The UK Folk genre has always defied the urge of the media to place it in a neat little box. From the traditional roots of song collecting, through to the contemporary revival the 60s and 70s, and the creation of many sub-genes since, Folk music continues to expand and to thrive. Whether you define it as Progressive Folk, Nu-Folk, Inde-Folk or Folk Rock; there is something to be found for all tastes. From Davy Graham, John Renbourn, Bert Jansch and Nick Drake, all the way forward to the enduring talent of Richard Thompson and Martin Carthy, there is a rich tradition to be explored and celebrated. John Martyn was a key inspiration in the move away from traditional Folk towards a more progressive style of experimentation; one that included Jazz influences and free-form exploration. As a young girl, growing up in East Yorkshire, Katie Spencer was inspired by this music and wanted to create her own style of self-expression. Over years of developing her craft, Katie has just released one of the best albums of the year with THE EDGE OF THE LAND. It is an ethereal, free-floating, haunting affair and quietly addictive. Katie first captured media attention back in 2016 and has been winning many new admirers with her considerable musical talent ever since. She very generously took time out of her increasingly busy schedule to share her insights and thoughts with us.
Congratulations on the new album release, THE EDGE OF THE LAND. Have you been pleased with the initial media response to the music?
Thank you! Absolutely, it feels wonderful to have this album out there. The reviews have been brilliant, and I have been blown away by the response. I found out yesterday that the album has reached number fourteen in the Official Folk Album Charts, and that’s all down to kind folks buying the record, which is lovely as a DIY artist.
Growing up in East Yorkshire, were you introduced to music at a young age?
Yes, although my parents aren’t musicians themselves, they are huge appreciators of music. As a kid they would take me to local folk festivals, and there was always music in the house. I’m very grateful for that, and the accessibility of folk music in general is great for young kids I think.
Who were your initial influences when you started listening seriously?
I started listening seriously to music when I was about twelve, I think. I had a long bus journey through rural East Yorkshire to get to school and I’d listen to hours of music a day. As a kid I listened to lots of indie music, but I started to really dive into songwriters when I was about fourteen, I think. Laura Marling was a wonderful role model for me then, and I still love her albums now. Then when I started to play the guitar at around sixteen I discovered this late-sixties, early-seventies folk revival stuff – folks like Bert Jansch, Sandy Denny, John Martyn, Roy Harper, Joni … That world really blew my mind then!
Was your instrument of choice always the guitar?
Yes, and I think given the chance to choose again it would definitely be the guitar. I love how versatile it is, and each person totally has their own voice within the instrument. It’s a beautiful, varied thing!
You seem too young to have been influenced directly by the early 70’s folk and songwriter movements. How did you find your way to this music?
I can remember watching a documentary on folk music, on the BBC one night. John Martyn came on screen and I fell in love with his music. The atmosphere that he created in those few minutes was astounding, so deep and connected. From there I found lots of other musicians involved in that same scene, and have loved it ever since.
Your guitar playing is very accomplished and do you practice every day to maintain the high standards?
Thanks! I love playing, but I don’t keep to a regular schedule. Some days I’ll play a lot, others not at all. I do like to keep a sense of connection with my guitar though, it keeps it feeling natural and smooth when I play live. Recently I have tried to play something new and fresh each time I pick my guitar up, even if I’m just rehearsing, which is fun.
Your partner, Henry Parker, is also at the forefront of the new Folk movement in England. Does it help having him to bounce musical ideas off and to try new things?
It is a privilege to hear his ideas forming, it feels special to have heard the beginnings of a lot of his songs, up in the top room of our house. And then hearing the finished piece, it’s wonderful. We generally keep our music fairly separate, but it is a lovely thing to be able to share songs and ideas together – absolutely! We keep chatting about working together on a project in the future too, so fingers crossed we’ll sort something out soon.
Who else do you look to on the current circuit for inspiration and encouragement?
There is a brilliant scene in Yorkshire at the moment, particularly in Leeds with lots of younger folks releasing first-class albums. Chris Brain and Iona Lane are two good friends who have both released outstanding records recently. It is great to have that community there to inspire and encourage.
