Well, that’s been a bit of a one hasn’t it? In a year where, to quote an increasingly rickety old joke, the bins went out more than I did, one thing to be thankful for has been the ability of music to cheer, excite, inspire, and comfort. And despite the tough times we’ve faced over the last few months, 2020 has delivered some wonderful sounds. So below, in alphabetical order, are my top 10 albums of the year. Enjoy!
Fay Hield: Wrackline
With a fine ear for history and the tradition of song, Hield chooses a rich selection for her fourth solo album. Seeped with tales of fairies, ghosts and the otherworld Wrackline is a magical and mesmerising listen. Beautiful accompaniment and sensitively produced by Andy Bell Wrackline was an undoubted highlight of 2020.
Ashley Hutchings, Becky Mills, Blair Dunlop: A Midwinter Miscellany
Festive albums can very much be a hit or miss affair, especially ones playing with the banner of ‘folk’, but Hutchings and co. manage to deliver that rare beast, a warm, sincere, comforting winter themed record. Makes the winter months almost welcome.
Sam Lee: Old Wow
Sam Lee’s third album was an early treat in 2020. Handsomely produced by Bernard Butler, the collection of traditional songs, with lyrics ‘re-imagined with new relevance for today’ provided a beautifully evocative, and timeless, release. Add in Lee’s idiosyncratic voice and you have an assured and stunning record.
Lauren MacColl: Landskeins
What is predominantly a solo release from one of Scotland’s finest fiddlers Landskeins. As with Fay Hield’s Wrackline, there is a focus on legends and folklore which colours the album with a haunting, almost elemental magic. An intimate, comforting, beguiling set of tunes.
Findlay Napier & Gillian Frame with Mike Vass: The Ledger
Inspired by Napier’s grandfather’s collection of Scottish folk tunes, The Ledger sees some classics and favourites given a fresh makeover with a reverential nod to the past. History is at the fore here with some rather exquisite interpretations. As the trio note, ‘The Ledger is best enjoyed beside a roaring fire with a dram… tea and coffee also work… especially with a dram in them.’ I couldn’t agree more.
Rachel Newton: To The Awe
Recorded over the summer of 2020, To The Awe, is a celebration of the experience of women through history and legend. It’s a beautifully heartfelt and timely album, linking narratives from folklore and myth to contemporary concerns and characterised by Newton’s dazzling harp and voice.
Shooglenifty: Acid Croft Vol. 9
The mighty Shooglenifty returned with new recruit Eilidh Shaw on fiddle replacing the much-missed Angus R. Grant. Tough boots to fill, but Shaw does so with verve. Angus would be proud. Acid Croft Vol. 9 is a frenzy of joy. Infectious and sheer fun throughout. 30 years together and still one of the most exciting bands on the scene.
Martin Simpson: Home Recordings
Just Martin his guitar and an occasional banjo or ukulele, what more can anyone possible want?
Jenny Sturgeon: The Living Mountain
Inspired by Nan Shepherd’s writings on the Cairngorms, Sturgeon’s The Living Mountain is a love letter to her native land. Effortlessly lyrical, this is an elegant, profound, and mesmerising record. Evocative and vital, it is an apt reminder of the value of the natural world. Healing and inspiring in equal measure a worthy soundtrack to Shepherd’s text.
Sam Sweeney: Unearth Repeat
In compiling this list I’ve realised this marks Sam Sweeney’s second appearance in my top 10 for 2020 (see Wrackline). In that sense, he has become my personal sound of Covid-19, a rather unfortunate label. Sorry Sam! His appearance in the top 10 is well deserved though, and certainly with the superb Unearth Repeat. Marking a new, and exciting direction for the fiddler, the album sees Sweeney mixing, to quote, the ‘groove and swagger of traditional English music with the huge sound, flare, energy and festival spirit of bands coming out of the Celtic and Scandinavian music scenes.’ It’s a genuinely cracking album and an absolute joy from beginning to end.