You might find Rachel and Becky Unthank singing in a Tyneside folk club one night, and playing to 2000 Londoners the next, having performed to a primary school in the afternoon. You might find them collaborating with Adrian Utley (Portishead) one moment, and writing the score to an archive film about shipyards the next. Or visiting Africa with Damon Albarn, Flea and Joan As Policewoman and then presenting a TV programme for BBC4 about traditional dance.
You might equally find them rubbing shoulders with Robert Plant, Adele, Elbow and Radiohead at the Mercury’s, or in a bunkhouse on the coastline of Northumberland cooking for 50 fans on one of their residential singing weekends. Running singing sessions in the back of a pub on a Monday before heading off to tour America or Australia on the Tuesday.
Signing licensing deals with EMI while continuing to record vocals in broom cupboards under the stairs. Spending 9-5 managing their careers without agents or labels, and heading down the studio in the evening to write scores for a project with a symphony orchestra. Collaborating with Orbital while championing songs from the folk club floor singers of the North East and re-presenting them to anyone who wants to listen.
You’ll find them played by the folk show on BBC Radio 2, but equally by cutting edge BBC6 Music, Radio 3 and Radio 1 DJs. You might find them on the cover of a folk magazine like fRoots or in the pages of NME. Definable only by their restless eccentricity, there are no easy one-liners to capture who or what The Unthanks are, or much point in guessing what they’ll do next.
There is a socially conscious heart to much of The Unthanks’ work. The Unthanks see folk music less as a style of music and more as an oral history that offers perspective on our time. Their approach to storytelling straddles the complex relationship between modernism and learning from the past. Staunch traditionalism and sonic adventure may seem like opposites, yet they are easy bedfellows in the gentle hands of The Unthanks.