This post comes not from Elveden or points east but from Arden, as in Tanworth-in-Arden; from the lush green countryside between Redditch and Solihull in northwest Warwickshire, that rolling bucolic Eden that lies just south of the diesel-rank treadmill that is the M42. Umberslade Farm near Tanworth-in-Arden is the inspired location for the Lunar Festival, which has just enjoyed its third annual convocation.
“Hello Lunar. I’ve been living in North Wiltshire in a mystical state” was how Julian Cope introduced himself to the audience before launching into a troubling but catchy song about ‘sleeping in the room that they found Sadam in’. Cope, enthusiastic psychedelic practitioner, occult archaeologist, Krautrock chronicler and self-parodying rock survivor, seemed a natural choice for the Sunday afternoon slot at Warwickshire’s Lunar Festival. Dressed like a fallen Hell’s Angel and accompanied by only a sparkly 12-string guitar he entertained the crowd with darkly melodic songs that he interspersed with rambling tales of how no-one would work with him these days because of his errant Byronic ways.
Sadly I missed The Fall and Mark E Smith’s malevolent mumblings on the Friday night, along with Tuareg camel-rockers Tinariwen, but had enjoyed Wilko Johnson and a resurgent, partly septuagenarian Pretty Things on the previous day. I had also witnessed Mike Heron and Glaswegian nu-folk-rockers Trembling Bells covering some early Incredible String Band back catalogue in the Bimble Inn bar – a slightly shambolic but warm-hearted performance with Heron grinning broadly at the crowd, clearly enjoying himself as they performed the likes of “This Moment” and “A Very Cellular Song”. And it was – very cellular.
The Lunar Festival is intimate and small-scale with a local feel. The lingua franca spoken here is mostly Middle Brummie, a tonal language spoken throughout the West Midlands, north Worcestershire and Warwickshire: a tongue in which I have working proficiency having grown up nearby, although decades in East Anglia have stymied full fluency. The Lunar vibe is early Glastonbury: gently pagan, psychedelic and counter-cultural. Imagine a Midlands Wicker Man without the unpleasant sacrificial burning at the end. Crow symbols abound, there are quite a few animal-headed folk strolling about, and the wood-smoked air is pleasantly redolent of 1967, as are some of the attendees – patchouli and other popular herbal fragrances may possibly be discerned. An oak tree trunk next to the arena’ s central camp fire is carved with the legend: ‘A day once dawned and it was beautiful’ – a line from a song by Nick Drake, a large portrait of whom hangs from a tree branch next to the Crow Bar beer tent at the top of the field. The reference is deliberate: leafy Tanworth-in-Arden was the childhood home of troubadour Nick Drake, whose tragically short life created a musical canon of great longevity.
The Bootleg Beatles concluded the festival on Sunday, and were glorious with their note-perfect trawl through the very best of the Fab Four’s 1966—70 material, but for me the real star of the festival was the penultimate act, the Sun Ra Arkestra directed by 91-year-old Marshall Allen. Allen joined the band way back in 1957 and took over the musical directorship in 1993 when their controversial leader Sun Ra (born Herman Poole Blount, legal name Le Sony’r Ra 1914—93) ‘left the planet’ to return to his native Saturn.
I had seen the Arkestra perform last year at London’s Barbican Centre when they celebrated their erstwhile leader’s centenary. They were good but somehow it seemed that they did not quite gel musically on that occasion. At Lunar though, they dazzled, segueing from one tune to another, Marshall Allen directing his cohorts with hand gestures, ear-whispers and alto sax squeaks. Despite a playful sense of humour and the faintly ridiculous galactic-warrior outfits sported by the Arkestra players, the music they generated was deadly serious: spontaneous, risky, and on occasion quite unsettlingly beautiful. At times the music seemed to teeter on the edge of anarchy but it was usually only a brief time before the band swiftly gathered itself together to swing into another languid yet skin-tight ensemble passage. It has sometimes been dubbed ‘space-jazz’ or ‘afrofuturist’ but to accurately describe the scope of the Arkestra’s music is a futile endeavour – never has the dictum ‘Writing about music is like dancing about architecture’ seemed more apposite. There were a couple of tunes I recognised: “Saturn”, I think, and “Angels and Demons”, and near the end of the set we were treated to a superb straight-ahead blues in which everyone took a solo and the Arkestra seemed momentarily to almost be a normal sort of jazz band, albeit one where the adjectives ‘left-field’, ‘spacey’ and ‘psychedelic’ still seem to be wholly appropriate.
The set concluded with the Arkestra leaving the stage to lead a procession around the site: a motley pageant of aged jazzmen in sparkling capes followed by an assortment of folk in badger and crow outfits, black-faced Molly dancers and a few adventurous children. The denouement came with the ritual combustion of the wooden crow-man totem that had stood in the centre of the site for the duration of the festival. The crow-man burned hard and bright, sparks crackling to the strains of “Space is the Place” played by the Arkestra’s gamely marching horn-men.
Perhaps space is the place? But then so is Tanworth-in-Arden in early June. Magic is undoubtedly in the air around this time. Wicca comes to Warwickshire; Sun Ra smiles down from Saturn. Lunar, I’ll be back.