Hubbry Logo
WellermanWellermanMain
Open search
Wellerman
Community hub
Wellerman
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Wellerman
Wellerman
Wellerman
View on Wikipedia
from Wikipedia

"Soon May the Wellerman Come"
Song
Recorded1971[1]
GenreFolk

"Soon May the Wellerman Come", also known as "Wellerman" or "The Wellerman", is a folk song in ballad style[2] first published in New Zealand in the 1970s. The "wellermen" were supply ships owned by the Weller brothers, three merchant traders in the 1800s who were amongst the earliest European settlers of the Otago region of New Zealand.

In early 2021, a cover by Scottish song artist Nathan Evans became a viral hit on the social media site TikTok, leading to a "social media craze" around sea shanties and maritime songs.[2][3][4][5]

Historical background

[edit]
Wellerman - U.S. Navy Band (1:52)
U.S. Navy Band Sea Chanters singing "The Wellerman"
Computer-generated rendition of "Wellerman" tune
Problems playing these files? See media help.
Weller's Rock or Te Umukuri,[6] one of two lookout points for whales (along with Taiaroa Head) used by whalers.[5] Aramoana, across Otago Harbour, is visible in the background.[7]
It has been designated as a historic reserve for protection.[8]

The history of whaling in New Zealand stretches from the late eighteenth century to 1965. In 1831, the British-born Weller brothers Edward, George and Joseph, who had emigrated to Sydney in 1829, founded a whaling station at Otago Heads near modern Dunedin in the South Island of New Zealand, seventeen years before Dunedin was established.[9] Speaking at centennial celebrations in 1931, New Zealand's Governor General Lord Bledisloe recalled how the Weller brothers had on their voyage to New Zealand "brought in the 'Lucy Ann' (the Weller brothers' barque) a good deal of rum and a good deal of gunpowder...and some at least were rum characters".[9] Weller brothers initially engaged in whaling on Otago Peninsula in 1831,[10] and from 1833, they sold provisions to whalers in New Zealand from their base at Otakou, which they had named "Otago".[9] Their employees became known as "wellermen".[11][9]

Unlike whaling in the Atlantic and northern Pacific, whalers in New Zealand practised shore-based whaling which required them to process the whale carcasses on land.[12] At its peak in 1834, the Otakou station was producing 310 tons of whale oil a year[9] and became the centre of a network of seven stations that formed a highly profitable enterprise for the Wellers, employing as many as 85 people at Otago alone.[13] From the Otakou base the Wellers branched out into industries as diverse as "timber, spars, flax, potatoes, dried fish, Māori artefacts, and even tattooed Māori heads which were in keen demand in Sydney".[14]

By 1835, the year that Joseph Weller died in Otago from tuberculosis,[15] the brothers became convinced of the need to abandon the station even as they branched out into massive land purchases in New Zealand.[14] The Weller brothers' success in the whaling industry was fleeting, and they were declared bankrupt in 1840 after failed attempts at large-scale land purchase in New South Wales.[13] The Otakou station closed in 1841, with 10 tons of oils produced.[9][16] In 1841, the Court of Claims in New South Wales ruled that the Weller brothers' purchases of land in New Zealand were legally invalid, after which the Wellers "slipped unobtrusively out of the pages of New Zealand history".[14]

Impacts and legacy

[edit]
Southern Right Whale, or Tohorā, was the primally targeted species in shore whaling industry in New Zealand, and infrequently appears in Otago waters today.[7][17][18][19]

With the success of the Otakou station, the Weller brothers extended whaling grounds from Akaroa on Banks Peninsula in the north to Stewart Island in the south, with three within Otago Harbour and one in Blueskin Bay,[20] and at least five between Pūrākaunui and Banks Peninsula. Their operations drew attentions from other whalers including Johnny Jones, leading to the expansion of the industry along the east coast of the South Island and establishments of competing stations throughout the Otago region. However, the industry was short-lived in general due to overexploitations causing depletion of local whale stocks and dwindling catches.[15][16][10] Additionally, arrivals of whaling ships from Sydney presumably triggered an epidemic in the region.[21]

Industrial whaling in New Zealand continued until the 1960s. Commercial and illegal whaling operations triggered depletions of whale populations and their migrations, especially the Southern Rights (Tohorā) and the Humpbacks (Paikea). Right Whales were named as the "right whales to hunt",[5] and were prioritized targets for their behaviors being slow and coastal and docile, quantities of oils and baleens and whalebones they yield, and their carcasses with high buoyancies.[7][10]

The whale lookout point Weller's Rock, or Te Umukuri in te reo Māori,[6] was named after Weller brothers, and has become a protected historic reserve, along with their whaling tools and artifacts being preserved.[5][8][15] Historic presences of whales and whaling industry in Otago Harbour have become an influential topic for educational and cultural aspects,[7] such as introductions of whale-based designs on artworks and buildings[20][22] and the Wellerman sea shanty became a global hit.[5]

Synopsis

[edit]

The song's lyrics describe a whaling ship called the Billy o' Tea and its hunt for a right whale. The song describes how the ship's crew hope for a "wellerman" to arrive and bring them supplies of luxuries.

"Soon may the Wellerman come
To bring us sugar and tea and rum
One day, when the tonguin' is done
We'll take our leave and go"

"Wellerman" chorus

According to the song's listing on the website New Zealand Folk Song, "the workers at these bay-whaling stations (shore whalers) were not paid wages, they were paid in slops (ready made clothing), spirits and tobacco."[11] The chorus continues with the crew singing of their confidence that the "tonguin'" will be the last step of their plight. Tonguing in this context refers to the practice of cutting strips of whale blubber to render into oil.[12] Subsequent verses detail the captain's determination to bring in the whale in question, even as time passes and the quartet of whaling boats is lost in the fight. In the last verse, the narrator conveys how the Billy o' Tea is still considered locked in an ongoing struggle with the whale, with the wellerman making "his regular call" to strengthen the captain and crew.

