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Simon Nicol
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Key Information

Simon John Breckenridge Nicol (born 13 October 1950)[2] is an English guitarist, singer, multi-instrumentalist and record producer. He was a founding member of British folk rock group Fairport Convention and is the only founding member still in the band. He has also been involved with the Albion Band and a wide range of musical projects, both as a collaborator, producer and as a solo artist. He has received several awards for his work and career.

History

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Early career

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Born in Muswell Hill, North London, England,[2] Nicol was the son of a general practitioner, who died in 1964. He began to play guitar at the age of 11 and left school at 15. In 1966 he was asked to join local band the Ethnic Shuffle Orchestra by bass guitarist Ashley Hutchings, and soon left his job at a local cinema to play full-time. They rehearsed above his father's old surgery in Fairport House, which gave its name to the band he and Hutchings formed with Richard Thompson and Shaun Frater as Fairport Convention in 1967.[3]

Fairport Convention 1967–71

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As Thompson emerged as the lead guitarist, Nicol moved towards rhythm duties and occasional backing vocals. After some line-up changes the band enjoyed a degree of commercial success in their early years, with three albums and appearing on Britain's most popular music programme Top of the Pops in 1969 with the single "Si Tu Dois Partir", which reached number 21 in the UK Charts.[4] Nicol contributed his first composition to the band for their second album What We Did on Our Holidays, the short instrumental "End of a Holiday".[5] Besides contributing rhythm guitar and backing vocals to this album, Nicol also played the autoharp on some songs.[6][7] He was injured in the accident that killed drummer Martin Lamble on 12 May 1969, but when he and the band recovered they recorded what is usually considered their masterpiece and the most important single album in British folk rock, Liege and Lief (1969), which is credited as the key recording in the creation of the British folk rock genre and which helped institute a major surge of interest in British folk music.[8]

Almost immediately after the release of the album, Hutchings and vocalist Sandy Denny left the band, who were then joined full-time by Dave Swarbrick on fiddle and by bassist Dave Pegg.[9] While Swarbrick, with his knowledge of traditional music, emerged as the leading figure in the band, Nicol had to shoulder a larger share of the vocal duties on the next album Full House (1970).[10] When Thompson left soon after, Nicol also had to take over lead guitar duties. Although never entirely happy with this role, it was generally thought at the time that he acquitted himself well.[11] He also demonstrated that he was a multi-instrumentalist playing bass guitar, viola and dulcimer.[12] He began song writing on the next two albums Angel Delight and "Babbacombe" Lee (both 1971). "Breakfast in Mayfair" on the latter was his first solo song composition with the band, and one of the tracks that made it onto the History of Fairport Convention compilation album (1972). He also took over some of the production duties on Babbacombe Lee, but his efforts were not well received by the band, and this, together with unhappiness with having to fill Thompson's shoes, led him to decide to move on and in 1971 he left the band, the last of the original members to do so.[13]

Albion Band, playing and production 1972–76

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Just about the time that Nicol left Fairport Convention, Hutchings had also quit Steeleye Span and began to work on the first incarnation of the Albion Country Band to provide backing for his then wife Shirley Collins. Nicol joined the long list of musicians, including former Fairport members Richard Thompson and Dave Mattacks, to contribute to No Roses (1971), often considered one of the most important British folk rock albums.[14] In 1972 Simon Nicol was part of the by now reduced six-piece-line up of the Albion Country Band featuring vocalists Royston Wood and Steve Ashley, Sue Draheim on fiddle, Ashley Hutchings on bass guitar and Dave Mattacks on drums. This band played a session for BBC Radio 1[15] and contributed one lengthy song to Steve Ashley's debut album.[16]

Along with Dave Mattacks, Ashley Hutchings, singer Royston Wood, singer and multi-instrumentalist Steve Ashley and American fiddler Sue Draheim Nicol then teamed up with Richard Thompson and Linda Peters (later Linda Thompson) to form the trio Hokey Pokey in 1973. In 1974 this trio expanded into the band Sour Grapes that was assembled to tour in support of the Thompsons' I Want to See the Bright Lights Tonight album. Later that year Nicol played on and co-produced the Thompsons' Hokey Pokey album.[17]

