Music: Kathryn Williams

A folk/electronic infusion with some hip-hop thrown in, Kathryn Williams’ new offering continues to surprise

One of the best and most consistent singer songwriters of the last ten years or so, her knack for creating highly melodic, finely-tuned nuggets is really rather amazing. And her versatility is quite astonishing too – from her recent dabblings in folk she’s now shifted her soundscape to something approximating trip-hop.

With so many opting for the DIY route, many aspiring musicians should look no further than the example set by her way back in 1999 when she made her debut Dog Leap Stairs reputably for £80, and released it on her own label, Caw Records. The industry finally took notice when hers second, again self-released album, Little Black Numbers was nominated for the Mercury Music Prize. East-West Records stepped up to the plate to license it, and give it further legs. A couple more albums followed, but it was apparent early on that Williams was very much an independent artist, more in tune with the folk scene for whom independence is almost a mantra. And eventually, in 2006 she returned to releasing music on independent labels.

Over the years Williams has collaborated with the likes of long-time partner Neill MacColl, John Martyn, Badmarsh and Shri, Thea Gilmore, Tobias Froberg and Ted Barnes but for the new album The Pond she has worked with Simon Edwards (a session player who was on Fairground Attraction’s hit ‘Perfect’) and Ginny Clee (former member of The Dear Janes, and a singer who has contributed vocals to the likes of Robert Plant and Robyn Hitchcock), exchanging files between Williams’ home town of Newcastle and Edwards and Glee’s North London home studio.

The influence of Adrian Utley (of Portishead) seems to have come through; there’s a strong hip-hop vibe throughout, as well as plenty of sound experimentation and effects. It is also remarkably diverse; from the foreboding electronica-infused ‘End of the Pier’, to the gently playful dance grooves of ‘Evening Star’ and the ukulele-led strumming of the folkie ‘Hard Shoulder’.

Most surprisingly there is even a couple of short raps, one by Williams herself, the other by Kirsch on Bebop, a minor epic that encapsulates much of the history of rock‘n’roll.

Kathryn Williams, Komedia, Monday 28 May, 7pm, £16.50