Venue:
Calstock Arts, Calstock, Cornwall
Date: 20/09/2025
Last Saturday my brother and I drove down narrow lanes embellished by thick mohican strips of vegetation into the depths of darkest Cornwall. Not deep into the west, just across the river from Devon, but beyond the easy reach of many an aging sat-nav. In the background of my photograph of the venue’s stage, that land you can see is in Devon. The venue itself is in Cornwall, a lovely re-purposed chapel, steeply perched on a riverside hill. Only the 50 yard width of the Tamar – the middle of which delineates the border at this point – separates the venue from the hills behind.
I suppose I could have taken the photo half an hour later, while the gig was in progress, but as we sat less than 5 yards from the stage I couldn’t bring myself to raise my phone up to grab a shot almost face-to-face in such an intimate setting.
The reason for our pilgrimage was the second gig in Katie Spencer’s latest UK tour – details of which can be found at the link I have included in this post. Katie has a new album to promote, out in a week or two, that is blessed with what I feel may be her best work to date, and that is saying something.
Katie took to the stage smartly at 8pm and played two sets. Unaccompanied, with only two (beautiful) acoustic guitars to hand, she gave us a number of pieces from the new album – including the ones already released on Bandcamp – some from her previous album The Edge Of The Land, and a tantalising sample of even earlier material. One of the new songs is called ‘Cold Stone’ which is a beguiling mood picture with a mysterious chord sequence that for me evokes wild windswept places and the same chilly beauty that she conjured on the earlier album. You can hear it here:
The solo version she gave us at Calstock was, if anything, even more powerful than here in the full performance on the video clip. Pin-drop silence let us all immerse ourselves in its unfolding. Stunning.
Her minimal pedal set-up (much admired by my brother, a proper guitar nerd) with a simple Fender Junior amp sounded magnificent through the venue’s sound system. The crystal clarity of the sound served her vocal well – I am a stickler for vocal clarity, and Katie has that rare ability to enunciate every vowel and consonant with graceful ease. I could hear every final consonant; no ‘t’s or even ‘d’s were lost at the end of words. Combined with her precision placing of delicate guitar harmonics both within and at the end of guitar lines, it’s a complete pleasure to hear her sing.
I’ve waxed about this woman’s music here before, and I know I’m not alone amongst us in thinking that she really has something special. During the gig interval I even muttered to my brother that while her work to date has already been fabulous I felt that she is maturing artistically with age and holds great promise for the future.
Comparisons with other artists are perhaps inevitable, given the depth of existing singer-songwriter history we have, but don’t take any names mentioned to indicate replication or mimicry, they just give an indication of the atmospheric territory we are in. I’ll mention (and Katie does too, from the stage and on line) the names of Michael Chapman and Bert Jansch, and I’ll throw in John Martyn (she’s participated in a cover album of his material) and Joni Mitchell as well, particularly in light of Katie’s extensive use of alternative tunings. If you like any or all these artists you will find familiar emotional territory in this woman’s work.
Do yourself a favour, get to one or more of her gigs and see what I mean. I can’t wait to hear her play and sing again. The LP will be here in just a few day’s time…
The audience:
Roughly 30 individuals. Folk club types who ticked many of the boxes you’d inevitably associate with such a cliche. Ages ranged from 30s to 70s I’d say. All appreciative, quiet and happy to really listen. I’d guess that many of those present had seen her play before. Given the venue’s secluded location, I also suspect that many of the audience are regulars at Calstock Arts. If I lived somewhat less than 125 miles away, I’d be there frequently too; for example on the 4th of October Leveret are playing as part of their tour to promote their new album. These guys, like Katie, are artists of huge talent who also deserve our attention.
It made me think..
These small venue gigs are often the pinnacle of acoustic listening pleasures with perfect sound and punters who are there simply to hear the music. This venue in particular, run entirely by volunteers, is the epitome of community arts, with a sweet auditorium, good facilities, a bar with good beer and sunny folk running the place (Thank you Carole!); long may it flourish.
Inspired by the enthusiasm for her on here, I have been listening quite a bit… there’s a great live set here:
Nice guitar playing. She seems to like 3 note vocal melodies which gets a bit dirgy, for example at 42′. Mary Chaplin Carpenter got into this which is when I lost interest. Write tunes! In fairness I haven’t listened to much in which case point me to better examples please!