In 1973 he played on what is often considered one of the seminal folk/jazz albums of all time, John Martyn's Solid Air.[18] When Hutchings tried to reform the Albion Band for an album in 1973, Nicol joined again, but the resulting work, Battle of the Field, was not released until 1976.[19] Nicol took part in some of sessions for Hutchings' next project the Etchingham Steam Band, but never formally joined the group. Instead, he added electric guitar and occasional drums to Hutchings' and accordionist John Kirkpatrick's project The Compleat Dancing Master which collects excerpts of English literature and both acoustic and electrified traditional dance music.[20] In 1974–1975 he played guitar on Cat Stevens' Numbers (1975) and also formed a band with Chris Spedding, Pat Donaldson and Gerry Conway. However, this 'supergroup' proved abortive before any recordings were made.[21] Nicol also produced the album Rough Diamonds (1975) for the highly regarded Jack the Lad, and began to play with Swarbrick and Pegg in a low key trio, Three Desperate Mortgages, which toured student venues across Britain.[22]

In 1976 Nicol also was the main guitarist on Ashley Hutchings' second Morris dance revival project, Son of Morris On.[23] This album also featured Morris tunes Nicol had already played with the Albion Country Band in 1972.

Return to Fairport 1976–79

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Nicol came back to work with Fairport as a sound engineer on what was originally a solo project for Swarbrick, Gottle O' Geer (1976). He played some guitar along with contributions from members of Fairport Convention and it was eventually released as a Fairport album to complete contractual obligations. Enjoying being with a band again, Nicol rejoined, but the times were inauspicious as Gottle O' Geer was not highly regarded.[24] Along with much of Fairport in this period he played on Julie Covington's eponymous album (1977) including the surprise hit single "Only Women Bleed", which reached number twelve in the UK Singles Chart in 1978.[25] In 1977 Nicol joined Hutchings' reformed Albion Dance Band for the album The Prospect Before Us and in 1978 as The Albion Band they produced arguably the finest album of the group's history, Rise Up Like the Sun (1978).[26] In contrast the next two Fairport albums, The Bonny Bunch of Roses (1977) and Tipplers Tales (1978), although well produced and played, and generally thought to have benefited from Nicol's growing guitar technique and confidence in singing, sold so poorly that the record label Vertigo paid the band off. They eventually decided to disband and played a final concert at Cropredy in Oxfordshire on 4 August 1979.[27]

Albion Band, Richard and Linda Thompson, Nicol and Swarbrick 1979–85

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Simon Nicol (left) with Dave Swarbrick at the 1981 Essex Festival

As the members of the group went their separate ways, Nicol returned to the Albion Band to record two albums in 1983. He toured and recorded with Richard and Linda Thompson from 1979 to 1982 and then with Richard Thompson in 1983 and 1984.[17] He also formed an acoustic duo with Dave Swarbrick, with whom he recorded three albums.[28] Nicol also continued to take part in annual reunions with Fairport, at what was by now the Cropredy Festival, to growing crowds.[29] The Angel Delight Fairport lineup of Nicol, Swarbrick, Pegg, and Mattacks played a number of gigs in the UK in the early 80s, then toured extensively in the UK and the US in 1984 and 1985.[30] In 1985 Nicol joined in the recording of the Fairport album Gladys' Leap, on which, as well as playing guitar, he shared production credits, contributed the song "Wat Tyler", arranged traditional tunes and acted as lead singer for the first time. The album was well received, and led to the reformation of the band a year later.[31]

Reformations and reunions 1986–present

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The period 1986–97 was perhaps the busiest in Nicol's career. With Swarbrick absent he finally became the front man for the new Fairport. Most commentators have tended to feel that his developing baritone voice was more than adequate for the task and his vocals on songs like "The Hiring Fair" have been particularly praised.[32] Although Fairport embarked on regular recording and touring, Nicol produced two solo albums in this period: Before Your Time (1987) and Consonant Please Carol (1992). Between 1991 and 1996 he played on three albums by Richard Thompson. From 1993 he rejoined the Albion Band in a new acoustic line-up and with them recorded three highly regarded albums, the first of which, Acousticity (1993), he produced, touring extensively in Europe and America. He also continued to undertake work with a wide variety of artists, including a tour with Art Garfunkel in 1988 and playing on albums by Beverley Craven and Beth Nielsen Chapman. In 1990 he released a video of Singing Games for Children with his wife Sylvia.[33]

In 1997, Nicol left the Albion Band and began to focus more directly on Fairport Convention, but able to share vocal duties with Chris Leslie and taking over some of the responsibility for organising the Cropredy Festival from 2005.[34] He regularly rejoins the now suspended Albion Band for their Albion Christmas tours and continues to record with Fairport and other artists.[35]

In 2009, Nicol reunited with original Fairport Convention vocalist Judy Dyble, playing on two tracks on her album Talking with Strangers. In the same year he performed in Alan Simon's rock opera Anne de Bretagne, playing the role of King Edward IV of England.