History

[edit]

New Zealand–based music teacher and folk music compiler Neil Colquhoun claimed to have collected the song around 1966[24] from one F. R. Woods. Woods, who was in his 80s at the time, had allegedly heard the song, as well as the song "John Smith A.B.", from his uncle. The song "John Smith A.B." was printed in a 1904 issue of The Bulletin, where it was attributed to one D.H. Rogers. David Hunter Rogers was a first-generation Scottish immigrant who worked in the Union Company beginning in 1880; Wellerman does not resemble "John Smith A.B." or his other published poems.[11] [unreliable source?] In 1973, "Soon May the Wellerman Come" was included in Colquhoun's book of New Zealand folk songs, New Zealand Folksongs: Songs of a Young Country.[25]

Recordings

[edit]

The song has been frequently performed and remixed, with over 10 recorded renditions between 1971 and 2005.[citation needed] In 1990, the New England–based folk trio of Gordon Bok, Ann Mayo Muir, and Ed Trickett recorded and released a version on their studio album And So Will We Yet, produced by Folk-Legacy Records.[26]

In 2013, the Wellington Sea Shanty Society released a version of the song on their album Now That's What I Call Sea Shanties Vol. 1.[3] A particularly well-known rendition of the song was made by the Bristol-based a cappella musical group the Longest Johns on their collection of nautical songs Between Wind and Water in 2018.[27] In the wake of the "ShantyTok" social media sensation in 2021, Wellington Sea Shanty Society member Lake Davineer remarked that their recording had experienced a new burst of popularity.[3]

In 2021, two pirate metal bands covered "Wellerman"; Alestorm and Storm Seeker.[28][29] In December 2023, a new version of the song was recorded for the trailer for the upcoming action-adventure game Skull and Bones.[citation needed]

[edit]

Charts and Certifications

[edit]

Weekly chart performance for "Wellerman (Sea Shanty)"

[edit]
Chart (2021) Peak
position
Austria (Ö3 Austria Top 40)[57] 1
Belgium (Ultratop 50 Flanders)[58] 1
Belgium (Ultratop 50 Wallonia)[59] 21
Canada (Canadian Hot 100)[60] 54
Germany (GfK)[61] 1
Germany Airplay (BVMI)[62] 2
Global 200 (Billboard)[63] 16
Hungary (Rádiós Top 40)[64] 1
Hungary (Single Top 40)[65] 4
Hungary (Stream Top 40)[66] 7
Latvia (European Hit Radio)[67] 1
New Zealand Hot Singles (RMNZ)[68] 39
Norway (VG-lista)[69] 1
Portugal (AFP)[70] 154
Romania (Airplay 100)[71] 81
Sweden (Sverigetopplistan)[72] 9
Switzerland (Schweizer Hitparade)[73] 1
US Billboard Hot 100[74] 116
US Digital Songs (Billboard)[75] 4

2021 year-end chart performance for "Wellerman (Sea Shanty)"

[edit]
Chart (2021) Position
Belgium (Ultratop Flanders)[76] 14
Belgium (Ultratop Wallonia)[77] 91
Germany (Official German Charts)[78] 1
Global 200 (Billboard)[79] 66
Hungary (Radio Top 40)[80] 16
Hungary (Single Top 40)[81] 30
Hungary (Stream Top 40)[82] 19
Sweden (Sverigetopplistan)[83] 25
Switzerland (Swiss Hitparade)[84] 1

2022 year-end chart performance for "Wellerman (Sea Shanty)"

[edit]
Chart (2022) Position
Germany (Official German Charts)[85] 32
Global Excl. US (Billboard)[86] 189
Switzerland (Swiss Hitparade)[87] 31

Certifications for "Wellerman (Sea Shanty)"

[edit]
Region Certification Certified units/sales
Australia (ARIA)[citation needed] 2× Platinum 140,000‡
Belgium (BEA)[88] Gold 20,000‡
Brazil (Pro-Música Brasil)[89] 2× Platinum 80,000‡
Canada (Music Canada)[90] 4× Platinum 320,000‡
Denmark (IFPI Danmark)[91] Platinum 90,000‡
France (SNEP)[92] Diamond 333,333‡
New Zealand (RMNZ)[93] Platinum 30,000‡
Poland (ZPAV)[94] 3× Platinum 150,000‡
Spain (PROMUSICAE)[95] Gold 30,000‡
Switzerland (IFPI Switzerland)[96] Gold 10,000‡
United States (RIAA)[97] Gold 500,000‡
‡ Sales+streaming figures based on certification alone.

Weekly chart performance for "Wellerman" (220 Kid x Billen Ted remix)

[edit]
Chart (2021) Peak
position
Australia (ARIA)[98] 62
Austria (Ö3 Austria Top 40)[57] 1
Czech Republic (Rádio – Top 100)[99] 5
Czech Republic (Singles Digitál Top 100)[100] 8
Denmark (Hitlisten)[101] 10
Finland (The Official Finnish Charts)[102] 6
France (SNEP)[103] 36
Iceland (Music of Iceland)[104] 19
Ireland (IRMA)[105] 2
Netherlands (Dutch Top 40)[106] 1
Netherlands (Single Top 100)[107] 1
Norway (VG-lista)[108] 1
Poland (Polish Airplay Top 100)[109] 5
Slovakia (Rádio Top 100)[110] 31
Slovakia (Singles Digitál Top 100)[111] 13
UK Singles (OCC)[112] 1
UK Audio Streaming (OCC)[113] 1
UK Dance (OCC)[114] 1
UK Physical Singles Chart (OCC)[115] 1
UK Singles Chart Update (OCC)[116] 1
UK Singles Downloads (OCC)[117] 1
UK Singles Sales Chart (OCC)[118] 1
UK Streaming Chart (OCC)[119] 2

2021 year-end chart performance for "Wellerman" (220 Kid x Billen Ted remix)

[edit]
Chart (2021) Position
Austria (Ö3 Austria Top 40)[120] 1
Denmark (Tracklisten)[121] 40
France (SNEP)[122] 104
Ireland (IRMA)[123] 35
Netherlands (Dutch Top 40)[124] 17
Netherlands (Single Top 100)[125] 12
Norway (VG-lista)[126] 12
Poland (ZPAV)[127] 59
UK Singles (OCC)[128] 11

2022 year-end chart performance for "Wellerman" (220 Kid x Billen Ted remix)

[edit]
Chart (2022) Position
Austria (Ö3 Austria Top 40)[129] 26

Certifications for "Wellerman" (220 Kid x Billen Ted remix)

[edit]
Region Certification Certified units/sales
Austria (IFPI Austria)[130] 3× Platinum 90,000‡
Germany (BVMI)[131] Diamond 1,000,000‡
Italy (FIMI)[132] Gold 50,000‡
United Kingdom (BPI)[133] 2× Platinum 1,200,000‡
Streaming
Sweden (GLF)[134] 3× Platinum 36,000,000†
‡ Sales+streaming figures based on certification alone.

