Explore every episode of the podcast 3tynespodcast

Today’s episode is the second in which we take a look behind the scenes at the practicalities and challenges of providing music in grass roots venues. This time, I’m talking to Richard and Eileen, the proprietors of Mr Ant’s Bar in Hexham.

Mr Ant’s has been a success through several years in which business has been difficult for the hospitality industry. As part of their strategy to create a strong brand identity for the bar, Richard and Eileen provide live music every Friday night – usually a solo act or duo performing familiar covers but with room for some original music too. Recently, they decided to take a step forward and put on a full band on a Saturday once a month. In this episode, Richard and Eileen talk about their business and their thinking in developing this side of the live music they offer.

I also talk to the musician Colm Charles Gray, who was performing at Mr Ant’s, to learn about the path that took him there and about his experience of playing in this setting.

You can follow Mr Ant’s Bar on Facebook. Colm, and his band The Quiet Fire, is on Instagram.

Today’s episode takes a look behind the scenes at the music business you’ll encounter on a Friday night in the pub. Matty J Erskine talks about how he came to be a pub DJ, MC and quiz host, charting his career from his early, try-anything days at sports events to MC-ing festivals like BAAFest. He reflects on the lessons he’s learned over many years of making sure that people enjoy a good evening out, the challenges facing grass roots musicians and the financial realities of making music available in public settings.

Streaming has failed grass roots musicians, which is why most also upload their music to an online platform called Bandcamp. And because we mention it so often on the podcast, and ask you to use it, I thought it would be worthwhile giving you some background to it.

Andrew Cadie is a singer, songwriter, multi-instrumentalist and producer who grew up in the North East and learned his craft busking and in the local folk clubs. He is a seasoned performer both solo and as part of the duo Broom Bezzums. Andrew now lives in Germany but I spoke to him on his recent return to tour the UK, when his appearances included gigs in Nenthead and Gilsland.

We talked about his origins in folk music, dealing with politics in his songs, the perennial challenge of making a living as a musician and recording his new album, Flooding the Oceans, which I wholeheartedly recommend to everyone who loves melodic, positive and thoughtful songs. Andrew recorded two songs from the album specially for this episode; they are The Blyth Trimmer, which is about the work of his grandfather on the coal ships in Blyth, and Pulse, which is a song of defiance and hope.

Once more in the podcast, we talk about the importance of buying music to help support musicians and to make live music possible. Please buy Andrew’s album as a download or CD from Bandcamp – just go to the Bandcamp website and search for his name. You can also stream it from the Bandcamp app just like you can with other streaming platforms. Please see the links below.

Social media

https://www.instagram.com/andrew_cadie_music/

https://www.facebook.com/AndrewCadieMusic

Music

https://andrewcadiemusic.bandcamp.com/music

https://www.andrewcadie.de/

https://www.youtube.com/@AndrewCadie

Broom Bezzums

https://www.broombezzums.com/

https://www.youtube.com/@broombezzums

The Hexham and District Music Society has been arranging concerts of classical music for 75 years. Like Music in Allendale and the Corbridge Chamber Music Festival, the Society works hard to bring a high standard of classical music to the area through live performances by accomplished musicians of both familiar and less familiar pieces.

I’ve made no secret in this podcast of my recent discovery of the joys of hearing classical music played live – it’s an experience I would encourage everyone to try even if, like me, you don’t know much about it. Just go and find out. You won’t be disappointed.

In this episode, I talk to Treasurer Cathy Duncan and Secretary Di Dickinson about the Society’s history, its aims and the challenges of promoting live music concerts at a time when people’s leisure habits are changing and the family budget is spread ever more thinly.

The music in this episode was played by the Isla String Quartet, a very accomplished group of young musicians, and was recorded at one of the Society’s concerts in Hexham. I’m grateful to the Quartet for their kind permission to include it here. Do check out their website at https://www.islastringquartet.com, where you can find information about their performances and several videos showcasing their excellent work.

You can find out more about the Hexham and District Music Society, and details of how to subscribe, at https://www.hexhammusic.net.

Political songs are alive and well and being performed every day here in the North East. If you go to a small gig or an open mic session, you are likely to hear mention of issues such as social deprivation, poor mental health, lack of employment, poor working conditions and post-industrial malaise. Some singers are known for their political activism; others may include political commentary in a set of otherwise non-partisan material.

In an era when it seems that everybody has a strong opinion which they are keen to share on social media, why do performers continue to address these challenging topics in their songs? To find out, I invited Paul Frear and Andy J Fraser, two singer-songwriters who are well established on the local circuit and who have a reputation for political commentary, to talk about what they do and why they do it.

I’m afraid the room acoustics were less than perfect, and those with keen ears will hear the family cat and her bell from time to time; there’s even a brief interjection from the dog next door. More evidence, if any were needed, that this podcast is not an AI construct.

You can find out more about Paul Frear’s music on his Facebook group Uncle Paf (https://www.facebook.com/groups/737797032914454). His album A Different Kind O’ War is available on Bandcamp.

Information about Andy Fraser’s music is available on Facebook (https://www.facebook.com/andyjamesfraser) and on Instagram as andyjamesfraser. Andy Fraser and the Tunstallachia Upland Boys are on Bandcamp and YouTube.

This episode was recorded by Julie Bartley, Rolling Audio (www.rollingaudio.co.uk).

Peter Aldcroft and Craig Atkinson tell us about the 2026 festival - an amazing variety of music, free workshops and spoken word, open mic, delicious food, the ceilidh and the spectacular burning of the wolf on Allendale square.

Today, we visit Let’s Sing, a group led by Julie Finch that’s held twice a month in the West End Methodist Church in Hexham. The group is for anyone who enjoys a good sing and meeting friends. We’ll hear from Julie and some of the regulars who attend and we’ll join them in some popular songs.

Everyone is welcome at Let’s Sing. If you’d like to find out when the group is meeting, check on the Facebook pages for local towns such as Hexham Matters or Corbridge Matters for contact details or you can email Julie at musicalmemories17@gmail.com.

