by ex-husband and Stereolab bandmate Tim Gane, it’s clear Sadier, now 43, still relishes the opportunity to rack up the airmiles. ‘The way music changed my life was about empowering myself,’ she says. ‘If you want to do it, go out and do it. It was a punk rock thing. I think I still believe that.’ And will the Stereolab hiatus ever be over? ‘When I
‘It has been super formative,’ she says. ‘I went from barely being able to play my guitar to really enjoying it. It was also quite liberating for my voice and emotions to find the space that for years I didn’t have. It was always a struggle to be on stage with those boys [her Stereolab bandmates]. They could crank up; I could never crank up. It often happens as a female singer – you get crushed by the boys.’
The Trip was written in a bubble of grief. Many of the songs, such as the haunting opening track, ‘One Million Year Trip’ deal with the suicide of Sadier’s little sister. Her next album, likely to be out by the
know, you’ll know,’ she says with teasing laugh. Platform, Glasgow, Sat 21 Jan, part of Celtic Connections