The link to Katie’s tour dates decided not to put in an OP appearance, so here it is anyway:
https://www.katiespencer.net/tour
I have an early copy of the forthcoming album and all my initial misgivings are long gone. The arrangements of clarinet, acoustic bass and drums, with occasional pedal steel have really warmed, with the songs as well crafted as she has ever committed to wax. Of course, in most live settings they won’t be reproduced; at Brum’s Kitchen Garden Cafe, next month, there isn’t room, anyway.
Can’t wait.
There were copies of the new album available at the gig, but I had pre-ordered mine ages ago, so I gave the merch table a swerve on Saturday. Katie said she’d have the pre-orders out shortly. Glad you got one early!
There are two dates on the current tour schedule where she will have the band accompaniment if you’d rather hear the songs that way, by the way.
I know, but both out of my way.
She’s great, isn’t she..? We saw in Ibiza a couple of years ago and must get to a gig soon. Sadly she doesn’t seem to be within striking distance this time.
She tells an ironic anecdote about when she played in Ibiza – I won’t repeat it in case you see her live again, when I expect she’ll explain what happened there.
Oh gawd…I hope it isn’t about some old bloke banging on about how marvellous she was…
@NigelT – nope. 😉
It concerns the subject of one of her songs.
Lovely.
We used to go to Calstock Arts a fair bit when we lived in Cornwall. A fair step from St Austell too, but always worth it.
Long haul from the Cotswolds too! I’ll definitely be going there again though, cracking venue. Off to Corsham at the start of October to catch Katie playing support to John Smith – only a twenty five minute drive away!
That should read November 1st for the Smith/Spencer gig!
been to a few shows at Calstock Village Hall. Not as fancy as the Arts Centre looks.
Went to see Katie at Brum’s Kitchen Garden Café last night. Terrific, as ever, with the new songs shining even brighter in a solo setting. Familiarity, through the album, meant I could appreciate her playing and singing unadulterated by the classy musicians on the disc.
That’s twice this week I have preferred a naked, as it were, showcase for an album that, on disc, has you gasping at the other musicians, as much the star. Jenn Butterworth was the first, with these two women now each vying for AWAotY. Mind you, good competition from Kirsten Adamson and Kim Carnie. No male has come near any of these, this year.
@retropath2
The girls have it right now, don’t they just.
Check out Cerys Hafana for more evidence – she turned up in KFD’s recent foreign tongues megathread, and we went to hear her play just over a week ago – another stunning gig from a talented young female artist. Folk plays all the best cards at the moment, beyond any shadow of a doubt.
And then there’s Jon Fazal’s work – a really unique young male songwriting talent that I first encountered playing support (accompanied by Cat Rose) at one of Katie’s little Cornish gigs in the middle-of-nowhere. Echoes of Syd’s whimsy with very personally observed writing meets an original playing style that together I find hugely enjoyable.
Cerys Hafana’s album Edyf was the last album I really fell in love with and played most before losing my hearing. I don’t usually mind not being able to hear new music, but I’m well narked to read that she’s released two albums this year that I can’t hear. I think she’s fantastic.
Lucky enough to have reviewed both those albums, with the research material on my shelves for future enjoyment.
Where (or when) can I read your reviews?
https://atthebarrier.com/?s=Cerys+Hafana
@gary
That was a very interesting read, thanks. Frustrating not hearing it for myself, natch, but I’m glad you gave it such a positive review.
Kathryn Williams’ new is also rather splendid!
Ah, yes: but does it have “merit”?
I’ll just check……..
My man doesn’t say so as such, but he seems quite keen.
@vulpes-vulpes
More spends in sight, I fear, as the new Sanders/Savage is out n/w. Back to near acoustic basics, it’s a wonder to look forward to, if my advance is anything to go by. I know you are a fan.
Talk about a bottom heavy end of year!
@retropath2
Almost certainly an investment will be made there – we have two good tickets for this extravaganza in a month or two’s time:
https://www.stgeorgesbristol.co.uk/whats-on/a-winter-union-2/
I’ll be looking to plunder the merch table that night!
Get yourself to Brizzle and join us for a glass before the gig?