Tag: music review

  • Tarren: Pioneering ‘New-Folk’

    Tarren: Pioneering ‘New-Folk’

    Tarren, a talented and exciting folk trio based in Bristol, comprises Sid Goldsmith on cittern and concertina, Alex Garden on fiddle and Danny Pedler on accordion. The group was formed following the sharing of compositions with each other over lockdown, and their repertoire, which mostly features originals, is rooted in English folk music. They have released two studio albums, both of which have received high acclaim. Bright Young Folk, for example, have described how their latest album, Outside Time, “conveys the joyful energy of their live performances and shows why Tarren are one of the most exciting names on the folk scene”.1 The Isle of Man was lucky to have Tarren visit on their Autumn tour around the UK, playing at the Laxey Working Men’s Institute on 24th October 2025. Before they went on stage, I was able to steal a few minutes with them for a quick chat. I was fascinated to learn about their perspectives on genre and how this feeds into their music, as well as the research they have undertaken into notions of gender in the folk tradition. I’m sure you will become as entranced by their music as I was – I must admit I have played them on repeat ever since! 

    Tarren at the Laxey Working Men’s Institute, Oct 2025. Photo: John Barker.

    The concert was unforgettable, and the music was thoroughly gripping. With melodies that ranged from joyous, for example, ‘Claudia’s,’ to those with a melancholy undertone, such as ‘Super 8,’ all created a powerful atmosphere. The strong rhythmic pulse made it impossible not to tap your foot along, emphasised with moments of syncopation, changes in time signature and the occasional replacement of a beat with a rest, which was highly impactful. There was such intensity and life to the playing, which was infectious, and it is difficult to capture the raw emotion and power of the sound they created in words. They were note perfect, and the ensemble was so tight, which, with such intricate music, was impressive. There were many interweaving layers, constant variation in sound and style, and contrasting intensities – for example, suddenly dying away then building up again. The rich and full sound created from just three people was all-encompassing, with each instrument bringing its own unique texture and dimension, such as the heavy bass of the accordion and the intense and hoarse tone of the fiddle when Alex really dug into the strings; each player getting the most out of their instruments. They were engaging and natural with the audience, coming across as down-to-earth and funny, and they detailed the stories behind the songs, many being relatable and relevant to today, as well as tying to their own personal experiences – more on that soon. Overall, the concert was enjoyable in every aspect.

    A unique component of Tarren’s music is their incorporation of classical elements; as they explained to me before the concert, they believe there can be a rub between folk and classical music. They highlighted how

    they have not limited themselves to one genre, but make use of all of the tools available to them.

    Therefore, they do not belong to one specific camp; hence, they call their style ‘New-Folk.’ They use classical techniques and features, for example, longer structural forms, but inject a folk ‘pulse.’ You can also hear minimalist influences, including repeating and overlapping patterns creating a polyphonic texture and mesmerising harmonies which slide deliciously from one chord to the next – listen out for some of these in ‘Dan-Y-Bont’ below.

    I am also reminded of Baroque music, in the way that each line has its own distinct melody and in the clarity of the sound and harmonies.

    As the trio poignantly highlighted,

    you don’t have to get the form to get the music,

    and they demonstrate this perfectly – at the end of the day, it is what resonates with listeners that is important, a sentiment that I fully support.

    I believe this flexible mindset should be adopted broadly. The boundaries between musical genres are becoming increasingly blurred; think, for example, of the use of classical timbres such as strings in popular music, and I think this type of crossover should be encouraged more. For example, despite being inspired to play violin after hearing folk music when I was young – I was obsessed with Riverdance! – as a musician who has been classically trained, I have had little to no exposure to playing folk music or using folk methods, such as playing by ear or in an informal group setting, as is folk tradition. Tarren reminds us that there does not need to be a strict divide drawn between genres and that they can (and should!) have a more fluid relationship.

    Gender in Folk Music

    The trio have done valuable and enlightening research into themes of gender in folk music, and have compellingly adapted traditional songs to align with their own personal experiences and with today’s society. In an article about their research, Danny notes that there are many folk songs, particularly from the 17th and 18th centuries, about ‘warrior women,’ which tell stories of women who disguise themselves as men and subsequently encounter feats they would never ordinarily have faced as a woman, such as entering into battle or acting as highwaymen.2 At face value, these songs might appear as the progressive subversion of gender constraints, but as Danny acknowledges, it is unfortunately not the case. By accomplishing stereotypically ‘manly’ traits such as bravery and virtue, “the woman has excelled at being a man, not broadening what it means to be a woman.” Furthermore, the motivations for these fictional women were usually to follow after a man who had been conscripted, for example, and on their return, they land safely back in their domestic role to fulfil their womanly duties. These songs, in their outrageousness, were merely intended for entertainment, rather than transgressing gender boundaries. 

    Tarren takes such songs, however, and reinterprets them, using them as a way to broaden the traditional conceptions of gender. Their original composition, ‘Neither Maid nor Man,’ does this elegantly. As Danny notes,

    “Folk music is a living tradition; it lives through reinterpretations and additions.”

    Featuring re-written versions of ‘The Female Cabin Boy’ and ‘William Taylor,’ where both female and male gender expectations are subverted, the final verse reflects the journey of Tarren’s own Alex coming out as non-binary. It is a subtle yet highly impactful spin on a historical folk tradition, making it relevant to the 21st century and their own experiences. 

