For a good few years, Honeyfeet has been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. Jazz? Yes, some of that! Folk? Stick that in there! Hip-hop? I thought you’d never ask! Someone once called it Folk-Hop and Barrelhouse-pop, and that’s just vague enough to make sense.

Texturally Adventurous

It helps that they are fronted by Ríoghnach Connolly, Real World’s newest signing and “a remarkable singer and flautist who can ease from Irish traditional influences to soul” (The Guardian).

This extraordinary band’s debut single for Wah Wah 45s, Sinner, was originally affectionately known as Boingy Squelch, after the unconventional sounds trombonist Biff Roxby used in his early demos. Ríoghnach conveys the story of a woman who never intends on staying at home “chained to the sink” – “I may be a sinner, but I’m not a slave”. In that way, the song is a rejection of outdated, traditional roles.

Since their previous album, 2013’s It’s a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their next LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the “kitchen” of this very special band.
 

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