0:00:35 > 0:00:43GLOBAL FUSION MUSIC
0:02:30 > 0:02:36GLOBAL FUSION MUSIC
0:03:40 > 0:03:49APPLAUSE
0:03:49 > 0:03:53Hello and a very warm welcome to the 2017 BBC Radio 2 Folk Awards
0:03:53 > 0:04:00live from London in the Royal Albert Hall.
0:04:00 > 0:04:05Very much the Nettlebed Folk Club of the Kensington area.
0:04:05 > 0:04:08The folk awards are Radio 2's 18th annual celebration of folk,
0:04:08 > 0:04:10roots and acoustic music.
0:04:10 > 0:04:14We are going to showcase the very best work by folk musicians
0:04:14 > 0:04:20from the past 12 months and pay tribute to some masterful
0:04:20 > 0:04:23artists who have dedicated their careers to folk and roots music.
0:04:23 > 0:04:27As ever we have an incredible assortment, a melange,
0:04:27 > 0:04:33a smorgasbord of live music lined up.
0:04:33 > 0:04:36OK, let's have our first award of the evening.
0:04:36 > 0:04:39This is for Best Duo and to present the awards is the Oscar-winning
0:04:39 > 0:04:42director and animator behind some of film and TV's much loved
0:04:42 > 0:04:50claymation characters including Morph and Gregg Wallace.
0:04:50 > 0:04:51Please welcome Peter Lord.
0:04:51 > 0:05:00APPLAUSE
0:05:06 > 0:05:07Who designed this trophy?
0:05:07 > 0:05:16I'm just saying...
0:05:16 > 0:05:18They've been ripping off Morph for about 20 years
0:05:18 > 0:05:21and I haven't seen a penny.
0:05:21 > 0:05:28The best duo is Ross Ainslie and Ali Hutton.
0:05:28 > 0:05:29Thank you very much.
0:05:29 > 0:05:32It's quite embarrassing, I was wearing the same shirt
0:05:32 > 0:05:35that was on the photos there.
0:05:35 > 0:05:37Now to some more live music.
0:05:37 > 0:05:41This next group released their debut album in 2016 and are nominated
0:05:41 > 0:05:43for the Horizon Award, a product of Orkney's thriving
0:05:43 > 0:05:47and nurturing musical community.
0:05:47 > 0:05:53Please welcome Fara.
0:06:15 > 0:06:19# Three Fishers went sailing out into the west
0:06:19 > 0:06:23# Into the west as the sun came up
0:06:23 > 0:06:26# Each thought of the woman that loved him the best
0:06:26 > 0:06:33# Children stood watching them out of the town
0:06:33 > 0:06:40# Oooooo
0:06:45 > 0:06:48# Oooooo
0:06:48 > 0:06:52# Three wives sat up in the lighthouse tower
0:06:52 > 0:06:57# And they trimmed the lamps as the sun went down
0:06:57 > 0:07:02# They looked at the squall and they looked at the shower
0:07:02 > 0:07:05# And the night-wrack came rolling in ragged and brown
0:07:05 > 0:07:14# The night-wrack came rolling in ragged and brown
0:07:21 > 0:07:23# For the storms be sudden and the waters be deep
0:07:23 > 0:07:33# And the harbour bar be moaning
0:07:33 > 0:07:35# Ooooo
0:07:39 > 0:07:48# Ooooo
0:08:05 > 0:08:08# Three corpses lay out in the shining sands
0:08:08 > 0:08:12# And the morning gleam as the tide went down
0:08:12 > 0:08:17# The women were weeping and wringing their hands
0:08:17 > 0:08:26# For those who would never come back to the town
0:08:28 > 0:08:32# Men must work and women must weep
0:08:32 > 0:08:35# For there is little to earn and many to keep
0:08:35 > 0:08:44# And the harbour bar be moaning
0:08:44 > 0:08:48# Men must work and women must weep
0:08:48 > 0:08:51# For the sooner it's over
0:08:51 > 0:08:54# The sooner to sleep
0:08:54 > 0:08:56# And goodbye to the bar and its moaning
0:08:56 > 0:09:05# Goodbye to the bar and its moaning.#
0:09:07 > 0:09:11APPLAUSE
0:09:22 > 0:09:26Now, for the BBC Radio 2 Young Folk Award.
0:09:26 > 0:09:30To present this award, a founding member of a folkrock
0:09:30 > 0:09:33institution, Fairport Convention.
0:09:33 > 0:09:36Fairport themselves were mostly teenagers when they started in 1967
0:09:36 > 0:09:40but they now boast a combined age of 328.
0:09:40 > 0:09:43Please welcome Simon Nicholl.
0:09:43 > 0:09:50APPLAUSE
0:09:53 > 0:09:58Thank you, Mark and Julie for reminding me of how
0:09:58 > 0:10:02being in Fairport has taken me from O levels, both of them,
0:10:02 > 0:10:04to a different world, one now including statins
0:10:04 > 0:10:08and bus passes.
0:10:08 > 0:10:11The turn that has won the 2017 BBC Young Folk Awards
0:10:11 > 0:10:19are Josie Duncan Pablo Lafuente.
0:10:28 > 0:10:32Now for the first of tonight's Lifetime Achievement Awards,
0:10:32 > 0:10:35which is given to recognise really outstanding contributions.