† Streaming-only figures based on certification alone.


See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Wellerman

View on Grokipedia
from Grokipedia
"Soon May the Wellerman Come", popularly shortened to "Wellerman", is a traditional from the mid-19th century, recounting the experiences of whalers awaiting resupply ships operated by the ' company, whose agents were termed Wellermen for delivering essentials like sugar, tea, and rum. The lyrics describe a prolonged hunt of a that damaged a ship with its tail before being harpooned and processed, highlighting the grueling labor and anticipation central to shore-whaling operations in during the 1830s and 1840s. The song survived orally among whalers' descendants until its collection in 1966 by folklorist Neil Colquhoun from an elderly informant who learned it from a uncle, with subsequent publications and recordings by artists like in the 1970s and 1990s preserving it in folk circles. Interest revived in the 2010s through groups such as , but global prominence arrived in January 2021 when Scottish singer Nathan Evans, then a , uploaded an acoustic video that amassed millions of views, sparking duets and chains that propelled sea shanties into viral trends amid pandemic isolation. Evans's version, re-recorded with producers, debuted at number one on the UK Singles Chart in March 2021, certified multi-platinum, and inspired remixes and covers, marking a rare instance of a centuries-old folk tune achieving contemporary commercial success through algorithms rather than traditional industry channels. This resurgence underscored the shanty's rhythmic call-and-response structure, suited for coordinated work, while Evans transitioned to full-time music, releasing albums and touring internationally.

Historical Origins

19th-Century Whaling in New Zealand

Shore-based whaling stations emerged in during the late and early , primarily targeting southern right whales that migrated to coastal calving grounds in winter and spring. The earliest stations were established at Preservation Inlet in in 1829 and Te Awaiti in the around the same time, with rapid expansion along the coasts of and Southland by the mid-1830s. These operations relied on small boats launched from shore to pursue whales close to land, a method suited to the right whale's predictable behavior and buoyancy when killed, which allowed towing back to stations for processing. Labor forces at these stations were multicultural, comprising European sailors and tryworkers, local who provided manpower for crews and onshore processing, and Pacific Islanders recruited for their seafaring skills. participation grew as they supplied fresh provisions, learned harpooning and lancing techniques, and integrated into station economies through trade and employment, though conditions involved grueling physical demands, exposure to harsh weather, and high injury risks from whale strikes or capsizings. Processing at stations focused on extracting for oil via and try-pots, plates from the mouth for flexible corsetry and whips, and the —a fatty organ cut out ("tongued") for immediate consumption as fresh meat to supplement monotonous diets of salted provisions. The industry peaked in the late 1830s to early 1840s, with shore stations contributing to an estimated annual catch of thousands of across waters during this period, driven by global demand for in lamps and machinery lubrication. Over 80% of documented right whale kills around and eastern occurred between 1830 and 1849, reflecting intensive exploitation that depleted populations through relentless seasonal hunts. By the mid-1840s, yields plummeted due to overharvesting, forcing many stations to close as whales became scarce near shores; competition from expanding pelagic fleets and shifts to other species like whales accelerated the decline, rendering shore whaling commercially unviable by the 1850s.

The Weller Brothers and Company Operations

The , Brooks Weller and Weller, were English merchants based in , , who expanded into New Zealand's industry in the early 1830s. In late 1831, and , accompanied by a whaling crew and supplies including muskets, gunpowder, and rum, departed aboard their Lucy Ann to establish a shore-based whaling station at Harbour (modern-day Ōtākou) on New Zealand's . This venture marked one of the earliest permanent European settlements in the region, with the brothers selecting the site for its sheltered harbor and proximity to migrations. Weller & Co. operated multiple satellite stations around , focusing on shore where crews processed catches on land rather than at sea, leveraging local labor and knowledge for spotting and harpooning whales. The company's supply chain was central to its model: starting from 1833, dedicated vessels known as "Wellermen"—named after the firm—sailed regularly from to deliver provisions such as , , , and to isolated whaling outposts. These ships exchanged goods for , bone, and other products, which were then shipped back to markets, establishing a profitable two-way amid the geographic isolation that limited competition from other suppliers. Historical records indicate the enterprise's scale, with the station processing hundreds of whales annually in peak years and employing mixed crews of Europeans and , though operations ceased around 1840 due to declining whale stocks and shifting economic priorities. The Wellermen filled a critical logistical gap, as remote stations depended on these infrequent voyages—often every few months—for survival essentials, reinforcing the company's dominant role in the regional economy.

