Stick In The Wheel duo of Nicola Kearey and Ian Carter, are heading to Kendal’s Brewery Arts as part of their final 2024 dates.

The duo released their fourth studio album A Thousand Pokes, earlier this year, a satirical celebration of mistakes.

A joyous lambasting of everyone and everything that’s wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest.

Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time.

A Thousand Pokes is about as far away from pastoral folk music as you can get with the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes’ mistakes (pokes) and the idle chatter of the “liars with their hairy tongues” congregation.

“We sing these songs because we are the same people that would have sung them 200 years ago. It’s not a fantasy, or a cosplay, it’s a reality, for us.

“Trying to make the music ours, our own tradition, to tease out a link to past communities and all their threads and tendrils, mix and match as people assimilated into the city.” says Kearey

In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people f**king up, or being f**ked up, with some brief respite in Lavender – one of London’s oldest street melodies.

Kearey’s performance can both charm you into her confidence and bait you into an aggressive fracas.

Each song’s character is fully inhabited with a fierce tenacity, whether that’s punchy spoken word (The Cramp, A Thousand Pokes), heartfelt balladry (Lavender, Watercress) or powerful psyche-folk (Burnt Walk, Steals The Thief), almost like a Cockney Piaf.

“We wanted to make a record that sounded like us, where we’re from, in all its complexity. At the core is our version of traditional music, made in the city, with influences from everywhere” says Carter.

The gentle persuasion of Carter’s dobro guitar is at once twisted into thug-like distorted riffs, and teased into intricate deft lacework melodies with a Baroque flair, a chimaera that reinforces and underpins the heavy rhythms that are another trademark of Stick In The Wheel’s work.

Crystal Tears and Steals The Thief bookend the record, these are tracks that show more of a modern influence with drones, hardtuned vocal, psychedelic guitars; a reflection of their immediate culture and the sounds of their environment.

Despite this seriousness, the album’s working-class dry gallows humour carries a stoic ‘if you don’t laugh you’ll cry’ feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that ‘only you can fix your deficits’ and ‘it’s your words and deeds that matter…and let me tell you, they speak volumes.’

The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrification and social cleansing that has forced communities apart, and yet absorbs all the influences of all the communities that call London their home.

Carter and Kearey attempted sessions at The George Tavern, Whitechapel, and in Spitalfields, at Denis Severs’ House, and a restored weaver’s townhouse, carrying the aesthetic of the record in their heads as they moved from location to location, before settling into an old factory building and their own workshop.

The resulting sparse and economical sound is harsher, more present, more essentially them. It is a mighty haranguing that demands your attention.

Stick in the Wheel Remaining Live Dates 2024

• December 3 – Liverpool Philharmonic
• December 5 – Kendal Brewery Arts
• December 8 – Lewes Con Club
• December 10 – Hayling Island Costa Festival

Tickets on sale now: www.stickinthewheel.com