Maddy Prior Of Steeleye Span Talks New Album 2025 UK Tour And More
Words by Glenn Sargeant
Feature Image Photo Credit: Supplied By Chris Hewlett PR
Together for fifty-six years now, Steeleye Span changed the face of folk music forever by taking it into the world of gold discs and international tours. Now they return with Conflict, their first full studio album in over five years. Maddy Prior kindly sat down with JLTT to discuss the album, 2025 UK Tour and more:
Who is in Steeleye Span, how did you meet and what do you play?
Liam Genockey (Drummer), Julian Littman (Keyboards, Guitars and Vocals),and Roger Carey (Bass Guitar), all knew each other over many years from Hastings and Andrew “Spud” Sinclair (guitars). I have known him for a long time, as he lives nearby and worked with Rick Kemp, our erstwhile bass player for some time. Our new fiddle player, Athena Octavia, we found on the net, and what a find!
What is your earliest musical memory?
Singing at the Saturday matinee, in Blackpool, where we watched the like of Flash Gordon, Tom and Jerry and the Three Stooges. After they played ‘Land of Hope and Glory’ we had a singing competition, and I used to sing ‘The Tennessee Wig Walk’. According to the Opies (Folklorists) who applied modern techniques to understanding children’s literature and play, ‘The Tennessee Wig Walk’ was big in the Lancashire playgrounds (no one knows why). I won the competitions and was given the confidence with singing that has lasted a lifetime. I also fell in love with the singing of Kathleen Ferrier who was born, I believe, in Blackpool. ‘Che Faro’, which is a Classical piece, was my favourite when I was 9.
When did you begin songwriting?
I didn’t start writing until the late 70’s. My father was a writer, so I steered clear, since he seemed to have such a focussed mind, not like myself. But I brought traditional songs into the band, rather than the other members, like Bob Johnson, who found words and wrote tunes to them. Tim Hart also brought songs into the mix, and Rick Kemp wrote some as well. Peter Knight in the early days brought in the tunes, mainly Irish, until he, like the rest of us, began to write more.
You have your new studio album ‘Conflict’ available now. How did you want to approach the making of the album?
We had the feeling of the album ‘Conflict’. We named it largely to reflect the times we find ourselves in, but also the stretch and tear of our relationship with this planet that hosts us. We had some songs relating to that idea, which we wanted to use. Interestingly, two of them went on the previous album, ‘Shipbuilding and Hey Nonny Violence’. We were looking at modern ideas that still related to the traditional songs, since nothing really changes, except the clothes, the transport and the technology. People don’t change much. ‘Honeybee’ has been understood as a love song, but it is actually about bees. Sometimes it’s hard to hear/grasp the lyrics
Where did you record the album and who produced it?
We recorded it in Eastbourne at Echo Zoo Studios, the studio is now closed. The engineer and mixing engineer, Nathan Ridley was very involved in whole recording of the album. His input was crucial to the finished piece
Do you have any interesting, funny or memorable stories from the recording sessions?
There was a moment when Nathan asked if I could do a different sort of vocal instead of trying for a clean neat one. Do it more like Tom Waites. So I had a go on ‘Blow Boys, Blow’.
Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?
Nathan brought out the unusual aspects of our music, with his modern ear, and facility with the technology that was at his disposal. I’m not au fait with the equipment used, that is not really my area of expertise.
Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?
The angriest song is possibly ‘Genocide’, but it’s not my song. Rick Kemp wrote it after the RAF liaison officer told him how much the lads in the mess loved playing ‘Low Flying’ (a humorous, but pithy song) on the juke box. He went home and wrote ‘Genocide’.
‘Over the Hills’ is the happiest, I would guess, and most reflective for me would be ‘Ghost Ship’, which tackles the plight of refugees around the world.
Was it a difficult album to write?
In a way, because I feel strongly about things, but didn’t want to rant. It was finding songs and writing songs, which are relevant but challenging.
Who designed the album artwork?
Thom at Captcha Studios.
One of the tracks is the first single ‘Over the Hills and Far Away’. What was the story/inspiration behind the track?
Tim Harts sang this on his delightful album ‘My Very Favourite Nursery Rhymes’, which remains a great introduction for kids to the earlier children’s repertoire. A great little song, which I knew as a child
Do you have any visualisers planned to accompany the album?
Not at the moment…would love to do that………
Where is your hometown and could you please describe it in five words.
The Steppings, Bewcastle, in the middle of nowhere.
How do you look after your voice?
Everybody has issues with their voice at some time in their career. All sorts of things affect the voice; I keep the voice as supple as I can, through exercises and singing. Keeping fit is a large part of singing. Control of breathing is the most important part. As you get older it gets more difficult. I have realised that I have to exercise every day, which helps.