I’d like to thank Julie and everyone at the Let’s Sing group for their warm welcome and for their help with this episode.

This is one of an occasional series of bonus episodes in which I invite people who’ve been guests on the podcast to tell us about their newly-released music. Today, I’m talking to Jason Arnup, whose EP Live Session from the Old Church Studio features six classic Rock n Roll and country songs from his band’s set list.

Thanks for listening to this bonus episode. Please have a listen to Jason’s album and, if you can, buy a CD from his website or at a gig. You can contact Jason via his website at www.jasonarnupmusic.co.uk.

Today, 3tynespodcast pays tribute to the Tynedale songwriter and singer, Terry Conway. Terry died of mesothelioma in 2013 and he is sorely missed by his fellow musicians in the North East, who regard him as a writer of great warmth and wit with a distinctive vocal style.

This is a shortened episode that includes two of Terry’s most famous songs, Hawkhope Hill and Fareweel Regality. There is a longer version that features ten songs in full.

The episode is introduced by Vic Gammon, who reflects on Terry’s reputation amongst his peers. I then chat to the musician Liz Conway, who talks about her time with Terry, his philosophy of life and his music.

Terry and Liz recorded several albums together and I’ve listed these in the show notes, together with a link to a site where you can buy them.

Albums by Terry and Liz Conway

The Haydon Bridge Sessions

Songs from the North of England

Of Riots and Rabbits

Downhill All The Way

Premier

Premier and Of Riots and Rabbits can be ordered online from http://spacemonkeylab.com/stonehousemusic/

Liz has a limited number of some albums. Please contact the podcast at 3tynespodcast@gmail.com if you would like to buy one.

Today, 3tynespodcast pays tribute to the Tynedale songwriter and singer, Terry Conway. Terry died of mesothelioma in 2013 and he is sorely missed by his fellow musicians in the North East, who regard him as a writer of great warmth and wit with a distinctive vocal style.

The episode is introduced by Vic Gammon, who reflects on Terry’s reputation amongst his peers. I then chat to the musician Liz Conway, who talks about her time with Terry, his philosophy of life and his music.

During this episode, you’ll hear ten of Terry’s songs. I have included these in full so that we can appreciate his songcraft and performance. But it does make for a long episode so, if you find yourself short on time before the end, please pause it and come back later. Time spent listening to Terry Conway is time well spent.

Terry and Liz recorded several albums together and I’ve listed these in the show notes, together with a link to a site where you can buy them. The songs included in this episode are, in order, Hawkhope Hill, Walls of Troy, Bus To Morpeth, The Curlew on the Moor, The Hexham Riot, Winter Song, Lady Fortune, Midsummer Blue, Futures Marketeers and Fareweel Regality.

Albums by Terry and Liz Conway

The Haydon Bridge Sessions

Songs from the North of England

Of Riots and Rabbits

Downhill All The Way

Premier

Premier and Of Riots and Rabbits can be ordered online from http://spacemonkeylab.com/stonehousemusic/

Liz has a limited number of some albums. Please contact the podcast at 3tynespodcast@gmail.com if you would like to buy one.

This is the first of an occasional series of short bonus episodes in which I invite people who’ve been guests on the podcast to tell us about their newly-released music and play a few tracks. Today, I’m talking to Marshall Nattrass, whose album Vatican City Serenades celebrates his youth during the 1980s in his distinctive Americana style.

Please have a listen to Marshall’s album and, if you can, buy a CD. You can catch him at a gig or contact him via Messenger on Facebook (https://www.facebook.com/profile.php?id=100035054347502) and via Instagram at marshall_nattrass.

My guest today is Steve Sherris, an artist whose journey from the Scilly Isles to Alston brought flamenco guitar to the upper South Tyne valley. Steve is an accomplished guitarist who has spent a lifetime in bands and playing solo in bars. He is currently a member of recent podcast guests the Hilltop Hoolies and he sometimes performs flamenco guitar, accompanying his wife Alison as she dances. In this episode, Steve tells us how he learned this unique style of guitar in the Spanish communities where it was an integral part of culture, and he demonstrates some of the music styles that are used in a performance.

Flamenco is recognised by UNESCO as an Intangible Cultural Heritage of Humanity. It has a colourful and chequered history in its homeland, where for a while it was ostracised under the Franco regime before regaining its status as a national treasure. Here are some links to information about flamenco if you’d like to know more:

https://www.smithsonianmag.com/travel/complicated-history-flamenco-spain-180973398/

https://www.masterclass.com/articles/learn-about-flamenco-music-history-dance-and-guitar

The Death of Parcy Reed is an epic ballad which, in its fullest version, has 41 verses. Set in upper Redesdale, it tells of the brutal murder of a Borders official following his betrayal by those he thought friends, to a feuding clan from across the border in Liddesdale.

To help me understand its importance and the wider context of Border ballads is Tynedale folk singer and poet Peter Armstrong. We dive deep into Border history, sharing our own experiences of living in Northumberland. We discuss the plot of the Parcy Reed ballad and, illustrated by Peter’s own poetry, we consider parallels between that tale and another bloody Border song, Johnny Armstrong, with the story of the betrayal of Jesus.

Peter sings a shortened version of The Death of Parcy Reed at the end of the podcast. During our conversation, we refer to Child and Roud, which are two important collections of folk songs. There is plenty of information about them online. Peter reads from his book of poetry, Two Ceremonies at the Border, which is inspired by The Death of Parcy Reed and Johnny Armstrong.

There is a bonus episode to accompany this one, in which I talk to Peter about his career as a poet and singer of traditional songs, and his role in helping to run the famous Bridge Folk Club in Newcastle.