0:10:35 > 0:10:40You probably gathered that from the title of the awards.
0:10:40 > 0:10:42The recipient is a singer songwriter guitarist originally from Glasgow
0:10:42 > 0:10:44but raised in Dorset.
0:10:44 > 0:10:47He now calls California his home.
0:10:47 > 0:10:50In the mid-60s, he compered at legendary Soho folk clubs
0:10:50 > 0:10:54like Les Cousins and Bungie's Folk Cellar.
0:10:54 > 0:10:56By the late 1970s he was topping the charts around the world.
0:10:56 > 0:10:59To present this award, one of the most recognisable voices
0:10:59 > 0:11:02in the history of British broadcasting, would you give a huge
0:11:02 > 0:11:03welcome to Tony Blackburn.
0:11:03 > 0:11:13APPLAUSE
0:11:13 > 0:11:17There is a reason why I'm here, because in the early 60s,
0:11:17 > 0:11:20Al Stewart was in my band, known as Tony Blackburn
0:11:20 > 0:11:29the Swinging Bells.
0:11:30 > 0:11:33He has owned up to appearing with Alan Parsons, Jimmy Page,
0:11:33 > 0:11:36Rick Wakeman, but as far as I know, he seems to have forgotten that
0:11:36 > 0:11:37actually, I was the one who gave him his chance,
0:11:39 > 0:11:48The Lifetime Achievement Award goes to Al Stewart.
0:11:56 > 0:12:05# Fishing boats go out across the evening water
0:12:29 > 0:12:32# Smuggling guns and arms across the Spanish border
0:12:32 > 0:12:34# The wind whips up the waves so loud
0:12:34 > 0:12:35# The ghost moon sails among the clouds
0:12:35 > 0:12:43# And turns the rifles into silver on the border
0:12:49 > 0:12:52# On my wall, the colours of the maps are running
0:12:52 > 0:12:56# From Africa, the winds, they talk of changes coming
0:12:56 > 0:12:59# The torches flare up in the night
0:12:59 > 0:13:02# The hand that sets the farms alight
0:13:02 > 0:13:08# Has spread the word to those who're waiting on the border
0:13:10 > 0:13:12# In the village where I grew up
0:13:12 > 0:13:20# Nothing seems the same
0:13:25 > 0:13:27# Still you never see the change
0:13:27 > 0:13:28# From day to day
0:13:39 > 0:13:41# No one notices the customs slip away
0:13:41 > 0:13:43# Late last night the rain was knocking on my window
0:13:43 > 0:13:46# I moved across the darkened room and in the lamp-glow
0:13:46 > 0:13:48# I thought I saw down in the street
0:13:48 > 0:13:50# The spirit of the century
0:13:50 > 0:13:53# Telling us that we're all standing
0:13:53 > 0:13:59# On the border
0:13:59 > 0:14:01# In the islands where I grew up
0:14:01 > 0:14:02# Nothing seems the same
0:14:02 > 0:14:05# It's just the patterns that remain
0:14:05 > 0:14:09# An empty shell
0:14:09 > 0:14:14# But there's a strangeness in the air you feel too well
0:14:23 > 0:14:29# The fishing boats go out across the evening water
0:14:29 > 0:14:38# Smuggling guns and arms across the Spanish border
0:14:38 > 0:14:40# The wind whips up the waves so loud
0:14:40 > 0:14:42# The ghost moon sails among the clouds
0:14:42 > 0:14:44# Turns the rifles into silver
0:14:44 > 0:14:54# On the border
0:14:54 > 0:15:06# On the border
0:15:18 > 0:15:23Thank you very much.
0:15:23 > 0:15:31Now to the award for Best Traditional Track.
0:15:31 > 0:15:35To present the award, someone I first saw at the Manchester Apollo
0:15:35 > 0:15:38in 1979 as part of a Two Tone package tour, and so impressed
0:15:38 > 0:15:42was I by the sound and style of her band The Selector,
0:15:42 > 0:15:49I formed semi-legendary Manchester ska act Bobsleigh and the Crestas,
0:15:49 > 0:15:59sales of whose debut album, it's hard to be precise on these
0:15:59 > 0:16:02things but they range between 13 at the lower end right
0:16:02 > 0:16:03up to 17.
0:16:03 > 0:16:06You're very best mood and stomping pleas for the original rude
0:16:06 > 0:16:07girl, Pauline Black.
0:16:07 > 0:16:13Well, my initial foray into music began in a folk club in Coventry,
0:16:13 > 0:16:22and those folkies embraced me and I embraced them.
0:16:22 > 0:16:27Indeed, my first paying gig was supporting Bert Jansch in 1978.
0:16:27 > 0:16:30I sang ten songs and I was paid ?10.
0:16:30 > 0:16:36I thought I had arrived.
0:16:36 > 0:16:38I've never lost my love for traditional folk
0:16:38 > 0:16:41and it is a great pleasure for me to present the award for Best
0:16:41 > 0:16:51Traditional Track to Daoiri Farrell.
