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Review: Chase Mist @ Wade Street Church

A near capacity audience flocked to Lichfield Art’s latest folk concert, when the popular local ensemble Chase Mist appeared.

Support act Rosie Tunley – known as 25 per cent of The OffBeat – played the opening slot, a set of largely her own material, fusing deft Keyboard playing with an appealing voice.

Songs such as Electric Mess, Running Backwards and the glacial Lionheart showed talent that deserves a wider audience.

Chase Mist

Chase Mist

Chase Mist are a local five piece, made up of Tessa Tunley on vocals, flute, percussion and guitar, Glenn Tunley on vocals, guitar, mandolin, and mandola, Robin Draper on bass and vocals, Catherine Gough on accordion, melodeon, whistles and percussion, and fiddle player Jemma Geoghan, while Rosie also joined her parents in the group during some of their performances.

The band started their set with Blow the Candle Out and A Thousand Shades of Green which showed their pedigree both as musicians and writers, while a cover of Karine Polwart’s Daisy was a well-received ballad.

They showed their musical abilities during‘The Autumn Hornpipe and their cover of My Heart’s Where My Home Used To Be was well sung by Robin Draper and was a bitingly political song, the nature of which is now sadly absent from mainstream music and the radio.

The Mermaid of Senna was a close harmony song, while The Shaking of the Sheets was a sombre death ballad that was lifted by the Morris dance tune that formed the coda.

During the second half of the concert, the distinctive ideas of the group were much to the fore, with songs such as The Northern Lights and Lady Jane proving to be ensemble pieces.

The Julius Slip Jigs featured accordion and fiddle to the fore, with strong backing. The group’s vocal harmonies were tested during Louise Petit’s The Tree, while Jemma Geoghan proved her vocal prowess during the traditional The Blacksmith.

I Want My Rochdale Coconuts fused bass from the Jackson Five to more traditional music to good effect, before the eerie, unnamed piece that finished the set was a brooding duet for flute and accordion, ahead of more and more instruments being added to the mix.

An encore of Lindisfarne’s Meet me on the Corner was another display of close harmony singing.

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