Lail Arad and Jesca Hoop celebrate Joni Mitchell’s songs at The Citadel tomorrow

Lail Arad: Singer, songwriter and Joni Mitchell “super-fan” since childhood

THE Songs of Joni Mitchell “celebrates one of the greatest songwriters of all time, through the unique voices of the artists she continues to inspire”.

Step forward London-born singer and writer Lail Arad and California-raised, Manchester-based singer-songwriter Jesca Hoop, who will be joined at The Citadel, in Gillygate, York tomorrow (FRIDAY) by regular pianist Richard Sears and a special guest, former Goat Goal band member and folk singer Naima Bock, in only her second performance with Arad and Hoop.

Arad and Hoop will perform intimate interpretations of their favourite Joni Mitchell songs as the guest list adds Bock and Kay to such past participants as This Is The Kit’s Kate Stables, cult singer-songwriter Vashti Bunyan, Poet Laureate Simon Armitage at Shepherd’s Bush, Irish singer and composer Lisa Hannigan in Dublin, David Bowie band member (1995 to 2004) Gail Ann Dorsey in Paris, Scottish folk and dream-pop singer-songwriter Rachel Sermanni, BRIT Award winner Emile Sande and American singer, songwriter and multi-instrumentalist Sam Amidon.

“It started as an idea to mark Joni’s 80th birthday with what was going to be a one-off celebration at the Roundhouse [on April 18] in 2024,” recalls curator Lail Arad. “Then I was asked to take it on tour. Jesca [Hoop] was one of the first musicians I approached, and now we work together to take it on tour.”

Jesca, by the way, already had presented Legend: The Joni Mitchell Story, her award-winning six-part BBC Radio 4 documentary and podcast about Joni’s life,  in November 2023.

Two sold-out tours are now being followed in 2026 by a series of “very special shows” and festival apperances. “When you start, you’re not thinking you’re going to take it further, but it’s rolled on organically, and we’re still surprised but we shouldn’t be because what could go wrong with Joni Mitchell’s songs?” says Lail.

Jesca Hoop: The Songs of Joni Mitchell co-organiser and presenter of Legend: The Joni Mitchell Story documentary and podcast

“Jesca and I are both super-fans. I’m one of many in my generation [Lail is 42] who were brought up on Joni’s music, as my parents were fans, and I can’t remember ever not being surrounded by her songs. Then I reclaimed her for myself from the age of 11. That’s when I performed one of her songs for the first time – it was Big Yellow Taxi – at my school in London.”

Lail would go on to pick Mitchell’s highest-charting UK single – number 11 in August 1970 – for her lead vocal on 2025’s The Songs of Joni Mitchell Vol. 1 EP, where Hoop took the lead on Morning Morgantown, Kate Stables did so on A Case Of You and the trio united in harmony for Raised On Robbery. “It was very interesting to go back to Big Yellow Taxi after 30 years because I do it very differently now,” she says.

“Whether you are 11 or 21, or 42 now, the fact that Joni did something so new, writing such personal songs, giving so much of herself, even though that is common now, draws you to her songs. She opened up, she was giving, and there was something that was so vulnerable about her songwriting, but it’s also full of humour and irony.

“It’s such exceptional writing, and that’s why every generation has claimed her. Joni is an A-plus all-rounder, outstanding as a songwriter, singer, arranger and instrumentalist – she’s a fantastic pianist as well as guitarist.

“If anyone needs a reminder of how new she was [in the Sixties and Seventies], male songwriters around her were very worried for her about how open she was, but in turning herself outwards, that resonated with other people, though people around her were shocked, maybe jealous too.”

Lail recalls the footage from Martin Scorsese’s documentary of Joni performing an in-progress version of Coyote at Gordon Lightfoot;s house, with Bob Dylan and The Byrds’ Roger McGuinn in the audience, during Dylan’s 1975 Rolling Thunder Revue tour, inspired by her whirlwind affair with playwright Sam Shepard.