The books and sources mentioned in the podcast are:

Two Ceremonies at the Border. Peter Armstrong. Shoestring Press. ISBN 978-1-915553-38-6

The English Scottish border ballads - a critical study. RG Kendall. (see p 454)

https://etheses.dur.ac.uk/1314/1/1314.pdf?DDD11+EThOS%20(BL)

Revitalising Redesdale Landscape Partnership. The Death of Parcy Reed.

https://www.revitalisingredesdale.org.uk/projects/sharing-redesdales-stories/border-ballad-the-death-of-parcy-reed/

The local historian’s table book, of remarkable occurences, historical facts, traditions, legendary and descriptive ballads, &c., &c., connected with the counties of Newcastle-upon-Tyne, Northumberland and Durham / By M. A. Richardson v.7 1841 – 1846 https://babel.hathitrust.org/cgi/pt?id=mdp.39015068455008&seq=336

BBC. The Border Reivers

https://www.bbc.co.uk/legacies/myths_legends/scotland/borders/article_2.shtml

Minstrelsy of the Scottish Border. Reiver ballads.

https://www.bbc.co.uk/legacies/myths_legends/scotland/borders/article_2.shtml

In this short bonus episode, I talk to Tynedale singer and poet Peter Armstrong about his journey to become a singer of traditional songs and the challenges he and his colleagues have faced in managing the famous Bridge Folk Club in Newcastle. We reflect on the emerging generation of younger folk artists, styles of singing and the different ways in which poetry and song lyrics emerge from who knows where to land on the page.

This episode is complementary to the one on the Death of Parcy Reed, in which Peter talks about the importance of Border ballads and performs this magnificent song live.

Today I’m dropping in on the Hilltop Hoolies at one of their regular rehearsals in Alston, where I took the opportunity to record them live as they ran through some of their repertoire.

The Hoolies were formed about 18 months ago by five musicians who were already familiar faces at local music venues. And they have all appeared on the podcast at some time: Fred Sheriff, Norm Emerson and Steve Sherris were in the episode about the Turks Head music session in October 2024 and Marshall Nattrass had an episode all to himself in July that same year. That leaves fiddle player Robin Moody as a podcast first-timer but we have heard him playing in one of the bands I’ve recorded at Alston festival.

The Hoolies’ unique take on Americana is due to their distinctive choice of instruments and their commitment to playing only original music. This has earned them a loyal – and growing - following in the north east, where they are recognised as an entertaining live band with a diverse set of finely crafted songs. You can find out what the Hoolies are up to by following them on Facebook and Instagram.

Today’s episode takes a look at the harmonium in the setting where we are probably most likely to hear it: the parish church.

The harmonium is the largest instrument of its type – essentially, a keyboard mounted in a wooden box that contains the movements and reeds. It may be a plain, portable box the size of a suitcase or a large and elaborate organ-like structure that you could imagine in a Victorian concert hall, or anything in between.

It became common in small churches during a period when influential voices felt that the music in services was too rough and ready, particularly so in the case of fiddlers, and it was part of a movement to raise standards, as they saw it, by replacing musicians from the community. You’ll hear that two pillars that once supported the gallery in St John’s Church in Whitfield were removed and are now part of a cottage; this would have been the part of the church where musicians performed. The arrival of the harmonium seems like the introduction of AI these days. Vic Gammon has written a very interesting account of these events, which I will link in the show notes.

In this episode, I talk to Sarah Blackett-Ord about the harmonium in St John’s Church. Next, a lucky chance to chat with folk musician Janice Burns about the floor harmonium as the chairs are noisily packed away after their recent gig in Allendale Village Hall. Janice and Jon Doran played a lovely set of winter tunes and one of these, Dunston Lullaby, is a beautiful example of how the harmonium can augment a traditional song. Finally, I talk to Ros Ronaldson, who plays the harmonium during services in St Mark’s Church in Ninebanks. We then join the congregation for their Christmas service to hear the harmonium in its most familiar setting: supporting a rural community in song.

I’d like to thank Sarah, the Church Warden at Whitfield, and Ros for their help with this episode; Dorothy Summers and Marina Wallace, the Church Wardens at Ninebanks; and the Reverend Dr Martin Naylor and the congregation of St Mark’s Church for inviting me and my family to join their Christmas service and record the carols.

There is an excellent video about the history of the harmonium on YouTube:

You can find music by Janice Burns and Jon Doran on Bandcamp and the usual streaming platforms. Their website is www.janandjon.com and they are on Instagram and Facebook.

Vic Gammon’s essay The Rise and Fall of the West Gallery: popular religious music in the eighteenth and nineteenth centuries is in The Routledge Companion to English Folk Performance

https://www.routledge.com/The-Routledge-Companion-to-English-Folk-Performance/Harrop-Roud/p/book/9781032021966

‘The Catterwauling Scrapes of Thrashing Fidlers’: English and Welsh Vernacular Fiddle Players 1600-1900’ will be published by The Ballad Partners in 2026 in a book of essays.

You can watch the 2025 carol service at St Marks Church on YouTube at https://www.youtube.com/live/8zd7FOVCxug?si=NF61ystzNhsALIhx

Today my guests are SKX Funkanauts, a band of sonic kilohertz explorers from Aldermaran 4 who have chosen Northumberland as a base from which to transmit cosmic funky dance music back to their home planet. Our county has many admirable qualities but even its most ardent fans would struggle with the idea that it is the home of funk. So I met two band members, F2 and F3, at a secret location and, with translation by the AI entity Morley, I tried to find out more about their mission and their earthbound activities.

The Funkanauts have made their audio recordings accessible to earthlings on the usual streaming platforms and you can follow their mission on Instagram. There is a live data transmission of funkanautics at Hexham’s The Tannery pub on January 3rd, an event that I’m reliably informed will bring joy to all who attend.

I’ve added some links to other documented encounters with SKX Funkanauts so you know I’m not making all this up.

https://narcmagazine.com/focus-s-k-x/

https://narcmagazine.com/interview-s-k-x-funkanauts/

https://narcmagazine.com/my-inspiration-s-k-x-funkanauts-pale-blue-dot/

https://narcmagazine.com/track-review-s-k-x-funkanauts-murmurs-from-earth-feat-annie-j/

The audio data transmitted in this episode are: The Voyagers From Dynatron, Murmurs From Earth and Open Neural Pathways.