Guitar technique

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Like Richard Thompson, Nicol uses a hybrid picking technique that uses a pick between thumb and forefinger and remaining fingers to pluck the higher strings, the pick can then be used to strum. Nicol described his technique as 'percussive'.[21] Although Nicol openly admits he lacks Thompson's exceptional lead technique, he is considered one of the most reliable and versatile rhythm players available, as testified by his large number of credits with a wide variety of artists from different genres. In the view of Dave Mattacks, his fellow Fairport member for many years, "he is the best acoustic supportive player I know".[11]

Recognition

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As part of Fairport Convention, Nicol received the 'Lifetime achievement award' at the 2002 BBC Radio 2 Folk Awards. At the 2006 Folk Awards he shared in the award for 'Most influential folk album of all time' voted by Radio 2 listeners for Liege and Lief.[36] At the 2007 awards he received an award with Fairport, along with the late Sandy Denny, for 'Favourite folk track of all time' for "Who Knows Where the Time Goes?".[37]

Discography

[edit]

For Fairport Convention see Fairport Convention discography
For the Albion Band see The Albion Band discography

As solo artist
  • Before Your Time (Woodworm, 1987)
  • Consonant Please Carol (Woodworm, 1992)
  • Before Your Time/Consonant Please Carol (Woodworm, 1998)
With Steve Ashley
  • Stroll On (Gull, 1974)
  • Demo Tapes (CND, 1980)
  • Steve Ashley's Family Album (Woodworm, 1983)
  • Mysterious Ways (Lighthouse/LINE, 1990)
  • The Test of Time (Market Square, 1999)
  • Everyday Lives (Topic, 2001)
  • Live In Concert (Dusk Fire, 2006)
  • Time and Tide (Topic, 2007)
  • Steve Ashley's Family Album Revisited (Talking Elephant 2021)
With Vashti Bunyan
With Beth Nielsen Chapman
With Shirley Collins


With Julie Covington
  • Julie Covington (Fame, 1978)
With Beverley Craven
With Sandy Denny
With Judy Dyble
With Art Garfunkel
  • Concert (1988)
With Murray Head
With Mike Heron
With John Kirkpatrick and Ashley Hutchings
  • The Compleat Dancing Master (Island 1974)
With John Martyn
With Matthews' Southern Comfort
With Phil Pickett
With Alan Simon
  • Excalibur I – La Légende des Celtes (Sony Music, 1998)
  • Excalibur – Le concert mythique (Sony Music, 2000)
  • Excalibur II – L'Anneau des Celtes (EMI, 2007)
  • Anne de Bretagne (Rue Stendhal, 2009)
  • Excalibur III – The Origins (Celluloid, 2012)
With Cat Stevens
With Al Stewart
With Dave Swarbrick
  • In the Club (1981) (Tape)
  • Live at the White Bear (White Bear Records, 1982)
  • Close to the Wind (Woodworm, 1984)
  • Close to the White Bear (Woodworm, 1998)
  • Swarbrick 2 (Transatlantic, 1977)
  • When We Were Very Young (Talking Elephant, 2010)
With Linda Thompson
  • Dreams Fly Away: a History of Linda Thompson (Hannibal, 1996)
With Richard Thompson
With Richard and Linda Thompson
With Royston Wood & Heather Wood
  • No Relation (Transatlantic, 1977)

Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Simon Nicol

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from Grokipedia
Simon Nicol (born 13 October 1950) is an English guitarist, singer, multi-instrumentalist, and record producer, best known as a founding member and the only remaining founding member and long-serving lead guitarist of the pioneering band . Born in , , Nicol grew up during the and developed his guitar skills by ear, playing covers of and other contemporary hits alongside school friends. At the age of 17, he co-founded in 1967 with bassist and guitarist Richard Thompson, naming the group after Nicol's family home 'Fairport' in where they rehearsed. Initially influenced by American folk and music, the band evolved into a cornerstone of under Nicol's contributions as rhythm and lead guitarist, particularly after the arrival of vocalist in 1968. Fairport Convention's breakthrough came with the 1969 album , widely regarded as a seminal work that fused traditional English folk with electric instrumentation and helped define the genre. Nicol departed in late 1971 amid personal and creative shifts, during which he collaborated with Hutchings in the Albion Country Band and worked with fiddler Dave Swarbrick on various folk projects. He rejoined Fairport in 1976, assuming a more prominent role as lead guitarist and occasional following Denny's departure and other lineup changes, and has remained a core member ever since, contributing to the band's enduring legacy over more than five decades. Beyond Fairport, Nicol has pursued solo endeavors, releasing two albums, and has lent his talents as a producer and performer to collaborations with artists including Beverley Craven and Art Garfunkel. Now residing in Canterbury, Kent, he continues to tour and record with Fairport Convention, which is approaching its 59th anniversary as of 2025.