0:17:07 > 0:17:17# Come all ye gallant poachers that ramble free of care
0:17:17 > 0:17:24# Who wander out on moonlight nights with your dog
0:17:24 > 0:17:34# And gun and snare
0:17:38 > 0:17:48# Oh the hare and lofty pheasant
0:17:50 > 0:18:00# You will have at your command
0:18:00 > 0:18:04# Not thinking on the last career spent
0:18:04 > 0:18:16# On Van Diemen's Land
0:18:29 > 0:18:39# Young Thomas Brown from in the town, Jack Murphy
0:18:41 > 0:18:53# And poor Joe were three
0:18:59 > 0:19:05# And straight away transported unto Van Diemen's Land
0:19:05 > 0:19:08# And the first day we landed there upon the fatal shore
0:19:08 > 0:19:12# the planters gathered around, might be 20 score, well
0:19:12 > 0:19:16# they ranked us up like horses and sold us out of hand
0:19:16 > 0:19:18# and they yoked us to the plough, brave boys
0:19:18 > 0:19:29# for to work Van Diemen's Land.
0:19:35 > 0:19:38# The cottages that we lived in, they are made of songs of theirs,
0:19:38 > 0:19:41# we have rotting straw for bedding, but we dared not say a word,
0:19:41 > 0:19:45# and we rigged our huts with firing and we slumber when we can,
0:19:45 > 0:19:48# for to keep those beasts at bay around Van Diemen's Land.
0:19:48 > 0:19:51# God bless our wives and families, likewise that happy shore,
0:19:51 > 0:19:53# that sweet isle of contentment that we shall see no more,
0:19:53 > 0:19:56# and for those wretched females, see them we seldom can,
0:19:56 > 0:19:59# there are 40 men to every woman on Van Diemen's Land
0:19:59 > 0:20:06# At nighttime when I'm slumbering, I have a pleasant dream,
0:20:06 > 0:20:16# that I'm sitting by a cool green lass down by a purling stream,
0:20:16 > 0:20:20# or I'm wandering through a meadow fair with my sweetheart by my hand
0:20:20 > 0:20:30# and I waken broken-hearted, still on Van Diemen's Land
0:20:33 > 0:20:38# For 14 years is a long, long time and that's our sentence run
0:20:38 > 0:20:44# for nothing but the poaching, it's all I've ever done
0:20:44 > 0:20:51# and I'd give up both my dog and gun and poaching every man
0:20:51 > 0:21:01# and I'd let go the harship still on Van Diemen's Land
0:21:04 > 0:21:11# If I had ?500 all laid out in my hand, well I'd give it up
0:21:11 > 0:21:16# for poaching if that I could command,
0:21:16 > 0:21:19# then I'd retire to Erin's isle
0:21:19 > 0:21:23# and I'd be a happy man
0:21:23 > 0:21:31# and I'd bid farewell to poaching likewise Van Diemen's Land
0:21:31 > 0:21:41# Yeah #.
0:21:53 > 0:22:00Thank you, thank you.
0:22:00 > 0:22:06Now it's time for the Folk Awards Hall of Fame.
0:22:06 > 0:22:09This year marks 50 years since the death of a true folk
0:22:09 > 0:22:18icon, Woody Guthrie.
0:22:18 > 0:22:22To pay tribute to Woody Guthrie, please welcome an Englishman,
0:22:22 > 0:22:27but someone who Woody's own daughter, Nora, called
0:22:27 > 0:22:33the punk incarnation of her father, it's Billy Bragg.
0:22:33 > 0:22:43Thank you very much.
0:22:46 > 0:22:49It's great that the Radio 2 Folk Awards are honouring
0:22:49 > 0:22:50Woody Guthrie here tonight.
0:22:50 > 0:22:52He was someone who was greatly influenced by the folk
0:22:52 > 0:22:56music of these islands, who once wrote how he'd learned
0:22:56 > 0:23:01from his Scottish descended great-grandmother the folk songs
0:23:01 > 0:23:04of the British Islands.
0:23:04 > 0:23:08He learned them through the oral tradition, he was at the far end
0:23:08 > 0:23:11of that Elizabethan balladeer tradition that went out from these
0:23:11 > 0:23:13islands, when people went across the Atlantic to build
0:23:13 > 0:23:17a new home in America and Canada.
0:23:17 > 0:23:19Conversely, he was the first real singer-songwriter, and certainly,
0:23:19 > 0:23:24the first alternative songwriter.
0:23:24 > 0:23:28He was also arguably the first punk rocker.
0:23:28 > 0:23:34I say that because he painted antifascist slogans on his guitars
0:23:34 > 0:23:3730, 40 years before the Clash thought about doing that.
0:23:37 > 0:23:47Woody's also, I think, the father of the topical song tradition.
0:23:49 > 0:23:51That we love so much in the folk audiences.
0:23:51 > 0:23:53The great thing is all these years later, 70, 80 years,
0:23:53 > 0:23:56after he wrote the songs, they still have great relevance
0:23:56 > 0:24:03to us today, such as this one.
