Named after a tiny riverside Suffolk village, The Woolverstones are bringing their dark pastoral folk-psych to a free gig at West Coast Rock on 27th March – drawn by what they characterise as a spine-tingling excitement of Blackpool’s rock ’n’ roll past and present.
Preferring to chase vibes rather than social media fame, the duo have gently carved out a following on the international folk circuit Europe and North America, drawing the attention of BBC Introducing and collaborating with Grammy-nominated producer John Wood, the legendary engineer behind albums by Nick Drake, John Martyn, and Fairport Convention.
They chat to Blackpool Social Club and tell readers to expect a mix of melodies, audience participation and that rare feeling of genuine connection that comes when we prioritise honesty over hype.
Tell us about The Woolverstones, who you are, where you’re from and how you came together as a duo?
We are from Suffolk and got together as a band in late 2019. In fact, our name, The Woolverstones, originates from the area. Woolverstone is a small village very close to the River Orwell. Incredibly small population, last time I checked, of about four people, two dogs and a pheasant. A beautiful village and hugely inspiring.
The duo came into fruition in a very gentle way at first, with improvised sessions and recording demos until we found our own sound. It was at this point that we doubled down and really started to focus on recording. We recorded our first single, A Song for Harlequins, in Berlin in a very intimate studio and released the song with the impeccable timing of two weeks before the Covid lockdown.
Despite this disadvantage and a terrible time in the world, we were able to secure radio play in North America and in Europe and received positive reviews. Hugely motivated by the pleasant reception, it galvanised us into preparing demos for our debut album. We sent our single to John Wood (Grammy-nominated engineer behind the career-defining albums of Nick Drake, John Martyn and Fairport Convention) in the hope that he would be willing to produce the record. Fortunately, John agreed, and we started the process of refining our demos and preparing for the album sessions.
Tell us about your music and influences?
What drew us to John’s participation is his impeccable honesty and clarity on the albums he made (including Nick Drake’s Pink Moon), which have stood the test of time. Yes, he had worked with fantastic artists, but he was able to capture them in a way that removed all distance between the listener and the performance. No artifice. No tricks. In our search for the organic, this was hugely appealing, and the prospect of learning from John was thrilling. Having lived away from the United Kingdom for several years, our island had become somewhat exotic and fascinating in ways that one takes for granted growing up in this country. It was that mystery, beauty and autumnal charm which we so desperately wanted to explore on the record.
“You can’t shake Blackpool from your memory — it just has a vibe which is irreplaceable and draws you back again and again.”
Our debut album, Grey Eyed Dandy, is both a love letter to and an exploration of England, down all of its motorways, country lanes and roads. Travelling through its quaint villages and robust cities. Lyrically, you write about how you feel at the time, and looking back there is a clear obsession with, and reflection on, the state of the world — from an emotional rather than political perspective.
We drew huge inspiration from the acid folk underground of the 1960s. As far as musical inspiration goes: Suzanne Vega, The Incredible String Band, Roland Kirk, Nick Drake, Country Joe and the Fish, The Doors, Dr. Strangely Strange, Tracy Chapman, and too many to mention across many genres.
Has the success of Grey Eyed Dandy been a tough act to follow and what’s next?
It’s very flattering and energising that people seemed to enjoy our debut, but I wouldn’t say it has been a tough act to follow because you write, produce and play what you feel at the time and just hope that it connects with people.
For the next record we intend to go in a very different direction entirely and won’t look back at the debut in any way apart from the lessons learned and the beautiful time we had in that moment. We tend not to have any expectations apart from doing the very best we can and being as honest as we can musically.
Our main concern now is to get out to as many places as possible and play our music live to a receptive audience who are open to our musical adventurism. We’re hitting the road with the grit of a 50s rock ’n’ roll band, going from town to town across the UK and Europe and living off vegan sausage rolls and cappuccinos.
In an era of digital saturation, you’ve chosen to remain relatively off grid. Has that been a challenge?
It’s been wonderful staying away from the noise. We’re chasing vibes, not numbers. It can certainly be a challenge for some promoters, but that aura of mystery, we believe, allows our audience to connect with us very much in the moment. It places emphasis on the visceral by staying clear of the digital cacophony.
We’re not judging people who use social media — and some people use it incredibly tastefully — but it’s not our cup of Darjeeling. It’s certainly less taxing on our mental health.
Are you looking forward to playing Blackpool and is there anything else on your bucket and spade list for while you’re here?
Absolutely love Blackpool. The history. The people that have played here. It’s just breathtaking, and you feel their energy every time you drive into the town. Johnny Kidd and the Pirates, Gene Vincent, Ken Dodd… it doesn’t get more marvellous. Rock ’n’ roll, showbiz past and present — we’re all in.
A stick of Blackpool rock, walking past the piers, ruminating on its glorious past and unfolding present. An incredible part of England which we should value and not take for granted.
Last time we played in Blackpool we had a hotel room right opposite the sea and, at around 7pm, we started hearing all the people trickle out onto the street. Off to the restaurants, off to be entertained, off to who knows where! And it had that inexplicable excitement that makes your spine tingle. You can’t shake Blackpool from your memory — it just has a vibe which is irreplaceable and draws you back again and again.
What can we expect from your live show?
A mixture of songs from our debut album and also our upcoming album. We enjoy jumping into the audience and encourage participation, whether it’s singing along, heckling us, or pausing the show for a robust conversation.
A bit of anarchy, a bit of chaos, and hopefully not negating the melodies and musicianship. We dive into serious topics with our lyrics but attempt to deliver the show with the playfulness of a court jester. It’s all about connecting with people, breaking the fourth wall and having a good old time. We’re spinning in infinite space — life is short, let’s make it a happening.
What are your ambitions for the band?
To play as many cities, towns and villages across the UK and Europe as we can. Collecting stories, melodies, ideas, experiences, friends and good times along the way.
We’re just happy to be on the road, to share our music, engage with people and record more albums when we have something genuine to say. We would like to discover even more instrumentation and other artists in order to add more textures to our sound and expand our musical palette. Ultimately, our ambition is one of depth, refinement and connection.
The Woolverstones play West Coast Rock on 27th March at 8pm, free entry. Photo: Adrian Wharton