The poster for The Songs Of Joni Mitchell, Friday’s concert at The Citadel, York

“You can see in that moment how everyone’s jaw was dropping because she’s just so good, and it’s said that Dylan wrote Blood On The Tracks [his 1975 marital break-up album] after hearing Joni’s Blue.”

Lail has been delighted by the ever-expanding list of guest performers at the Songs of Joni Mitchell concerts. “People don’t want to say ‘No’ to the opportunity, thinking ‘Can I take on this daunting challenge?’, but then saying ‘Yes’,” she says.

“No-one needs to hear Joni done in her way, as that can’t be bettered, but the idea is to strip back songs to do their own rendition, to bring something new to it, and because the songwriting is so good, it’s a real joy to see how the songs work when they’re broken down.

“We have a fantastic pianist in Richard Sears, rather than a house band as we worried that would put the artist in the position of being like a frontman. In my case, my guitar playing is limited, compared to Joni’s, but sometimes that’s a plus because it’s nice to figure out how to present a song yourself.”

Some Joni songs have been retained ever since the Roundhose debut, “but we like to bring new songs into the set to keep it fresh”. “Sometimes we switch the singer, and the guests always have new Joni songs too, so there’s a growing pool of songs and artists,” says Lail.

“Recently I’ve fallen in love with For Free, and I love hearing ones that I haven’t done being sung by other artists who join us.”

The Songs of Joni Mitchell, with Jesca Hoop, Lail Arad, Richard Sears and Naima Bock, The Citadel, Gillygate, York, tomorrow (31/7/2026), doors 7pm for 7.45pm start. Box office: https://www.seetickets.com/event/the-songs-of-joni-mitchell/the-citadel/3605104. 

Ripon singer Billie Marten plays at Elbow’s Live At York Museum Gardens concert tomorrow ahead of Dog Eared release

Billie Marten: Releasing fifth album Dog Eared on July 18

RIPON folk singer-songwriter Billie Marten will showcase her fifth album in her support slot at Elbow’s sold-out Live At York Museum Gardens concert tomorrow evening.

Released on Fiction Records on July 18, Dog Eared has been trailed by five singles, Swing, Crown, Feeling, Leap Year and now Clover, a song built out of contradictions and oxymorons.

“Clover is a song about feeling small but needing to appear big,” says Billie, 26, who now lives in London. “It’s a note on power and inequality. Most of this record talks about age and experience and relevance, something that’s clogged my mind since I began music.

“I carry a lot of premature worry with me, and that’s something that comes from starting an adult life as a teenager I suppose. I gained the human affliction of inventing things before they happen. I’m a multitude of anxieties.”  

The cover artwork for Billie Marten’s new album, Dog Eared

Billie released her debut album, Writing Of Blues And Yellows, at the age of 17 in 2016, since followed Feeding Seahorses By Hand in 2019, Flora Fauna in 2021 and Drop Cherries in 2023.

She headed to New York last summer to record with producer Phil Weinrobe (Adrianne Lenker, Laura Veirs) at his Sugar Mountain studio, alongside an all-star cast of musicians.

Catalan singer-songwriter/guitarist Núria Graham, bassist Josh Crumbly, virtuosic guitarist Mike Haldeman, multi-instrumentalist Shahzad Ismaily, indie-rock musician Sam Evian, former Dirty Projectors vocalist/folk musician Maia Friedman, Brazilian percussionist Mauro Refosco, drummer/multi-instrumentalist Vishal Nayak, keys/synth player Michael Coleman and Vermont folk musician Sam Amidon all sprinkle their gold dust over Dog Eared.

Together they add up to a band with credits across records by Cassandra Jenkins, Kamasi Washington, Moses Sumney, Robert Glasper, Tune-Yards, Empress Of, Nick Hakim, David Byrne, Atoms For Peace, Feist, Bonnie “Prince” Billy and now Billie Marten.

Billie Marten’s Record Store Tour: Visiting Sheffield and Huddersfield
 
Since 2023’s Drop Cherries, Billie has spent her time largely on the road, honing her craft as a deeply instinctual artist and songwriter. Living and learning. Playing and writing. Collaborating with gifted strangers. Exploring questions of identity and self. All the while, sending demos and voice-notes across the Atlantic to Weinrobe and watching those embryonic songs come to life and flourish fully realised in the studio.