Early Life

Childhood and Family

Simon John Breckenridge Nicol was born on 13 October 1950 in , , . Nicol's father was a who operated his medical practice from the family home, providing a stable yet demanding environment shaped by his profession. The elder Nicol, an accomplished , fostered an early exposure to music in the household, with a piano always present that his sister later inherited. His death in 1964 led the family to convert the former surgery space into rented flats, altering the home's use. The home, named Fairport on in , symbolized their comfortable, professional milieu and later influenced Nicol's musical path. Details on siblings remain limited beyond his sister's connection to the , emphasizing a close-knit unit navigating loss amid Britain's recovering economy.

Musical Beginnings

Simon Nicol began playing the guitar at the age of 11, marking the start of his musical journey in the early . Born in 1950, he practiced several hours a day on the instrument, developing his skills through dedicated self-study without any formal lessons. His initial acquisition of a guitar came through persistent requests to his parents, reflecting the supportive environment in his home that encouraged his budding interest in music. Lacking structured musical education, Nicol left at 15 around 1965, choosing to pursue full-time amid a vibrant British scene. He drew early influences from the era's folk and rock records, including Merseybeat hits by and other bands, as well as broader exposures to , , and folk artists like , whom he saw perform live at age 15. Self-taught by ear, he learned chords and techniques from peers and records, honing his abilities in informal settings. During his teenage years, Nicol formed amateur bands with school friends, experimenting with music and styles at local youth clubs in . To enhance his setup, he saved from a summer job to purchase a 12-string , which became a distinctive part of his early performances. By 1965–1966, he was playing his first gigs in modest venues, such as back rooms of Victorian pubs and clubs charging a few shillings for entry, where he performed covers and simple originals alongside like-minded musicians. These experiences solidified his commitment to music as a profession, free from academic constraints.

Career

Fairport Convention: Founding and Early Years (1967–1971)

Simon Nicol co-founded in 1967 in , , alongside guitarist Richard Thompson, bassist , and initial drummer Shaun Frater, with the group rehearsing above the surgery in Nicol's family home, which inspired the band's name. Shortly after their formation, producer discovered the band during a summer 1967 performance and secured a with through his Witchseason Productions company. Frater was soon replaced by drummer , and the lineup expanded with the addition of vocalist (later known as ) and, briefly, singer Judy Dyble, establishing Nicol as the rhythm guitarist providing foundational support to Thompson's lead work. The band quickly built momentum through early performances in London clubs and festivals, leading to the recording of their self-titled debut album in November 1967 at Sound Techniques Studios, produced by Boyd and Tod Lloyd. Released in June 1968 on Polydor, featured covers of American folk-rock material, including songs by , , and , reflecting the group's initial transatlantic influences akin to and Fairport's youthful, optimistic take on the era's sounds. Nicol contributed throughout, helping to solidify the band's harmonious blend of acoustic and electric elements, though the album received modest commercial attention upon release. A pivotal tragedy struck on May 12, 1969, when the band's van crashed on the after a gig in Birmingham, killing 19-year-old Martin Lamble and Richard Thompson's girlfriend Jeannie Franklyn, while injuring Thompson (broken shoulder), Hutchings (multiple fractures including a broken pelvis), and Nicol (). The incident left the group deeply traumatized, prompting consideration of disbandment, but they persevered, retreating to a communal house in to regroup and explore British traditional music, drawing inspiration from sources like House's folk archives. This shift away from American covers toward original arrangements of English folk songs marked a creative evolution, with the addition of fiddler Dave Swarbrick and new Dave Mattacks; Nicol took on and occasional vocals for the resulting album , released in December 1969 on , which fused electric rock instrumentation with traditional British ballads like "Matty Groves" and "Tam Lin," establishing the blueprint for British folk-rock. By early 1971, after contributing to the live album Full House—which captured the band's intensified post-tragedy energy—Nicol departed on December 4 in , citing exhaustion from relentless touring at age 21, a desire to settle into his newly purchased home, and the need for a break from the demanding "treadmill" of band life amid creative differences. His exit, alongside Thompson's earlier departure, signaled the end of the group's formative lineup, though Nicol's steady rhythm work and emerging vocal contributions had been instrumental in navigating Fairport from its folk-rock origins to its groundbreaking electric folk identity.