Economic Realities of Whalers' Lives

Whalers in 19th-century shore stations, including those operated by the at from 1831 onward, were compensated through a shares-based system rather than fixed wages, aligning their earnings directly with the success of whale hunts. Chief headsmen received approximately 1/18th shares of the proceeds from oil and whalebone sales, boatsteerers 1/60th, and ordinary boatmen 1/100th, with financiers claiming the remainder after valuing products for markets like . This lay system transferred substantial economic risk from operators to workers, as poor seasons—such as Otago's drop from 310 tuns of oil in peak years to 10 tuns by 1841—could yield minimal or no payouts, while successful hunts offered variable but potentially substantial returns. A key mechanism of dependency arose from pre-season advances provided by financiers in ports like , where whalers purchased provisions, spirits, and equipment at inflated prices, often leading to initial indebtedness that persisted until sufficient earnings accrued. Further deductions for ongoing supplies from company stores—such as , , , , and spirits, which at one station cost hundreds of pounds annually—compounded this cycle, as workers awaited supply ships for essentials and withheld advances reinforced compliance under headsmen. Historical records from station ledgers and archaeological of goods indicate this structure functionally bound labor to operators, mirroring broader practices where high-markup slop chests ensured perpetual obligation absent alternative credit sources. Working conditions exacerbated economic precarity through inherent physical perils and rudimentary support, with hunts involving small open boats pursuing aggressive right whales that frequently stove vessels or injured crews via harpoon recoils and fluke strikes. Seasonal operations demanded dawn-to-dusk labor seven days a week from May to , reliant on Maori for supplementary , timber, and protection amid scarce whales and isolation, with medical care limited to basic stations lacking formal physicians. While precise mortality statistics for shore whaling remain sparse, contemporary accounts and parallels from pelagic fisheries underscore elevated and rates from drownings, infections, and trauma, far exceeding land-based risks. Economically, participation reflected rational calculus in a pre-industrial context of widespread and few alternatives for unskilled European and Maori laborers; the shares system's upside—potentially multiplying baseline earnings in bountiful years—drew marginal workers despite volatility, as land occupations offered steadier but lower returns insufficient to escape subsistence. This high-risk structure, documented in operator records and incentives, prioritized output over security, with ties and Maori integration providing partial buffers but not alleviating core vulnerabilities tied to whale scarcity and market fluctuations.

Lyrics and Structure

Synopsis of the Narrative

The narrative of "Wellerman" centers on a crew's encounter with a aboard the ship Billy o' Tea. The opening verse describes the vessel putting to sea amid fierce winds that cause its bow to dip, prompting the to chant "Blow, me bully boys, blow" as they haul lines. Subsequent verses detail the whale bearing down on the ship shortly after departure from shore, with the captain summoning all hands to secure it in tow using a and line. The pursuit intensifies as the whale alternately slackens and tightens the line over forty days or more, resulting in the loss of all but one of the ship's boats, yet the persists in the effort. The repetitive chorus, "Soon may the Wellerman come / To bring us sugar and and / One day, when the tonguin' is done / We'll take our leave and go," conveys the sailors' longing for resupply from the Wellerman vessel while the demanding labor continues. "Tonguin'," a term for the onshore process of cutting whale into thin strips for rendering into oil in try-pots, highlights the prolonged butchery required post-capture. The referenced is a species prized for its thick layer yielding substantial oil, with "bully-o" serving as an exclamatory nautical akin to "ho" or "there" in shanty calls to emphasize the whale's vigor. This textual sequence portrays a cycle of initial pursuit, extended towing ordeal, and deferred resolution, bound by the chorus's motif of provisional relief and eventual release from toil.

Linguistic and Cultural Elements

The song "Wellerman" features a call-and-response format, with solo verses recounting the narrative and a communal chorus providing rhythmic reinforcement, a structure that echoes work songs used to synchronize physical labor such as hauling lines or pumping bilges among sailing crews. This form promotes group cohesion through predictable repetition, though archival records show no direct evidence of its employment as a functional shanty for on-deck tasks, positioning it instead as a ballad-style composition likely sung during off-duty hours for entertainment or morale. Lyrical content reflects multicultural interactions in 19th-century New Zealand whaling, incorporating the place name "Otago"—derived from the Māori Ōtākou, site of early European stations—to evoke coastal provisioning grounds where British operators relied on local knowledge. Terms like "Wellerman," a corruption of agents from the Weller Brothers' firm, draw from English colonial trade jargon, while whaling vessels often integrated Māori and Pacific Islander crew members, infusing songs with hybrid pidgin expressions and shared seafaring motifs from diverse Polynesian navigation traditions. Phonetically, the employ simple monosyllabic words and assonant rhymes (e.g., " and and "), paired with a meter that aligns with natural speech cadences, facilitating oral transmission and recall in illiterate maritime communities reliant on sung narratives for preserving operational lore. The repetitive chorus , emphasizing downbeats akin to strokes or capstan turns, further aids collective memorization, enabling crews of varying linguistic backgrounds to participate without notation.

Historical Accuracy and Interpretations

The depiction in "Wellerman" of prolonged whale chases and eager waits for supply ships corresponds to operational realities at ' shore stations in and Otago Harbour from 1831 to the early 1840s, where vessels like the Lucy Ann transported provisions including tobacco, spirits, and staples to sustain crews targeting southern right s. These "Wellermen," as company agents were termed, facilitated intermittent resupplies amid isolated hunts, aligning with the song's cyclical narrative of effort and anticipation. However, the lyrics inflate the hunts' continuity and prospective triumphs—such as tonguing the and securing the —for motivational in oral , diverging from of erratic yields influenced by seasonal migrations and depleting , which eroded profitability post-1840. This romanticization prioritizes over empirical variability, a causal dynamic in work songs where exaggeration fostered endurance amid physical tolls like risks and equipment failures. Claims of composition in the , contemporaneous with peak Weller activity, lack substantiation; oral evidence traces it to circa 1860–1870 in , where it likely arose as nostalgic recollection after the firm's 1840s collapse amid competition and resource scarcity. Such later origins underscore the song's interpretive role in mythologizing a faded industry rather than documenting live events. The evokes genuine psychological respite in drudgery—hope pinned on arriving cargoes amid monotony—but elides structural coercions, including accumulation via pre-paid advances on meager lay shares, which bound many whalers to stations in de facto , perpetuating low mobility and remuneration below subsistence in harsh conditions. This omission reflects selective , favoring aspirational endurance over the exploitative economics that sustained operations through labor retention.

