John le français

I officially received French nationality on the morning of February 6th 2019 when we attended the ceremony at the consulate in London. We were given a a glass of champagne and a folder containing a copy of the Declaration of human rights, and we sang the Marseillaise.

I first met Isabelle 37 years ago and, while we have never formally lived in France in that time, across those years we must have spent some 7 or 8 years in a country I have come to love and where I now have many close friends. It has also given me the time to get to know francophone culture, and especially music, which has increasingly influenced my own songwriting, especially in Side by side (below), La Fayette, Rue Mouffetard, Bordeaux, The centre of the world, The children of the sea and Rocks and stones.

Nevertheless, until the 2016 referendum it had never seemed remotely important for either of us to apply for a second nationality – we were citizens of Europe. However in the uncertainty that has ensued it became apparent that we needed our own backstop, just in case the vicissitudes of politics threatened to separate us.

And while I am above all delighted to retain my identity as a European, I am also happy to join a republic, to celebrate liberté, égalité et fraternité, and to share the culture of Balzac and Bashung. The Consul gave a speech of welcome in which he underlined the values of the French republic, and here are a couple of examples from the documents in my folder: ‘Les êtres humains naissent et demeurent libres et égaux en droits’ and ‘L’homme et la femme ont dans tous les domaines les mêmes droits’. All good by me.

As 2018 draws to a close…

My new album ‘Never enough’ is now well and truly launched and has been getting some radio play. I’ve had some nice comments from reviewers: ‘Really thought-provoking and interesting songs’ (Genevieve Tudor, BBC Radio Shropshire).‘There is some beautiful writing on Never enough (Greg Russell, BBC Radio Sheffield). Never enough is possibly John Meed’s finest work, finding him totally in control of his palette of words and ideas’ (Les Ray, Unicorn). ‘John Meed has created something that is at once highly engaging and equally thought-provoking’ (Allan Wilkinson, Northern Sky). ‘The rewards are worth the reaping’ (Mike Davies, FATEA).

I’m grateful to everyone who came to the launch at CB2 earlier in November – you created a lovely atmosphere. If you missed it, or would like to repeat the experience, we will be doing much the same set at the Cambridge Folk Club on January 25th. The club meets in the The Golden Hind, 355 Milton Road, Cambridge CB4 1SP – the evening starts at 8pm and we shall be on at around 10pm. I’ll be joined by Rhys on guitars, Andy on bass, Matt on violin and Lucinda on viola. Tickets here.

You can listen to or download the songs, or order the CD, here:

There is a live video of the title track (with Matt and Lucinda) in the lovely Suffolk church of Felsham here:

There is also a live version of Blackbirds here:

As it’s getting to the end of the year, here is some of the other music I have been enjoying this year. My album of the year has been Low’s ‘Double negative’ though you need to be able to cope with doses of distortion – all apparently a reaction to living in Trump’s America. It’s worth persisting, though.
It’s also well worth trying:
– Nenah Cherry’s ‘Broken Politics’ and its standout track ‘Kong
– Ed Harcourt’s piano pieces on ‘Beyond the end’ including the lovely ‘Duet for ghosts
– Phoebe Bridgers’ ’Stranger in the Alps’ – try ‘Motion sickness
And if you feel like venturing away from the English language, try Catalan singer Joanjo Bosk’s Albera.
My favourite new film of the year – by some way – was ‘Shoplifters’ by Japanese director Hirokazu Kore-eda.
Finally, can I take the chance to thank you all for your support, and to wish you all the best for the year to come.

‘Never enough’ now available

We launched my new album, ‘Never enough’, on November 10th at CB2. You can listen to or download the songs, or order the CD, here:

There are some fabulous contributions from other lovely musicians – Rhys Wilson, who co-produced the album, played many of the instruments. Matt Kelly and Lucinda Fudge from Thursday’s Band played the delightful strings on ‘Never enough’ and ‘Blackbirds’. Myke Clifford added breathtaking sax to ‘Strange thing’, while Dawn Loombe’s wonderful accordion takes us to Paris in ‘La Fayette’ and Brian Harvey adds bass to ‘Never enough’ and ‘Bordeaux’. I’m grateful to them all.

