The Northern Newsletter

Red Wedge and red raw hands: Billy Bragg receives a unanimous ovation from Holmfirth

On the 15th of June, the ballads of legendary pop and politics poet Billy Bragg would echo out louder than bombs throughout Holmfirth’s Picturedrome. Being fortunate enough to attend, this night would provide a turbulent tour from the debut songs to mid-century modern classics too. Having previously only intended to accompany my Dad, as part of a gift for Father’s Day – I was quickly entranced by the articulated activist’s grit and Guthriesque qualities.

So, after purchasing my t-shirt, one step closer to revolution, we took our stance at the front and waited in anticipation for the steel stringed rocka-Billy Bragg. But first we were introduced to support act: Tom A. Smith an indie-rock singer and guitarist with a stage presence as large as his sixteen-word long song title. A clear sign of Bragg’s generosity as he supports a small artist with a pedestal to reverberate their previously overshadowed talents. Once the six track support act had concluded, a crescendo of chants begun but were diminished by the overwhelming applause upon Braggs entrance. Setlist:

She’s Got a New Spell

Way Over Yonder in the Minor Key
 – Billy Bragg & Wilco 

King Tide and the Sunny Day Flood

The World Turned Upside Down
 – Leon Rosselson

All You Fascists Are Bound to Lose
 – Woody Guthrie

Sexuality

Mid-Century Modern

Levi Stubbs’ Tears

Rich Men Earning North of a Million

Which Side Are You On?
 – The Almanac Singers

Between the Wars

The Buck Doesn’t Stop Here No More

I Walk the Line – Johnny Cash

Greetings to the New Brunette

The Boy Done Good

I Will Be Your Shield

Tank Park Salute

The Wolf Covers Its Tracks

There Is Power in a Union

Waiting for the Great Leap Forwards


Encore:

The Milkman of Human Kindness

To Have and to Have Not

A New England

Embodying an arsenal of anthems revolving around carefully crafted lyrics, Bragg was no stranger to interfere the set with softly spoken conversations. Offering us his personal resonance, with extra details that everyone intently savored oftenly before every song. Only disrupted by enthusiasm for his many opinions on class, social inequality and of course the current political climate. Messages ringing out as true and clear as the songs that reverberated around the venue.

Beginning with classics from Bragg’s early discography we shifted from originals, collaborations and cover’s all indisputable staples to his image. Notably ‘The World Turned Upside Down’ being a common cover to commemorate the Diggers movement, its lyrics of turmoil continue to echo out strongly nearly four hundred years later. Before reaching the jangly ‘Sexuality’ but with lyrical improvisation to accommodate for the changing times. With the more serious: ‘Just because you’re they, I won’t turn you away, if you stick around, I’m sure that we can find the right pronoun’. Delivering his clear stance on recognising and supporting those who may feel isolated or neglected by society. While signifying the prejudice expanse from not only homophobia to a wider range of unacceptable opinions, challenged by him. And the lesser: ‘Don’t bring me down with Morrissey, what ever happened to that guy?’. At least we find common ground on Johnny Marr. One highlight of the night was a beautiful rendition of ‘Levi Stubbs’ Tears’, the breathtaking elegy of a domestic violence victim seeking comfort through music. Complimenting the 

later track ‘Tank Park Salute’ with similar gentle vocals countered by the harsh, sparse rhythm that mesmorises the audience. Both concluding with an inch of hope – courtesy of either a trumpet or piano. But between the latter of the two tracks was the restless, raucous riff of ‘Between the Wars’ with the sharp tones warning the threat of peace’s stability. After, we were then treated to a Johnny Cash cover of ‘I Walk the Line’ with an enchanting, improvised jam as well. Later, towards the climax of the setlist, we were treated to my personal favourite ‘Waiting for the Great Leap Forwards’. Which with the entire audience’s enthusiasm backing the bard of Barking, who conducted us into chants of said title. Unsurprisingly he then returned for a three-track encore to the delight of the crowd, honouring his debut LP Life’s A Riot with Spy Vs Spy.

Ultimately, the concert left me enlightened and rebirthed all my expectations of the punk genre – the direct guitar melodies clean yet rough with experience. Presented by a sympathiser with a strong Essex accent desperate to protect the freedoms of everyone in an overtly materialistic society. Poignant.

After the gig we waited in the great, long merchandise queue, which was thankfully leaping forward. Before all our optimism fell. Yet it was all worth it to acquire a copy of ‘The Roaring Forty – 1983 – 2023’ on beautiful orange vinyl. Typically, you can understand how much an artist is willing to satisfy their audience by the amount they dedicate to their releases – Bragg being a beacon for standards. The design effective and enigmatic, a continued theme throughout the inner sleeve and tangerine coloured thirteen track LP. But before we could leave, by an unimaginable stroke of luck, we happened to bump into THE Billy Bragg. It was a pleasure to be in the same room as him, never mind stood next to him. Maintaining his polite and gentle Essex accent, from stage to the public. He was genuinely, an unbelievably down to earth and pleasant celebrity even when being disturbed by an over-exaggerated kid. Something we cannot take for granted in an unfortunately egotistical society. Nonetheless, he generously even offered to sign my record which I gratefully agreed to and after a couple of photos we bid our best wishes. Before it eventually sunk in that I had just met Billy Bragg – I was shacking the whole way home.

Not too bad off a gig then? Seriously, it was a pleasure to listen to the melodies and even more of a privilege to meet Billy and I’m forever indebted for his kindness and musical mark left on me.