2026

 It's not every musician who can hold an audience for an entire concert with just one guitar and one voice, but I can now add Blair Dunlop to that short list. Granted, he did invite his mum - the wonderful singer Judy Dunlop - onto the stage to sing three songs (an unexpected and very much appreciated surprise guest), but the rest of the night was his. Blair is an excellent guitarist, and his songwriting is exceptional with some very clever and often very sharp and witty lyrics, particularly on political and environmental topics. 

Top songs for me were 'Let's Get Out of the City' with it's driving rhythm, and 'Feng Shui', about the feeling of being trapped in a room after a relationship breakup. A bit of a  claustrophobia theme there I guess? Another rocking song, 'Sweet on You', cemented Blair's style as firmly at the folk-rock end of the spectrum, while a new composition, 'Trilobite', was full of clever and funny deliberately forced rhymes.

Although almost all of the music was written by Blair, we were treated to a lovely instrumental version of Robert Burns' 'Ye Banks and Braes o' Bonnie Doon'; and the concert began with Dylan's 'You're Gonna Make Me Lonesome When You Go', which Blair had previously sung with Ashley Hutchings (his dad) at the folk-rock legend's 80th birthday bash. 

On stage, Blair has a relaxed and confident manner, with some lovely anecdotes between songs and a wry sense of humour. His music is obviously influenced by his folk family roots, but he has taken the theme in a different direction. Is it still folk? What is folk anyway? A thoroughly good evening of quality music was enjoyed by all the folk present!

Many thanks to Dave Walters and to Ally and Ruby Turner for their songs from the floor to start each half; and to Ally, Juliet, Del and Dave for their 'warm-up' music as the audience arrived.

Our Folk Day - an annual tradition since we started the club in 2011 - tries to bring you something a little different each year. 

This year the day began with an instrument workshop on Old Time music, with OLD SPOT (Joe Danks and Rowan Piggott). The brilliant turnout of instrumentalists, and a few who just wanted to listen, learned about everything from "What on Earth is Old Time Music" to some very technical nuances for playing this music.

The Afternoon Concert followed, opening with the multi-talented friend of the club DAN KITTMER. We could only give Dan a short spot but he made the most of it with a brisk set of tunes and two songs, including a version of Chris Wood's marathon 'One In a Million'. We must give Dan a longer spot next time!

Next up we had a great variety of songs and tunes from the RAKESTONE TRIO with each member of the band taking turns to lead. Andy Martin (melodeon), Nick Morland (guitar), and Deborah Short (wind and percussion) brought us the songs of Nick Drake, Johnny Flynn, Si Khan and Wyndreth Berginsdottir, and the tunes of John Kirkpatrick and the late Dave Shepherd. 

Headlining the afternoon, we welcomed OLD SPOT back to the stage for a delightful exhibition of musicianship, with banjo, fiddle, and some really nice harmony vocals. Starting with their signature tune 'Old Spot', Rowan and Joe performed a spooky version of 'Tom Dooley'; a song ('Don't Mind It') written by Rowan; and a lovely acapella interpretation of an old ballad recorded by Dellie Norton - 'The Silk Merchant's Daughter'. By way of contrast, a set of Appalachian tunes was accompanied by their guest, the flatfoot dance wizz Sara Marshall. An excellent set, full of variety.

While we got the venue ready for the evening concert we had organised a space in the downstairs bar for a music session, open to all-comers and led by Jim Hellewell. A dozen or more musicians, and the occasional brave singer, had fun and provided a great musical backdrop to the pub's diners and drinkers.

And so to our special guests for the Evening Concert - the incredibly talented Irish band GATEHOUSE. We were lucky to reel them in on a short tour of the UK, sponsored by Culture Ireland. The evening was a grand mix of tunes and songs from this very polished line-up. John McEvoy (fiddle and mandola), Jacinta McEvoy (guitar and exceptionally good concertina) and John Wynne (flute and whistles) led us through jigs, reels, slides and flings galore, ranging from breathless pace to beautiful airs. Tunes were interspersed with some wonderful songs, the lovely voice of Deirdre Scanlan singing every solo. A particular highlight was 'Dobbyn's Flowery Vale' with Deidre's singing beautifully accompanied by Jacinta's guitar before being being joined by fiddle and whistle. Lovely!

For those with energy remaining, the night closed with an excellent once-round-the-room singaround and music session.

And so ended a very successful and enjoyable 2026 Folk Day. A huge thank you goes to Dave and Marion Downs who looked after the sound for the whole 12 hours (!) And thanks to Allistair Bloomfield and to Dave and Dorothy Martin for their 'one from the floor' performances starting each half of the Gatehouse concert.