Pete Ward is a musician, theologian and author of a new book on the meaning of religion in bluegrass music to everyone who plays it, regardless of their faith or lack of one.

In the book, Pete analyses the lyrics of bluegrass standards from the 1940s and 50s and interviews musicians about their response to the sentiments of the gospel bluegrass songs they enjoy playing. We talk about the history of bluegrass, the origin myth that has excluded the important contribution of African American musicians, and how religious experience can emerge through playing these familiar songs.

We mention several greats of the bluegrass movement in this episode. I’m sorry that I can’t include their music for copyright reasons but on YouTube there are many examples of bluegrass songs, both religious and secular, by Bill Monroe, the Stanley Brothers, Flatt and Scruggs, Alison Krauss and many more.

Pete mentions the book Segregating Sound. Inventing Folk and Pop Music in the Age of Jim Crow by Karl Hagstrom Miller. It was published in 2010 by Duke University Press. He also refers to the American singer Rhiannon Giddens; her website is https://rhiannongiddens.com/.

Pete’s book is called Bluegrass and Religion and it’s published by Bloomsbury Academic. Pete plays in the House Band of the Platform Bar in Hexham Railway Station and in Hexham Bluegrass. You can find information about bluegrass music locally on the Facebook page Bluegrass in Hexham and at the website bluegrassinhexham.uk. Among the tutors at Hexham’s Core Music, Tom Kimber and Rupert Hughes are accomplished bluegrass players. T​he next Hexham Bluegrass and Americana Festival will take place from July 24th to the 26th, 2026.

Today, I’m the guest of Music in Allendale, a small and warmly welcoming group of enthusiasts who arrange concerts of classical music in Allendale.

Music in Allendale aims to bring classical music to the intimate setting of St Cuthbert’s Church to perform a varied repertoire by familiar and less well known composers. In September, I went to a concert by the Silja Trio – I hope I pronounced that correctly – and enjoyed music by Debussy, Faure, Piazzolla and Shostakovich. I am no aficionado of classical music and I did not know any of these pieces. But listening to them played live by these talented young musicians was little short of a revelation.

If you feel hesitant about attending a live performance of classical music, or you think it’s not really your cup of tea, I urge you to give it a go: you will not be disappointed. And, at Allendale, you will be treated to a fine supper after the concert and have the chance to chat with other people in the audience and with the musicians themselves.

To find out more about Music in Allendale, and who makes that delicious supper, I dropped in on the Committee as they discussed the programme for 2026. First, I spoke to Noel Broome, the group’s guiding light, about the history of Music in Allendale, before discussing the practicalities of bringing classical music to Allendale with the rest of the Committee.

The music in this episode was composed by Debussy and Shostakovich and was played by the Silja Trio in St Cuthbert’s Church in Allendale. The trio comprises Georgie Bloomfield on violin, Cillian Hennessy on cello and Hanna Csermely.

Information about Music in Allendale and the 2026 programme of concerts will be available at https://musicinallendale.weebly.com/ and you can find more about the music and other events at St Cuthbert’s Church at https://allendalechurch.co.uk/.

The Hive in Nenthead is a community centre and arts venue in a restored Methodist chapel. In this episode, I talk to Katja and Mandy, two of the venue's directors, about its history and its present roles, and to hear its pipe organ played by Brian Cottle in just one of the many contrasting events on offer here.

Nenthead is a former mining village in the valley of the River Nent, a tributary of the South Tyne, and high in the North Pennines at some 440m elevation. It is just inside Cumbria, very close to the borders of both Northumberland and County Durham.

The Hive has been beautifully restored and preserves the decorative ironwork and balcony of the original chapel. It is run entirely by volunteers for the benefit of the community and puts on a wide range of activities, including an eclectic repertoire of music. You can find out about the events on offer from The Hive’s Facebook page or on their website at www.hivenenthead.co.uk. I do encourage you to visit: you will be warmly welcomed.

One feature of The Hive that immediately strikes the visitor is its pipe organ, which occupies much of one wall of the venue. I was lucky to be there when the organist Brian Cottle arrived to play an evening’s concert. Brian is an accomplished musician whose unusual hobby is to play a pipe organ when he finds one that piques his interest. We talked about his life in music and the ins and outs – literally – of the workings of a pipe organ. This episode includes several familiar classical pieces that Brian played that evening to a very appreciative audience, concluding with a rousing rendition of Jerusalem. The organ, though in remarkably good condition, would benefit from some TLC but Brian overcame the challenges admirably.

Based in Bellingham, Jason Arnup and his band are much in demand for shows, events and gigs where his lively blend of country, rock and roll and popular songs make many an evening a great success. But it’s country music that runs in his veins and that is guiding his development as a songwriter.

In this episode, Jason talks about what shaped his music, the joy of playing live and the importance of having band members you can depend on. We look at the necessary work that the audience never sees, the practical business of making a living as a musician, and consider some tips for developing musicians.

There are three of Jason’s songs in this episode. His new single Cowboy Run is out in early October and signals the direction Jason sees his music going in the future. Zoe is a deeply personal and moving song that he wrote for his sister. The last song, Girl I Know, does not have a release date at the time of recording. It’s sure to be a live favourite thanks to an epic chorus that will have the audience joining in with arms waving.

You can find Jason’s music on the usual streaming platforms and on YouTube. Information about his gigs is on his website, JasonArnupmusic.co.uk, and there you can buy his two CDs, It’s a Little Too Late and Jet to the Promised Land.

We featured an interview with the band Central Arcade on the 26th of August but there was much more conversation than was included in that episode. So today we have the interview in full, including more about the dynamics of the band and the experience of being in a band as it begins to establish its reputation.

I talk to Connall, Ben and Joe from the band Central Arcade about life in an upcoming band, writing songs, gigging, marketing and balancing artistic ambition against income. It’s a hard, competitive environment and one that requires a complete commitment to the band and a realistic long term view of what constitutes success.