0:24:03 > 0:24:09# I ain't got no home, I'm just a-roamin' 'round
0:24:09 > 0:24:20# Just a wandrin' worker, Who goes from town to town
0:24:21 > 0:24:31# And the police make it hard for me,
0:24:31 > 0:24:40# No matter where I go
0:24:40 > 0:24:47# And I ain't got no home in this world anymore
0:24:47 > 0:24:51# My brothers and my sisters are stranded on this road,
0:24:51 > 0:24:59# A long and dusty road that a million feet have trod
0:24:59 > 0:25:09# Rich man took my home and drove me from my door
0:25:13 > 0:25:15# And I ain't got no home in this world anymore
0:25:15 > 0:25:26# I ain't got no home in this world anymore
0:25:28 > 0:25:36# Was farmin' on the shares, and always I was poor
0:25:36 > 0:25:41# My crops leading into the banker's store
0:25:41 > 0:25:47# My wife took down and died all on the cabin floor
0:25:47 > 0:25:56# And I ain't got no home in this world anymore
0:25:59 > 0:26:07# No, I ain't got no home in this world anymore
0:26:07 > 0:26:10# I mined in your mines and I gathered in your corn
0:26:10 > 0:26:13# I been working, mister
0:26:13 > 0:26:16# Since the day I was born
0:26:16 > 0:26:26# Now I worry all the time
0:26:26 > 0:26:28# Like I never did before
0:26:28 > 0:26:46# I ain't got no home in this world anymore
0:26:48 > 0:26:56# Now as I look around, it's mighty plain to see
0:26:56 > 0:27:06# This world is such a great and a funny place to be
0:27:06 > 0:27:16# The gamblin' man is rich
0:27:16 > 0:27:19# and the workin' man is poor,
0:27:19 > 0:27:29# And I ain't got no home in this world anymore
0:27:29 > 0:27:39APPLAUSE in this world anymore
0:27:40 > 0:27:49Billy Bragg!
0:27:52 > 0:27:55Now, last year a new collection of songs were written to accompany
0:27:55 > 0:27:58an exhibition that took place at the V's Museum of Childhood.
0:27:58 > 0:28:02It explored the history of forced child migration when poor
0:28:02 > 0:28:05or orphaned children from the UK were sent to Canada and Australia
0:28:05 > 0:28:10in a scheme which has since been labelled shameful and misguided.
0:28:10 > 0:28:12Tonight we have a special performance of some of those songs
0:28:12 > 0:28:13to help highlight that story.
0:28:13 > 0:28:16The Ballads of Child Migration.
0:28:16 > 0:28:26APPLAUSE
0:28:27 > 0:28:28Migrant children who left Britain had very scant
0:28:28 > 0:28:30information often about their past.
0:28:30 > 0:28:32Often brothers and sisters were split up and sent
0:28:32 > 0:28:37to different places, sometimes different countries.
0:28:37 > 0:28:40Once overseas it was not uncommon for migrants to experience terrible
0:28:40 > 0:28:46cultures of abuse in institutions like the Fairbridge farm
0:28:46 > 0:28:48schools in Australia.
0:28:48 > 0:28:54Children were often beaten and mistreated in the name
0:28:54 > 0:28:56of religion, in a supposed attempt to cleanse their souls.
0:28:56 > 0:28:58Here's the voice of former child migrant Bob Taylor.
0:28:58 > 0:29:00We always copped a smack around the head.
0:29:00 > 0:29:01Or the ear.
0:29:01 > 0:29:05For something trivial.
0:29:05 > 0:29:07Without any warning whatsoever.
0:29:07 > 0:29:17And I can't stand being anywhere unless my back is to the wall.
0:29:18 > 0:29:21If I'm sitting in a restaurant I want to make sure I can see
0:29:21 > 0:29:23everybody because I still have that fear.
0:29:23 > 0:29:26# I stood on the shore in Southampton
0:29:26 > 0:29:31# Salt wind in my hair, a case in my hand
0:29:31 > 0:29:38# We were going to Western Australia
0:29:38 > 0:29:42# And it made me the man that I am
0:29:42 > 0:29:47# I am
0:29:47 > 0:29:54# It made me the man that I am
0:29:54 > 0:30:00# I don't like to talk about Fairbridge
0:30:00 > 0:30:03# What happened there I still don't understand
0:30:03 > 0:30:13# These days I sleep with the lights on
0:30:15 > 0:30:18# It made me the man that I am
0:30:18 > 0:30:21# I am
0:30:21 > 0:30:26# It made me the man that I am #.
0:30:26 > 0:30:30There are many ways to carry scars.
0:30:30 > 0:30:34The physical ones seem to heal but the psychological scars that
0:30:34 > 0:30:40are left with us are terribly hard.
0:30:40 > 0:30:45I cry a lot, still, because I believed religious people were kind.
0:30:45 > 0:30:53When a Mercy nun came on the TV to be interviewed and she had
0:30:53 > 0:30:56the gall to turn around and say they beat us so they
0:30:56 > 0:31:00could make us pure...
0:31:00 > 0:31:06It's just ridiculous.
0:31:06 > 0:31:10The voice of former child migrant Patricia Carlson.
0:31:10 > 0:31:17There are about 2000 former British child migrants still alive today
0:31:17 > 0:31:20and many bear mental scars which are as a result
0:31:20 > 0:31:25of being sent away from home at such a young age.
0:31:25 > 0:31:28Although public apologies have been made by both the British
0:31:28 > 0:31:34and Australian Prime Ministers, there's no easy way
0:31:34 > 0:31:36to ease the pain, the traumatic memories
0:31:36 > 0:31:40and a deep sense of loneliness that the migration schemes caused.
0:31:40 > 0:31:44These songs are dedicated to all former child migrants
0:31:44 > 0:31:46and of course we also think of the current generation of child
0:31:46 > 0:31:49migrants across the world, who are searching for a home
0:31:49 > 0:31:54and safety, today.