And the artwork for the cover is from our good friend and wonderful artist, Gail de Cordova.

New album ‘Never enough’

We have now launched the new album, ‘Never enough’. Rhys’s production skills have gone from strength to strength, and it is sounding good.

The track listing is:

1 Side by side
2 Never enough
3 La Fayette
4 Strange thing
5 Why?
6 Blackbirds
7 For granted
8 Mistakes
9 Bordeaux

There are some fabulous contributions from other lovely musicians – Rhys of course but also Matt Kelly and Lucinda Fudge on strings, Myke Clifford on sax, Dawn Loombe on accordion and Brian Harvey on bass. I’m grateful to them all.

And the artwork for the cover is from our good friend and wonderful artist, Gail de Cordova.

Here’s the video of the first track on the album:

It was filmed in and around St Pancras station, Gare du nord, Gare de l’est and Gare de Lyon. I’m grateful to the SNCF and St Pancras for the publicly available pianos – the grand at the Gare de Lyon is especially wonderful. And I’m even more grateful to the people of Paris and London for going around their daily travels and inadvertently (and in one lovely moment a the end of Verse 1, advertently) participating in the film, and for proving that what makes us different makes us shine.

I will have copies with me at gigs but both the CD and album download are available from my Bandcamp page and on iTunes etc. You can also listen to the tracks here:

Nine Wells

Note: there is now a page devoted to Nine Wells which you will find here. I eill keep this updated more regularly.

I continue my ecological survey of the fields south of Addenbrookes Hospital around the Nine Wells nature reserve.The field on the hospital side of the cycle path is wonderfully wild at the moment – this morning I heard 3 corn buntings there (right) and saw 2 (possibly 3) pairs of reed buntings. A yellowhammer was also singing and several skylarks.

The field on the other side of the cycle path had been earmarked by South Cambridgeshire District Council for further development. However, the conservatives suffered a shock defeat in the recent local elections. The liberal democrats, who now have overall control of the council, had campaigned vigorously against the proposed development. Let’s hope they now throw it out – I am trying to clarify the position. In case they need reminding, you can write to local councillors.

My 2017 survey of the area – which you can download below – showed that the area remains extremely valuable for farmland birds of high conservation concern, with exceptional numbers of grey partridge in the autumn, as well as good numbers of skylark, linnet, yellowhammer and corn bunting.3P

‘The square km south of Addenbrookes has this year supported a grey partridge population of at least 11 spring pairs/km2 and 85 birds/km2 in autumn. The arable farms typical of Cambridgeshire support between 0 and 5 pairs/km2 and 0–20 birds/km2 in the autumn.’

Corn buntings also did particularly well last year, with 8 pairs. This is an important population – there are just 11,000 birds in the UK and its recent extinction in Ireland risks being repeated in large parts of Britain if its breeding sites are not protected. The RSPB’s nearby Hope Farm had 2 pairs in 2016 in 1.8km2.

In addition, the site supports a thriving population of water voles, both in the start of Hobsons Brook, and in the ditch that runs alongside the cycle path.

You can download a copy of my report for 2017 here.

Nine_wells_Survey_report_2017

My reports for 2016 are here:

Nine_wells_Survey_report_2016

Grey_partridge_2016

My reports for 2015 are here:

Survey_report_for_TL4654_2015

Grey_partridge_of_Nine_Wells

Educated by Tara Westover

‘I’d never learned how to talk to people who weren’t like us – people who went to school and visited the doctor. Who weren’t preparing, every day, for the End of the World’.

There are many things I love about being a singer-songwriter – notably the rush of creativity when a new song comes, or the buzz after a concert that goes particularly well. But it also means that you meet some fascinating people.

I first met Tara Westover at our local music club in CB2, Cambridge, some five years ago, when she was completing her PhD at the university – shortly after, I now realise, one of the most difficult periods of her life. She rather unwisely offered to sing harmonies on some of my songs, an offer I could hardly refuse as she has one of the finest voices I have had the privilege to work with. We have since played many gigs together, and she has collaborated on my last two albums.