Early Documentation

Initial Publications and Manuscripts

The earliest verifiable documentation of "Soon May the Wellerman Come" stems from field collections conducted by music educator and folklorist Neil in the mid-1960s. transcribed the song in 1966 from F. R. Woods, an octogenarian informant in , who attributed its transmission to familial oral traditions among 19th-century whalers. These manuscripts, preserved in 's personal archives and later referenced in studies, represent the first known written record, with no preceding textual evidence identified in or international collections. Colquhoun's version was formalized and printed for the first time in his anthology New Zealand Folksongs: Songs of a Young Country, which compiled regional including this narrative. The publication included lyrics depicting supply ship provisions—sugar, tea, and rum—alongside a simple melodic structure suited to communal singing, establishing it as the foundational textual authority. Prior shanty anthologies from the 19th and early 20th centuries, such as those documenting British and American maritime songs, contain no trace of the , underscoring its probable confinement to localized, non-literate circulation in southern stations until Colquhoun's recovery. Subsequent archival reviews, including those by sound preservation institutions, affirm Colquhoun's materials as the origin point for scholarly transmission, with minor melodic notations from his 1969 recordings aligning closely to the printed edition. No earlier manuscripts or prints have surfaced, despite extensive folkloric surveys, suggesting the evaded wider documentation amid the decline of shore-based by the 1860s.

Oral Transmission and Variations

The song persisted primarily through oral chains among whalers, shore workers, and their descendants in New Zealand's 19th-century whaling communities, particularly around southern ports like (including ) and , where ' supply ships operated from the 1830s. Family transmission sustained it across generations, as in the case of Frank R. Woods, who learned the song from an uncle whose father and great-uncle had been shore whalers at Wairoa station. By the mid-20th century, these oral lineages reached folk revival circles in urban centers like , where performers such as Tommy Wood sang versions in cafes during the 1960s, drawing on remembered narratives possibly adapted from earlier ballads like "The Golden Vanity." Folklorist Neil Colquhoun collected such accounts from informants in their 80s, who attributed the song to uncles or grandfathers active in the era, documenting its path from anonymous shore-based singers around the onward. Documented variations reflect localized mutations in verses and chorus, often incorporating specific whaling incidents or suppliers; for instance, a 1969 New Zealand Broadcasting Corporation recording by Colquhoun renders the chorus as "Soon may the Weller’s man come," diverging from later "Wellerman" phrasing, while melody differed from subsequent adaptations like Wood's 1971 rendition resembling older British tunes. These alterations, captured in field-like audio before widespread publication, arose from the improvisational nature of communal singing in taverns and work sites, where verses mutated to fit regional tales of provisioning delays or whale hunts. The song's endurance despite whaling's decline by the late 19th century stemmed from its utility as a rhythmic work and social in declining communities, embedding it in oral repertoires resistant to full erasure amid industrialization and migration.

Modern Recordings Prior to Virality

Folk and Traditional Versions

The earliest documented recording of "Soon May the Wellerman Come" occurred in 1969, when New Zealand folklorist Neil Colquhoun performed it for the New Zealand Broadcasting Corporation (NZBC), capturing an acoustic rendition rooted in oral accounts of 19th-century whaling station life. This version emphasized unaccompanied or minimally instrumented vocals, aligning with traditional styles passed down among coastal communities rather than commercial shanty choruses. Colquhoun's effort drew from fragmented verses collected from elderly informants, adapting them into a cohesive form while preserving narrative elements like the supply ship's deliveries of sugar, tea, and to shore-based whalers. Subsequent folk interpretations in the 1970s and maintained this acoustic fidelity, often in live or cassette formats circulated within revivalist circles. Tommy Wood's 1971 recording, an early release, featured solo vocal delivery with simple guitar accompaniment, reflecting the song's origins in Otago stations without orchestral or electronic enhancements. Similarly, the Cant. Crutchings Bush and Ceilidh Band included it on their 1985 cassette Landfall New Zealand, performed in a group harmony style evocative of communal singing at folk gatherings, prioritizing lyrical over rhythmic drive typical of work shanties. These efforts stayed confined to niche audiences, with no significant chart presence or mass distribution, as they prioritized archival preservation over market appeal. By the late and , the song appeared in international folk compilations, such as The Morgans' cassette Soundings for the Whale, which rendered it in a form to evoke trans-Pacific oral transmission from to American maritime enthusiasts. Gordon Bok's 1990 rendition further exemplified traditionalist approaches, using unadorned voice and minimal instrumentation to highlight the ballad's melancholic tone of deferred hopes among stranded crews. Such versions, distributed via folk festivals and independent tapes, garnered appreciation in specialized communities but achieved negligible commercial metrics, remaining artifacts of rather than popular entertainment until later digital dissemination.

Notable Covers Before 2020

The Longest Johns, a British folk group specializing in sea shanties, recorded "Wellerman" for their 2018 album Between Wind and Water, featuring a harmonious choral arrangement performed a cappella with layered vocals emphasizing the call-and-response structure typical of shanties. This version circulated primarily through online platforms like YouTube and Spotify, accumulating modest viewership within niche folk and maritime music communities before broader attention in 2021. The recording reflected growing interest in traditional sea shanties at events such as the Folk Festival and through acapella group performances, fostering organic revival disconnected from commercial media promotion. Earlier archival efforts, including a 1969 New Zealand Broadcasting Corporation (NZBC) rendition by Neil Colquhoun accompanied by Robbie Laven on and Kerry Dye on bass, preserved the song in ethnomusicological contexts but remained obscure outside specialist collections. Such pre-2020 interpretations underscored sustained but limited folk preservation rather than widespread popularity.

Viral Revival and Nathan Evans Version

Emergence on TikTok (2020)

Scottish singer Nathan Evans uploaded an acoustic guitar-accompanied version of the "Wellerman" to on December 27, 2020, while working as a postman. The video, featuring Evans singing the chorus in a stripped-back style from his bedroom, rapidly accumulated views through organic shares amplified by TikTok's algorithm, reaching over 5 million views within weeks. Users tagged contributions with #seashantytok and #shantytok, fostering a niche community that propelled the clip's visibility without initial corporate promotion. The virality aligned with broader trends during the , where global lockdowns heightened demand for participatory, communal content; sea shanties' call-and-response structure mirrored virtual group singing, boosting user retention and algorithmic prioritization. Evans' post preceded a surge in related videos, with streams of "Wellerman" variants rising over 7,000% from late December 2020 to mid-January 2021, reflecting cross-platform spillover driven by isolated users seeking connective . TikTok's duet feature enabled chain reactions, where subsequent users layered harmonies, bass lines, or instruments atop Evans' original, creating extended "family tree" videos that exponentially increased engagement; one such chain alone contributed to millions of derivative views, sustaining momentum through amplification rather than paid . This proliferation, unorchestrated by labels, exemplified platform dynamics favoring authentic, replicable content amid reduced real-world social interactions.

