Closing their UK tour at St Martin-in-the-Fields, Windborne—a vocal folk quartet known for their intricate harmonies and dedication to traditional polyphonic music—delivered an intimate performance. Their sound, shaped by years of friendship, study and travel wrapped the audience in a vocal embrace.
The concert was wholesome, sometimes moving, sometimes verging on twee. 'Grey Funnel Line' was beautiful, floating through the space like an ethereal sea breeze. For paghjella, they gathered around a single microphone, channeling the raw energy of traditional Corsican singing. This was my personal highlight— impressive and immersive. More like learning a game than a song, the style builds harmonies in the moment. Their voices wove together enchantingly, and while none were standout soloists, their collective sound had an undeniable warmth.
They had a lot to say, introducing each song with earnest explanations that made it clear they take their craft seriously. 'Lady of the Harbour' came with a pointed remark about how society has failed to live up to the ideals of the Statue of Liberty, underlining their belief in music as a force for change. Sincere? Yes. A little on the nose? Sure, but undeniably heartfelt.
St Martin-in-the-Fields is a stunning venue, but the acoustics didn’t help them. The sound was often too quiet, dulling the impact of their harmonies. Still, they carried themselves with confidence, well-versed in adapting their music to different spaces. Their long-standing friendship was evident, adding to their charm. Lynn Rowan’s foot percussion was particularly impressive, injecting a natural rhythm into the set.
And then there was the merch—shamelessly flogging CD-books, stickers, and even branded socks—a full folk-band hustle. Endearing? Yes. A little much? Also yes.
Would I pay to see them again? Probably not. But would I listen to their music in a non-ironic way, perhaps during yoga or while staring wistfully out of a window on a rainy day? Absolutely. Their magic lies in the depth of their harmonies and their commitment to folk traditions. Not groundbreaking, but a well-executed and sincere finale to their UK tour.
Windborne's latest album 'To Warm The Winter Hearth' is out now.
MUSIC PREMIERES
Four years on from the ‘Actual Life’ series lifting him into the mainstream spotlight, Fred Again.. continues to feel unavoidable. The London producer and DJ born Fred Gibson has moved at a relentless pace, bouncing between sold out stadium dates in New York and surprise appearances at Sheffield’s 1,000 capacity Forge, while also making history as the first electronic artist to top the bill at Reading and Leeds in 2024.
Where the ‘Actual Life’ releases and his fourth album, 2024’s ‘Ten Days’, leaned into warmth and joy pulled from ordinary moments, Gibson has also sharpened his instinct for high impact club weapons rooted in garage, dubstep and jungle. That side of his output lives on ‘USB’, an “infinite album” first imagined in 2022 as a home for tracks that exist outside any fixed universe, including defining moments like ‘Rumble’ and ‘Jungle’.
‘USB002’, the second vinyl only chapter of the ‘USB’ project, brings together 16 recent tracks, many of which surfaced gradually on streaming services over a ten week stretch. The music was shaped live, in step with ten unannounced DJ appearances across the world from Dublin to Mexico City. Even with a Glastonbury style registration system in place, The Times reported that 100,000 people tried to secure tickets for the opening night in Glasgow.
Appropriately, ‘USB002’ feels alive and constantly in motion, helped along by contributions from close collaborators such as Floating Points and Sammy Virji. The rigid, techno driven pressure of ‘Ambery’ echoes elements of Floating Points’ 2019 album ‘Crush’, while Gibson’s take on ‘The Floor’ builds like the slow climb of a rollercoaster before dropping back to earth without warning.
The guest list stretches beyond the usual dance circles, with two Australian guitar bands popping up in unexpected ways. ‘You’re A Star’ reworks Amyl and The Sniffers’ ‘Big Dreams’ into a breakbeat driven rush, while ‘Hardstyle 2’ pulls the experimental post punk edge of Shady Nasty into an Underworld adjacent space alongside Kettama. Gibson’s real trick is his ability to connect with anyone. These tracks are not reinterpretations but full takeovers.
The visual world wrapped around the ‘USB002’ rollout reinforces the instinct behind the music. Phones were prohibited at shows staged in vast warehouse spaces under sweeping light rigs, while Gibson’s team shared striking black and white footage and created artwork for each single on site. Bottling that sense of urgency, the project is rooted in the thrill of the present moment, something Gibson seems able to summon simply by turning up.
If the ‘Actual Life’ series and ‘Ten Days’ captured passing snapshots of experience, ‘USB’ is defined by constant movement, a space where boundaries are removed entirely. Sitting somewhere between an album and a playlist, ‘USB002’ underlines why Fred Again.. feels so dominant right now, and suggests that his current run may only be the beginning of something much bigger.
