Some artists grab you by the throat and force you to listen; Kathryn Williams prefers the art of slow seduction. Her gentle voice drips honey over delicate songs of intelligent beauty which worm their way into your affections. Her career started humbly enough. Her first album, 1999’s Dog Leap Stairs, was recorded for a frankly bargainous 80 quid. And she had to be gently cajoled into a performing live. Her first major appearance was at a Nick Drake tribute concert, and she seems to have inherited something of her mentor’s legendary diffidence. Six albums in and she still has a hard time listening to her own voice. But modesty be damned - her second album got her a Mercury Prize nomination, and she has retained artistic control over her output even during the time she was signed to a major record label. This last fact is a matter of some pride. “In years to come, I’ll look back at the records I’ve made and not have any regrets about a man in a suit making me fit in with fashion.” She has a clear affiliation with the English folk tradition of Sandy Denny et al, but some of her earliest musical influences were from the other side of the pond - the likes of Joni Mitchell, Bob Dylan and the Velvet Underground. This love of Americana has surfaced on her latest offering, Leave to Remain. Originally planned as a stripped-down affair, the album includes woodwind and strings, arranged by Kate St John, formerly of The Dream Academy. “Kate brought all the musicians in together and we just miked everyone and up and played. It was like a cheaper version of Bacharach. Really exhilarating.” KW factoid: The 20 questions section of her website nominates tea as “the most under-rated vice”. Welcome to Greenbelt, Kathryn: the kettle’s on. KW factoid: Kathryn allegedly expressed desire for carnal relation with Leonard Cohen and also, sweetly, concern that this might cause the septuagenarian some cardiac difficulties.