Albion Band and Production Work (1972–1976)

Following his departure from Fairport Convention in 1972, Simon Nicol joined Ashley Hutchings' Albion Country Band, immersing himself in the traditional English folk revival through electric interpretations of historic songs and dances. Although the band had formed the previous year, Nicol contributed significantly to its early recordings, including guitar and vocals on Shirley Collins' album No Roses (1971), where he played electric guitar on tracks such as "Claudy Banks" and "The Murder of Maria Marten," acoustic guitar on "Banks of the Bann" and "Just as the Tide Was A'Flowing," and provided vocal chorus on "Hal-An-Tow." This work marked a stylistic shift toward acoustic-driven folk arrangements, contrasting Fairport's rockier sound, and helped establish the band's reputation for revitalizing medieval and rural English traditions with contemporary instrumentation. Nicol's role expanded with the band's 1973 lineup, featuring , John Kirkpatrick, Sue Harris, and Roger Swallow, where he balanced live tours and festival appearances—such as sessions and performances at events like the Folk Festival—with studio contributions. The group emphasized communal arrangements of folk material, drawing from sources like Cecil Sharp's collections, and Nicol's guitar work added subtle electric textures to pieces evoking rural labor and history. Their live sets often highlighted dance tunes and ballads, fostering the burgeoning electric folk scene alongside contemporaries like . The culmination of this phase was the retrospective album Battle of the Field (recorded 1973, released 1976), on which Nicol provided vocals, electric and acoustic guitars, , and , exploring multi-instrumental textures to blend traditional melodies with experimental electronic elements on tracks like "Gallant Poacher" and "New St. George." During this period, Nicol also undertook session work, contributing to Steve Ashley's Stroll On (1974) on "Lord Bateman" and dulcimer to Richard and Linda Thompson's I Want to See the Bright Lights Tonight (1974), aiding the Thompsons' fusion of folk introspection with rock dynamics. These collaborations reflected Nicol's post-Fairport experimentation, prioritizing folk authenticity while incorporating broader production techniques, though formal production credits emerged later in his career. The band's dissolution in 1973 allowed Nicol to pursue informal ties within the folk circuit, setting the stage for his eventual Fairport return.

Return to Fairport and Key Collaborations (1976–1985)

In 1976, Simon Nicol rejoined , forming a core lineup with , , and Bruce Rowland. He contributed guitar and to the band's studio album The Bonny Bunch of Roses, released in 1977 on , which featured traditional folk arrangements alongside original material. Nicol also played on the follow-up Tipplers Tales in 1978, a collection of drinking songs and jigs that marked the quartet's final studio effort before the band's temporary dissolution. Nicol departed again in 1979 amid the group's farewell concert at , though he sustained close professional connections with its members through subsequent projects. During this period, he participated in key work with , including contributions to their 1978 album Rise Up Like the Sun, which blended with brass elements on tracks like "Poor Old Horse." He also supported Dave Swarbrick's solo endeavors, providing guitar on Swarbrick's 1981 album Smiddyburn, a return to acoustic folk roots recorded after Swarbrick's health challenges. Nicol's collaborations extended to high-profile sessions with former Fairport colleague Richard Thompson. He played acoustic and electric guitars on Richard and Linda Thompson's Sunnyvista (1979), contributing to its eclectic mix of folk and new wave influences under producer John Wood. Similarly, Nicol provided rhythm guitar on Shoot Out the Lights (1982), the Thompsons' critically acclaimed farewell album produced by , featuring tense tracks like "Did She Jump or Was She Pushed?" that highlighted interpersonal strife. In the early 1980s, Nicol formed an acoustic duo with Dave Swarbrick, touring folk clubs and capturing their chemistry on the live album Live at the White Bear (1982), which showcased intricate fiddle-guitar interplay on traditional tunes. The partnership yielded further recordings, including a 1984 live performance at the Festival in , preserving their dynamic renditions of folk standards. This era culminated in Nicol's return to Fairport Convention for Gladys' Leap (1985), where he co-produced the album alongside and Dave Mattacks and took lead vocals on several tracks, including the title song and "Bank Row," signaling a revitalized trio format.