0:31:54 > 0:32:04# A hundred small suitcases sat in the dark
0:32:06 > 0:32:14# Nametagged and labelled and bound for Australia
0:32:14 > 0:32:21# Round up like soldier boys out on parade
0:32:21 > 0:32:31# Ready for sailing away
0:32:31 > 0:32:41# Small hands to carry them over the sea
0:32:41 > 0:32:50# With a life that for most of them they can't believe
0:32:50 > 0:32:51# They're bound for Canada
0:32:51 > 0:32:55# For better or worse
0:32:55 > 0:33:04# Small cases full of big dreams
0:33:13 > 0:33:23# What tiny treasures are hidden inside
0:33:25 > 0:33:34# A short lifetime's memories to take to Australia
0:33:34 > 0:33:43# A letter, photograph, a locket of hair
0:33:43 > 0:33:47# A reminder of someone who'll never be there
0:33:47 > 0:33:57# Small hands to carry them over the sea
0:34:02 > 0:34:07# The life that for most of them they can't believe
0:34:07 > 0:34:08# They're bound for paradise
0:34:08 > 0:34:10# For better or worse
0:34:10 > 0:34:18# Small cases full of big dreams
0:34:18 > 0:34:28# Small cases full of big dreams #.
0:34:52 > 0:35:02APPLAUSE
0:35:02 > 0:35:09The Ballads of Child Migration.
0:35:09 > 0:35:11With the Queensbridge Chamber Choir from Hackney.
0:35:11 > 0:35:13Give them a big round of applause.
0:35:13 > 0:35:14APPLAUSE
0:35:14 > 0:35:22The Best Album award.
0:35:22 > 0:35:24To present this award, a Grade A movie buff
0:35:24 > 0:35:27who was catapulted to fame after hosting a cult film corner
0:35:27 > 0:35:37during my late-night graveyard shift show on the now-defunct Radio 1.
0:35:41 > 0:35:42LAUGHTER
0:35:42 > 0:35:45He now has to settle for being the Observer's chief film
0:35:45 > 0:35:47critic and hosting a moderately popular film review show
0:35:47 > 0:35:48with someone called Simon Mayo.
0:35:48 > 0:35:51Thrice winner of the high barnet best kept quiff award,
0:35:51 > 0:35:52please welcome Mark Kermode!
0:35:52 > 0:35:57APPLAUSE
0:35:57 > 0:36:00Good evening.
0:36:00 > 0:36:02For the last 30 years I've played stand-up bass,
0:36:02 > 0:36:04double bass, in a skiffle band.
0:36:04 > 0:36:08LIGHT APPLAUSE
0:36:08 > 0:36:14That's the very definition of a ripple of applause.
0:36:14 > 0:36:18And I was going to say the thing about, I understand that spending
0:36:18 > 0:36:20three decades playing stand-up bass in a skiffle band makes
0:36:20 > 0:36:22you supremely unqualified to say anything at all about music.
0:36:22 > 0:36:23However...
0:36:23 > 0:36:26When I got here tonight, the very first thing that happened
0:36:26 > 0:36:29was that Billy Bragg came up and gave me a copy of his book,
0:36:29 > 0:36:31How Skiffle Changed The World.
0:36:31 > 0:36:34So, this is the moment to say, I'm Mark, I play skiffle and I'm
0:36:34 > 0:36:35not ashamed, all right.
0:36:35 > 0:36:42CHEERING
0:36:42 > 0:36:45The winner of the award tonight is, in fact, a collaboration.
0:36:45 > 0:36:48It's a hand across-the-board project that brought together ten very
0:36:48 > 0:36:55talented musicians mainly from England and Scotland.
0:36:55 > 0:36:58They got together on an island and they wondered about what it
0:36:58 > 0:36:59meant to be separated.
0:36:59 > 0:37:02And they produced something which is timely and beautiful and brilliant.
0:37:02 > 0:37:04That, ironically, brought them and us together.
0:37:04 > 0:37:14The winner of the award for Best Album is Songs Of Separation.
0:37:21 > 0:37:22CHEERING
0:37:22 > 0:37:25This project was supposed to last six days in 2015.
0:37:25 > 0:37:28These amazing women and some that haven't been able to be with us
0:37:28 > 0:37:30today came together to celebrate the differences between English
0:37:30 > 0:37:33and Scottish music.
0:37:33 > 0:37:37And music is the great connector.
0:37:37 > 0:37:40It's the thing that brings us together, so I guess
0:37:40 > 0:37:42what I want to say is, let's keep on connecting.
0:37:42 > 0:37:44APPLAUSE
0:37:44 > 0:37:49# There is a Whitehawk in the woods
0:37:49 > 0:37:59# Kills a man who drinks his blood...#
0:38:02 > 0:38:05It's got two harps on it.
0:38:05 > 0:38:11Wow.
0:38:11 > 0:38:18Thank you to everyone that I have ever played music with.
0:38:18 > 0:38:20And thank you to the people of London today that helped me
0:38:20 > 0:38:22on the Tube with my harp.
0:38:22 > 0:38:23You're great.
0:38:23 > 0:38:24Thank you very much. Cheers.
0:38:24 > 0:38:25APPLAUSE
0:38:25 > 0:38:28Time for some more music.
0:38:28 > 0:38:37Our next performer started singing on the London folk scene
0:38:37 > 0:38:38as a teenager in the mid-1950s.
