exceptional evening in the company of this justifiably well regarded
and popular singer, who gives great value in his performances."
"Bernard was terrific! Great voice, great
songs, superb guitarist." - EPPING FOLK CLUB Jan 2017
Tony Collins, FOLK IN THE CHAPEL March 2017
Hoskin was brilliant last night, ranging from haunting self penned
numbers to Steve Goodman (for those of us old enough to remember and
young enough not to forget). An accomplished performer on guitar and
mandola, he instantly connected with the audience."
OWD BOOTS FOLK CLUB,
NOTTINGHAM May 2016
"Josienne Clarke and Ben Walker were ably
supported by Bernard Hoskin, top quality singer/songwriter. Bernard
treated us to a selection of his classic folksongs. All were delivered
with consummate ease yet also with an unwavering passion and resolve as
if it were their first public unveiling. His finger picking
happily reminded me of some favourite guitarists who were playing in
those crowded smoky clubs in the early 70s. His personal style of
guitar work coupled with his friendly stage presence and lyrically
engaging songs all made
for an absorbing start to the evening. Winter coat was a memorable,
simple yet moving song - expertly sung; I also particularly enjoyed the
song about 21 Swans at Wicken Fen – which was atmospheric and
MILKMAID FOLK CLUB June 2013
Hoskin gave us an excellent set"
ST EDITH FOLK, KEMSING
"a great night, everyone enjoyed it, lovely songs
brilliantly performed and some lovely stories to go with them"
PHIL DEVERALL, BRADFORD ON AVON FOLK CLUB
"It was a very polished and enjoyable performance and it really went
popular troubadour with an accomplished and individual guitar style,
well constructed songs, good stage presence and ambition"
SHERWOOD, VIRTUALLY ACOUSTIC LONDON
songwriting with distinctly English character and a hint of African
"Bernard Hoskin writes incredible
BLACK CAT MUSIC, Norwich
Bernard Hoskin brings thought provoking songs & flowing, often
African-inspired, guitar work."
"It really doesn't
get much better than this"
BIG BANG, London
Hoskin once again proved what an accomplished singer songwriter he
is. His performance was so relaxed and classy. I think a lot
of folk clubs should be interested in Bernard performing at their
MILKMAID FOLK CLUB, Bury St Edmunds
first striking & momentarily disconcerting ingredient about Notes
in the Margin is precision; the exactingly enunciated, very southern
English vocals & fingerpicking of which Paul Simon would be rightly
proud. Multi-instrumentalist Hoskin covers most of the instrumental
chores with sparing & effective contributions from Lisa Fitzgibbon
& Liz Simcock (backing vocals) & Papa Sam (backing vocals &
Djembe). There's also a strong Zimbabwean guitar influence adding
another eclectic ingredient. The lingering taste & perhaps the last
thing to strike the listener is the sheer quality of the songs which,
like the album as a whole, are memorable, highly accomplished &
carefully crafted yet achieve an effortless feel.
Review of "Notes in the Margin" by NetRhythms
easy on the ear, our chum Bernard Hoskin is a compere at the Cambridge
Folk Festival and something of a legend in his own back yard having
served in more bands than I've had hot dinners and sporting a solo
career to match.
he's taken his melodic writer concerns and married with them the
admirable intention of marrying in there African vibes. To this end
he's recruited members of Abdul Tee Jay's Rokoto and S E Rogie's band
to flesh out the sound with guitars and percussion. Most effective on
tracks like Beneath the Waves and Someday where rolling drums and
trilling guitar lines underpin what is basically a folksy love song.
home on traditional stuff, he pulls off a very acceptable Pretty Saro,
and an even better Willy O'Winsbury -yes still using the tune Fairport
stuck onto Farewell, Farewell. They're just simple guitar and voice -
except for a great sax break from Mike Clifford - Bern's light vocal is
snug and right at home, Sandra 0' Neill playing vocal counterfoil
key point here is that Bernard Hoskin does nothing that you could call
crowd pleasing, he does what pleases him and he does it well. By doing
it well he ultimately makes an album that's very satisfactory and
probably pleases far more people. Now that's smart.
HOSKIN produces lightweight, breezy folk-pop that is rich in melody,
harmonies and is as catchy as possible, obviously taking a page out of
the American MOR singer-songwriters' book (James Taylor, Don McLean),
Hoskin's voice never intrudes on proceedings, lacking a little
authority, although his delivery has a gently quality. "Look At The
World", his second CD album -and recorded at his home studio -
certainly has its moments, with the immediacy of Paul Simon's
contemporary material obviously a big influence. There's a technically
brilliant guitar and vocals reading of "Gypsy Davey".
Review of "Days Yet To Come" from the September 2000
issue of Traditional Musicmaker magazine.
Issue 31 Summer 98 of Rock 'n' Reel
incredible singer-songwriter and multi-instrumentalist who has released
nine albums to date and has supported many famous names, past and
present, whilst simultaneously establishing himself as one of the
finest male solo artists working in the contemporary folk music field
BEVERLEY FOLK & ROOTS CLUB May 2016
has a good voice which is pleasant to listen to throughout the album.