Central Arcade have had rave reviews for their energetic live performances and their original songs. We recorded this conversation on the day before they released their EP Master, which NARC Magazine described as ‘demonstrating vocal, instrumental and lyrical skill - and impressive diversity of each’… adding, ‘Central Arcade prove that good, classic indie rock is still very much alive and kicking in the North East’.

The band recorded two acoustic versions of songs from the EP for the podcast: Master and Liar in the Heart.

This episode of the podcast was produced and engineered by Dean Parker at Odobo Studios in the John Marley Centre in Scotswood, Newcastle. Dean also produced, mixed and mastered the two songs.

You can find out more about Central Arcade and listen to their music by following them on Instagram, Facebook, Tik Tok and YouTube.

You can find information about Sixto Rodriguez on Wikipedia at https://en.wikipedia.org/wiki/Sixto_Rodriguez.

The YouTube video in which Chris Buck talks about the finances of touring is at

Today, my guest is Hannah Fumoleau, a singing teacher who offers lessons at Hexham’s Core Music, in Newcastle and occasionally elsewhere.

Growing up in a household full of music, Hannah’s first paid performance was at the age of twelve and, following a career in arts administration, she became a full-time singer and teacher in 2024.

Hannah performs classical music but she is an enthusiastic teacher of all styles of music and of the art of singing itself, emphasising the value of fulfilment and personal goals for the student who is learning how to improve their singing, and the overriding importance of having fun.

We cover many aspects of tuition in this wide-ranging episode, including the process of teaching, the importance of community in shaping music preferences, vocal health, self confidence and the secrets of live performance by the pop greats.

Hannah sings three classical pieces in this episode accompanied by Len Young on the piano and recorded in the church of St James and St Basil in Fenham:

Du Bist Wie Eine Blume, by Schubert.

Rejoice Greatly, from The Messiah, by Handel

Spring, from Five Elizabethan Songs, by Ivor Gurney

You can find out more about Hannah from her website at hannahthesop.com and more about singing lessons at Core Music on their website at coremusic.co.uk.

The YouTube video of Rick Beato and his son that I refer to is titled ‘Next Level Perfect Pitch (8 Year Old)’.

Today’s guest is a sociologist who has spent many years studying popular music. Simon Frith is Emeritus Professor of Music at Edinburgh University, the culmination of an illustrious academic career, and he has written several books on popular music culture. He was the Chair of the Mercury Prize for 14 years from its inception in 1992.

I first came across Simon’s work when he was a rock critic for the music papers and then the Sunday Times and Observer back in the 80s and 90s. When I discovered he lives in Tynedale, I couldn’t wait to ask him onto the podcast to learn of his views on the state of current music.

Our conversation covered the merits and otherwise of streaming, the ways we listen to music, the old days and new ways, and why these things are important. I’m not short of opinions myself so it was refreshing to hear a sociological perspective that challenged my underlying assumptions. I hope there will be something that makes you think or presents a view that’s not what you expect.

You can find more about some of the topics we discussed by following these links:

https://www.thebreaker.co.uk/algorithms-turn-consumers-into-a-kind-of-running-cliche/

https://www.bridgeratings.com/blog/2025/3/27/what-is-functional-music-and-why-are-we-listening-to-more-of-it

We mention the book Mood Machine by Liz Pelly. There are several interviews on YouTube in which she discusses the issues raised.

I hope you enjoyed this episode. Please subscribe and tell your friends about it.

Today, I’m talking to Connall, Ben and Joe from the band Central Arcade about life in an upcoming band, writing songs, gigging, marketing and balancing artistic ambition against income. It’s a hard, competitive environment and one that requires a complete commitment to the band and a realistic long term view of what constitutes success.

Central Arcade have had rave reviews for their energetic live performances and their original songs. We recorded this conversation on the day before they released their EP Master, which NARC Magazine described as ‘demonstrating vocal, instrumental and lyrical skill - and impressive diversity of each’… adding, ‘Central Arcade prove that good, classic indie rock is still very much alive and kicking in the North East’.

The band recorded two acoustic versions of songs from the EP for the podcast: Master and Liar in the Heart.

This episode of the podcast was produced and engineered by Dean Parker at Odobo Studios in the John Marley Centre in Scotswood, Newcastle. Dean also produced, mixed and mastered the two songs.

You can find out more about Central Arcade and listen to their music by following them on Instagram, Facebook, Tik Tok and YouTube.

Today my guest is the singer songwriter Chris Kelly. Based in Hexham, Chris started playing music and writing songs in a school band that achieved significant local success. Sadly, as so often happens, the band split when the members left school and went their separate ways. Throughout his time studying music at university, Chris’s writing and style evolved in line with his solo performances and he is now known for his carefully crafted lyrics and personal songs.

Chris recently released an EP of five songs called the Middle Of It All. It’s available on his page on Bandcamp and on Spotify. You can also see him perform on his YouTube channel.

Chris often plays gigs in and around Tynedale and Tyneside so do check out his pages on Instagram and Facebook to find out when.

Chris recorded two songs specially for the podcast, both of which are on the EP. They are: All I Ever Meant To You and When It Rains.

This is a special episode devoted entirely to a performance on the ten bells of St Augustine’s Church in Alston, played on the carillon by Josephine Dickinson.

The performance took place on the Saturday morning of the 2025 Alston Live Festival and was free to all who could hear it in and around Alston. It included over 20 classical, traditional and popular tunes chosen by Josephine. The performance lasted an hour – a physically demanding challenge that Josephine met with admirable determination and stamina.

Thanks are due to Paul Frear and the organising committee of Alston Live Festival, and Mark Nash-Williams, Vicar of Alston Moor, for their support for the performance; and to the shops and businesses of Alston that helped to promote the concert. And of course thanks are due to Josephine Dickinson, whose commitment to playing the carillon has brought the sound of the bells of St Augustine’s to the people of Alston for many years.

