“..an exceptional voice and a great songwriter” (Jamie Cullum, BBC Introducing).
PAUL MOSLEY is an award winning composer/singer/songwriter who loves a concept. Combining charmingly off kilter art-rock sensibilities with hook laden choruses, his hugely enjoyable live shows have taken his ever rotating’ Red Meat Orchestra’ everywhere from Glastonbury to Green Man via the brothels of Amsterdam and the most remote wilds of Iceland. His album ‘The Butcher’ is an epic folk opera, a ghost story 2 years in the making, told over 20 songs by 20+ musicians – friends made on Mosley’s various composing projects including Josienne Clarke, Jamie Lawson, Mediaeval Baebe Esther Dee, long time collaborator harpist Tom Moth (Florence And The Machine), and musicians from the bands of Feist, Benjamin Clementine, Madness, Patrick Wolf and Neko Case.
‘What a voice’ Jools Holland
‘This is great modern folk writing’ **** R2 Magazine
JACK HARRIS‘s songs take a compassionate look at things both common and uncommon, and see them differently. They are literate, curious, often in character, and always intriguing. His latest album, ‘The Wide Afternoon’, produced by UK folk giant Gerry Diver (Sam Lee, Lisa Knapp, Tom Robinson), was released to universal press acclaim. A SXSW showcasing artist at 17, and the youngest ever winner of the Kerrville Folk Festival’s New Folk Award in 2005 (previous winners include Gillian Welch, Devon Sproule and Anais Mitchell), he has been the recipient of the PRS ATOM award for new music creation, as well as an EFDSS creative bursary for songwriting.
‘Jack Harris is a priest of song who holds himself to a rigorous, ancient code of beauty most of us have forgotten exists.’ Anais Mitchell
NEW ROOTS is committed to promoting events that shine a light on up and coming talent in the UK alt-folk and contemporary roots music scene. It’s committed to providing artists with an environment that is sympathetic to what they do, giving musicians the respect they and their music deserve – for this reason we ask for no talking and no use of mobile phones while artists are performing. Our music policy comes from the kitchen table, the roots of public performance- intimate, acoustic based, high quality musicianship with as little interference between performer and listener as possible.
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