Well, I wake up in the mornin’
feel so sick down to my shoes,
the box-office is jumpin’,
I got the Stage 4 Beverley Blues.
I got the blues
I got those February Festival blues,
I better pay my dues
I got those Stage 4 Beverley Blues.
So, all the venues will be buzzin’
and rockin’ to tunes old and new,
I’ll be shakin’ my booty
at the New York Brass Band too.
And after all the events have finished
don’t go down the pub,
when you can kick back with a beer or two,
at the Late-Night Festival Club
I got the blues
I got those syncopation blues,
don’t step on my blue suede shoes
(is the King here?) I got those Stage 4 Beverley Blues.
Now, I’ve been to Glastonbury,
Download and Tribfest too,
but I tell ya Stage 4 Beverley,
I keep a coming back to you…
and it’s not just about the line-ups
the fantastic acts you choose,
no, it’s also because you continue to have…
spotless festival loos!
I got the blues
those sweet jelly-roll blues,
have you heard the news?
I got those Stage 4 Beverley Blues.
Everybody’s clamoring
For Beverley Community Choir
plus Dankworth, Cambo and Bilston,
this festival’s on fire!
And I’m inspired by all this eclectic stuff
I’ll be attending the Harmony Singing Class,
I’m told I can hold a pretty good note…
more like a cat clawing broken glass.
I got those blues
I got those convoluted, rhyming blues,
I hope I’ve lit your fuse?
Now you can get the Stage 4 Beverley Blues.
So, finally,
as you navigate the upcoming festival,
just you remember this sad old blues boy
who’s got those…
Amazing headliners
and talented songwriters,
spoken word
that’s what I’ve heard.
Tickets I’ll be jugglin’
to see the Saltburn Smugglin’,
Nagasaka and Killen
will get us all chillin’.
The Horizon Stage,
that’s gonna engage,
from poetry to page
it’s all the rage.
Danny Bradley guitar pluckin’
Charlotte Carrivick bluegrass truckin’,
Gary Stewarts Graceland singin’,
Sea Shanty swingin’…
Yes, I think you know by now,
I got those blues,
I got those,
Stage 4 Beverley Blues.
On that rainy festival finale
we expected the gritty Bronx,
The Big Bad Apple,
transplanted into the East Riding.
But got North Yorkshire’s finest, a mix of Basin Street
thrown in, and a red-bereted lead guitarist
leading us on, ramping it up –
bringing the noise, the moves, the chaos.
And all thoughts of East Coast, USA were soon roared aside
as we were deluged by trombones and saxes
that roamed the stage in tartan shorts,
that gave us eclectic standards and offbeat originals –
Ellington & Monk, Ross & Whitney –
gave us a blast, funked us to our seats and to our feet:
a riot of horns, percussion, and pure party energy.
Then, the climax,
and we became the show.
A brass-cheeked audience snake,
pied-pipered out of the theatre,
marching with trombones through the foyer,
conga-ing down the corridor,
bursting through the café doors
to blasts of Walking on Sunshine.
The whole band scattered amongst the tables,
commanded us onto our haunches
then down onto our creaking knees.
Finally, a lone sousaphone
lead a looping, growling, call and response,
until our parched lips puckered and breath gave out,
and then calm descended,
and ‘last orders’ were called.
Taking our syncopation into the rain,
we were left with New Orleans’ soul
burning through our veins,
our feet weary and ears gently buzzing.
Enough to serenade us home, pull us into the pillow
and a cadenced sleep. Where we bottled the
night and conjured up dreams of future
festivals, with flamboyant big brass vibes.
Chris Sewart
Festival Poet – Stage 4 Beverley Festival 2026
@chriswriting.bsky.social
I observe that one minute
they are alone at the bar,
the next, two women are
buttering them like toast,
fluttering their egos
with the force of a typhoon.
And the pair
– being malleable men –
accept this unexpected attention,
along with the shared pints
and the shotgun
of innuendo, and easy chatter.
Then, a sudden leftfield
exchange about modern poetry.
Embracing incomplete
couplets, lavishing praise
on controlled assonance
and cool half-rhyme.
Eavesdropping this jumble of
surprising banter, I notice a couple
– snug in the corner –
amused at the flirting,
vicariously relishing
a slice of this fun,
whilst beating meticulous time
with their metronome feet.
Chris Sewart
Festival Poet – Stage 4 Beverley Festival 2026
@chriswriting.bsky.social
Bring me the musicians, the venues, the stages,
the songs, the singers, the tunes for all ages,
the drummer, the cymbal, the wild thrash of snare,
the ramped-up, the amped-up, the Devil-may-care,
the sold-out, the house full, the plenty to see
the mics, the spotlights, the testing one-two-three,
the run through, the fine tune, the monitor checks
the danced out, the joyful, the where are we next?
the frothy, the moody, the ones all in black,
the hardcore, the diehards, the ones coming back,
the folkies, the rockers, the jazz through-and-through
the poems, the rhyme, the laureate - or two,
the pints pulled, the tickets, the great volunteers,
the flyers, the T-shirts, the give ‘em a cheer,
the scene set, the curtain up, the time to be,
bring me all these riches – please, bring them to me.
Chris Sewart
Festival Poet
@chriswriting.bsky.social
Kate Rusby & Damien O'Kane
A defining voice of contemporary British folk, Kate Rusby has spent more than three decades at the forefront of the scene, earning a reputation for crystalline vocals, timeless songwriting and an unerring instinct for breathing new life into traditional song. Hailing from South Yorkshire, Rusby first emerged as a leading light of the 1990s folk revival and has since become one of the genre’s most cherished and recognisable figures.
Over the course of her career, she has received numerous accolades, including multiple BBC Radio 2 Folk Awards, notably Best Original Song and Best Traditional Track, and she was honoured with an MBE for services to music. Frequently described as the “First Lady of Folk,” Rusby has also twice been nominated for the prestigious Mercury Prize, underlining her standing beyond the folk world. Her music has attracted an array of celebrity admirers, with high-profile fans including actors and broadcasters who have championed her work for its emotional depth and quintessentially English character.
Rusby’s impact on the British folk scene is profound. At a time when traditional music risked drifting from the mainstream, she helped spearhead a resurgence that brought folk back to major stages and festival headlines. Her interpretations balance authenticity with accessibility, inspiring a new generation of artists while remaining deeply rooted in heritage.
This special performance promises something truly unique: a rare and intimate duo show with her husband, producer and long-time guitar collaborator Damien O'Kane. Stripping the music back to its essence, the pair create a warm, intricate soundscape that highlights Rusby’s unmistakable voice and O’Kane’s masterful musicianship. For audiences, it’s a chance to experience one of Britain’s finest folk artists up close — personal, powerful and utterly spellbinding.
The media has consistently lauded Kate's contributions to music. The Daily Mail aptly described her as ‘folk royalty,’ a sentiment echoed by many. The Guardian has referred to her as ‘a superstar of the British acoustic scene,’ while The Telegraph highlighted her as ‘folk music's biggest star.’
Kate Rusby's enduring influence on the music scene is a testament to her unwavering dedication to her craft. Her ability to honour traditional folk roots while infusing them with contemporary relevance has not only preserved the genre but also inspired a new generation of listeners and musicians alike.
‘The undisputed queen of English folk music. Her soulful vocals and exquisite song writing have set a benchmark in the genre’ – BBC Music
‘Kate Rusby’s artistry is a masterclass in folk music’ – MOJO Magazine
‘She is a true treasure of the folk world’ – The Independent