The tunes Josephine played were:

Cavatina (The Shadows) 4m

Do-Re-Me (The Sound of Music) 2m

Everyday (Buddy Holly) 3m

Believe me if all those endearing young charms (traditional air) 1m

You Never Can Tell (Chuck Berry) 2.5m

Stumpie (trad) 1.5m

Grádh gan fhios — Love In Secret (Bunting transcript via Simon Chadwick) 2m

O’Carolan’s Lament (Turlough O’Carolan) 2.5m

Ride a Mile slip jig (trad) 1.5m

The Bramble Briar (song collected by RVW) 1m

Everlasting Love (Buzz Casson and Mac Gayden) 2m

Song for Someone (Bono and The Edge) 3m

Edi beo thu (Anonymous English, late 13thC, secular Christmas song in praise of Mary) 1.5m

Lift Me Up (Rihanna) 3.5m

Heman Dubh (trad) 1m

Fare thee well, my dearest dear (song collected by RVW) 1m

Slide Dubh (Peadar Ó Riada) 1.5m

Smile (from ‘Modern Times’ by Charles Chaplin) 2m

Seikilos Epitaph (trad Greek, oldest known complete song) 1m

I Will Have a Wife of My Own (irregular trad English aka JBa.57) 2m

A Wife of My Own (trad English regular version) 2m

New Road to Alston (trad from a Northumbrian piper’s MS of c.1816) 2m

Carolan’s Farewell to Music (Turlough O’Carolan) 3m

Stephen Fry is a musician born in Tynemouth who now lives in Tynedale, and who can trace his roots in folk music back several generations. He is a familiar face in Northumberland music circles through his solo performances, appearance at folk sessions and his membership of Hexham band The Cherrypickers.

I asked Stephen to talk about the family of instruments known as squeezeboxes – the most familiar of which are the concertina, melodeon and accordion – and what follows is testament to his encyclopaedic knowledge of open reed instruments, illustrated by his masterful playing of several examples from his own collection.

You can find some of Stephen’s music on Soundcloud, under the name Stephen W Fry or Highford, where recordings include several traditional tunes and music hall songs. You can find out about The Cherrypickers gigs by following the band on Instagram with the tag thecherrypickershexham.

Stephen has been instrumental in recording some of the most familiar names in traditional Northumbrian folk music for The Tradition Lives On, a fascinating CD and DVD celebrating the music culture of North Tynedale and Redesdale. You can order them both online from Northern Heritage at https://www.northern-heritage.co.uk. Stephen has also recorded, with guitarist Peter Stenhouse, a collection of well known songs from the 19th and 20th centuries. The CD, called So Far, is not widely available but if you come across a copy you’ll find a reminder of the humour and warmth that is a feature of many popular songs.

Today’s episode is all about the open mic session – an opportunity for anyone to turn up and play the music of their choice to a supportive, if sometimes noisy, audience. Open mics could fairly be described as the roots of grass roots music: it is here that developing musicians and poets take their first steps as performers, with the opportunity to learn from their own experience and from watching more seasoned performers.

First, we hear from Chris Kelly, a musician who MCs the Buskers’ open mic session on Sundays at The Tannery in Hexham, about the practicalities of performing and what a newcomer might expect at their first night.

Then, it’s a short hop across the river to The Crown Inn in Humshaugh, where we meet MC and singer-songwriter Calum Tordoff and landlord David Harding, and hear the stories of the performers who entertained us that evening.

Open mics can include a lot of covers and this evening was no exception. I’m afraid I can’t include them in the podcast for copyright reasons but I hope there’s enough music here to give you a flavour of the session.

You can find information about these open mic sessions on the Facebook pages of The Tannery and The Crown Inn. Music by Chris Kelly and Calum Tordoff is available on the major streaming platforms and on Bandcamp, and more information is on Instagram and Facebook.

Today’s guest is multi-instrumentalist Caroline Guirr, a musician from the Tyne Valley whose work encompasses songwriting, performing, composing, arranging and producing both for her solo career, her duo with Tom Cantwell, various bands and for the Tyne Valley Big Band and the Prudhoe Community Band.

Caroline is not one to shy away from challenging subjects in her music, which draws on her interest in jazz, pop and classical, which she uses to great effect in support of her thoughtful and personal lyrics.

Caroline talks about her multifaceted career, her process of creating and publishing music, and her involvement in the music of her community,

This episode includes three of Caroline’s songs: That Day, from her 2024 album, Make the Most of Everything; and This Long Happy Life and Four Dusty Shoes from the album Diamonds and Stars, which was released in 2021.

You can find Caroline’s music on the usual streaming platforms and you can buy all her albums from her website and Bandcamp page:

https://carolineguirr.bandcamp.com

https://www.carolineguirr.com

You can read an in-depth interview with Caroline by Aldora Britain Records at https://drive.google.com/file/d/1YggsyZdplFLDktibq7ON_zwG-R0f3EOZ/view

Music by the Riverside is part of the Prudhoe Arts Festival, which is running from July 5th – 20th. It is a free event coordinated by the Prudhoe Community Partnership. You can find more details on its Facebook page.

Today, I’m talking to David Francis, Lead Officer at Music Partnership North in Northumberland.

Music Partnership North is the regional agency through which the Government’s plan for music education is delivered. David is an enthusiastic advocate for music education. He works with schools and outside formal education structures to support and facilitate music learning for young people. Many smaller schools and individual aspiring musicians look to these services for help with learning to play an instrument.

The way the Government supports music education is currently undergoing change. Music teaching suffered a devastating decline when the Conservative government of 2013 excluded music from the core curriculum for state schools. But the past 6 - 7 years have seen a reversal in policy and, despite repeated tweaks, the future for state-funded music education is now looking brighter as long as the new proposals can be translated into action on the ground.

David and I met in an office in County Hall in Morpeth. You will hear, right from the start, that the road repair services were in full swing.

In this conversation, we mention a YouTube video by Bobby McFerrin in which the singer demonstrates that an audience can estimate pitch. You can find it here:

We also mention Jacob Collier, so I’ve included a link to one of his videos in which he leads an audience in singing:

Music can be found everywhere in our lives and it is often so prevalent that we may not notice it. But one musical form can be heard in most villages and towns and it is worth a momentary pause to listen – because then you will hear the sound of church bells.