0:38:38 > 0:38:41In 1959 she travelled with Texan song collector Alan Lomax
0:38:41 > 0:38:43to the southern states of America, collecting folk, blues
0:38:43 > 0:38:44and spiritual music, to create a resource
0:38:44 > 0:38:52that is valued to this day.
0:38:52 > 0:38:54She recorded many wonderful EPs and LPs of traditional English
0:38:54 > 0:38:57songs and has been called the secret Queen of England by admirers.
0:38:57 > 0:39:00Last year she released her wonderful new album Lodestar, her first
0:39:00 > 0:39:04recording in decades.
0:39:04 > 0:39:06And she's nominated tonight for both Folk Singer
0:39:06 > 0:39:12of the Year and Best Album.
0:39:12 > 0:39:15Singing Washed Ashore, I don't need to ask you for it,
0:39:15 > 0:39:16but your warmest welcome for Shirley Collins.
0:39:16 > 0:39:26APPLAUSE
0:39:27 > 0:39:28Thank you.
0:39:28 > 0:39:30In a small downland church on the South Downs,
0:39:30 > 0:39:33but close to the sea, if you walk through the graveyard
0:39:33 > 0:39:34there is a simple wooden cross.
0:39:34 > 0:39:37There's no name on it, just the words, washed
0:39:37 > 0:39:47ashore carved in it.
0:40:23 > 0:40:28# As a lady was walking down by the seaside
0:40:28 > 0:40:35# A poor drowned sailor she chanced there to spy
0:40:35 > 0:40:43# When first she saw the sailor he put her to a stand
0:40:43 > 0:40:53# For she knew it t'was her true love by the mark on his hand
0:40:57 > 0:41:00# In yonder green churchyard this couple was layed
0:41:00 > 0:41:08# And a stone for remembrance placed over their grave
0:41:08 > 0:41:13# Saying 'our joys they are all over
0:41:13 > 0:41:19# All pleasures are fled
0:41:19 > 0:41:29# We shall lie here forever, the grave is our bed' #.
0:42:48 > 0:42:49Thank you.
0:42:49 > 0:42:59CHEERING AND APPLAUSE
0:43:12 > 0:43:14The wonderful Shirley Collins singing again after more than 30
0:43:14 > 0:43:15years away from the stage.
0:43:15 > 0:43:25With fellow musicians Pete Cooper, David Arthur and Ian Kearey.
0:43:27 > 0:43:30Now we move onto the second of tonight's Lifetime
0:43:30 > 0:43:30Achievement Awards.
0:43:30 > 0:43:33Presented to the artists who have enriched the genre
0:43:33 > 0:43:34and our lives with their music.
0:43:34 > 0:43:37To present this award, I'm very pleased to introduce a singer,
0:43:37 > 0:43:38songwriter and producer who assembled some
0:43:38 > 0:43:41of the finest records of the Punk and New Wave era.
0:43:41 > 0:43:43And he's performed alongside this Lifetime Achievement Award winner
0:43:43 > 0:43:44on and off since the 1980s.
0:43:44 > 0:43:54Please welcome, still sporting a resplendent quiff, Nick Lowe.
0:43:57 > 0:43:59Ladies and gentlemen, there are thankfully a number
0:43:59 > 0:44:08of artists still with us who have enjoyed long and illustrious
0:44:08 > 0:44:11careers, but it's hard to think of one who,
0:44:11 > 0:44:13over more than five decades, has delivered the musical goods
0:44:13 > 0:44:19as comprehensively as Ry Cooder has.
0:44:19 > 0:44:20APPLAUSE
0:44:20 > 0:44:23There is not time enough to do justice here to his
0:44:23 > 0:44:25acclaimed film score work.
0:44:25 > 0:44:27Or indeed to consider the proposition that although he's
0:44:27 > 0:44:30a hugely knowledgeable and beloved folk musician, his appreciation
0:44:30 > 0:44:39and ear for a great pop song has also informed much of what he's done
0:44:39 > 0:44:45and makes him, if possible, even cooler.
0:44:45 > 0:44:47It's my great pleasure to present the Lifetime
0:44:47 > 0:44:48Achievement Award to Ry Cooder.
0:44:48 > 0:45:15CHEERING AND APPLAUSE
0:45:15 > 0:45:16APPLAUSE
0:45:16 > 0:45:18Thank you Nick.
0:45:18 > 0:45:20That's very nice.
0:45:20 > 0:45:23Back in Santa Monica, in the early '60s,
0:45:23 > 0:45:31the New Lost City Ramblers came through town.
0:45:31 > 0:45:34I saw them at the Folk Club in West Hollywood and I
0:45:34 > 0:45:35thought to myself - well, these guys they're
0:45:35 > 0:45:36not from the cabin.
0:45:36 > 0:45:38You know.
0:45:38 > 0:45:44They're not cotton mill workers and so forth.
0:45:44 > 0:45:50Mike Seeger, John Cohen and Tom Paley.
0:45:50 > 0:45:57I said - they learned to do it and they do it perfectly.
0:45:57 > 0:46:03So, there's hope for a boy from Santa Monica.
0:46:03 > 0:46:05I went to Tom Paley and I said, "Would you possibly consider
0:46:05 > 0:46:09giving me lessons?"
0:46:09 > 0:46:11And he said "Sure."
0:46:11 > 0:46:20And then began to teach me some things.