The resulting Dog Eared track listing comprises Feeling; Crown; Clover; No Sudden Changes; The Glass; Leap Year; Goodnight Noon; Planets; You And I Both and Swing.

Producer Weinrobe enthuses: “Dog Eared is a miracle. This record feels like what music is supposed to be: a creative dialogue between wide-open musicians, all pushing in the exact same direction. And that direction is clear – the controls are set for the heart of Billie’s incredible songs. 

“Yes, the record was recorded live. Yes, Billie sang the lead vocals as it was going down. Yes, we were huddled up in a circle – no headphones, no walls, no playback, nothing separating each person from the next, and nothing separating the performers from their performances.

“I’ve discovered that I have a really particular long-term memory,” says Billie Marten

“But that’s not why this record is a monument. It’s a monument because Billie walked into the studio every morning and opened her mouth and sang these incredible melodies and gorgeous lyrics without any worries or fears or desires to control the art. She was the art. And everyone surrounded her, and lifted her up, and in turn she lifted the music to heights that we are all lucky to get to listen to, on repeat, forever.”

Billie highlights the opening track, Feeling. “I’ve discovered that I have a really particular long-term memory: I have specific sensory recollections from when I was two onwards, that I can recall easily now,” she says.

“One of these is marking out roads in my grandmother’s patterned carpet, for my Dad’s old 1950/60s’ toy cars to drive on. I used to trace patterns in everything: fabric seats at the dentist, carpets, wallpaper and walls, raindrops on car windows. Everything had a pattern to be noticed.”

Billie Marten’s Dog Eared Tour 2025 itinerary

Billie adds: “Another strong memory is the feeling of big, warm hands when you’re a child and how comforting and safe that feels. The notion of age being so far away from you, but you know it’s a future inevitability, and that you’re on your way there. The inarticulateness of that ‘feeling’ you can’t describe yet, but you’re aware of a push in the world that you don’t yet understand.”

“Feeling is really set alight by Núria Graham’s guitar part, the one you hear from the outset. It sparks the album info life and really sets a benchmark in terms of rhythm. This is an album of rhythmic focus.”

Billie will be supporting Elbow tomorrow fresh from performing on the Acoustic Stage at Glastonbury last Friday. She will play Yorkshire acoustic sets at Beartree, Sheffield (afternoon show), and Vinyl Tap, Huddersfield (evening show), on her solo Record Store Tour itinerary, followed by Leeds Irish Centre on November 14 on her eight-date Dog Eared headline tour, when Le Ren supports. Tickets are on sale at billiemarten.com.

Futuresound Group presents Elbow, Billie Marten and Eliza Carthy & The Restitution at Live At York Museum Gardens, York, tomorrow. Gates open at 5pm. SOLD OUT.

Absolute turkey or totally gravy? 2022’s Christmas albums rated or roasted…

Stone statue: Julia’s Christmas album cover

Julia Stone, Everything Is Christmas (BMG) ***

Wrapping:  Unwrapping, more like, as Australian singer-songwriter Julia wears nothing more than snowflakes. Diaphanous would not cover it. Song titles in classic festive red on the back of this prompt re-issue of an album released too close to Christmas to draw media attention last winter, but now making it onto HMV’s Yuletide shelves in York, alongside Sir Cliff, the Bocelli and Estefan families, Aled & Russell, Joss Stone, Alicia Keys  and Backstreet Boys (but not Chris Isaaks’s Elvis-lite Everybody Knows It’s Christmas, alas).

Gifts inside: Julia’s 14-track debut Christmas collection, recorded in a week in the Reservoir Studio in Midtown, New York, with producer Thomas Bartlett (piano, keys), Sam Amidon (banjo, guitar, violin), James Gilligan (pedal steel & bass), Leigh Fisher (percussion), Nico Muhly (string arrangements) and Ross Irwin (trumpet, horns).