Your debut album, WEATHER BEATEN, appeared in 2019. Can you reflect on the recording process and did you change much in the approach to the new album?
The recording process was incredibly different to my most recent album. For Weather Beaten I went into the studio and recorded all of my parts separately, then I had individual sessions booked for each musician to come and add their parts afterwards. It meant that we could really dive in deep and pay attention to every tiny detail, which was really interesting. I learnt a lot, and this was only my second real time in a big working studio, so it was a great experience, and good to take our time over the album.
You have the talents of Spencer Cozens and Tom Mason in common over both albums. How did you come to choose the other musicians on the new album?
I’m a huge fan of both Spencer and Tom – they’re both a joy to work with and are incredible musicians. I also worked with Arran Ahmun on this latest record. Back in 2019 we both played at a concert in Glasgow, celebrating the music of John Martyn (Arran had been touring and playing drums with John for years). I love what he does, and I think he brought a beautiful touch to the recordings. Nathan Bray on flugelhorn was a suggestion from Spencer. I enjoy that jazz/folk cross over so it was a treat to work with him, and I’ll hopefully have the chance to do so again.
The organic playing is quite haunting and did you record everything live, off-the-floor, during the sessions at Steinway Recording Studios?
Yes, the four of us went into the studio for two days, set the microphones and instruments up and played through the record a couple of times. I’m so glad we took this approach, not only because the memories we made over those two days were so special but because I think we hopefully managed to capture the movement and the space of the songs.
The jazz-like arrangements are so fluid and the playing carries a spontaneity that can only be captured with many hours of playing as an ensemble and mutual trust. Was this the case?
That’s kind, thank you. Although we met before the session began, we hadn’t played as a trio before. I had played with both musicians separately, but not with these songs. They are both amazing musicians, and luckily we got into the groove and it happened.
The cover version of Annie Briggs, Go Your Way, (recorded in 1971), fits seamlessly into the album. What inspired you to include the song?
I’m a big Anne Briggs fan, she’s so authentic and her voice is emotionally powerful. This song seemed to fit with the others on the record because she is essentially dealing with some pretty hefty emotions and processing them through landscapes and the natural world. This is similar to some of my songs on THE EDGE OF THE LAND, I think.
The song, Roads, seems to conjure up memories of a childhood friend. Do you write from a personal perspective usually?
Yes, all of my songs are written from a personal perspective – be that emotionally or of the natural world. It’s what comes naturally I suppose, and it also seems to give the music a longevity for me personally. If I have that connection with the music, it means I can go out and play those songs on the road every night without tiring.
Equally, Shannon Road, appears to reference a particular memory of adolescence and growing up in a small town. Is there a nostalgia that tugs at your sleeve to be expressed?
I think I have an unhealthy relationship with nostalgia, ha! I spoke to a friend about this recently, they said that it’s part of being a songwriter, but I don’t know! I suppose it’s a desire to capture those sharp, distilled feelings.
Wormhole, seems to channel feelings of loneliness and a sense of isolation. Is this something that you have witnessed, growing up in a rural environment?
I have been lucky enough to mostly enjoy my own company growing up. I’m an only child too, so I suppose I had to get used to that! But for sure, there have been times when I’ve felt disconnected or left behind. I chose to commit to music after leaving college (and kindly had the support to do so) instead of heading to university with my friends, so I suppose there is a bit of that in there too.
The sense of taking time to experience the quiet calm of nature is something that runs through the songs. Was this something that surfaced as a result of Covid lockdown?
Growing up in the countryside certainly provides a good foundation for appreciating the natural world, but yes, the lockdown certainly brought that gratitude to the fore. It was the only real chance of escape at that point and I dived into that with relish, I guess!
How is the year ahead for you in terms of touring the album?
I have just finished a UK tour, and I’m excited to get out to festivals throughout the summer now. In the autumn I will also be heading on tour, visiting some of the places I didn’t get around to this time.
Hopefully, we will see you play in Ireland at some stage?
That would be wonderful!
Interview by Paul McGee