“And when you hear that song come crying like the wind, it seems like all this life was just a dream, Stella Blue” – Robert C. Hunter, Greatful Dead – Stella Dead

There is a fire just outside Cirencester – not on a mountain, but in a field. For the third year running, an effervescent gathering takes shape for the UK’s thinly spread yet all the more dedicated Deadheads, who come to connect with the music of American 60’s psych rock giants the Grateful Dead.

During three days of Playing On The Farm (POTF), music radiates from a yellow and red striped tent, covering all eras of the band’s discography – from their early orange sunshine-drenched electric Americana and San Fran psych rock roots to the even more eclectic, genre-splicing live jams and studio recordings of the latter half of the 70’s and 80’s. With the remaining members of the band no longer playing European shows, events like this are the only way for fans here to experience the music live without travelling to the US.

The small size and intimate nature of POTF means there are many freedoms not found at larger festivals. There are no fences or barriers. It feels liberating to wander the woods enclosing the edges of the site as Black Throated Wind gently pulses through the still darkness. Security is light, yet it feels safe, and there is a true sense of community among attendees, many of whom already know each other from previous years or other related shows.

For Big Sky Orchestra, who come from Birmingham, it was the second time playing the festival, and they paid homage to the Dead with a set of classics peppered with bursts of their own songs. Before their performance I caught up with singer and rhythm guitarist James and lead guitarist Ben for a chat about their experiences playing the farm, their connection to the place, and what’s in store for the future.

Discovering the Festival

The band’s introduction to the festival happened rather serendipitously, emerging from their active engagement with the UK Deadhead community on social media. The festival organisers eventually reached out to them via email, extending an invitation to perform. “We were sharing our music in the UK Deadhead Facebook group,” James explains. “It was a way to connect with fans who might appreciate what we do.”

Their first appearance was revelatory. The festival, which is one of the only events of this nature in the UK oriented solely towards the Dead and Dead-adjacent jam music, offered them a unique opportunity to connect with like-minded enthusiasts. “It’s amazing to come because we hadn’t found that much jam band stuff in the UK,” James explains. “But to have the chance to come to a place in the UK and then you’re also a fan of all the other bands, it’s such a fun thing to do.”

Reflecting on the steadily growing interest in jam bands in the UK, James observes: “I think it’s already busier than last year. And when we went to a few of Billy Strings’ shows this year on his tour, we were handing out flyers for POTF and so many people turned around and said to us, oh we’re already coming. A lot more younger cats as well. I think what we expected the first time when we were here is for it to be just mainly old heads but there’s a nice balance of both old and newer younger generation as well which is cool to see.”

Big Sky Evolution

The band formed while they were in their teens and it has been through various iterations since then, playing gigs across the UK and showcasing their unique sound that’s informed in equal measures by country-flavoured Americana, 70’s rock, soul, R&B, funk and jazz. Their early performances were marked by a blend of homage and originality that helped them hone their zippy and dynamic craft on stage. James recalls: “We used to and still do play plenty of [Grateful Dead] covers. But we’ve also always just played tunes that we like as well, regardless of who it’s by. At the first Big Sky gig ever, we did Cosmic Debris, the Frank Zappa tune. We’ve always thrown in Simon Garfunkel songs, stuff from Hendrix and we’ve even done some stuff by Steely Dan as well.”

That Steely Dan influence was particularly formative for the band. James reminisces: “Probably every Friday night, Saturday night, for about six to eight months we would go around Ben’s, we’d sit there the whole night, get drunk, or get weirder at times, and put on and play along to every Steely Dan LP from You Can’t Buy a Thrill to Gaucho.” This shared enthusiasm for Steely Dan, along with their love for jazz and singer-songwriters like Paul Simon and James Taylor, has audibly defined the contours of their self-assured songwriting prowess and improvised jamming groove.

Until recently the membership of the band has been in flux, with only James, Ben, and conservatoire-trained jazz drummer Luke playing consistently. They went through a few bass players before finding Sam, who has proved to be a perfect fit, and Hannah joined during the making of the last record, stepping in as a much-needed second vocalist. Now, with all the pieces in place, Big Sky Orchestra finally feels like a stable, settled unit.

Future Visions

They are now focused on new material. “Rose Tinted Shades is our first single off our upcoming EP which will feature another single called Manifestation. That will be out in about three to four weeks’ time,” James shares. “Currently we’re not working so much because we are busy playing a lot of shows over the summer but our plan for the end of this year and the start of next year is that we will cut back on the live shows a little bit, go write, and I think we are planning an album at the moment.” The band’s unwavering commitment to capturing their authentic live sound shines through in their approach to the recording process. What you hear on their records is what you’re going to get at a Big Sky Orchestra show and that’s always a raw and spontaneous energy that moves and shakes the room. With a solid and settled lineup and exciting plans for the road ahead, the band is poised to continue their journey no matter where it may take them.

publish in Spores Magazine, November 2024