Official Release and Remixes

Nathan Evans released "Wellerman" as his debut single on January 22, 2021, via Universal Music Operations Limited, featuring the original rendition alongside an electronic by producers 220 Kid and . The version has a duration of 2:36, while the 220 Kid x clocks in at 1:56. An official for the premiered on March 8, 2021. The single did not include B-sides, focusing instead on these two variants to capitalize on the track's viral momentum. Subsequently, the version was incorporated into Evans' debut album, Wellerman – The Album, released on November 4, 2022, through Electrola and Universal Music GmbH.

Personnel and Production Details

The official studio version of "Wellerman" by Nathan Evans was produced by SaltWives, who also served as vocal producers and engineers. Mixing duties were handled by James Reynolds, while mastering was completed by Mike Hillier. Evans provided lead vocals and composed the arrangement's lyrics, drawing from traditional sources. The recording retained an acoustic foundation, emphasizing Evans' solo vocal delivery accompanied by minimal instrumentation to evoke the sea shanty's folk origins. A prominent remix, the 220 KID x version released in January 2021, transformed the track by integrating electronic dance production elements, including synthesized beats and basslines, while preserving the core vocal hook. 220 KID and are credited as remix producers for this variant, which was distributed via . No additional guest performers appear on Evans' primary releases, though the track's arrangement credits align with SaltWives' studio personnel, including contributions from Alex Oriet and David Phelan in production support.

Commercial Success

Chart Performance

The remix of "Wellerman" by Nathan Evans, 220 Kid, and debuted on the UK Singles Chart dated February 4, 2021, and ascended to number one on the chart dated March 19, 2021, holding the position for two consecutive weeks. The track accumulated 26 weeks on the UK Singles Chart overall. It ranked number 11 on the UK year-end Singles Chart for 2021. Internationally, the song peaked at number 16 on the chart. In the United States, it reached number 4 on the Digital Songs chart but did not enter the Hot 100, instead bubbling under at position 16 (equivalent to number 116).
Country/ChartPeak PositionWeeks on ChartSource
UK Singles ()126
16Not specified
US Digital Songs ()4Not specified
Ireland Singles ()Not specified (charted)16

Certifications and Sales Data

"Nathan Evans' version of 'Wellerman' has achieved platinum certification in the United Kingdom, representing at least 600,000 units sold or streamed equivalents as certified by the British Phonographic Industry (BPI). In the UK, the track accumulated 865,000 units by late 2021, including downloads, physical sales, and streaming equivalents, marking it as the fourth highest-selling single by a British artist that year. The song has received certifications across multiple regions, reflecting its global streaming and sales performance:
RegionCertificationUnits/Threshold‡
Austria (IFPI)3× Platinum30,000
Belgium (BEA)2× Platinum40,000
Czech Republic (IFPI)3× Platinum60,000
Denmark (IFPI)Gold45,000
Finland (Musiikkituottajat)Platinum40,000
Germany (BVMI)3× Gold600,000
Ireland (IRMA)Platinum15,000
Poland (ZPAV)Platinum50,000
Sweden (GLF)2× Platinum16,000,000
Switzerland (IFPI)Gold10,000
United Kingdom (BPI)Platinum600,000
United States (RIAA)Gold500,000
‡Sales/streaming thresholds verified via label announcements; certifications awarded based on combined units. By October 2025, 'Wellerman (Sea Shanty)' had surpassed 512 million streams on Spotify, while the 220 KID x Billen Ted remix exceeded 497 million, totaling over 1 billion streams for Evans' versions on the platform alone. The official YouTube video for the sea shanty version amassed 442 million views, contributing to the track's viral metrics. These figures underscore equivalent sales impacts in certification calculations across jurisdictions.

Cultural Impact and Reception

The song "Wellerman" has been adapted into various parodies within gaming and contexts, particularly in the wake of its 2021 viral resurgence. In August 2021, performers at the Games Expo produced a live parody reworking the to reference board gaming conventions and events. Minecraft enthusiasts followed with animated parodies, such as "The Buildermen" released in October 2021, which transposed the shanty's narrative to in-game construction and survival mechanics, and another in June 2022 adapting it for gameplay simulations. Comedy adaptations emerged concurrently, including a rendition by Japanese duo Chocolate Planet in August 2021, which satirized the original video through exaggerated visuals and psychedelic effects while mimicking Nathan Evans' performance style. At DragonCon 2021 in September, attendees presented "The White Wizard," a fantasy-themed integrating the into narratives. The track gained prominence in live events with its inclusion in the 's 2024 production, themed around nautical journeys. Performed by the Massed Bands of HM during the August shows at , the adaptation highlighted the song's sea shanty roots alongside military precision drill. This marked a crossover into traditional performance spectacles, blending folk revival elements with institutional pageantry.

Achievements and Broader Influence

Nathan Evans transitioned from a postal worker in Scotland to a recording artist following the viral success of his "Wellerman" rendition, quitting his job in January 2021 after signing with Polydor Records. This led to the release of his debut album Wellerman – The Album in November 2022, featuring sea shanties, and his second album 1994 in 2024. Evans subsequently embarked on tours, including a UK and Ireland tour starting December 2021 and ongoing performances into 2025. The "Wellerman" phenomenon spurred measurable growth in interest for sea shanties, with Spotify streams for the track surging over 7,000% in early 2021 amid the TikTok trend. Global search interest for "sea shanty" reached peak levels in late January 2021, remaining elevated into February, reflecting broader genre revival beyond isolated viral moments. Groups like The Longest Johns also benefited, charting with their version and demonstrating sustained audience engagement with traditional folk maritime music. "Wellerman" exemplified the efficacy of organic social media dissemination in artist discovery, as Evans' TikTok video amassed millions of views without initial label backing, prompting major industry interest and challenging reliance on conventional promotion pathways. This case illustrated how and duets on platforms like can drive commercial viability, influencing subsequent strategies for emerging musicians to prioritize digital virality over traditional gatekeepers.