He also uses a variety of expression and dynamics in his singing,
and is not afraid to stretch his range, which is to be applauded. The
vibe seemed to me akin to that of early 70s British and American
singer-songwriters and the gentler U.S. West Coast bands, yet the
subject matter seems firmly rooted in these isles. I was very happy to
join him on the lengthy but worthwhile journeys."
"Journeys" from the Sept/Oct 2015 issue of Rock n Reel magazine.
accomplished singer/songwriter with a superb voice and finely crafted
PHILS ACOUSTIC CLUB, LONDON
The Margin follows his fine tradition of crafting accessible,
mellow acoustic folk with occasionally well-placed African pop
flavours. It's reminiscent of the work of Ralph McTell, Paul Heaton,
Johnny Clegg and the later work of Paul Simon."
ROCK n REEL, 2007
HIGH BARN, Gt Bardfield
songwriter and guitarist Bernard performs songs with the unhurried,
slightly wistful, airy, summery feel of classic 60s folk
singer-songwriters, creating a reflective, gentle and fundamentally
positive space, which it was a treat to inhabit during his deservedly
of a live performance at Acoustic Routes, 16 May 2015 by Rychard
Carrignton for Slatethedisco.com
HOSKIN is a veteran singer-songwriter who has built a reputation on the
Cambridge area folk and acoustic scene. Notes In The Margin follows his
fine tradition of crafting accessible, mellow acoustic folk with
occasionally well-placed African pop flavours. It's reminiscent of the
work of Ralph McTell, Paul Heaton, Johnny Clegg and the later work of
Paul Simon. Accompanied by the backing voices of Lisa Fitzgibbon, Liz
Simcock and Papa Sam (who also contributes djembe) the album resonates
with a warmth and buoyant, positive attitude that comes to the fore on
the nostalgic 'Days Of Wonder', the poignant 'Trade Winds', the
dreamscapes of 'Endless Highway' and the daydreams of what might have
been that inhabit 'A Ghost From The Past'.
of "Notes in the Margin" from the March/April 2007 issue of Rock n Reel
Hoskin brings his own distinct style to the UK roots scene on his new
album, 'Days Yet To Come'. It's an assured collection seamlessly
blending his pleasantly English voice with beautifully seductive
African rhythms and melodies. Aided by Papa Sam (of Abdul Tee Jay's
Rockoto) and Emile Ogoo (who played guitar on S. E. Rogie's albums),
Irish singer Sandra O'Neill and blues/jazz man Mike Clifford on sax and
flute, the whole album radiates with a bright, positive atmosphere
generated by upbeat tunes. Even the poetry of a Russian actor, singer
and composer put to music for the first time, with its harrowing tales
of oppression and torture, still manages to suggest hope. 'Willie
O'Winsbury' is given a wistful, gently quality that suits it well.
Hoskin isn't an artist likely to blast into the public consciousness
with some kind of brash, fashionable angle. Instead his craft has been
carefully developed over the years, and he'll quietly pursue it,
regardless of fame or fortune. A real musician.
of "Days Yet To Come" from the January 2002 issue of Rock n Reel
At The World" addresses the future of this world and what we will pass
on to our children. Read along with the lyrics and you'll see the
potency of this composition. "I'm A Stranger Here Myself" has the taste
of Jimmy Buffet in a really good mood. Finger-snapping fun. "Higher
Ground" this song urges us to keep in touch with the important things
in life full of noisy distractions. It works. "My Innocent Days"
easy-going tune you'd listen to if you needed a quick pick-me-up. "This
Is Planet Earth" nice. "Long Distance Call" rich guitar work blends
seamlessly throughout. "Dark Horse on the Blind Side" .........."it's a
long road that goes so far / in your hand a six string guitar/ all your
words fell upon deaf ears/ no more singing songs that no one
hears..."..been there.....done that........(group hug).
"Lord Franklin" a traditional tune with a rich history. It reveals the
true story of Sir John Franklin's ill-fated 1845 journey in search of
away around the North Pole. The ships froze in the ice and the sailors
spent two years in vain trying to walk across the ice to safety.
Compelling drama. "All Around The World" According to the liner notes
on the CD, recent studies into human DNA have concluded that we are all
so similar we must be descended from the same African tribe. It's a
true artist that can make up a great song out of such a complicated,
controversial topic. Well done. "Gypsy Davey" another traditional gem
with a rough Appalachian flavor. "Path Of The Least Resistance"
classically embellished piano introduction takes us right into the
melancholy delight. "Water From The Well" another poignant composition.
IN SUMMARY: With his latest album, Bernard Hoskin delves into issues
close to his heart. The future of the world, pollution, historical
references, these are all covered with a driving and enthusiastic
passion that can be felt from beginning to end of this project. Lyrical
attention to detail and unusually hypnotic musical interpretation make
this a fine indie product with deep substance.
from a long review of the Look At The World album in the June 1998
issue of Independent