Today’s episode is devoted to the carillon – an instrument for playing church bells that is an alternative to bell ringing by pulling ropes. The carillon is often, but not exclusively, found in smaller churches with 4 to 12 bells; these may be buildings with towers that are too small or not strong enough to cope with the huge forces generated by pulling ropes.

The carillon is not exactly rare, but neither is it common. In the Three Tynes area, I have found only two churches with carillons – St Augustine’s in Alston and Holy Trinity Church in Whitfield. We will hear them both.

Another five churches have bells that are rung by ropes – that is, in Hexham, Allendale, Ovingham, Wylam and Corbridge (though the Corbridge bells are not currently rung in case of structural damage). The other churches have no bells, or one or two.

The Carillon Society of Britain and Ireland defines a carillon as an instrument with at least 23 bells. The Society tells me: “The reason for the minimum is practical. Omitting the two lowest semitones for cost and/or space (for example, on a keyboard the C# and Eb), 23 bells produces a carillon of two musical octaves, providing a range of opportunities. For a smaller number of bells than this, the musical potential reduces.”

Fifteen carillons in Britain and Ireland meet that criterion. The most famous of these is perhaps in York Minster, though with 35 bells it is not the largest. That honour belongs to instruments in a primary school near Birmingham and a church in Aberdeen, both of which have 48 bells, and to St Colman’s Cathedral in Ireland, which has 49.

But while I’m talking about carillons in this episode, I’m also talking to two people who play them.

It is a little known fact that the Civic Centre in Newcastle has a carillon and, with 25 bells weighing a total of 22 tons, it is the heaviest two-octave carillon in the world.

Jon Bradley is the carillonist for Newcastle City Council - he plays the bells on civic occasions and gives a recital every Friday afternoon. Jon gives us a potted history of the carillon and recounts the story of how the Newcastle instrument came to be. Jon plays a huge repertoire and he performs one of his own compositions, The Autumn Leaves, from a suite of miniatures called The Chromaticas.

First, I talk to Josephine Dickinson, the carillonist at St Augustine’s Church in Alston. Josephine is an accomplished musician who has been deaf since childhood. In our conversation, she talks about her experience of music in all its forms and of discovering her enthusiasm for playing the carillon. And we travel to Whitfield and Newcastle to hear these contrasting instruments.

3tynespodcast is known for its inclusive approach to animals and I miss no opportunity to give them their moment in the limelight. Josephine and I recorded our conversation in the tower of St Augustine’s Church. If you listen carefully, you will hear the pigeons doing their best.

We start the episode with Josephine’s performance of the traditional tune New Road to Alston, appropriately played on the Alston carillon.

You can find information about the Carillon Society of Britain and Ireland at https://carillonsbi.org/

The Edith Adamson Memorial Carillon has its own Facebook page at https://www.facebook.com/newcastlecarillon and you can find information about Jon Bradley’s performances there.

Information about St Augustine’s Church in Alston is at https://www.alstonmoorcofe.org.uk/

The Holy Trinity Church in Whitfield is part of the Allen Valleys Churches; go to https://allendalechurch.co.uk/ to find out more.

This episode was inspired by a conversation with Mark Nash-Williams, Vicar of the Parish of Alston Moor. I am grateful to Josephine Dickinson and Jon Bradley for their enthusiasm and generous support in making this episode, and to Sarah Blackett-Ord for helping us visit the Holy Trinity Church in Whitfield. The first time we hear the bells at Whitfield, the carillon was played by Keron North.

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Today, my guest is one of the most respected figures in the world of Northumberland folk music – the traditional singer David McCracken.

David farms sheep and cattle on the hills above the North Tyne valley. He draws on a lifetime’s experience of making music with his family and community to create his own songs about rural life in the Borders and beyond. He composes entirely in his head and writes nothing down, learning and passing on songs through the oral tradition and performing in local shows, pubs and folk sessions. There are almost no publicly available recordings of his singing. David says he has hundreds of songs in his head and he recorded three of them for this episode.

Today’s guest is the drummer Francesca Knowles. Fran plays with accordionist Amy Thatcher in a duo that was recently included in the highly selective roster of Northern Line musicians supported by Jazz North. The novel blend of jazz and folk, and of drums and accordion, plus the virtuoso musicianship evident on their first album, Emergency of a Female Kind, has received glowing reviews. The duo is now recording new tracks to be released later this year.

Fran is also the drummer in Grace Petrie’s band and has played with many eminent musicians from the North East, including Beccy Owen, Ceitidh Mac, Ruth Lyons, Rob Heron and Jodie Nicholson, and she can be found teaching drums both privately and at Hexham’s Core Music.

The music in this episode comes from Emergency of a Female Kind. They are: Power To The Loser, Start Giving A F*** and Save This Woman.

You can find more information about the Amy Thatcher and Francesca Knowles duo at www.atfk.co.uk.

Today’s guest is Ovingham singer songwriter, Sam Shields - a familiar face in Northumberland performing solo with his guitar or with his band The Regiment.

In this episode, Sam talks about his distinctive British take on Americana, the importance of authenticity, the joy of lyrics, managing social media and the pleasure – or otherwise – of hearing your own voice.

Sam plays three songs specially for the podcast: Wasting My Time, Penny’s Daughter and Mother Nature. Some of Sam’s music is available on Spotify, YouTube and Apple Music but the best way to hear him is to catch one of his many gigs. You can find out about these through his Facebook page – https://www.facebook.com/SamShieldsSingerSongwriter.

Today’s bonus episode is a preview of Alston Live Festival 2025. Paul Frear and Jess McCormack talk about this year’s line-up, how an effective social media campaign has boosted ticket sales and a new opportunity for sponsors.

The festival will be held in Alston on the 18th and 19th of July. Everything you need to know about tickets and accommodation is on the website at www.alstonlive.com.

Today’s show is all about the ukulele – possibly Northumberland’s most popular instrument along with the guitar and fiddle.

The episode is divided into three parts.

In the first, we talk to luthier and guitar player Paul Mason who, from his home in the North Tyne valley, has been making ukes for the past five years.