Criticisms and Controversies

Some critics have argued that the cheerful tone of "Wellerman" romanticizes the exploitative conditions faced by 19th-century whalers, who were often trapped in systems of debt peonage by supply companies like the Weller Brothers. Whalers received provisions such as rum, sugar, and tobacco on credit rather than wages, perpetuating a cycle of dependency that kept crews bound to remote stations in New Zealand's Otago region during the 1830s. This arrangement, detailed in historical accounts of shore-based whaling, contrasted sharply with the song's optimistic depiction of awaiting the "Wellerman," which masked the economic coercion inherent in the industry. Left-leaning commentators on platforms like have occasionally extended this critique to claim the lyrics' references to and glorify ties to the , interpreting the provisions as symbolic of broader colonial exploitation. However, historians and fact-checkers have rebutted this, noting that the song reflects standard rations unrelated to , with no evidence of intentional endorsement of such practices; the ' operations focused on sealing and logistics in a pre-abolition Pacific context. The song has also drawn ethical scrutiny for its association with whaling, an industry involving documented animal cruelty through methods like harpooning and , viewed today through modern animal rights lenses as gratuitously violent. In historical context, whaling served as a vital , providing oil for lamps and corsets amid scarce alternatives, with no archival evidence suggesting the ballad was composed as to sanitize these realities. Critics from environmental perspectives argue its viral revival risks normalizing such practices without acknowledging the era's economic imperatives, though proponents counter that the ' focus on human toil underscores labor hardships over glorification. Debates over authenticity have intensified post-virality, with maritime folk experts classifying "Wellerman" not as a true —a synchronized to ship tasks like hauling—but as a forebitter or sung for ashore. Groups like have emphasized its lack of rhythmic cadence for coordinated labor, potentially misleading audiences into treating it as representative of shanty traditions amid hype. This mislabeling, while not fraudulent, has fueled accusations of cultural dilution, as the song's 19th-century origins in lore were amplified without caveats in popular media.