Later Career and Reunions (1986–Present)

Following the release of Gladys' Leap in 1985, Simon Nicol established a permanent role as the frontman and primary leader of starting in 1986, steering the band through a period of renewed stability and creative output. Under his guidance, the group recorded key albums such as Red and Gold in 1988, which Nicol co-produced at Woodworm Studios, and The Five Seasons in 1990, where he contributed to mixing alongside bandmates Dave Mattacks and Barry Hammond. These works highlighted Nicol's evolving role as vocalist, guitarist, and producer, blending traditional folk elements with rock arrangements. Nicol's involvement in the Cropredy Festival, which he helped organize since its inception in 1980, intensified after 1986, transforming it into an annual cornerstone event for the band and the broader folk-rock community. The festival, held in , has served as a central hub for Fairport's performances and guest appearances, drawing thousands each August and fostering reunions with former members. In 2025, Nicol and announced a "slimmer" edition of the event, scaled back to a reduced capacity for August 7–9 to simplify operations while maintaining its intimate spirit. Lineup changes and reunions have marked the band's ongoing evolution, including drummer Dave Mattacks' return in 2023 after a health-related hiatus, followed by his continued participation in . This reunion contributed to the release of the live album A Live Recording: UK Tour October 2023, capturing the quartet's performances during their autumn tour. Nicol discussed these developments in interviews ahead of the 2024 Winter Tour, emphasizing the band's revitalized energy with Mattacks on percussion. Recent activities have included the 2025 Autumn Tour, celebrating the 40th anniversary of Gladys' Leap with a mix of classic material and newer selections across 25 dates from October 8 to November 2. Highlights encompass a special concert at the in on October 26, featuring performances tied to traditional songs like "The ," and additional stops at venues such as the Medina Theatre on the Isle of Wight. Beyond Fairport, Nicol has pursued selective side projects, including a guest guitar appearance with during his 1988 Royal Albert Hall performance and contributions to Judy Dyble's 2009 album Talking with Strangers, where he played on several tracks. He has avoided major solo tours, instead focusing on occasional festival appearances, such as acoustic sets with bandmate at events like the 1996 National Folk Festival in .

Musical Style

Guitar Technique

Simon Nicol is primarily recognized as a rhythm guitarist within , where his chordal and acoustic-driven playing provides essential support for lead lines, particularly complementing Richard Thompson's solos during their formative years. His approach emphasizes accompaniment over virtuosic display, creating a solid foundation that allows the band's folk-rock arrangements to flourish. Key hallmarks of Nicol's technique include a blend of fingerpicking and strumming, often employing —a method using a held between thumb and forefinger while plucking with the remaining fingers—to achieve nuanced textures in folk contexts. He frequently treats electric guitars with an acoustic sensibility, prioritizing clean tones and rhythmic drive to maintain folk authenticity amid rock instrumentation. As a , Nicol incorporates the to evoke modal folk tunings in traditional pieces, adding droning resonances that enhance the band's exploratory sound; he also delivers occasional lead lines during live performances to vary dynamics. His playing incorporates dynamic shifts, transitioning from subtle fingerpicking to aggressive string "spanking" within a single song for dramatic effect. Nicol's style evolved from the rock-infused riffs of Fairport's covers of American folk and material to more intricate, arrangement-focused contributions on albums like (1969), where his rhythm work integrates seamlessly with and bass to build layered folk-rock narratives. These production choices, including his rhythmic layering, helped define the album's enduring folk-rock intensity.

Influences and Equipment

Simon's musical influences were rooted in the folk revival and American rock scenes. Early on, he drew from British folk artists like and , whose intricate fingerpicking and melodic songwriting shaped his approach to in the emerging folk-rock genre. He also absorbed American influences through bands like and , whose jangly electric tones and narrative-driven folk inspired Fairport Convention's initial sound during Nicol's formative listening years. Later in his career, Nicol was profoundly shaped by English traditionalists, particularly Dave Swarbrick, whose fiddle work and arrangements of folk tunes influenced his integration of traditional elements into electric ensembles. Nicol's equipment evolved alongside his style, starting with a in the late 1960s, prized for its bright, jangly tones that complemented Fairport's early folk-rock recordings. By the 2000s, he favored a Santa Cruz dreadnought acoustic guitar, fitted with a custom Fishman Rare Earth pickup for amplified live performances, allowing clean projection without altering the instrument's natural resonance. He incorporated other instruments like the electric dulcimer during Albion Country Band sessions in the , adding ethereal textures to folk arrangements, and experimented with synthesizers for atmospheric layers in those productions. Nicol's playing philosophy emphasizes an organic folk-rock sound, where he treats as extensions of ones, stating, "In my view, I don’t play : I play one like an ." This approach favors minimal effects to preserve the raw, unprocessed quality of the music. Nicol employs a hybrid acoustic-electric rig, blending his Santa Cruz with amplification for versatility in Fairport's performances.

