I’m going home.

I’m going away to leave you
I’m going to leave you in disgrace
Nothing in my favour
Got the wind in my face

I’m going home
hey, hey, hey, over the hill
Over the hill
hey, hey, hey, over the hill

(Over the Hill – John Martyn)


Covers are a tricky thing. On one hand, you adore the song. This is an absolute fact and necessary prerequisite because it obviously meant enough for you to choose it to cover, & the last thing you’d want to do is to butcher the songĀ that holds so many tender memories for you. On the other hand, to do it the exact same way with the same instruments & arrangements & harmonies would be to remain at a creative standstill, to be trite & spiritless.

So therein lies the question – how does one pay proper homage to the artist & the work of art & at the same time take it a step further?

Well, I’ve got no clue. I just know that it happens occasionally when the right people are all in the right place at the right time.Ā Michael Kiwanuka, Ben Howard & band, The Staves & Ben Lovett (Mumford & Sons) covering John Martyn’s 1973 hit Over The Hill on theĀ Austin to BostonĀ tour is a perfect example of that rare moment – slowed-down, wistful, evocative &Ā yet distinctive from the original. It sounds like a kind of yearning, doesn’t it? Like a natural beckoning. I’m going home… hey hey hey, over the hill.

Here’s another fantastic cover of one of my favourite songs by one of my favourite bands ever.

Half of the time we’re gone
but we don’t know where
& we don’t know where
Here I am
The only living boy in New York…

On the Road – Austin to Boston

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“As itinerant musicians, we find ourselves here quite often, saying farewell again & again… After all the road is just one long goodbye.


I’ve been listening to The Staves a lot lately (something about their music resonates in this season) & a music producer friend of mine recommended that I watch this documentary chronicling their 2012 American tour with Ben Howard, Nathaniel Rateliff & Bear’s Den because it “outlined the reality & the romanticism of music-making & touring”. So I did, & it was just that: filled with powerful moments, featuring in equal measure the rapturous music & the people who made it, all twenty-five of them.

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The story is simple: In 2006, Ben Lovett (Mumford & Sons) & Kevin Jones (Bear’s Den), frustrated by the lack of live gig exposure for talented singer-songwriters founded the concert promoter, music label, & recording house Communion, & began planning these fantastic single shows & tours all across the US & the UK, bringing lesser-known artistes & their music to all sorts of venues – concert halls, chapels, bars, rooftops, friends’ backyards, & so on. Austin to Boston charts the 2-week, 10-show, 4000-mile journey a bunch of bands take across America in 5 Volkswagen vans, one journey bleeding into another.

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“When I think of Ben Lovett, I think of time travel. Old factory dreamer.”

(Gill Landry, tour driver)

“You know, this is a hard tour. People are exhausted. Everyone’s just pulling together & there’s no hierarchy & everyone’s just here because you feel part of something & that’s kind of embodied by the vans, you know, that’s like symbolised by the vans. We’re not in some big corporate tour bus or whatever. We’re in these little shitty little vans. Communion is like a camper van. It doesn’t work very well, it’s disorganised, it breaks down all the time but it still feels really nice when you’re in it. You know what I mean?”

(Kevin Jones, Bear’s Den & Co-founder of Communion)

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I think that touring in buses or vans is something of a time past in this age of plane travel, but I get what they mean, even with my little experience in this field. Music is always a magical thing, but music shared with strangers (who become new friends, & then family) across time & space becomes a transcendental experience. You know what I mean, don’t you, the swell? The perfect moment. I am always chasing it, & always finding it in unexpected places.

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“I like moving. I think it’s nice to always have a base & go back to it. Always in transit & kind of popping through places. Sometimes it’s really cool & sometimes it’s frustrating, but most of the time it’s a blessing. You get to see places like this… I’ll probably never come here again. You get those little moments where you’re like, ‘memory photo’, & then you move on. I don’t know what it is… I think anyone on this trip will tell you it kind of gets in your blood.”

(Ben Howard)

In this documentary though, it is not hard to find the perfect moment because the music is just so good… Ben Howard, the “indie snob’s John Mayer” & crazy, creative savant, ripping up the stage every night with his leftie-Fenders & wonderfully talented friends India Bourne & Chris Bond. & then there is the folk genius that is The Staves, who evoke mountains of tenderness with a singleĀ other-worldly, soaring harmony. With their songs, Emily, Jessica & Camilla render every room vibrating, every person speechless.

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“When I first heard The Staves, it was like being called by sirens from across a dark & silent sea. It’s hard not to be struck by their beauty when they walk on the stage… but when their harmonies set in, you’re done. You’re just done.”

(Gill Landry)

& there was the unexpected treat – the storytelling of Nathaniel Rateliff, so full of raw pain & truth, the only artiste I had not heard of before this documentary but whose music & stories struck me the most & made me cry. & of course not to leave out Bear’s Den, the youngest of the ragtag crew, with their deep, blossoming vocals & strings.

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Between Gill Landry’s (Old Crow Medicine Show, The Kitchen Syncopators) deep drawling narration & the distinctive direction & cinematography by James Marcus Haney (No Cameras Allowed) – an interweaving of gritty, b-roll footage, lens flares, high-contrast stage shots & intimate warm lighting – Austin to BostonĀ captures theĀ bittersweetness of old-fashioned touring perfectly, the grime & the splendour of being on the road, the friendships forged & the euphoric moment of a note sang well & sweet.

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“& the same way it came together, it parted. Since this tour has ended we’ve crossed paths many times & many places. Sometimes you can be quite far down a road you didn’t even know you were on. The draw of touring can be so strong that years can pass before you even stop to question why you’re even doing in the first place. Why make all those miles to perform to total strangers in far-off towns? Why leave all your loved ones behind to live out of suitcases & shit hotels & the back of vans? I suppose the answer I give myself is because it’s a damn good time. & so the road is one long goodbye & here we are, again… again… again.”