“This record encapsulates my fondest childhood memories tinged by the reality that so many are forever missing from my life today,” Stone says, as she picks hymns (Come All Ye Faithful, The First Noel, Away In A Manger, Joy To The World), standards (It’s Beginning To Look A Lot Like Christmas, Jingle Bells, Winter Wonderland, Have Yourself A Merry Little Christmas) and latterday Christmas gems (Mariah Carey’s All I Want For Christmas Is You, Wham’s Last Christmas and Joni Mitchell’s River).

Style: Imagine Kylie singing Dolly Parton’s bluegrass take on Christmas, or Eartha Kitt guesting on Bruce Cockburn’s classic folk-rooted 1993 album, Christmas.  Soulful Mariah makes you believe what she wants for Christmas will definitely arrive; doleful Julia, by comparison, probably not.  More Boxing Day rueful reflection than Christmas Eve hope.

’Tis the reason to be jolly: Those Carols, especially Away In A Manger in a duet with Amidon, and the arrangements, wherein Irwin’s horns, Amidon’s banjo, Gilligan’s pedal steel and Muhly’s strings add wintry magic and variety.  

Scrooge moan: No new songs amid the bleak winter stalwarts. The backing vocals on Last Christmas sounding as uncommitted as dads told by the dame to sing the panto song-sheet.  

White Christmas? Oh yes, a beauty, bedded in for winter with Bartlett’s piano and Amidon’s violin.

Blue Christmas? Very blue, like how frozen Julia looks on that snowy cover.  “Everything is a celebration, and everything is painful. Everything is love and everything can be lost. Everything is Christmas,” she said, when announcing the album. That is how she sings, as lonesome as the solo choirboy on the first line of Once In Royal David’s City.

Stocking or shocking? The mournful, moving, yet beautiful record to match the downbeat mood at the fag end of 2022, a shocker of a year.  What Julia needs for Christmas is Satchmo’s Cool Yule (see below).

Satchmo’s Santa on the sleeve of his “first ever Christmas album”

Louis Armstrong, Louis Wishes You A Cool Yule (Verve) ****

Wrapping: Satchmo in Santa garb, trademark trumpet on his lips, looking heavenwards amid stars and snowflakes. More trumpeting on the reverse beside a Christmas tree, more stars, more snowflakes, and the track listing. Inside, notes by Ricky Riccardi, Armstrong biographer, lecturer and director of Research Collections for the Louis Armstrong House Museum.

Gifts inside: Armstrong never made a Christmas album, although 1957 delivered the Armstrong As Santa Claus set, while Ella & Louis and Louis & Friends Christmas compilations are readily available. Anyway, 51 years after his death, here are his six Fifties’ Christmas singles for Decca and duets with Ella Fitzgerald (the romantic I’ve Got My Love To Keep Me Warm) and a sultry Velma Middleton (the fruity Baby, It’s Cold Outside, replete with Louis double entendres). Plus his last ever recording, a previously unreleased February 1971 reading of Clement Clarke Moore’s A Visit From St Nicholas, aka The Night Before Christmas, newly accompanied by Sullivan Fortner’s jazz piano.

Style: Louis’s rumble of a larynx is as much the voice of Christmas as Noddy Holder’s holler, Shane MacGowan’s slur or Bing Crosby’s bonhomie. Warming as mulled wine, rich as fruit cake. Then add that jazz swing, all in “the cause of happiness”, with Benny Carter and Gordon Jenkins’ bands and The Commanders.

’Tis the reason to be jolly: Cool Yule, Winter Wonderland, Christmas In New Orleans (his hymn to his home city), ‘Zat You’, Santa Claus?. Sung in that voice.

Scrooge moan: What A Wonderful World is not a “holiday song” but…on the other hand, what a wonder it is, the message of hope ever resonant.

White Christmas? Yes, the best version ever, no less.  

Blue Christmas? Only the temperature on Baby, It’s Cold Outside.  

Stocking or shocking? What a wonderful present this would be.

Reviews by Charles Hutchinson