|18 April||NEWCASTLE UNDER LYME||New Vic Theatre||TICKETS|
|19 April||MANCHESTER||RNCM Theatre||TICKETS|
|20 April||WREXHAM||Wiliam Aston Hall||TICKETS|
|21 April||KENDAL||Brewery Arts Centre||TICKETS|
|22 April||EDINBURGH||Queens Hall||TICKETS|
|23 April||BERWICK||Maltings Theatre||TICKETS|
|26 April||BIRMINGHAM||Glee Club||TICKETS|
|27 April||CAMBRIDGE||Corn Exchange||TICKETS|
|28 April||BASINGSTOKE||The Anvil||TICKETS|
|30 April||BRADFORD UPON AVON||Wiltshire Music Centre||TICKETS|
|01 May||BRIGHTON||Old Market||TICKETS|
|02 May||SOUTHHAMPTON||Turner Sims||TICKETS|
|06 May||CLITHEROE||The Grand||TICKETS|
|07 May||BARROW||The Forum||TICKETS|
|10 May||RUNCORN||The Brindley||TICKETS|
|11 May||LEEDS||City Varieties||TICKETS|
|12 May||LEEDS||City Varieties||TICKETS|
|14 May||NEWCASTLE||Theatre Royal||TICKETS|
|25 May||DUBLIN||Vicar Street||TICKETS|
|28 May||LONDON||The Barbican||TICKETS|
|19 August||HELSINKI||Helsinki Festival||TICKETS|
‘Intimate, epic, overflowing with feeling and musical intelligence’ The Independent
Nominated for the Mercury Music Prize and the only British folk representation in The Guardian’s and Uncut’s best albums of last decade (worldwide, all genres), The Unthanks have an army of notable fans, including Martin Freeman, Elvis Costello, Colin Firth, Robert Wyatt, Rosanne Cash, Dawn French, Al Murray, Ade Edmondson, Matt Lucas, Stephen Mangan, Paul Morley, Martin Hayes, Ryan Adams, Ben Folds, Ewan McGregor and Nick Hornby.
The Unthanks is a family affair for Tyneside sisters Rachel and Becky Unthank, with Rachel married to pianist, producer, arranger and composer, Adrian McNally. Using the traditional music of the North East of England as a starting point and predominant song source, the influence of Steve Reich, Miles Davis, Sufjan Stevens, Robert Wyatt, Antony & The Johnsons, King Crimson and Tom Waits can be heard in the band’s 7 albums to date.
Since releasing three project albums in one year back in 2012, The Unthanks have been hiding away in Northumberland, quietly working away on an ambitious follow-up to 2011’s Last. Who knows how rich, imaginative and groundbreaking their new album will be, released to coincide with this tour, and to be brought to life on stage with a talented 10 piece band.
It’s anyone’s guess. Those project albums – the orchestral ambition of a brass band collaboration, a reimagining of the work of Robert Wyatt and Antony Hegarty, and a soundtrack to a film about the shipbuilding industry – give little clue, while work since then with Orbital, Sting, Adrian Utley (Portishead), Martin Green (Lau), Martin Hayes, The Voice Squad, Charles Hazlewood, The Moulettes and German composer Werner Cee,, is so disparate that making predictions is impossible.
Definable only by their restless, peerless eccentricity, The Unthanks see folk music less as a style of music and more as a oral history that offers perspective on our own time. Their unique approach to storytelling straddles the complex relationship between modernism and learning from the past. Staunch traditionalism and sonic adventure may seem like polar opposites, yet they are easy bedfellows in the gentle hands of The Unthanks.
“I’m glad to be around at the same time as them” Martin Freeman
“The Unthanks seem to regard folk music the same way Miles Davis regarded jazz: as a launch pad for exploring the wider possibilities.” Uncut
“Rachel and Becky’s voices are one of the true wonders of 21st-century music” NME
“It is their ability to pare back extraneous matter and to stare unflinchingly into the very soul of a song that makes them a spellbinding experience” BBC Music
“Just beautiful” Lauren Laverne
“Haunting, original and magnificent” The Guardian
“once in a blue moon type of every now and again, you hear music that is so complete, so wonderful, unique and yet familiar that it stops you in your tracks. They have that blue moon magic about them, and they have it in spades” BBC Music
“Music as tough as it is gentle, as ancient as it is modern, and as coldly desolate as it is achingly intimate.. a sensationally graceful sound that can be epic and subdued, dreamy and specific, as well as supernaturally ancient and defiantly modern”. Paul Morley, Observer Music Magazine