Sam Shackleton has quietly established himself as a master of traditional folk song interpretation. It takes a skilled musician to honour songs meant to be passed down through generations, but it takes exceptional talent to truly embody these songs and breathe new life into them, as Shackleton does. Having spent around five years on the fringes of the folk scene, Shackleton released his debut album under his own label in 2022, receiving praise for the authenticity of his approach and the stylistic echoes of legends like Johnny Cash and Woody Guthrie.
A glance at the tone and structure of his releases reveals Shackleton’s deep connection to the early 1960s folk revival, a period where folk music’s attitude and approach resonated with his own sensibilities. He has immersed himself fully in this era, even adopting a sartorial style reminiscent of the time—rolled-up shirt sleeves, field boots, and weathered jeans—a look synonymous with working men’s clubs before the countercultural revolution of longer hair and flowers. One EP cover in particular sees Shackleton channeling Ewan MacColl, brandishing a banjo with a pipe dangling from his mouth. His dedication to this form of music is further reflected in his academic achievements, having earned a master’s degree in Scottish Ethnology with a specialisation in folklore and ethnomusicology.
With this background, Shackleton is more than equipped to tackle the cowboy ballads and early folk songs featured on his latest release, Scottish Cowboy Ballads & Early American Folk Songs. However, there is a much more personal connection to the music on this album. In the summer of 2023, Shackleton tragically lost his father, Norman Shackleton, to suicide, a devastating event that understandably led to a period of retreat from public performance. Many of the songs featured on the album were ones Sam had sung with his father during their time busking on the streets of Edinburgh. As a tribute, Shackleton has dedicated the record to his father’s memory and hopes it will help raise awareness about suicide and mental health issues. Knowing this backstory, it is impossible not to hear a deeper layer of emotion in Shackleton’s performances. His voice, with its raw, weathered quality, seems to carry the weight of that personal loss—like the natural patina that develops on old wood over time. In many of the songs, which reference fathers or dads, it is clear that Shackleton is approaching the material with pure intent, drawing from the well of personal connection, much like Bob Dylan did when he reimagined traditional music upon arriving in Greenwich Village in 1961.
In some ways, Shackleton is doing what Dylan did, but in reverse. By infusing his performances with a strong Scottish accent and attitude, he reclaims these folk songs, distancing them from Guthrie’s dustbowl and instead re-clothing them in a tartan, enriched with heritage and firmly rooted in Scottish soil. His ability to capture an intimate atmosphere in his recordings was no doubt aided by the independent recording setup, with all tracks laid down in his flat in Edinburgh. What sets Shackleton apart is that he avoids the pitfalls of overly subdued, introspective performances that often accompany bedroom recordings. Instead, his busking experience comes through—his recordings feel as though they’re made in front of a live audience, drawing the listener’s attention as if they were standing in a crowd. The guitar and banjo playing are filled with rhythm and energy, while the bursts of harmonica add an extra layer of texture to the soundscape.
The sixteen songs on the album come together with a weathered unity, with standout tracks including Sweet Snowy North, Pretty Saro, and East Virginia Blues. The album concludes with a yodelling song (Scots Yodel), leaving the listener on a high note, eager for more. Shackleton’s biggest successes thus far have come through viral performances on streaming platforms, but with this new, well-crafted album, he is now making a mark on a more enduring format. Sam Shackleton is breathing new life into traditional music, and we are fortunate to have him in today’s music scene.