Review: Lady Maisery, Bristol Beacon – ‘Pure English folksong’

Bristol loves folk trio Lady Maisery and they love us right back.

Having played here countless times over the last 14 years, Hannah James, Rowan Rheingans and Hazel Askew always seem to enjoy their Bristolian outings.

They often describe this city as “the Sheffield of the South West.” and they treat it as a home-from-home.

As befits a home, Lady Maisery comfortably loosen their feathers straight away. Birdsong, taken from their latest album Tender, exhorts us to “know your song” and the trio effortlessly know theirs.

A glorious sense of harmony is immediately set up, three perfect voices celebrating avian delights. The voices are heaven-bound, the song an old one, the observations timeless. Lady Maisery reach into the air, cup their hands and catch pure English folksong.

As much as the Maisery harmonies are, rightfully, celebrated, each voice takes its turn to lead.

On A Poor Man’s Lamentation, James beats out a stomp-box rhythm while hoping that we can “teach the human race equality and love.” Her voice is beautiful, high and honest.

Rheingans is more forthright on Rest Now. A song of defiance, power and solidarity, it fits the Lady Maisery ethos perfectly.

Of the three, Askew always seems to be the scholar. Her songs are rich and clever, full of allusions and learning, and Scientist is an almost perfect example. Her voice is like the rough-edged crackle of an aged manuscript, full of colour but delicate too.

A Lady Maisery show always feels like a celebration; a celebration of harmony singing, of friendship and of female solidarity. At the heart of this show there sits three songs, all of which pay tribute to three brilliant female songwriters that have gone before them.

Lal Waterson’s Child Among the Weeds is delivered acapella and is as warm as a Christmas hearth. Three voices making a special sort of magic, weaving and spinning until a priceless tapestry emerges.

Tracy Chapman’s 3000 Miles sees Rheingans at the centre, her voice and banjo set against a harmonium drone. You begin to realise that the beauty that Lady Maisery hold is in the act of simplicity. Three incredible voices sometimes augmented by banjo, fiddle, harp and accordion in an uncomplicated, Fonteyn-like grace.

The moment of utter, jaw-dropping wonder comes during the third cover version of the evening. In its original form Bjork’s Hyperballad is a glistening droplet of surrealistic pop-techno. Lady Maisery turn it into something different altogether.

Replacing icy beats with body percussion, Bjork’s slightly detached view becomes visceral, personal. Clicks, hums and slaps hardwire to the soul as three crystalline voices paint a gleeful and strange beauty. Is this the best cover version of all time? It could be, you know.

Firm fan favourites come later in the set. Order and Chaos is shot through with magic and folklore but balanced with Askew’s love of the scientific. A plucked violin and three voices clearing away everything unnecessary and extraneous. Proof positive that there is elegance in the cosmos.

Portland Town is a devastating anti-war song, originally written by Derroll Adams in remembrance of the Korean War in 1957,  and sung from the point of view of a grieving mother. Lady Maisery give it humanity, desperation, love and a quiet, determined fury. It is, and always has been, heart-stopping.

If there’s one thing that you can do in your own home, it is to have the courage to sing up and sing out. Tonight, the Lantern Hall at the Beacon feels like Lady Maisery’s home.

Photos: Gavin McNamara

Read next:

• Bristol’s month in folk & roots – May 2024
• Malian folk star brings new show to the Beacon
• Review: Bristol Folk Festival – ‘the future of folk’
• Musicians pay tribute to much-loved Bristol producer