It’s a mark of traditional folk songs that they seem to remain appropriate hundreds of years after they were written.

And while we’ve not yet had centuries to appreciate Chris Wood’s songwriting, it seems his work has an enduring relevance, too.

Wood couldn’t remember the political scandal that inspired his opener, Caesar, but it applied perfectly to the cash-for-influence farrago currently playing out in the corridors of power.

And Spitfires, his spot-on dissection of BNP ignorance, was repositioned as a “song for Nigel”.

A singular, witty and thoughtful writer, Wood presented his fans with a multitude of new material to chew over, some still works in progress.

The superb So Much To Defend examined national identity with a series of sharp but non-judgemental character studies; The Shallow End was wise and resigned; and closer More Fool Me was a wistful ode to songwriting.

Wood combined the new material with a selection of his own back catalogue, plus takes on the works of William Blake, Keith Christmas and Martin Carthy, and Ronnie Lane.

His warm voice was combined with an increasingly fluid, jazzy acoustic guitar-playing style and engaging between-song musings. As an election approaches, Wood’s intelligent approach makes him more relevant than ever.