Gwilym Morus . . .

by David Bairn

Gwilym Morus has spent most of his musical career composing in his native Welsh. Considering he’s been singing Welsh folk ballads since childhood, and has earned himself a doctorate in Medieval Welsh Literature, there's no surprise that much of his solo work revolves around the Welsh bardic tradition. This may not be so apparent to non-Welsh speakers, but whether you understand the language or not, it’s clear he has developed a very refined folk aesthetic. His music is intricately crafted, conveying a very Celtic kind of folk classicism while at the same time being totally modern and unique.

And for all of his native influences, Morus also chimes with other music styles from across the world. Until very recently he was the singer and front-man for North Wales’ only 12 piece afro-funk outfit, Drymbago, and over the years he has been responsible for instigating collaborations with Palestinian musicians, visiting the West Bank on several occasions.

As a recording artist these different influences are always balanced by Morus’ sonorous voice and trade mark harmonies. Since releasing his first album, Traffig, back in 2005, Morus has developed a passion for recording real sound in real spaces. Before leaving his beloved Snowdonia earlier this year, his live recordings were usually made in the majestic Powys Hall at Bangor University, using strings and grand piano in their natural environment.

Having recently moved to Birmingham, he is currently working on a commission for the National Eisteddfod this August (the largest travelling festival in Europe): a collection of songs responding to pieces of contemporary art being shown at this year’s festival. The role of ‘Bard in Residence’ is usually given to an up-coming poet, but being first and foremost a musician Morus has opted to respond in both words and music.

Later in the year, he will be releasing his fifth solo album which will, unusually for him, contain mostly English language material. Foreseeing life on the road over the next few years, he has for the time being moved away from band orientated recording to working on one-man ballads. Yet this move towards capturing live takes of voice and guitar, with the focus on performance rather than production, still retains Morus’ expertise in crafting fine ballads that sing to the soul – something that can appeal to folk from anywhere, so long as they have a pair of ears and know how to use them.

In the right space, his live sets have a subtle, meditative quality where his songs come alive with a refined and patient beauty. If you ever get the opportunity, I highly recommend you try attending a gig in a small venue where people are listening. There are few currently playing in the UK folk scene that can match his kind of Welsh serenity.