References

  1. https://www.theguardian.com/world/2021/jan/15/shantytok-how-a-19th-century-seafaring-epic-inspired-a-covid-generation
  2. https://americansongwriter.com/meaning-of-the-wellerman-sea-shanty-song-lyrics/
  3. https://www.folksong.org.nz/soon_may_the_wellerman/
  4. https://mainlynorfolk.info/folk/songs/thewellerman.html
  5. https://open.spotify.com/track/1Ne5lZgdzF1dWiK1FQ5c2M
  6. https://www.bbc.com/news/entertainment-arts-55768333
  7. https://www.bbc.com/news/entertainment-arts-56463078
  8. https://www.forbes.com/sites/micahhendler/2021/01/25/meet-the-wellermen-taking-tiktok-sea-shanties-to-the-top-of-the-charts/
  9. https://www.officialcharts.com/chart-news/nathan-evans-reacts-to-wellerman-chart-success-and-talks-hopes-for-debut-album__32338/
  10. https://www.doc.govt.nz/documents/conservation/historic/topics/archaelogy-nz-shore-whaling.pdf
  11. https://www.doc.govt.nz/documents/science-and-technical/nzshorewhal.pdf
  12. https://nzhistory.govt.nz/culture/pre-1840-contact/sealers-and-whalers
  13. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0093789
  14. https://teara.govt.nz/en/biographies/1w13/weller-edward
  15. https://www.toituosm.com/collections/smith-gallery/wall-1/edward-weller
  16. https://www.oldsaltblog.com/2021/02/the-wellerman-the-cross-cultural-whaling-history-of-new-zealand/
  17. https://teara.govt.nz/en/1966/weller-brothers-edward-george-and-joseph
  18. https://resolve.cambridge.org/core/services/aop-cambridge-core/content/view/C586F6158C1C4909D1971500EF619C10/9781139109185c29_p409-420_CBO.pdf/otago-whaling-station-1831-to-1835.pdf
  19. https://www.nber.org/system/files/working_papers/h0013/h0013.pdf
  20. https://www.jstor.org/stable/1884458
  21. https://www.whalingmuseum.org/research/research-resources/whaling-history/whales-and-hunting/
  22. https://mro.massey.ac.nz/bitstream/handle/10179/10722/02_whole.pdf
  23. https://slicesofbluesky.com/income-inequality-on-whaleships/
  24. https://genius.com/Sea-shanty-wellerman-lyrics
  25. https://www.azlyrics.com/lyrics/nathanevans/wellermanseashanty.html
  26. https://marine-cafe.com/the-wellerman-song-putting-the-lyrics-in-context/
  27. https://www.rmg.co.uk/stories/maritime-history/sea-shanty-facts-history-meaning
  28. https://www.sciencefocus.com/science/the-science-of-why-sea-shanties-are-so-catchy
  29. https://blogs.loc.gov/folklife/2021/01/a-deep-dive-into-sea-shanties/
  30. https://www.classical-music.com/articles/why-global-tiktok-phenomenon-wellerman-isnt-actually-a-sea-shanty
  31. https://theconversation.com/the-viral-wellerman-sea-shanty-is-also-a-window-into-the-remarkable-cross-cultural-whaling-history-of-aotearoa-new-zealand-153634
  32. https://www.southernfriedscience.com/soon-may-the-explainer-come-everything-youve-always-wanted-to-know-about-sea-shanties-but-were-afraid-to-ask/
  33. https://mashable.com/article/wellerman-sea-shanty-history
  34. https://www.hrmm.org/history-blog/the-wellerman-came-and-the-internet-listened
  35. https://historyandimagination.com/2021/02/02/soon-may-the-wellerman-come/
  36. https://www.stuff.co.nz/timaru-herald/news/123979250/old-sea-shanty-going-viral-could-have-timaru-origin
  37. https://www.ngataonga.org.nz/explore-stories/stories/sound/soon-may-the-wellerman-come/
  38. https://www.odt.co.nz/news/dunedin/wellerman-sea-shanty-global-hit
  39. https://nautil.us/what-should-we-do-with-an-old-sea-shanty-447172/
  40. https://www.youtube.com/watch?v=foy5J0xYPss
  41. https://www.reddit.com/r/AskHistorians/comments/xjzoqc/2021_saw_an_unexpected_wave_of_sea_shanty/
  42. https://secondhandsongs.com/work/268947/all
  43. https://open.spotify.com/track/2x3G3JbJ5EQPVRyAdC3vzo
  44. https://www.youtube.com/watch?v=UNVFEt5vkWc
  45. https://genius.com/The-longest-johns-wellerman-lyrics
  46. https://www.latimes.com/entertainment-arts/music/story/2021-01-22/sea-shanty-tiktok-star-nathan-evans-has-a-record-deal-wellerman
  47. https://abc7.com/post/sea-shanty-the-wellerman-nathan-evans-tiktok/9905231/
  48. https://www.businessinsider.com/sea-shanty-tiktok-wellerman-social-media-nathan-evans-2021-1
  49. https://www.bbc.co.uk/programmes/articles/1rGtgCWQQ3JFG900Jtfhq8f/why-are-sea-shanties-trending-on-social-media
  50. https://apnews.com/article/sea-shanties-oddities-coronavirus-maine-52aa8b2eb3d711a954384f1f6c21b692
  51. https://www.businessinsider.com/sea-shanty-tiktok-wellerman-shantytok-spotify-streaming-increase-2021-1
  52. https://www.bbc.com/news/uk-scotland-glasgow-west-55661351
  53. https://www.universalmusic.ca/press-releases/king-of-the-sea-shanty-nathan-evans-releases-original-song-remix-of-global-viral-hit-wellerman-out-today-via-universal/
  54. https://nypost.com/2021/01/22/tiktok-sea-shanty-star-nathan-evans-has-new-song-wellerman/
  55. https://www.discogs.com/master/1969009-Nathan-Evans-Wellerman
  56. https://www.imdb.com/title/tt14410166/releaseinfo/
  57. https://www.last.fm/music/Nathan%2BEvans/Wellerman%2B-%2BThe%2BAlbum
  58. https://music.apple.com/gb/song/wellerman-sea-shanty/1644665201
  59. https://www.youtube.com/watch?v=D458Eaql_aQ
  60. https://www.whosampled.com/Nathan-Evans/Wellerman/
  61. https://www.discogs.com/release/17350633-Nathan-Evans-Wellerman-220-Kid-X-Billen-Ted-Remix
  62. https://open.spotify.com/track/3iw6V4LH7yPj1ESORX9RIN
  63. https://www.discogs.com/release/18342544-Nathan-Evans-Wellerman
  64. https://www.officialcharts.com/chart-news/nathan-evans-wellerman-hits-number-1-on-official-singles-chart-we-made-it-__32718/
  65. https://www.officialcharts.com/songs/nathan-evans220kidbillen-ted-wellerman/
  66. https://www.billboard.com/charts/billboard-global-200/2021-06-19/
  67. https://www.billboard.com/pro/nathan-evans-wellerman-sails-global-charts/
  68. https://www.universalmusic.ca/press-releases/platinum-selling-artist-nathan-evans-releases-brand-new-music-ahead-of-festive-season-and-during-uk-tour/
  69. https://open.spotify.com/artist/1PKErrAhYFdfrDymGHRQRo
  70. https://www.youtube.com/watch?v=qP-7GNoDJ5c
  71. https://www.youtube.com/watch?v=-hv7Kd0esxI
  72. https://www.youtube.com/watch?v=aaSnITIEm8U
  73. https://www.youtube.com/watch?v=tnDm4aMv17o
  74. https://www.billboard.com/music/music-news/chocolate-planetq-nathan-evans-wellerman-video-parody-9610272/
  75. https://www.youtube.com/watch?v=7uTEaI1mwM8
  76. https://www.edintattoo.co.uk/news/chart-topping-track-wellerman-to-feature-at-this-year-s-show
  77. https://www.scotsman.com/whats-on/arts-and-entertainment/sea-shanty-sensation-wellerman-and-bollywood-to-be-celebrated-in-royal-edinburgh-military-tattoo-4571165
  78. https://www.nbcnews.com/news/world/tiktok-star-behind-wellerman-sea-shanty-craze-quits-job-mailman-n1255426
  79. https://www.rollingstone.com/pro/news/sea-shanty-tiktok-nathan-evans-record-deal-1117934/
  80. https://music.apple.com/ba/artist/nathan-evans/394390215
  81. https://tidal.com/artist/5052419
  82. https://www.ticketmaster.co.uk/nathan-evans-tickets/artist/5346895
  83. https://www.songkick.com/artists/10149082-nathan-evans/calendar
  84. https://www.statista.com/chart/24094/worldwide-search-interest-for-the-term-sea-shanty/?srsltid=AfmBOoo7GGJistwNrcZe1YTQLHW2YcGK2qgPOnIpLdtl_H-MG_ey3o2p
  85. https://www.midiaresearch.com/blog/streaming-is-killing-culture-tell-that-to-the-sea-shanty
  86. https://www.reddit.com/r/CuratedTumblr/comments/qpxzgh/is_the_wellerman_problematic/
  87. https://theconversation.com/shantytok-is-the-sugar-and-rum-line-in-wellerman-a-reference-to-slavery-153573
  88. https://www.snopes.com/news/2021/01/21/shantytok-is-the-sugar-and-rum-line-in-wellerman-a-reference-to-slavery/
  89. https://www.ctpost.com/living/article/TikTok-s-viral-Wellerman-isn-t-a-real-15997156.php
Add your contribution
Related Hubs
User Avatar
No comments yet.