In quiet times during rehearsals, or on the way to or from concerts, she would tell me many tales from her astonishing and highly unusual childhood – growing up in a Mormon community in Idaho, in a survivalist family dominated by a charismatic but flawed father who spent his time – when not placing the family in mortal danger in his scrapyard – preparing for the end of the world.

But this could hardly prepare me for reading her remarkable memoir, Educated, published on February 20th by Hutchinson (in the UK – Random House in the US). The first part of the book describes Tara’s childhood and adolescence in the family home nestled under the mountain they called the Princess. To describe the family as ‘survivalist’ is somewhat misleading, as how Tara and her siblings survived their childhood is itself a miracle , confronted as they were by a succession of car crashes and workplace accidents, a refusal to counter any healthcare or medication beyond mother’s herbal remedies, a violent brother and non-existent ‘home schooling’.

There is one particularly stark moment when Tara finds her brother lying on the road side following a motorbike crash. He has suffered his third major head wound (the first two have left him a changed person), but when she phones her father he tells her to bring him home so that their mother can administer a few herbs. It’s an odd world where teenage rebellion takes the form of driving your brother to hospital.

It would be easy to conclude that Tara paints a bleak picture of her family. In fact she remains remarkably honest throughout. She is still able to talk of her love for her parents, to capture the wild beauty of her childhood home, and to paint a portrait of her father that is tremendously human, where his humour, his enthusiasm and his pride in Tara’s singing shine through his probably bi-polar delusions and paranoia. In the end she likens him to Don Quixote, a ‘zealous knight’ tilting at windmills, to whose warnings of doom ‘no one listened. They went about their lives in the summer sun.’

The second and third parts of the book describe the process through which Tara found her way into education, sought to come to terms with the wider world, and eventually gained a doctorate from Cambridge University. It’s a journey of both remarkable achievement but also some personal cost. At each step along the way she has faced a regular ‘twitch upon the thread’, as Waugh put it, from her home and family.

We all bear the scars of growing up, and spend much of our adult lives coming to terms with them. Educated is often a tough read, and it was painful to hear a good friend describe with such honesty how she responded to her brother’s abuse, her parents’ rejection, or the resulting family schism. It is also very moving indeed.

But above all, it’s a tremendous read and Tara has a real talent as a story teller – I found it very hard to put down. Here is a link to Tara’s website. You can order Educated from Heffers/Blackwells or, if you must, from Amazon.

You can listen to Tara singing here and here is a video of The Hills of Arran, on which she takes lead vocals:

The photo of Tara was taken by Paul Stuart.

‘Side by side’ released

The first single – Side by side – from my forthcoming album is now available. It describes a journey from Paris to London and is my small contribution to the debate about Europe, and a plea for tolerance and diversity. Rhys Wilson arranged and produced the song, and delightfully so. Here’s the video of the song:

It was  filmed in and around St Pancras station, Gare du nord, Gare de l’est and Gare de Lyon. I’m grateful to the SNCF and St Pancras for the publicly available pianos – the grand at the Gare de Lyon is especially wonderful. And I’m even more grateful to the people of Paris and London for going around their daily travels and inadvertently (and in one lovely moment a the end of Verse 1, advertently) participating in the film, and for proving that what makes us different makes us shine. If you like and approve of it, and are into social media, please do share it. I still hope it’s not too late to change people’s minds.

If you’d like to download the song, it’s available here:

We are working away on the rest of the album and I will of course let you know once it’s available next year. In the meantime, Rhys and I will be performing quite a few of the new songs at Cambridge Folk Club this Friday, December 22nd. We are playing a 45 minute set as part of their Christmas showcase, and the two other acts are Lizzie J Taylor and Pat Cullen. The Folk Club meets in the Golden Hind, Milton Road, Cambridge CB4 1SP, and and there are more details here.