    Tarren are a highly talented trio whose unique interpretation of folk music is utterly captivating. By not confining themselves to a specific genre, they have opened up a range of musical possibilities, as well as reminding us that genre does not have to be so clear-cut. Also, sensitive to the sometimes exclusionary themes of traditional folk songs, they have brought awareness to this and have reinterpreted them to bring them up to date with today’s ever-changing culture and society. Music does not exist in a vacuum – there is no reason that genres cannot be blended, or that traditions cannot be altered to align with the current times.

    1. ‘Press,’ Tarren, https://tarrenmusic.com/press. ↩︎
    2. Pedlar, D., ‘Neither Maid nor Man: Tarren explore gender variance in British Folk song,’ Tradfolk, 2024, https://tradfolk.co/music/songs/gender-variance-folk-song-neither-maid-nor-man/. ↩︎
  • OK Computer: A Manx Radiohead

    OK Computer: A Manx Radiohead


    On the 15th August 2025, I met with OK Computer, a Radiohead cover band from the Isle of Man. They were setting up for one of the last rehearsals before their concert on the 22nd. One by one, the six members trickled in, carrying their many instruments into the relatively small studio while I picked their brains. I learned about their favourite songs to play, those they find most challenging, and gained insights into what it is like to cover one of the most renowned, prolific and varied bands of the 21st century. The gig the following week was top-notch and the audience of dedicated Radiohead fans loved it – it has been fascinating to delve into why Radiohead has such a draw for so many listeners. 


    First playing gigs in 2018, OK Computer was formed when Dave Brew, lead singer (‘Thom Yorke’), was tired of being rejected when he suggested to his other bands that they play Radiohead. He reached out to other musicians that he thought might be interested and pretty instantly had a group formed. They have since played many gigs around the Island, featuring a mix of Radiohead songs from various albums, once playing through the full OK Computer album, and have steadily amassed a strong and dedicated following. 

    OK Computer (1997) album cover

    With the opportunity to speak to the members, I wanted to gain some insight into the inner workings of the band, such as how they decide which songs to play. Unsurprisingly, owing to Radiohead’s vast output, they said choosing what to play requires about 20% compromise; even their band name was chosen via a referendum. There are certain songs that they have found particularly tricky to learn, including ‘2+2=5’ and ‘Pyramid Song’, due to their unusual metres, ‘The Tourist’, because of how slow it is and therefore difficult to stay in time, but they highlighted that it varies for each instrument. They have also picked up on which songs are the most popular amongst audiences, such as ‘Fake Plastic Trees’, ‘Bodysnatchers’, ‘Let Down’ and ‘Creep’. At the gig, I too noticed that ‘Karma Police’ and ‘Street Spirit (Fade Out)’ were particularly well-received, really engaging the crowd. My personal favourites were ‘Myxomatosis’ and ‘Paranoid Android’; the atmosphere they created was electric.

    The band learn the songs from live versions rather than studio ones; these would be impossible to replicate. You could therefore pick up on certain features that aren’t present in the studio recordings, for example, I especially enjoyed the extra syncopated bass idea in ‘Myxomatosis’.

    Rehearsals

    Radiohead are notorious for being ‘depressing’, and I was curious as to whether playing so much of their music can get heavy. But no, they said, 

    “they’re too hard to play to be depressed!“

    Even the ‘sad’ ones, such as ‘Let Down’, they acknowledged, are actually uplifting and often build. They captured this excellently in the gig, for example, the increase in intensity in ‘How to Disappear Completely’ was very impactful and really stood out to me. 


    At the gig, I was impressed by the sound they produced and the quality of their playing. They are superbly talented – the songs were played flawlessly and were so tight and well-rehearsed; every member knew exactly what they were doing. With Radiohead, this is crucial – with many layers, changing time signatures and unusual instruments/techniques used, their songs are complex and unpredictable. Demonstrating their versatility, the band members often switched instruments and added new instruments for certain songs, such as a drum machine for ‘Idioteque’, and their stamina is admirable – three straight hours of Radiohead must take some concentration, to say the least! They really captured the essence of Radiohead – from the clips of radio played between songs, to the pre-programmed keyboard sounds, to the tone of the guitars – and the audience loved it. People were dancing and singing the whole way through – there was even a mosh pit towards the end!

    Villa Marina Promenade Suite – August 2025

    The band has had a great turnout since the beginning, with audiences spanning generations, from as young as teens. I wondered what it is about Radiohead that has made them so popular for so long and attract such a wide variety of listeners. Asking OK Computer what they thought, they suggested it might be because Radiohead are constantly evolving – each album is unique, with something for (nearly!) everyone, and they blur boundaries, making it difficult to assign them to a single genre – OK Computer couldn’t even decide between themselves. Another point they raised is that 

    “Radiohead haven’t sold out to record companies.” 

    For example, in their rebellion against the dominance and hegemony of major record labels and the imbalanced distribution of funds, meaning artists themselves profit marginally from singles and album sales, their 2007 album In Rainbows (my favourite album, as well as Dave’s) was self-released as a download. With no set price, fans were able to choose how much they paid for the album, which could be as little as nothing (plus an administration fee of 45p). This departure from conventions and widely accepted structures is part of the reason they are such a unique band. They experiment with their music; for example, OK Computer described them as using their instruments like toys. I love this idea – it captures how, like children, they are unconfined by traditional methods and sounds, resulting in much more creative results. It also has a lot to say about what people value in music: authenticity, personality and creativity.

    OK Computer is a fantastic tribute to Radiohead, with a deep understanding and genuine appreciation of the band and their music. Individually, they are very talented, and they blend seamlessly into a band together. If you are a Radiohead fan on the Island, I would thoroughly recommend you catch them at one of their next concerts!