In the second part, singer-songwriter and ukulele teacher Ian Brown gives me an introductory lesson in playing the uke – and I warn those who believe that listening to music should be enjoyable to avert their ears.

Finally, we hear from singer-songwriter and keen uke advocate Penny Grennan on why she chooses this instrument above all others for performance, and we talk about the many different ukes she plays.

This is Part Two.

Information about Ian Brown’s uke classes can be found at https://www.facebook.com/BrownIanK

Information about ukulele classes at Core Music can be found on Core Music CIC’s Facebook page.

Today’s show is all about the ukulele – possibly Northumberland’s most popular instrument along with the guitar and fiddle.

The episode is divided into three parts.

In the first, we talk to luthier and guitar player Paul Mason who, from his home in the North Tyne valley, has been making ukes for the past five years.

In the second part, singer-songwriter and ukulele teacher Ian Brown gives me an introductory lesson in playing the uke – and I warn those who believe that listening to music should be enjoyable to avert their ears.

Finally, we hear from singer-songwriter and keen uke advocate Penny Grennan on why she chooses this instrument above all others for performance, and we talk about the many different ukes she plays.

This is Part One.

Today’s show is all about the ukulele – possibly Northumberland’s most popular instrument along with the guitar and fiddle.

The episode is divided into three parts.

In the first, we talk to luthier and guitar player Paul Mason who, from his home in the North Tyne valley, has been making ukes for the past five years.

In the second part, singer-songwriter and ukulele teacher Ian Brown gives me an introductory lesson in playing the uke – and I warn those who believe that listening to music should be enjoyable to avert their ears.

In this part, we hear from singer-songwriter and keen uke advocate Penny Grennan on why she chooses this instrument above all others for performance, and we talk about the many different ukes she plays.

This part ends with one of Penny’s songs, Love on the Big Screen, which is taken from her first album No Relation. You can find Penny's music at https://pennygrennan.bandcamp.com, where you can download her album No Relation. Penny plays uke in (among others) the bluegrass band The Cherry Pickers (https://www.facebook.com/CherryPickersHexham).

Today. I’m talking to Craig Atkinson and Peter Aldcroft, two of the team that organises the Allen Valleys Folk Festival, about their plans for 2025.

Once again, this festival will offer a diverse range of musical styles, both traditional and progressive, that fall under the broad banner of folk, with ticketed sessions complemented by a number of free events in Allendale, including workshops, spoken word, an open mic, dancing and – of course – the famous Allendale wolf.

There will be a local sale of weekend passes in St Cuthbert’s Church in Allendale between 10am and midday on Saturday the 22nd of March. Any tickets remaining will then be sold from Allendale Co-op.

Online sales will start at 7pm on Sunday the 23rd of March at www.allenvalleysfolkfestival.co.uk.

Today’s guest is Fiona Lander – composer, singer, multi-instrumentalist, jazz fan and teacher. Based in the North Tyne valley, Fiona is one half of the duo Landermason, performing traditional and contemporary folk in jazz, blues, classical and other styles. She also works with choirs – notably, the Northumberland-based Dark Sky Voices – and composes music for schools to perform and for commissions. She is a freelance music teacher and, in the little time left for leisure, she co-organises the annual Bellingham All Acoustic Festival better known as BAAFest.

In this episode, Fiona recounts how her early talent for music and performance led to her current diverse career and her passion for composing. The episode includes three songs.

Amazing Grace is sung by Dark Sky Voices and is available on YouTube.

Make Our Future Bright was commissioned for performance at the Festival of Hope; it is not available online.

Born To Sing is from the 2021 album Landermason with Dark Sky Voices. It is available from Landermason’s Bandcamp page at https://landermason.bandcamp.com.

Information about Fiona’s work is available at https://www.fionalander.com/.

It’s now quite common for churches, whether grand or small, to host secular music events. But, not so long ago, this would have been unthinkable. The idea that churches should confine their activities to respectful worship is strongly rooted in centuries of tradition. And it is only in the past 10 to 20 years that a warm welcome has been more widely extended to people visiting a church for an event that is primarily for entertainment.

This is actually a return to the ways in which a church originally served its community. To find out why this happening, and what it means for a typical parish church, I speak to the Reverend Mark Nash-Williams, whose parish of Alston Moor covers much of the South Tyne valley, whose church of St Augustine’s in Alston often hosts secular music events in addition to its many religious services and community-focused activities.

The bells that you can hear at St Augustine’s are played by Josephine Dickinson with a carillon rather than ropes. In this episode, she plays a tunes from a large repertoire that includes a wide range of religious, classical and popular music.

Today’s guest is Laura Tindall, Head of Music at the Queen Elizabeth High School in Hexham.

When we recorded this episode in the autumn of 2024, Laura had been in post for about 6 weeks. We talked about how music is taught in schools and in particular about what is included in the GSCE and B Tech music courses, including how both modern and classical music are covered and the importance of performance. We also considered the very important issue of what resources are available to students to support their studies.

I hope this episode will prove interesting for everyone but especially for parents and potential students who are thinking about their future course options and wondering what it means to study music at school.

Today’s guest is Calum Tordoff, a singer songwriter from the Tyne Valley who’s very familiar to audiences in the North East. His distinctive music deals with a disparate range of topics that incudes love, relationships, friends falling out of taxis and mates going off to sea. Calum’s influences lie in 60s pop as much as in the alternative folk scene and this is evident in his melodic style and authentic delivery.

In this episode, Calum talks about his musical development, his inspirations and his enthusiasm for performing, and he offers some useful tips for aspiring musicians who are thinking about going to an open mic night.

Calum performs two songs in this episode. Frankie’s Gone To Sea, which is on his album Here Come The Belgians, and The Most Beautiful Girl On The Planet, for which the only recording currently available is on YouTube ().

Calum is preparing to record a new album and he has released two so far: 2017’s Sistership’s and 2019’s Here Come The Belgians, both of which are available as CDs and are on Spotify. His Facebook page is Calum David Tordoff.