And as it’s that time of year, here are my musical highlights from the last twelve months:

  • My favourite album of the year, by some distance, has been Planetarium, a collaboration from Sufjan Stevens, Nico Muhly, Bryce Dessner and James McAlister. It’s somewhere out there and takes a few listens but we love it. You can hear some samples on their website. I also rather like the album ‘Conflats’ by Outlines. I’m still trying to get the hang of The National’s ‘Sleep well beast’ and Benjamin Clementine’s ‘I tell a fly’ but I think both will be worth the effort.
  • My favourite concert of the year was some ‘flamenco experimental’ from Rosalia and Raul Refree in Girona. Their album, Los Angeles, is remarkable. You can watch them playing ‘Catalina’ in front of Guernica.

I’d like to wish you a very happy Christmas, and all the best for 2018. Thankyou all for your continued support.

The story of Heroes of the floes

It was a friend who worked for the British Antarctic Survey who first told me the story of John Rae, the Orcadian doctor and explorer.

Rae was born at the Hall of Clestrain in Orphir in 1813. He qualified as a surgeon in Edinburgh and in 1833 left Scotland to work in Canada, first as a ship’s surgeon on board the Prince of Wales, and then in Moose Factory for the Hudson Bay Company, where he was to stay for 10 years.

Rae, in contrast to most of his white contemporaries, respected the First Nation people, learned vital skills from them and dressed like them to face the winter cold. From the Cree he learned how to make snowshoes and hunt caribou, and from the Inuit how to build snow shelters.

Rae was asked by the Hudson Bay Company to complete the mapping of the Arctic coast. He was a remarkable athlete – in one two-month period he covered 1200 miles on foot – and he spent whole winters in the far north. His expeditions filled many gaps and confirmed the existence of the North West Passage.

In 1848 Rae was asked to help search for the men of Lord Franklin’s expedition. He learnt from the Inuit that 40 white men had starved to death and had resorted to cannibalism in their final days. However when his report reached London, it led to an outcry. As my friend says, ‘Royal Navy chaps don’t eat each other’. Or as Charles Dickens put it, no white man should believe the Inuit who were ‘savages and liars’.

Later expeditions proved Rae and the Inuit right. However by then Rae was thoroughly discredited and his own discovery of the North West Passage was attributed to Franklin. His achievements were written out of history. My friend suggested that, as Franklin already had songs to his name, I might like to write a tribute to a true hero of the floes. I hope the song does him justice.

Video and concert at Cambridge Folk Club

I recently uploaded a live video of ‘Replacement valve’, filmed in Alstonefield Village Hall. A while ago my mother needed a new aortic valve, and it left me thinking about the various uses we make of valves. I even managed to build in a reference to our local (and favourite) Cambridge pub, the Flying Pig, home to much good music. The video is here:

On Friday December 22nd the lovely people at Cambridge Folk Club have asked me to play a 45 minute set as part of their Christmas showcase event. They have asked me to sing something festive but don’t worry – I won’t be doing any Slade. Instead I’ve been working on a Christmas verse for the Woodstock rest home and hope to put an appropriate Thomas Hardy poem to music. It promises to be a lovely evening – Rhys will be joining me on piano and guitar, our good friend Lizzie J Taylor will also be playing, and Pat Crilly as well. The Folk Club meets in the Golden Hind, Cambridge CB4 1SP, and and there are more details here.

Finally, work is progressing on my own next album, and I hope to release one track from it, Side by side, as a single by the end of the year. I will let you know!

Concert in Anstey Church with Thursday’s Band

Last Saturday I played a a fabulous gig in St George’s Church in Anstey with Thursday’s Band who had kindly asked me to open the evening. A lovely venue, appreciative audience and great acoustics. Matt and Lucinda joined me for Blackbirds and Never enough which was a treat. Thursday’s Band were excellent.

And thankyou to Ali Cossor for organising the gig and taking the picture.

Thursday’s Band and I really enjoyed the church concert experience and hope to repeat it – let me know if your church would like some live acoustic music!

I also played Rocks and stones – the song I wrote some years ago for my good friend in Collioure, Charlie Devarennes – and you can listen to the live recording here: