National Folk Festival Interview: Andrew Winton

Andrew Winton
Image Courtesy of Andrew Winton

It’s been ten years since I first walked into a random tent at The National Folk Festival and became mesmerised by WA based singer and lap guitarist Andrew Winton so it’s amazing to see him returning again this year. We sat down with Winton to chat about The National, his unique guitar and his brand new album Glorybox Mechanics.

Gareth Hugh Evans: I first saw you at The National about ten years ago. I was wandering into one of your shows knowing nothing about you and was blown away by this amazing performance. It was all slide guitars and knee slapping – just amazing. Is The National a special festival for you?

Andrew Winton: It has been. The first time might have been 2006. We were on one of my first national tours and it was just an experience. We had a caravan and an 18 month old – it was a real whirlwind. It was one of the first bigger festivals where we thought “oh, this is very interesting”. We were put in a bit last minute but we had such a response and we’ve been back a few times.

GHE: I remember you in 2006 well.

AW: Yeah, I had dreadlocks and the whole thing. That was at that point where to play that music you had to have a uniform.

GHE: You were the “other” dude from WA with the dreadlocks and the lap guitar.

AW: Yes! Mr Butler, is that the man?

GHE: And I distinctly remember your 18 month old son with Karen Winton holding him. In fact she may have gotten up on stage to sing with you while still holding him.

AW: Yeah – she’s very strong. I think we’ve been at most of the festivals either pregnant or with a young child. We’ve stopped breeding now but there was a period when we were ready to have a kid it was mid festival. It was a real lifestyle for a while.

GHE: Has having a young family informed your playing folk festivals as opposed to the big blues or rock festivals? They’re a bit more family friendly.

AW: Yeah. It’s interesting, that year or the year after we did that circuit and then got invited to SXSW which is the big rock and roll festival in Austin, Texas. And that’s when we felt like “wow this is a bit different”. At [folk] festivals people will actually listen, it’s not all about drinking. And you don’t have to go to number ten on the energy – people will listen to quieter songs, a range of material. People are actually interested in the instrument, in the playing. On the whole the folk festivals have a diverse audience interested in different things., not just stomping and drinking and hollering.

GHE: Speaking of being interested in the instrument – your guitar is called The Beast right?

AW: Now when you saw me I had a thing called the Winton Beast which was made by a Victorian luthier. Then several years after a small American company saw me and said “we want to endorse you and make weird instruments for you” and that’s still happening these days. What they make is these instruments out of the roots of cyprus trees in Alabama. So the Winton Beast morphed into this instrument that is two in one. The Winton Beast was a seven string and I introduced a six string so it’s a 13 string tree root that I play.

GHE: Do you go to the luthiers and say “this is what I want? Or do they come to you and say “what do you think of this crazy idea”?

AW: In both instances they’ve said they’ll make me anything I want. And I’ve gone a) I don’t know what I want and I don’t know much and b) I just used my limited strange creativeness to invent something and they made it happen. And with the guys in Alabama it was all over Skype. I’m a non-practical person, I can’t hammer and nail – I just said “can we try having this many strings with this type of tuning”. I didn’t know if it was going to work and it’s all very experimental. And it’s mostly paid off and I guess in my own little world I’m known as this person that plays weird instruments.

GHE: I think I saw you play at a guitarist showcase at The National and everybody was just fascinated by your instrument.

AW: That’s right! People are more intrigued by that than me. On stage everyone was looking at my groin! Some could consider that a gimmick but in a landscape where everyone plays the same instrument with the same sort of tunings it’s just something different. And as a soloist it allows you to occupy the bass area, the chordal area and the melody at the same time.

GHE: You’ve been pretty prolific over the years and you’ve just recently released your album Glorybox Mechanics. Did you self produce that album?

AW: I have a friend here who has done a lot of recording for me. I chose to go down the path of not wanting any of the gear in my house – I didn’t want to go down the rabbit hole of recording. But very close to me is a very good engineer and basically I just did it on my iPhone and then went and replicated with him. In some ways it’s self produced but with someone who knows the buttons and the screens and the boring bits.

GHE: It’s always tempting as a musician to become a gear junkie.

AW: I’m anti that [laughs]. Because those guys end up becoming computer engineers and their musical skills fade into the distance.

GHE: You’ve been Glorybox Mechanics quite a bit recently – how’s the reception been so far?

AW: Quite nice actually. It’s tricky because the last album Happy won a bunch of awards and was a whole different level, so there was a little bit of pressure with this one. So it’s nice that ABC Radio National and a lot of community stations, and even one or two of the bigger ones, are playing a couple of songs. It doesn’t change the universe but I was just worried if these were going to work – it’s just my nature. And I’ve been pretty pleased. Especially in a landscape where people don’t buy CDs.

GHE: Except at festivals!

AW: Exactly! It’s the last arena where you go to see an act and straight away go and talk to the person who’s just played and take a bit home with you. It’s that kind of instant performance energy. That’s why these festivals are still trucking along well. As a musician it’s a privilege to play at them because people face your way and they might buy something and you get to talk to everyone.

GHE: At The National Folk Festival this year is it just you solo? Is Karen coming?

AW: Because I’m coming over for a couple of festivals it’s just me – we’ve got too many children now. And I think we’ve got some nice spots there – we’re going to be doing a filming in The Buddawang.

GHE: The National always ends up being quite a collaborative festival anyway so I wouldn’t be surprised if I end up spotting you playing with someone like Liz Frencham.

AW: That’s already been arranged! Liz and I live a long way from each other but whenever we get to the same suburb we do something.

GHE: It wouldn’t be a National Folk Festival if Liz Frencham didn’t play with every single act at some point.

AW: Exactly. I stir her about that [laughs].

GHE: Where else are you playing while you’re on the east coast.

AW: I’ve got gigs at the Django Bar in Sydney and the Union Bar in Melbourne.

GHE: Oh lovely – I’ll have to try and get down to one of those shows.

AW: Great! I haven’t been over there for a while.

GHE: Thank you so much for chatting with me. Looking forward to seeing you play again.

AW: Fantastic – thank you!

All of Andrew Winton’s upcoming dates, including his shows at The National Folk Festival, are below:

Wednesday 23rd March – House Concert, Temora, NSW.
Thursday 24th to Monday 28th March – National Folk Festival, Canberra, ACT
– Friday 4:30pm – Budawang
– Saturday 3:15pm – Marquee (Infinite Song Contest)
– Saturday 7pm – Flute ‘n’ Fiddle
– Saturday 9:30pm – Flute ‘n’ Fiddle (Liz Frencham Album Launch)
– Sunday 10am – The Terrace (Lap Slide Guitar Workshop)
– Sunday 9pm – Marquee
Thursday 31st March – Django Bar, Sydney, NSW
Friday 1st April – Selby Folk Club, Selby, VIC
Saturday 2nd April – Union Hotel, Melbourne, VIC
Sunday 3rd April – House Concert, Mount Franklin, VIC
Friday 8th April – The Herdsman Lake Tavern, Wembley, WA
Saturday 9th April – Caves House Hotel, Yallingup, WA
Sunday 10th April – Settlers Tavern, Margaret River, WA
Friday 15th to Sunday 17th April – Fairbridge Folk Festival, Pinjarra, WA
Sunday 24th April – The Vic Hotel, Perth, WA

Six Artists Announced for the National Folk Festival

The National
Image Courtesy of The National Folk Festival

2016 means the 50th anniversary of The National Folk Festival, and that means some pretty big artist announcements over the coming months.

The first of those announcements dropped today with the “6 Pack Taster” revealing six of our favourite artists for the festival. That announcement included Canadian trad trio The East Pointers, Central Australian singer-songwriter Jacinta Price, Brisbane bluegrass masters The Company, folk favourites The Mae Trio, slide-guitarist and songwriter Andrew Winton and Scottish folk-fusion band Mànran.

The National Folk Festival takes place in Canberra over the Easter long weekend, 24th to 28th March. Earlybird tickets are available now via the official site. Stay tuned for more artist announcements soon!

The Woodford Folk Festival Announce 2013 Lineup

Woodford Folk Festival
Image Courtesy of The Woodford Folk Festival

Over the weekend The Woodford Folk Festival revealed its 2013 program and it’s pretty darn impressive. With over 500 artists announced in 28 venues over six days Woodford 2013 is arguably Australia’s biggest and most diverse folk festival.

The festival doesn’t really have headliners as such but we’ve spotted a bunch of international and Australian Timber and Steel favourites including Bearded Gypsy Band, Beth Orton, Buffalo Tales, Busby Marou, Castlecomer, Clare Bowditch, Darren Hanlon, Jordie Lane, Rose Cousins, Matt Corby, Sam Amidon, The Crooked Fiddle Band, The Quarry Mountain Dead Rats, The Twoks, Andrew Winton, Claude Hay, Hat Fitz & Cara, Whitetop Mountaineers, Andrew Clermont, Andy Irvine, Spooky Men’s Chorale, Thelma Plum and many many more.

The Woodford Folk Festival takes place from the 27th December to 1st January. Tickets are available now – for more information including the full program visit the official site here.

Mike Compton Brings the Spirit of O Brother To Perth

Mike Compton
Image Courtesy of Mike Compton

Grammy award winning mandolinist Mike Compton will be winging his to Australia this October for a very special show at the State Theatre of Western Australia in Perth. Compton, the picker responsible for the mandolin parts on the O Brother Where Art Thou? soundtrack and the subsequent Down From the Mountain folk album, will be bringing together some of Western Australia’s, and indeed the country’s, finest musicians for In Constant Sorrow – A Night of Bluegrass.

Joining Mike Compton in Perth will be Kate Burke and Ruth Hazleton, Andrew and Karen Winton, Bluegrass Parkway, Bernard Carney and David Hyams, Jane Germain and Ian Simpson and Clarke’s Grey Vest. The show takes place on the 28th October with tickets and more information available here.

And just in case the Eastern states thought they were missing they needn’t worry – Mike Compton has also planned shows in Queensland, New South Wales and Victoria. The full list of dates are below:

Friday 26th October – Brisbane, QLD
Sunday 28th October – State Theatre of Western Australia, Perth, WA
Friday 2nd November – Albany Town Hall, Albany, WA
Tuesday 6th November – Newport Folk Club, Melbourne, VIC
Wednesday 7th November – Yinnar Hotel, Yinnar, VIC
Friday 9th November – Cat and Fiddle Hotel, Sydney, NSW
Sunday 11th November – Wollongong, NSW

National Folk Festival Interview: Liz Frencham, Frencham Smith

Liz Frencham
Image Couretsy of Liz Frencham

The heart and soul of the Australian folk festival scene is undoubtedly bassist Liz Frencham. A solo artist in her own right Frencham is also well known for her work with Jigzag, Jimmy The Fish and Frencham Smith. She is currently making her way from festival to festival with long time collaborator Fred Smith and is about to hit The National Folk Festival over Easter. We grabbed a couple of minutes of her time to talk about how she fits it all in, how her approach to festivals has changed over the years and what’s next after her current tour.

Evan Hughes: You’ve just come off some shows at the Port Fairy Folk Festival. How was that?
Liz Frencham: It wasn’t the best festival experience I’ve had just because of the circumstances. I tried to fit two festivals into one weekend. I did the Burke and Wills Folk Festival on the Friday with Fred [Smith] and then we travelled to Port Fairy on Saturday morning, got there and rehearsed with the band, did our gig and then by that stage I was pretty exhausted. Then the next day we had four gigs.
EH: Oh wow.
LF: And they were all a little too close together. We also had a projector and screen that wen’t AWOL and that caused Fred some consternation. It was just one of those festivals that felt a little more like work just because of the circumstances.
EH: The one thing I’ve noticed with you at festivals is you’re everywhere all the time. I’m surprised all this running around is not something you’re used to by now. Although running from one festival to the other is a bit extreme.
LF: Yeah [laughs]. It’s a little bit different if you’re running to jam with someone and also there’s a difference from when you’re 23 to when you’re 33. And then when you’re pushing 40 and running around with a double bass it means a little bit more organisation. Also if it’s a gig that you’re featuring at, particularly the ones with Fred where people connect with the Uruzgan material in a certain kind of way, even the CD selling area I take over while he talks to people. That kind of thing’s exhausting as well – organising that as well as being aware of what gig’s on the horizon. It was always exhausting but it’s a little bit more business these days. It’s one of those things that’s good and bad when you’ve played on the scene for longer – I used to have no voice by the time I’d get to Sunday of a festival because I would have stayed up late drinking and singing and talking and now I don’t because I know my voice is really low, it’s set in my chest, and if I try to talk over a lot of noise I’ll lose it really quickly. It’s only just because I want to make sure I can perform really well right throughout the whole festival. I feel like I’m a much better performer now but what I used to have was raw enthusiasm to get me through. It’s an interesting tradeoff but one I don’t mind having. I feel like I’ve had hundreds of amazing late night jams over those festivals. Things just change when you’ve been doing it for longer.
EH: You mentioned Fred Smith. You’ve played with him on his album Dust Of Uruzgan and toured with him as your schedule allows. The songs from the album really connect with people, especially if they have a connection to Afghanistan. How’re you finding playing those songs live?
LF: It’s intense to play songs of war. Besides singing a couple of songs that I do I’m pretty much playing the role of band member really, I’m playing the bass trying to do that as well as possible. Every song asks something of you and that’s what you’re thinking of when you’re playing it, what does this song need. I know all the intros back to front, I know all the stories, I know all the lyrics so I guess I’m no longer being moved by them anymore. I’ve probably done the show maybe 40 times now or more. In order for everyone in the audience to keep hearing it fresh it’s my responsibility to take each song at a time and give it my best. When you’ve played the songs that many times you do learn what really works on each song.
EH: When I interviewed Fred Smith last year he was telling me all about the songs you sing on the album, that they’re sung from the point of view of Afghan women. That must have been difficult to put yourself in that mindset.
LF: Strangely not. One of them’s from the point of view of a woman in exile and anyone who’s got friends and family can imagine what it must feel like to leave them behind. And there’s so much personality that he puts into those songs so you get a sense of the character which makes it easier. There’s definitely a wry sense of humour in the woman from “Trembling Sky”, there’s a couple of lyrics that give that away: “As I recall we were still kissing, while our friends were going missing”. There’s a little bit of bravado there. He gives you enough in the song to just go into it and feel it. The other one, “A Thousand Splendid Suns”, is more of a straight story so it doesn’t really benefit from trying to push any more into it, any more emotion. The melody is also so beautiful – just to sing the melody and tell the story is all that needs.
EH: It’s been a while since that album came out – are you still touring just under Fred Smith or are you going out there as Frencham Smith again?
LF: The line blurs quite a bit mainly because of the show. The National is booked under Frencham Smith with the expectation as well as doing our material we’d probably do a dedicated Uruzgan show, being that’s the most recent thing Fred has to offer – and also a really lovely thing to offer any festival. I think it’s easier to blur those lines because I’m quite involved in the Uruzgan stuff as well, in singing a couple of songs, having recorded bass on the album and toured the album. It’s easy a week before the festival to work out which is going to be the Uruzgan and which is going to be the Frencham Smith set.
EH: Are you guys recording any new material together or anything like that?
LF: Probably not for a while. I think Fred has something in the works before that, without telling any tales. Also this year I’m dedicating to recording the second volume of my duets, You and Me Vol. 2. That’s going to keep me pretty busy from winter onwards and then I want to give that album a good spin, a good tour next year. I’d say probably next year you won’t see as much of Frencham Smith just because I think both of us will be doing stuff that doesn’t involve the other for a little while.
EH: Can you reveal any details about who you’re playing with on the duets album?
LF: I can tell you that I’ve recorded the first duet with Andrew Winton. We’re doing a Sting cover which is really fun. We just did that when he was recently here touring. But I don’t like to say who else because obviously you can have all the best intentions and the artist can say “yeah, let’s do it” but then I’d hate to say somebody’s name and then it not happen and people be disappointed. Put it this way: there’s some international artists who are touring at the moment who are trying to fit a recording into their schedule. Definitely some names you’ll know.
EH: Andrew Winton’s a big enough name Timber and Steel’s eyes for us to already get excited.
LF: I can definitely say he’s on that because it’s recorded.
EH: I think one of the first times I ever saw you live was playing bass with Andrew Winton at The National a number of years ago.
LF: Oh wow.
EH: It might have even been his first National.
LF: We’ve been mates for a while and we’re pretty much the same age so whenever we cross paths at festivals we often find ourselves at the same kind of life stage, swapping stories about where we think our careers are going and that kind of thing which is kind of fun.
EH: You’re at so many festivals every year – do you have a favourite?
LF: Hmmm…
EH: It’s such a hard question.
LF: It’s interesting. I would have said my favourite big festival was The National but a big part of that was the Troubadour Wine Bar which isn’t going to be there this year so that’s kind of shifted for me. I’ll have to see how it feels because that was very much central, that home base you always went when you weren’t gigging, where you knew you’d see people you know. The Wintermoon Festival up in MacKay is pretty special – really chilled out and it’s May when down here in Victoria it’s absolutely freezing you get to head up that way and walk around in a skirt and sleep under the stars. Port Fairy was great for the amount of acts they have playing but I tend to have to work harder there so it’s hard to find them fun. It’d be very different if I was just going to the festival. It’s hard to say – I like a lot of the little ones. It’s hard to pick favourites really
EH: I think that’s all the questions I had for you today. Good luck with everything you’ve got coming up. It’s been a pleasure talking to you.
LF: No worries, I’ll see you later!

Illawarra Folk Festival Announces 2012 Program

The Quarry Mountain Dead Rats
Image Courtesy of The Quarry Mountain Dead Rats

While the summer months see some of the nation’s biggest festivals strut their stuff it’s the little regional folk festivals that really shine in our books. One of our favourite regional festivals roles around every January – The Illawarra Folk Festival in Bulli just north of Wollongong, NSW.

Being within spitting distance of both Sydney and Canberra the Illawarra Folk Festival manages to attract some amazing national and international talent and is set in one of the most beautiful parts of the country. The 2012 festival will be held from the 12th to the 15th January and boasts a program featuring the likes of Dougie Maclean, George Kamikawa & Noriko Tadano, The Beez, Andrew Winton, Cj Shaw, Evelyn’s Secret, Get Folked, Jack Flash, Lucy Wise & The B’Gollies, Margaret & Bob Fagan, Martin Pearson, The Quarry Mountain Dead Rats (above), Skipping Girl Vinegar, The Bearded Gypsy Band, The String Contingent, The Woohoo Revue, Big Erle & the Limb Looseners, Jane Aubourg and of course Wongawilli.

The program for the event has just been released and is available on the official Illawarra Folk Festival web site – which is also where you can get the full lineup and all the information on how to get tickets. Looks like our January is planned then.

30th Cygnet Folk Festival Announces Artist Lineup


Andrew Winton
Image Courtesy of Andrew Winton

Tasmania’s premiere folk event, the Cygnet Folk Festival, will be celebrating its 30th year in 2012 and they’ve just released a pretty amazing program of artists for the occasion. Held in Cygnet, south of Hobart, the Cygnet Folk Festival takes place from the 6th to the 8th January.

Headlining the event this year are European folk group Ethno in Transit, Tennessee based singer songwriter Hannah Aldridge, US guitar master Dale Miller, trad autoharp players and multi-instrumentalists Cindy Harris and Eileen Kozloff, two of the UK’s finest young fiddle players, Simon Bradley and Anna Wendy Stevenson, performing with the Simon Bradley Trio, Melbourne based My Friend the Chocolate Cake and WA’s The Miles to Go Trio.

The lineup is also peppered with Timber and Steel favourites including Andrew Winton (above), Evan and Mischa, Evelyn’s Secret, Fred Smith and Liz Frencham, Penny Larkins & Carl Pannuzzo, Quarry Mountain Dead Rats, The Crooked Fiddle Band and many many more.

Tickets and more information are available from the official Cygnet Folk Festival web site. The full list of performers is below:

AP Dantonio, Adam Cousens Band, Aluka, Andrew Marshall, Andrew Veivers, Andrew Winton, Andy Baylor’s Possum Stole the Pumpkin, Benny Walker, Blue Cow, Bohemian Nights, Brett Campbell, Bruce Watson, Ceo Draoicht, Cindy Harris, Dale Miller, David “Odd socks” Wanless, Dominic Francis, Eileen Kozloff, Ethereal, Ethno in Transit, Evan and Mischa, Evelyn’s Secret, Fred Smith and Liz Frencham, Gretel Templeton and Friends, Halfway to Forth, Hannah Aldridge, Harlequin, Helen Thomson sings Gregorian Chant, Hot Club Romanesca, Hot String Band, Jay Fraser, John Flanagan & the Begin Agains, John Francis Carroll, Josh Durno, Junior Bowles, Kate Rowe and Ryan Morrison, Kavisha Mazzella, Kym Pitman, Le Blanc Bros Cajun Band, Madre Monte, Mahuts, Melisande, Miles To Go Trio, Mr Beep’s Magic, Music, Mayhem and Mirth, My Friend The Chocolate Cake, Nadia Sunde, Neil Adam and Judy Turner, Neil Gardner and Friends, New Holland Honey Eaters, Nick Osborn, Papa Chango, Penny Larkins & Carl Pannuzzo, Peter Miller, Quarry Mountain Dead Rats, Roaring Girls, Shanachie, Silkweed, SiSi & The Sonics, Sugarloaf, Susan King & Christine de Trincaud la Tour, Tabasco Tom and Doc White, Taliska, Tas and Mick Fleming’s Hawaiian Duo, The Crooked Fiddle Band, The Hazelman Brothers, The Hobart Smiths, The Lamplights, The Old Lyric Theatre, Uisce Reatha, Unsung Heroes of Australian History, Voicestrings, WhistleBlower and WoodSmith Mead

Ice Blue Festival – 10 July

Shape of Snow Flakes image

I heard on the grape vine earlier this week, but today I have in my hot little hand, the official promotions for the first ever Burwood Ice Blue Festival incorporating the BBQ Blues and Brews concert. Ice Blue features 4 days of activities to create the Burwood Winter Experience and is presented by Burwood Council in Sydney.

The exciting thing about the BBQ Blues and Brews concert is that the Artistic Director is none other than Lilyfield local Jim Conway who I have had the honour to work with in producing  the now defunct Acoustica Music Festival, previously held in Balmain. Jim has played at so many of the nations best folk and blues music festivals and has an extensive network of musicians as friends to draw upon for inspiration in choosing a music festival line up, and his choices are usually right on the money.

The 7 hour BBQ Blues and Brews concert will be held Burwood Park Oval on Saturday 10th July from 12pm – 7pm and will feature some great names including Cass Eager and the Sirens, Ray Beadle, Jim Conway’s Big Wheel, and Timber and Steel favourite, Andrew Winton. Tickets are $22 each an includes a steak sandwich and a bevvy (beer, wine or soft drink) and are available now from Ticketek.

The rest of the Ice Blue Festival includes a grand opening on the 8th July, Ice Skating daily and the Burwood Food & Wine Festival finale closing the festival on Sunday 11th July. I’m sure the concert and the festival as a whole will be quite enjoyable and the line up will be great.

I’ve seen all the performers on the bill and know the audience are in for a real treat. I’ve been meaning to Spotlight each of the acts here on Timber and Steel anyway, so perhaps I’d better hurry up and do that so you can all get a feel for how exciting this concert will be.

Denmark Festival of Voice This Weekend

Denmark Festival of Voice
Image Courtesy of Denmark Festival of Voice

If you’re in WA you’ll already know that while the Eastern states are slaving away you’ll be enjoying the Foundation Day long weekend this weekend. But if you don’t know quite how to fill your long weekend we have the answer: The Denmark Festival of Voice.

Held in picturesque Denmark south of Perth, the festival features over 70 performances by some of Australia’s brightest artists. The lineup includes but isn’t limited to Andrew Winton, The Stiff Gins, Bernard Carney, Andrew Claremont and Mr Percival. Tickets and further information available on the website.

Andrew Winton
Image Courtesy of Andrew Winton

Spotlight On: Andrew Winton

Andrew Winton
Photo Courtesy of Andrew Winton

There seems to be a rule in Western Australia. If you learn the lap steel guitar you have to grow dreadlocks and write bluesy roots music. Maybe it’s something in the water. Whatever the reasons WA has given us arguably Australia’s premier roots musician in John Butler. And it’s also given us the equally talented bluesman Andrew Winton. That both play the lap steel is a coincidence. That they both cut off their trademark dreadlocks at around the same time might be something more.

Given the similarities it’s inevitable that Winton is constantly compared to his state-mate. But where Butler has cornered the market on politically edged roots music, Andrew Winton treads much closer to the blues essence of the roots genre.

Winton’s husky blues voice and fingerpicking prowess wins him fans wherever he goes. Add to that the fact that he is one of the hardest working musicians on the folk circuit and you get an artist who has grown his fanbase from the ground up. When I met Andrew in 2006 he was traveling around Australia from folk festival to folk festival with his wife Karen and newborn baby in tow. Since then the couple have had a second child but the touring just hasn’t slowed down.

Winton’s unique sound is as much to do with his talent as it is to do with his custom made lap guitar “The Wintonbeast”. Half guitar, half bass and all guts, “The Wintonbeast” is seven strings of pure blues goodness. Andrew Winton’s music is intricate, meaty and definitely danceable.

Sometimes appearing as part of the Andrew Winton Duo with Paul Novosel on drums, Winton is a mainstay around south western Western Australia and at folk festivals around the country. Check out the gig guide regularly to find out when his van and family are rolling into your town.

Country of Origin: Australia
Sounds Like: John Butler really finds the blues
File Under: Roots, Blues
Official Site:

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