 We had been trying to book Miranda Sykes for a Poppy concert for a few years but she is a very busy musician! In addition to her solo career, Miranda has performed with a long list of top performers, most notably as part of Show of Hands.
Jim Causley has made his 'specialist subject' the songs of his native Devon,  and recently developed a show of material relating to the Devonian folk song collector Sabine Baring-Gould, collaborating with Miranda. Touring this show, and in addition a Christmas/winter season show, Miranda and Jim have driven all across the UK.  It was during those long car journeys that they started to sing their own personal favourite songs - some from the folk tradition, but mostly songs from contemporary writers and singers. Then came an idea to record some of those songs. The result was the CD 'Everything Possible' - from which almost all of the songs in the Poppy concert were taken.The list of songwriters whose songs were expertly re-crafted here is impressive. From the aforementioned Baring-Gould, through folk legends like Woody Guthrie and Ralph McTell, to Alison Krauss, Mark Knopfler and Prince, and several more ... pretty much all genres were reworked for Miranda and Jim's voices and instruments.

Mostly, the vocal work was shared in each song, sometimes taking turns, sometimes harmonising  - although both had some solo songs to show off their superb voices. Miranda has the most wonderful crystal clarity and emotion in her voice, while Jim's is deep and sonorous. A total contrast - but they sound great together.
Instrumentally, Jim alternated between electric piano and piano accordion, while Miranda played guitar, bass, and ukulele. 

Starting with Karine Polwart's 'Sun's Coming Over the Hill', much of the material chosen was from the 'thoughtful, moving and beautiful' end of the musical spectrum: Jim Croce's 'Time in a Bottle', Ralph McTell's 'Easter Lillies', and Cyndi Lauper's 'Sally's Pigeons' being just a few stand-out songs. 
But there were plenty of lively songs and a fair bit of humour too. Roger Wilson's 'Pay Day' romped along before turning into Mark Knopfler's 'Walk of Life', while another medley merged Alison Krauss with Prince! 

The whole night was a moving and beautiful treat, culminating in the final song from which the new CD got its name: Fred Small's 'Everything Possible' which had the audience not for the first time singing along and cheering for more (which they got, in the shape of Kate Rusby's 'Planets').
Thus ended one of the best nights at the Poppy for a very long time!

A big thank you to our two 'Song from the Floor' performers who started each half of the night: Paul Carbuncle with a terrific send up of the Nottinghamshire Council flag budget; and Sarah Farrell with a lovely version of Archie Fisher's 'Dark Eyed Molly'.

And much thanks to Nick Murphy - our sound engineer for the night. 

  This was an unforgettable night- a night of energy, passion and perspiration. Perspiration not because of the temperature, but because of flying footwork in particular, and break-neck pace of some of the music.

We had seen Arthur Coates and Kerran Cotterell at the Southwell festival in 2025 when a power failure had the undaunted duo continue their set among the audience. We knew they'd go down well at the Poppy, and the Poppy audience must have thought so too with a healthy turnout eschewing the World Cup Final to be there.

There were signs that it was going to lively when Arthur and Kerran saw us setting up the portable staging we usually use, and commented that they didn't think it would stand the test. Arthur's foot percussion would, they insisted, have bits of audio hardware vibrating off the edge of the stage! We moved them onto the 'big stage' - and it turned out to be a good move!

Arthur Coates' foot percussion is something else, and how he puts so much power and energy into it while playing the fiddle so well is anybody's guess. Meanwhile, Kerran provides an excellent, driving guitar rhythm to many of their tunes, and lovely melody for their more reflective material. Kerran also writes much of their material and takes the lead on vocals, backed by Arthur's harmonies.

Most of this night consisted of songs and tunes from their current album, 'Controlled Burn', some from 'Songs for Cows', and a few covers. The variety of material was illustrated with the first three pieces, also the first three tracks on 'Controlled Burn': a stomping 'Wallbreaker'; the instrumental 'Big Bass Stuff' with lots of deep and grunty bass notes; the calmly paced song 'The Evening's Gone', one of Kerran's compositions.

The more reflective tunes and songs were beautiful. Kerran's song 'O Sister Moon', with Arthur's deeper voice providing a nice harmony. Joni Mitchell's 'The Fiddle and the Drum' was given a lovely a cappella treatment, with both singers stepping off the stage to add to the intimacy. Interestingly, Kerran had learned the song from the singing of the Spooky Men! Most gorgeous of all was a slow air called 'Roadsleeper' (with an interesting story attached) which showed off the versatility of the two musicians with the delicacy of touch on guitar and fiddle.

Other styles of music were on show, with an Appalachian-style stepping tune, as well as the jazz feel  of 'Tired of Me'. Gospel music got a look in, with a nice arrangement of Jean Ritchie's song 'Now is the Cool of the Day' (learned after hearing Coope, Boyes and Simpson's version).

Between pieces, the banter and humour was always there - sometimes subtle sometimes wacky - including a five minute musical comic sketch involving Arthur's 'magic wand'. 

But it was the blazing fiddle, frantic footwork and driving guitar that really got the audience going, and the final few pieces from the dynamic duo included a romping 'Song of Choice' and '50% Whatever', to great applause.

Finally, our huge thanks go to Jenny Bell & Wil Walker, and Chris Morris for their 'songs from the floor'  to start each half of the concert.