NeidFyre: Press

A snip from my interview at fairenews.com. Click here to read the whole interview.
Have you met NeidFyre?

The bow flew across the strings producing a bouncy tune as the crowd milled about in the room reserved for vendors catering to fairegoers 18 and older. The stage, high and small at the end of the room on the edge of traffic flow, had almost no audience area but that did not faze the fiddler in the least. She played for herself as much as for the crowd, her concentration fierce but her smile quick when she glanced up and caught someone’s eye. When she began to sing people stopped to listen and, at the appropriate moment, she pulled a kilted lad in for a bit of audience participation. The lyrics to “Angus”—a song about the making and showing of a bridegroom’s kilt—and antics of the two produced much laughter from the growing crowd, movement through the room stopping. This was not the first time I had seen her play under adverse conditions and win the crowd over. Let me introduce you to NeidFyre.

If you love the sounds that can be called forth from the fiddle, then this CD is a good choice. Mel Ginsberg-Stevens is NeidFyre, and the name is taken from the Old English--a word for ceremonial fire that is generated by the friction produced from two pieces of wood. She states, "I read that and the first image I saw was a bow furiously running across the strings of a violin in a jig or reel..."

Mel is no novice, having played the violin since she was 4 years old--and you can tell--she makes it dance. This CD is a collection of not only traditional Celtic, but also Russian folk music, making for a rich tapestry of sound throughout. The Russian songs actually fit nicely with the Celtic, and although it is perhaps an unconventional choice, it is interesting to note the similarities and differences as one listens to the songs.

Some tracks use vocals, but many are instrumental here as well, allowing for full concentration on the music. Her voice is interesting, full and almost commanding, very different than the stereotypical Celtic female singer, but in a good way. She isn't shy about serving up a nice helping of music either; the album runs 17 full tracks long. There is a nice mixture of music; some soft, some energetic and some, well, just good ol' fun!

Mel chooses to end on a fun note with "What Do You Do With A Drunken Duc," guaranteed to make you grin with the visuals you'll get as she delivers the lyrics. This is really an enjoyable grouping of tunes, especially for fans of the fiddle.

The first time I listened to NeidFyre's CD, I greatly admired the singer's voice but, after several tracks, began wondering where the rest of the band came in. To my surprise, as I discovered when I read through the liner notes, there is no band; NeidFyre is a single person, Melissa "Gryphon" Ginsberg, who opted to give her solo act a broader facade.

I'm not sure it was the wisest idea. Ginsberg has a powerful voice, which she displays to great effect on songs that will certainly be very familiar to anyone who has ever stepped inside the gates of any of the many Renaissance fairs dotting the country. (New York's Sterling Renaissance Festival is one of several Ginsberg calls home.) Still, an album posing as the work of a band might disappoint listeners who are expecting more than one person's efforts.

The disc mostly contains fairly standard fare for the Renaissance circuit: "Maid on the Shore," "Hey Ho Rounded," "Johnny," "Angus" and "The Shoemaker" are among the chestnuts presented here. Beyond the fairly goofy "Here We Go a Waddling" (set to the tune of "The Wassail Song" and a sure hook for duck lovers everywhere) and a fair-specific rewrite of Robert Burns' timeless "Auld Lang Syne," you won't find any surprises. However, those who can't get enough of these songs will certainly enjoy Ginsberg's vocal presentation.

On the other hand, Ginsberg's two fiddle tracks only go to prove that her voice is her stronger suit. (Plus, I'm pretty sure her set titled simply "Reels" is actually a pair of jigs, "Scarce o' Tatties" and "Black Nag.") And an unnamed percussionist (bodhran and djembe) needs to learn more than a basic "thump thump" rhythm. The occasional use of harp (Trudy Moon) and backing vocals (Nigel and Rose Splinter) do little to add instrumental interest to the recording.

I'm sure Ginsberg has plenty of fans at Sterling, Vermont and King Richard, where a solo singer with a voice this good can easily draw throngs of people to listen or sing along on the familiar ballads. For them, this album is a nice souvenir of the experience. But for a broader audience, Ginsberg should consider throwing a few surprises into the mix -- more complex arrangements, perhaps, additional musicians and songs that aren't quite so well known. I'd like to see the results if she put her voice to work in front of an actual band and gave her voice a better vehicle to work with.