0:46:24 > 0:46:25The big news was these open tunings.
0:46:25 > 0:46:27You tuned the instrument to an open chord.
0:46:27 > 0:46:29A beautiful sound.
0:46:29 > 0:46:30That was the big news.
0:46:30 > 0:46:33And that's what I'm going to do right about now, soon as I walk over
0:46:33 > 0:46:36there and I want to say that really did it.
0:46:36 > 0:46:37That opened the door.
0:46:37 > 0:46:46APPLAUSE
0:46:57 > 0:47:00Now Ry is going to perform a song from his classic album.
0:47:00 > 0:47:03Paradise and Lunch and incidentally, this song was collected
0:47:03 > 0:47:09in Mississippi in 1959 by Alan Lomax and one Shirley Collins,
0:47:09 > 0:47:10ladies and gentlemen, Mr Ry Cooder.
0:47:12 > 0:47:21OK.
0:47:31 > 0:47:33# Jesus is on that mainline
0:47:33 > 0:47:37# Tell Him what you want
0:47:37 > 0:47:39# Jesus is on that mainline
0:47:39 > 0:47:44# Tell Him what you want
0:47:44 > 0:47:46# Jesus is on that mainline
0:47:46 > 0:47:50# Tell Him what you want
0:47:50 > 0:47:58# You can call Him up and tell Him what you want
0:47:58 > 0:48:03# Well, the line ain't never busy
0:48:03 > 0:48:05# You can tell Him what you want
0:48:05 > 0:48:07# Well, that line ain't never busy
0:48:07 > 0:48:09# You can tell Him what you want
0:48:09 > 0:48:11# Well, the line ain't never busy
0:48:11 > 0:48:16# You can tell Him what you want
0:48:16 > 0:48:17# Keep on calling Him up
0:48:17 > 0:48:21# And tell Him what you want
0:49:16 > 0:49:18# Well Richard Nixon up in heaven
0:49:18 > 0:49:23# Round the heavenly throne
0:49:23 > 0:49:27# Angels come looking for Him
0:49:27 > 0:49:29# Angels come looking for him
0:49:29 > 0:49:31# Said you're wanted on the telephone
0:49:31 > 0:49:33# A lot of people getting worried
0:49:33 > 0:49:34# Down in Washington
0:49:34 > 0:49:36# You'd better take this call
0:49:36 > 0:49:45# And listen to what they want
0:49:45 > 0:49:51# Now Richard Nixon's said - lookie here, I told you many times
0:49:51 > 0:49:57# You ain't got Richard Nixon, just kick around no more
0:49:57 > 0:49:59# If you don't like that orange hair faker
0:49:59 > 0:50:06# Throw him out the door
0:50:06 > 0:50:09# You'd better stand right up and tell him what you want
0:50:09 > 0:50:17# Jesus is on the mainline tell Him what you want
0:50:17 > 0:50:24# Jesus is on the mainline tell Him what you want
0:50:24 > 0:50:27# Jesus is on the mainline tell him what you want
0:50:27 > 0:50:28# You can call Him up
0:50:28 > 0:50:34# And tell him what you want
0:50:34 > 0:50:37# Jesus on the mainline
0:50:37 > 0:50:39# Tell Him what you want
0:50:39 > 0:50:45# Jesus on the mainline
0:50:45 > 0:50:49# Tell Him what you want
0:50:49 > 0:50:57# Jesus on the mainline
0:50:57 > 0:51:01# You'd better tell him
0:51:01 > 0:51:06# Tell Him what you want
0:51:06 > 0:51:09# You'd better tell him
0:51:18 > 0:51:24Thank you, folks, thank you so much.
0:51:26 > 0:51:35CHEERING AND APPLAUSE
0:51:50 > 0:51:52It's now time for our final award of the evening.
0:51:52 > 0:51:54For Folk Singer of the Year.
0:51:54 > 0:52:02To present this award, a singer and song writer from Glasgow.
0:52:02 > 0:52:11Her band, Texas, took their name from the 1984 Wim Wenders film,
0:52:11 > 0:52:13Paris Texas, which was soundtracked by a certain Ry Cooder.
0:52:13 > 0:52:14Please welcome leader Sharleen Spiteri.
0:52:14 > 0:52:17Hi.
0:52:17 > 0:52:26For me, as a songwriter and as a singer, we're all folk singers.
0:52:29 > 0:52:33Anyone that sings about life, the talks that tell the stories
0:52:33 > 0:52:36of love of loss of struggle, of anything, whether as a singer,
0:52:36 > 0:52:39just telling that story to you, which then becomes your song,
0:52:39 > 0:52:44it becomes your story.
0:52:44 > 0:52:47It becomes the people you know, the smells you know,
0:52:47 > 0:52:50the surroundings that you know and that is what a folk singer is.
0:52:50 > 0:52:53The winner, well-deservedly is Kris Drever.
0:52:53 > 0:53:02# If wishes were horses, beggars would ride #
0:53:10 > 0:53:12Singing is a great pleasure for everybody
0:53:12 > 0:53:13who does it.
0:53:13 > 0:53:15Not necessarily a great pleasure for everybody who hears
0:53:15 > 0:53:16everybody else's singing.
0:53:16 > 0:53:17I am delighted and good night.
