Northumbrian Folk Revivals: A History of Music and Tradition
The musical heritage of North East England is defined by a resilient spirit of preservation and reinvention. Through two distinct folk revivals, the region has transitioned from the academic collection of ancient melodies to a vibrant, internationally recognized scene. This journey encompasses the haunting strains of border ballads and the unique drone of the Northumbrian smallpipes, ensuring that regional identity remains audible in the modern era.
The First Folk Revival
The initial wave of folk revival focused heavily on folk dance, the preservation of border ballads (traditional narrative songs from the Anglo-Scottish border), and a renewed interest in pipe music starting in the 1870s.
Early efforts to document this heritage began in the early nineteenth century with John Bell, who collected numerous songs and tunes. By the mid-century, the Newcastle Society of Antiquaries' Ancient Melodies Committee sought a more comprehensive archive. Their work, based on printed and manuscript sources, was later edited for publication by John Stokoe and John Collingwood Bruce.
The preservation of the Northumbrian smallpipes—a distinctive regional bagpipe—saw organized efforts with the founding of the Northumbrian Small Pipes Society in Newcastle in 1893. Though it lasted only until 1900, it hosted competitions won by Richard Mowat and Henry Clough. The tradition was further solidified by the Northumbrian Pipers' Society, founded in 1928. This era also marked the beginning of recorded history for the instrument, including a His Master's Voice recording of Tom Clough in the late 1920s.
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Simultaneously, the academic study of folk lyrics flourished. Francis James Child included a significant number of border ballads in his monumental ten-volume work, The English and Scottish Popular Ballads (1882–98), with these songs comprising most of the sixth volume.
The Second Folk Revival and Modern Influence
The second revival brought Northumbrian music to a wider audience, blending traditional roots with contemporary performance. Billy Pigg emerged as perhaps the most influential piper of this era, alongside other key figures such as Joe Hutton, Jack Armstrong, George Atkinson, and G. G. Armstrong.
The reach of the music expanded nationally and internationally through the work of Bob Davenport, The High Level Ranters, and Lou Killen. A notable example of this influence is the song "Scarborough Fair/Canticle" by Simon & Garfunkel. The melody was originally sung in 1947 by Mark Anderson, a retired lead miner from Middleton-in-Teesdale, to Ewan MacColl. MacColl documented the piece in a book of Teesdale folk songs and later featured it on The Singing Island (1960) with Peggy Seeger.
The Rise of Folk Rock and Regional Identity
The 1970s saw the emergence of Lindisfarne, the region's most successful folk group of the decade, who blended progressive folk with local styles. This period also saw the rise of groups like Hedgehog Pie and Jack the Lad (which splintered from Lindisfarne in 1973), who explored regional identity through a lens similar to the British folk rock of Steeleye Span and Fairport Convention.
Between the 1970s and the 1990s, the tradition was kept alive by groups such as the Doonan family, renowned for their folk flute playing. Meanwhile, Eric Boswell became a prolific songwriter from the 1970s to the 2000s. While famous for "Little Donkey," his local ballads—including "Sweet Waters Of Tyne," "I've Got A Little Whippet," and "Tyneside's Where I Come From"—became staples at Newcastle City Hall Geordierama concerts and on Tyne Tees.
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Contemporary Evolution and Education
The tradition continues to evolve through the work of master pipemakers and players. Colin Ross and David G. Burleigh have been pivotal as both teachers and makers of the Northumbrian pipes. The subsequent generation, including Jez Lowe and Ed Pickford, has further reinvigorated the local scene.
Today, artists like piper Kathryn Tickell and fiddler Nancy Kerr have achieved international fame, collaborating with diverse artists such as Sting, Eliza Carthy, and Kate Rusby. Additionally, June Tabor's 2003 album An Echo of Hooves renewed interest in the ancient border ballads.
This enduring legacy led to a milestone in 2001, when Newcastle University became the first institution in England to offer a performance-based degree in folk and traditional music. The region currently supports over thirty active folk clubs and hosts major events, such as the Traditional Music Festival at Rothbury.
Key Facts
- First Revival Focus: Centered on folk dance, border ballads, and pipe music.
- Instrumental Heritage: The Northumbrian smallpipes were preserved by societies founded in 1893 and 1928.
- Academic Contribution: Francis James Child's 1882–98 collection heavily featured border ballads.
- Pop Culture Link: The melody for "Scarborough Fair" was sourced from Mark Anderson by Ewan MacColl in 1947.
- Educational Milestone: Newcastle University launched England's first performance-based folk music degree in 2001.
| Category | Notable Figures / Groups | Contribution |
|---|---|---|
| Pipers | Billy Pigg, Kathryn Tickell, Tom Clough | Preservation and international promotion of smallpipes. |
| Collectors/Scholars | John Bell, Francis James Child, Ewan MacColl | Documentation of tunes, ballads, and regional songs. |
| Groups | Lindisfarne, Jack the Lad, Hedgehog Pie | Integration of regional folk with progressive and rock styles. |
| Songwriters | Eric Boswell | Creation of enduring local ballads and popular songs. |
Frequently Asked Questions
What are Northumbrian smallpipes?
They are a distinctive regional bagpipe tradition of North East England, preserved through the efforts of various piper societies and master makers like Colin Ross and David G. Burleigh.
Who is responsible for the collection of border ballads?
While many contributed, Francis James Child is most notable for including them in his ten-volume collection, The English and Scottish Popular Ballads, published between 1882 and 1898.
How did "Scarborough Fair" become known?
The melody was sung by Mark Anderson, a retired lead miner, to Ewan MacColl in 1947. MacColl recorded it and later included it on The Singing Island (1960) before it was used by Simon & Garfunkel.
Which university offers a degree in folk music?
Newcastle University became the first in England to offer a performance-based degree programme in folk and traditional music in 2001.
What is the significance of the Traditional Music Festival at Rothbury?
It is one of the several major folk festivals hosted in the region, contributing to the active scene that currently includes over thirty folk clubs.