Pub session
From Wikipedia, the free encyclopedia
A pub session refers to playing music and/or singing in a public house.
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[edit] History
Singing and drinking have probably happened together from ancient times, but evidence is fragmentary until the sixteenth century. In Shakespeare's Henry IV, Hal and Falstaff discuss drinking and playing the tongs and the bones, and their favourite band "Sneak's Noise". There are good depictions of pub singing in paintings by Teniers (1610-1690) and Brouwer (1605/6-1638) but the best ones are by Jan Steen (1625/5-1656). By the eighteenth century we can distinguish the songs of illiterate peasants (traditional songs collected by Thomas Percy (1721-1811) from sophisticated literary political lampoons ("Cavalier Songs and Ballads of England from 1642-1684" edited by Charles Mackay).
[edit] From 1800 to 1950
The 1830 Beer Act abolished the levy on beer and quickly doubled the number of pubs in England. The number peaked in the 1870s and declined after 1900. One of the most popular drinking songs, "Little Brown Jug," dates from the 1860s. By 1908 Percy Grainger had begun to record folk singers, but not in their natural habitat -- the pub. In 1938 A.L. Lloyd persuaded his employers at the BBC to record the singers in the Eel's Foot pub in Eastbridge, Suffolk. In 1947 the BBC made more recordings there and broadcast them as "Anglia Sings" on 19th November 1947. Almost all of the participants were in their 50s and 60s. Six years later the first folk club opened in Newcastle upon Tyne, and the average age was in the 20s.
[edit] Student songs
The middle of the nineteenth century saw a growth in student numbers and commercial song-books were published across Europe. The most famous was the "Scottish Students' Song Book" by John Stuart Blackie (1809 - 1895). The mixture of traditional songs with erotic humour continues to this day.
[edit] The instruments
Until the 1970s it was rare for more than one instrument to be part of a pub session. The fiddle has predominated since the seventeenth century. The melodeon became popular in the 1890s. By the 1950's the accordion took over, particularly in Scotland. By the 1960s the guitar was the instrument most frequently heard in a pub. Nowadays so many people can afford instruments that ensemble playing is the norm. Celtic tunes are popular, even in England, however English music is enjoying a large revival currently, due in part to 'new-folk' artists playing traditional English music, such as Bellowhead and Eliza Carthy. Some people go to folk festivals simply in order to play along with others in the beer tent. Since the 1990s the best professional Irish-American bands are comparable to the best of the purely Irish bands. The Canadians are not far behind.
[edit] Etiquette
The general rules are fairly simple. Pub sessions are not places for learning an instrument. Don't take part unless you have attained competence, unless otherwise invited. Introduce yourself to the other participants before joining in.
There will usually be a leader or oldest member who sets the tone and keeps the session running smoothly; often leader(s) do not appear to be leaders at all. Occasionally, even the leaders of a session may not realize that they lead. Practically, however, there are always leaders at a session, by the nature of human dynamics. Some sessions follow a round-robin structure, others have a more free-for-all approach, and the leader(s) of a session should be observed to see how this particular session is run.
Listen to how the event is developing and in general keep to the sort of repertoire being played or sung. Ewan MacColl had a rule that only Americans should sing American songs in his club, and so on for the Scots and Irish. Adopting a fake accent (American, Irish, Scottish, English, etc.) for the duration of a song is probably the most embarrassing possible mistake for a singer; it is generally felt that this shows a lack of taste, discernment, and a distressing pretention, marking the singer out as a poseur. For the instrumentalist there is no such restriction.
Don't openly criticise people who know only one song or only a few tunes. Sessions are an evening out to be enjoyed by all participants and if others are accepted members of the group, it's not up to one person (other than the leaders of the session) to decide that they are not welcome.
Every session carries its own set of rules of etiquette, though generalizations can be made. Be careful to observe the group before attempting to join in, remember that sessions are social events and follow the prevailing social etiquette, and you'll be fine.
[edit] Choosing an instrument
Each session has its own informal rules as to which instruments are acceptable and in what number. Some sessions may have a strict "'traditional' instruments only" rule whereas others will accept anyone who shows up to play with any instrument. The word traditional is used loosely as sessions themselves are a relatively recently-revived phenomenon and some instruments considered 'traditional,' such as the bouzouki are in fact relatively new to the genres played at a session. It is wise to ask about what is expected at a particular session before bringing a non-'traditional' instrument.
Generally there can be an unlimited number of fiddles, flutes, and tin whistles. In Scottish or Irish sessions, there should not more than one accordion or concertina. By contrast, in English instrumental sessions there can an unlimited number of melodeons or accordions. The bodhrán is common in Irish sessions, but many sessions prefer that only one person play the bodhrán at a time. Uilleann bagpipes are common in Irish sessions, but the more commonly known Great Highland Bagpipes are never used in a session, because they drown out other instruments. Mandolins, citterns and bouzoukis are welcome in moderation. Guitars and dulcimers are frequently allowed in sessions without strict "'traditional' instruments only" rules.
[edit] Legal considerations
The Licensing Bill came into force in 2005. It could be interpreted as meaning that any performer in the England would have to have prior notification given to police, fire brigade and environmental health. In 2004 Estelle Morris ensured that there were safeguards for live music in England and Wales. The chairman was Feargal Sharkey, previously with the Undertones. In France, Germany and other European countries, the law states roughly that a licence to sell alcohol at a premises confers a right to organise musical events there. Licensing Laws are different in Scotland. The law was cast is such a way that Morris dancers are exempt from the rule regarding prior notice. Sword dancers were, in the past, keen to distance themselves from Morris dancers, but in order to keep to the letter of the law, they are now presenting themselves as a type of Morris, thereby qualifying for the exemption. To qualify there must be no amplified music.
Ref: http://www.randomdestination.co.uk/ChippenhamMorris/license.htm
[edit] See also
- List of Irish session venues
- Folk clubs
- Irish traditional music session
[edit] External links
- Sessioneer
- Sligo Live Festival Artists: Many hours of free pub sessions during the Sligo Live Festival (annual Irish music event in Sligo, Ireland).
[edit] Songs sung in The Eel's Foot, 1939-47
"False Hearted Knight", "The Dark-Eyed Sailor", "The Princess Royal", "The Foggy Dew", "Underneath Her Apron", "Pleasant and Delightful", "The Blackbird." Surprisingly, one of the songs was "Poor Man's Heaven" an American IWW song (International Workers of the World), dating from about 1920.
The oldest singer there was William "Velvet" Brightwell (1865 - 1960).