0:53:17 > 0:53:26APPLAUSE
0:53:29 > 0:53:32And so, we're nearing the end of the BBC Radio 2
0:53:32 > 0:53:33Folk Awards for 2017.
0:53:33 > 0:53:35We hope you've enjoyed this snapshot of the folk scene.
0:53:35 > 0:53:38If you haven't, we're not really that bothered because we're nearly
0:53:38 > 0:53:43finished and we're going to go for a drink.
0:53:43 > 0:53:46Now, to play us out, someone who broke on to the folk
0:53:46 > 0:53:48scene 16 years ago and has gone from strength-to-strength
0:53:48 > 0:53:50as a singer, arranger and composure.
0:53:50 > 0:53:53He's going to sing us a song from his excellent album Upcetera.
0:53:53 > 0:53:55Backed by his Upcetera band and performing the traditional
0:53:55 > 0:53:56ballad, Fair Margaret and Sweet William,
0:53:56 > 0:53:57rapturous applause for Jim Moray.
0:53:57 > 0:54:06Thank you and good night.
0:54:08 > 0:54:09Hello.
0:54:09 > 0:54:11# Sweet William rose on a May morning
0:54:11 > 0:54:16# He's dressed himself in blue
0:54:16 > 0:54:19# We want you to tell us of the love that's been
0:54:19 > 0:54:24# Between Lady Margaret and you.
0:54:24 > 0:54:26# Well I know nothing Lady Margaret's love
0:54:26 > 0:54:28# And I know she don't love me
0:54:28 > 0:54:30# But tomorrow morning at 8 o'clock
0:54:30 > 0:54:38# Lady Margaret my bride shall see
0:54:38 > 0:54:43# Lady Margaret was sitting in in a room, back combing her hair
0:54:43 > 0:54:49# When who should she see but sweet William come a-riding there
0:54:49 > 0:54:51# She first threw down her ivory comb
0:54:51 > 0:54:52# Then back she threw hair.
0:54:52 > 0:54:54# And you can suppose and be very well assured
0:54:54 > 0:55:03# Lady Margaret was heard no more
0:55:20 > 0:55:23# The day being past and the night coming on
0:55:23 > 0:55:24# When most all men were asleep
0:55:24 > 0:55:27# Something appeared to sweet William and his bride
0:55:27 > 0:55:29# And stood at the their bed feet
0:55:29 > 0:55:31# Saying - how do you like your bed making
0:55:31 > 0:55:33# And how do you like your sheets
0:55:33 > 0:55:35# And how do you like that new wedded bride
0:55:35 > 0:55:42# That lies in your arms and sleeps
0:55:42 > 0:55:44# Very well do I like my bed making
0:55:44 > 0:55:46# Much better do I like my sheets
0:55:46 > 0:55:48# But best of all is that gay lady
0:55:48 > 0:55:51# That stands at my bed feet
0:56:13 > 0:56:14# The night being past
0:56:14 > 0:56:16# And the day coming on
0:56:16 > 0:56:19# When most all men were awake
0:56:19 > 0:56:21# Sweet William he said he was troubled in the head
0:56:21 > 0:56:25# By the dreams that he dreamed last night
0:56:25 > 0:56:29# Such dreams, such dreams cannot be true
0:56:29 > 0:56:32# I'm afraid they're of no good
0:56:32 > 0:56:34# I dreamed my chamber was full of wild swine
0:56:34 > 0:56:37# And my bride's bed floating in blood
0:56:37 > 0:56:39# He's called down his waiting men
0:56:39 > 0:56:44# By one, by two, by three
0:56:44 > 0:56:47# Saying go and ask leave of my new wedded
0:56:47 > 0:56:50# If Lady Margaret I mayn't go and see
0:56:50 > 0:56:52# He'd rode up to Lady Margaret's door
0:56:52 > 0:56:56# And tingled all on the ring
0:56:56 > 0:56:58# And who was so ready as her own born brother
0:56:58 > 0:57:04# To rise and let him in
0:57:04 > 0:57:13# Is Lady Margaret in her own bower room, or is she in her hall
0:57:16 > 0:57:19# Or is she high in her chambery, amongst the ladies all
0:57:19 > 0:57:21# Lady Margaret's not in her own bower room
0:57:21 > 0:57:23# Nor neither is she in her hall
0:57:23 > 0:57:25# But she's in her long cold coffin
0:57:25 > 0:57:34# Lies pale against the wall
0:57:41 > 0:57:43# Unroll, unroll the those winding sheets
0:57:43 > 0:57:44# Although they're very fine
0:57:44 > 0:57:46# And let me kiss them cold pale lips
0:57:46 > 0:57:48# Just as often as they've kissed mine
0:57:48 > 0:57:50# At first he's kissed her ivory cheeks
0:57:50 > 0:57:54# And then he's kissed her chin
0:57:54 > 0:57:56# And when he's kissed them cold pale lips
0:57:56 > 0:57:59# There was no breadth within
0:57:59 > 0:58:02# Lady Margaret died like it might be today
0:58:02 > 0:58:05# Sweet William he died tomorrow
0:58:05 > 0:58:11# Lady Margaret died for pure true love.
0:58:11 > 0:58:18# Sweet William he died for sorrow #
0:58:47 > 0:58:47Thank
0:58:47 > 0:58:47Thank you
0:58:47 > 0:58:48Thank you very
0:58:48 > 0:58:53Thank you very much.