Do you have any live dates planned in the UK/Europe in 2025/2026?
We are touring the UK in November and December. https://steeleyespan.org.uk/sample-page/tour-dates-2025/
Given your extensive back catalogue, is it difficult picking a setlist? Do you have a specific song selection process?
No, we don’t have a selection process as such. These days it’s me that looks through the back catalogue and I try to pick songs that the audience will be familiar with. ‘All Around My Hat’, which we always do – ‘Hat’ is our anthem and it is still hard to sing. Thankfully we don’t have a long stream of hits to hamper us. ‘Thomas The Rymer’ is a popular one. We sometimes update old songs and re-work them, always keeping the songs within the Steeleye remit. We like to keep our music relevant, that these ancient ballads are stating truths about the human condition, and try to indicate that nothing really changes
What two things do you hope to have achieved once you have left the stage?
I would like people to think about what we are singing and be challenged. Obviously, it’s also important for audiences to have an enjoyable and uplifting evening overall, as well.
Do you have any favoured stage instruments, effects, pedals, microphones etc?
Again, not really my area
Who are some of your musical influences? Do you have any recommendations?
My musical influences from the folk world were people like Joan Baez, and Heddy West and the old, recorded singers that we listened to in Cecil Sharp House. A lot of Irish singers. I was influenced a great deal when I was young, but not now. I do what I do now and have done for a lot of years. I think probably around late 70’s, I had developed a style of my own and then it was all about the material. The material led the way I sang. And when I worked with the Carnival Band it was in some ways more demanding, which was good for me, when the breathing was trickier. Hymns and carols at tempo with no pauses. But for Steeleye it is all about the material.
What makes Steeleye Span happy and what makes you unhappy?
The only sadness I have, is that sometimes we and our music are perceived as irrelevant, or lightweight, when it is anything but.
Steeleye Span is a brilliant band to have spent my musical life in. The material is varied and interesting. It has history, philosophy, social reality, lewdness and humour. The melodies are enveloping and uplifting. What more could you ask?
Feature Image Photo Credit:
Steeleye Span’s new album ‘Conflict’ is out now on Park Records.
Order Here: https://parkrecords.com/product/prkcd162-conflict-steeleye-span/
The new album will also be available to purchase on tour. Their 2025 UK Tour will visit the following venues:
NOVEMBER
Sunday 16th – The Queen’s Hall, EDINBURGH
Box Office: 01316 682019
Monday 17th – St Luke’s, GLASGOW
Box Office: 01415 528378
Wednesday 19th – The Phoenix Theatre, BLYTH
Box Office: 01670 367228
Thursday 20th – The Platform, MORECAMBE
Box Office: 01524 582803
Friday 21st – Preston Playhouse Theatre, PRESTON
Box Office: 03336 663366
Sunday 23rd – The Tung Auditorium, LIVERPOOL
Box Office: 01517 941500
Monday 24th – The Witham, BARNARD CASTLE
Box Office: 01833 631107
Tuesday 25th – King’s Hall, ILKLEY
Box Office: 01274 432000
Wednesday 26th – Corn Exchange Theatre, STAMFORD
Box Office: 01780 766455
Saturday 29th – The Beacon, WANTAGE
Box Office: 01235 763456
DECEMBER
Monday 1st – Borough Theatre, ABERGAVENNY
Box Office: 01873 850805
Tuesday 2nd – St George’s, BRISTOL
Box Office: 01179 294929
Wednesday 3rd – Cheese & Grain, FROME
Box Office: 01373 455420
Thursday 4th – Farnham Maltings, FARNHAM
Box Office: 01252 745444
Saturday 6th – Medina Theatre, ISLE OF WIGHT
Box Office: 01983 823884
Monday 8th – The Sub Rooms, STROUD
Box Office: 01453 796880
Tuesday 9th – The Haymarket, BASINGSTOKE
Box Office: 01256 844244
Wednesday 10th – Ropetackle Arts Centre, SHOREHAM-BY-SEA
Box Office: 01273 464440
Thursday 11th – The Spa Pavilion, FELIXSTOWE
Saturday 13th – Revelation, ASHFORD
Box Office: 07548 679199
Monday 15th – The Stables, MILTON KEYNES
Box Office: 01908 280800
Tuesday 16th – The Y Theatre, LEICESTER
Box Office: 01162 557066
Wednesday 17th – The Apex, BURY ST EDMUNDS
Box Office: 01284 758000
Friday 19th – Cadogan Hall, LONDON
Box Office: 02077 304500
