Becky Unthank, left, Rachel Unthank and Niopha Keegan in harmony at All Saints’ Church, Pocklington. Picture: Paul Rhodes
SHOWING no signs of slowing, this tour marks 20 years in showbusiness for the Unthanks. Mercifully, these North Easterners are the perfect antidote to the shallow and throwaway nature of much of what’s spun out for popular entertainment.
All Saints’ Church in Pocklington is an ideal intimate venue for them. All 200 seats sold out quickly, and the welcome and sound were both warm and inviting.
The Unthanks have been prolific, with a range of releases including lots of diversions to cover the works of others. It made for a really varied evening, with 19 tunes drawn from all corners of their repertoire.
The opening salvo of John Dead, On A Monday Morning and What Can A Song Do To You encapsulated this. The last of the three was a cover of Molly Drake’s home recordings (their last recorded diversion). Molly was the mother ofsinger-songwriter Nick Drake and an enormous musical influence on her son who took her inner journeys and piano tunings and made them darker, more abstract and universal.
With all its twists, the set was still steeped in the darkness that we have come to expect from the Unthanks. Their voices conjured a devastating account of The Trimdon Grange Explosion and it was a rare treat to hear Keen And Cry And Weep from the sisters’ musical score to the play Elmet (written by York novelist Fiona Mozley, adapted and directed by Javaad Alipoor and performed with the Unthanks at the Loading Bay in Bradford from October 22 to November 2 as part of Bradford 2025 UK City of Culture).
The Unthanks are one of many, many folk groups, so why are they so beloved? It’s partly their natural North Eastern authenticity (not weakened a jot by adding London Irish Niopha Keegan, who sang and played fiddle).
There’s definitely their canny knack of choosing and arranging songs, and their sharp ears for a good story that can last. Most of all, however, it really comes down to the voices and our love of siblings harmony. Becky and Rachel really know how to make the most of what nature has given them.
The goose bump moments also happen when, rarely, all four sing together, bringing in musical director Adrian McNally’s voice at the low end. A grand example was King Of Rome, majestic in its new brass-less arrangement, which brought the second set to life after a less than diverting start.
Twenty years not out, and comparative striplings still, we can hopefully look forward to many more evenings in the Unthanks’ fine company.
Review by Paul Rhodes
Hard to find fault with any of this performance, not that I was trying to. As usual, utterly carried away by the harmonies, the brilliant arrangements, the devastating emotions (Patience Kershaw and King of Rome make me weep every time I listen to them, let alone hearing them live for the first time). I cannot think of a more magical way to spend an evening, in a beautiful location (my home parish church), with the most respectful of adoring customers. No chatter, no phones, just enthralled bliss. If I ever had to choose a death-row performance, this would be it.