Frankie Archer, a folk singer renowned for her innovative approach to traditional ballads, is transforming the genre with an exciting electronic twist. Influenced by artists such as Björk, Hannah Peel, Rosalía, and James Blake, Archer fuses her Northumbrian accent with synths and electronic elements, crafting atmospheric arrangements. One of her standout features is her use of distortion effects on the violin, most notably in her recent single “Lovely Joan,” where it strikingly resembles an electric guitar.
Although Archer comes from a non-musical family, her love for folk music blossomed at an early age. Looking back on her childhood, she reflects, “It was a very uncool thing for a 12-year-old to be into.” After years of performing with local bands, she launched her solo career with the debut single “Over the Border” in 2022, which is based on a centuries-old Northumbrian Smallpipe tune. Her first EP, “Never So Red,” co-produced with the acclaimed folk musician Jim Moray, was released last autumn and features timeless ballads like “Oxford City,” a tale of jealousy and poison, and “Lucy Wan,” which narrates the tragic actions of a brother against his pregnant sister. Archer’s live performance on “Later… With Jools Holland,” alongside the Last Dinner Party, further elevated her profile, and she is set to support them again next month.
In her upcoming EP, “Pressure and Persuasion,” scheduled for release on October 4, Archer delves into themes of women’s historical struggles, with the intention of amplifying their voices. Her reinterpretations of classic ballads such as “Elsie Marley” and “Barbara Allen” tackle societal pressures—pointing out the balance of being perceived as chatty yet not overly opinionated, or sexy but not promiscuous. The tension is heightened through glitchy vocals and electronic manipulation. The music video for “Barbara Allen” showcases Archer’s artistic vision with striking imagery, including melting eyes and twisting arms, intertwining past and present to create a compelling visual narrative.