Recognition and Legacy

Awards and Honors

Simon Nicol has received recognition primarily through his longstanding role as a founding member of , with the band earning several prestigious awards from the for their pioneering contributions to . In 2002, was awarded the Lifetime Achievement Award at the , honoring their groundbreaking work in fusing traditional with rock instrumentation, a milestone that highlighted Nicol's foundational guitar contributions to the genre's evolution. This accolade underscored the band's enduring influence since their formation in 1967, with Nicol as a continuous member. The band's seminal 1969 album was voted the Most Influential Folk Album of All Time by listeners in 2006, recognizing its role in establishing as a viable genre and Nicol's rhythmic guitar work that anchored its innovative arrangements. In 2007, Fairport Convention's rendition of "Who Knows Where the Time Goes?"—featuring Sandy Denny's vocals and Nicol's supportive guitar—was named the Favourite Folk Track of All Time at the , a testament to the song's lasting emotional resonance and the band's interpretive prowess. Beyond these, Nicol and have been honored through tributes at their annual festival, which they founded in 1976 and which serves as a lasting legacy for , though no formal inductions into halls of fame have occurred. Nicol has not received major solo awards, with his honors tied closely to the collective achievements of the band. No additional awards or milestone recognitions related to their 2025 tours or anniversaries have been announced as of November 2025.

Impact on Folk Rock

Simon Nicol played a pivotal role in the development of through his foundational work with , particularly on the 1969 album , where the band fused traditional English folk songs with electric instrumentation, creating a modern sound that revitalized the genre. This approach, blending acoustic authenticity with rock energy, directly influenced subsequent acts such as , who adopted similar electric adaptations of folk material in their early recordings. Nicol's contributions helped establish a template for ensemble folk arrangements, transforming isolated traditional tunes into dynamic, band-driven performances that appealed to broader rock audiences. As Fairport Convention's primary rhythm guitarist, Nicol served as the band's anchor, providing a stable foundation that enabled innovative and experimental arrangements during their formative years. His emphasis on rhythmic support rather than lead solos allowed for layered instrumentation and , setting a standard for how rhythm sections could drive ensembles forward without overpowering the melodic core. This role was instrumental in Fairport's evolution from covers of American to original British-centric material, influencing the genre's shift toward collective creativity. Nicol's production legacy extended beyond performing, as he contributed to as a player from 1972 to 1976 on albums that promoted acoustic-driven rock authenticity, and later produced Albion projects such as Acousticity (1997). Through his longstanding involvement in the Cropredy Festival, which Fairport has hosted since 1976 and draws over 20,000 attendees annually, Nicol has mentored emerging folk artists by fostering a platform for collaborations and performances that recharge the community. In 2025 interviews, Nicol reflected on over 55 years with Fairport as a testament to the genre's enduring appeal, noting how tours and festival reunions continue to inspire newer musicians to explore folk rock's innovative potential. Fairport Convention's longevity under Nicol's leadership—spanning nearly six decades with over three dozen albums and consistent touring—symbolizes the viability of as a sustainable cultural force, demonstrating how dedication to live performance and fan engagement can sustain the genre amid evolving music landscapes. This endurance has cemented Nicol's influence, as the band's model of resilience and evolution continues to validate folk rock's place in British music heritage.

