Nicola Kearey & Ian Carter have been making music as Stick In The Wheel since 2013.
The radical East London duo are known for their intense live shows exploring the raw holler of folk, synths, spoken word and intricate guitar fuzz. They present full-force reworkings of centuries-old work-songs with fragments of ancient texts that speak to contemporary issues of class – an inherently political act. Their relentless approach to questioning traditional music forms is matched only by the energy that they bring to it. Full of hope and resistance, they continue to push forward contemporary roots music, whilst celebrating music from our collective histories – conjuring the past to point toward the future.
“Absolutely brilliant”- Marc Riley BBC6 Music
The duo’s fourth studio album A Thousand Pokes, is 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.
Lead Track: A Thousand Pokes
A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter’s delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. Shit food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn’t. Nursery rhymes reimagined as death threats. 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. This is about as far away from pastoral folk music as you can get.
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 fucking up, or being fucked up, with some brief respite in Lavender – one of London’s oldest street melodies – 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. 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 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.” Kearey
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 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 chimera 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, hard tuned vocal, psychedelic guitars; a reflection of their immediate culture and the sounds of their environment.
“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.” Carter
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.
Tour dates as follows
25.10.24 Nottingham Bodega
26.10.24 Manchester Deaf Institute
28.10.24 York The Crescent
30.10.24 London Oslo
01.11.24 Aldershot West End Centre
02.11.24 Ramsgate Music Hall
03.11.24 Bristol Thekla
28.11.24 Oxford Common Ground
30.11.24 Totnes Things Happen Here
02.12.24 Birmingham Kitchen Garden Cafe SOLD OUT
03.12.24 Liverpool Philharmonic
05.12.24 Kendal Brewery Arts
08.12.24 Lewes Con Club
10.12.24 Hayling Island Costa Festival