Discography

Albums with Fairport Convention

Simon Nicol served as rhythm guitarist on Fairport Convention's self-titled debut album, released in 1968, providing foundational support alongside lead guitarist Richard Thompson during the band's early folk-rock explorations. His steady rhythm guitar complemented the group's covers of American folk and blues influences, marking his initial contributions to the band's evolving sound. The 1969 album Liege and Lief represented a pivotal shift toward British traditional folk, with Nicol contributing to the arrangements of key tracks, including the extended suite "," where his acoustic guitar intertwined with the ensemble's innovative electric adaptations of ancient ballads. As a core member during this transitional period, Nicol's role extended beyond playing to helping shape the album's experimental structure, which he later described as an "experiment" in blending authentic folk sources with rock instrumentation. His contributions underscored the band's commitment to revitalizing English folk traditions, earning Liege and Lief recognition as a cornerstone of the genre. After a period away from the band, Nicol returned for Gladys' Leap in 1985, taking on lead vocals for several tracks while also handling production duties alongside bandmates and Dave Mattacks. As the trio's primary vocalist and , he infused the album with his delivery on originals and covers, such as the title track inspired by a local landmark, helping to reestablish Fairport's studio presence after a decade of sporadic activity. The album's production, credited collectively to , reflected Nicol's hands-on approach in the studio at , emphasizing tight arrangements and folk-rock vitality. In the post-reunion era, Nicol assumed a prominent frontman role on Red and Gold (), delivering lead vocals across much of the record while playing acoustic and electric guitars to drive its blend of traditional and contemporary material. His vocal performances, including on tracks like "The Hiring Fair," highlighted his growth as a singer, anchoring the band's renewed energy with a mature, resonant tone that became a hallmark of their 1980s output. Nicol continued as lead vocalist and guitarist on Jewel in the Crown (1995), where his contributions dominated many tracks, providing acoustic and 12-string guitar foundations for the album's eclectic mix of folk standards and new compositions. His voice, described in reviews as mature and balanced, played a central role in interpreting songs like Leonard Cohen's "Lovers in a Dangerous Time," enhancing the record's emotional depth and commercial appeal. Marking the band's 40th anniversary, XXV (1995, reissued in contexts tied to later tours) featured Nicol's guitar and vocal work in a celebratory collection of re-recorded classics and new material, reinforcing his status as the enduring creative force. However, the 2007 live album XXV, recorded during anniversary performances, captured Nicol leading the band through live renditions, with his guitar and vocals central to fan-favorite medleys that bridged decades of the group's history. Among live releases, Heyday: The BBC Radio Sessions 1968–69 (1987) compiles early broadcasts showcasing Nicol's guitar and occasional banjo, violin, and vocals from the band's formative years, offering archival insight into his rhythmic backbone during sessions that predated major studio albums. More recently, A Live Recording – UK Tour October 2023, released in 2024, documents Nicol's performances on guitar and vocals during the band's 56th-anniversary tour, featuring stripped-back arrangements of staples like "Who Knows Where the Time Goes?" and emphasizing his ongoing role in live preservation of Fairport's legacy. No major anniversary editions emerged between 2023 and 2025, though vinyl reissues of classics like Liege and Lief tied into touring celebrations, with Nicol actively promoting them in interviews. Throughout these recordings, Nicol's primary roles encompassed rhythm and , lead and backing vocals, and occasional production, evolving from supportive ensemble player to band leader without delving into exhaustive track listings, though highlights like "" exemplify his enduring stylistic imprint on Fairport's discography.

Solo and Collaborative Works

Simon Nicol released his debut solo , Before Your Time, in 1987 on Records. The folk-oriented record featured acoustic arrangements and guest musicians, showcasing Nicol's songwriting and guitar work on tracks like "Over the Hills." His second solo effort, Consonant Please Carol, followed in 1992, also on , emphasizing intimate acoustic performances with original compositions such as "Struck It Right This Time" and covers including "The Moon and St. Christopher." Beyond solo projects, Nicol collaborated extensively with former associates and other artists. In the early 1980s, he formed an acoustic duo with fiddler Dave Swarbrick, performing live across folk clubs and recording material later compiled on albums like Live at the White Bear (1982) and (2010 release of 1980s recordings). Their repertoire drew from traditional folk and originals, capturing their chemistry in unaccompanied settings. In 2009, Nicol contributed to Judy Dyble's album Talking with Strangers, adding subtle textures to tracks amid a lineup including and Ian McDonald. Nicol's production and session work extended his influence in the 1970s folk scene. He played electric guitar on Steve Ashley's debut album Stroll On (1974, Gull Records), supporting Ashley's vocals and the Albion Country Band's ensemble sound. On Richard and Linda Thompson's Shoot Out the Lights (1982, Hannibal), Nicol provided rhythm guitar across most tracks, complementing Richard Thompson's lead work under producer Joe Boyd. Earlier, he contributed 12-string and acoustic guitar to Cat Stevens' Numbers (1975). Similarly, Nicol added autoharp to John Martyn's Solid Air (1973, Island), contributing to its atmospheric, jazz-inflected folk style. Post-2009, Nicol's output shifted toward guest appearances at folk festivals and involvement in archival reissues, with no major new solo releases in the .

References

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