Saturday, 31 March 2018

GIG REVIEW: Hannah Aldridge + Don Gallardo - John Moore Foundation, Appleby Magna. Friday 30th March

If ghostly tales recurring around the immaculately preserved 300 year-old school hall in the John Moore Foundation prove correct, its occupants have now had to deal with the full force of Hannah Aldridge. Maybe our spiritual cousins just took a seat like everybody else and soaked up the evening’s entertainment, which frequently planted its tentacles into the dark side. For one night only, this culturally diverse East Midlands venue turned into an eerie mist of underground Nashville. Not the brash bright lights of the country music capital, but a thriving metropolis of creative musicians flourishing in a collaborative atmosphere of soaking up a multitude of influences. Joining Hannah for this quirky gathering was fellow Music City resident Don Gallardo as the duo passed like touring ships on a mission to spread their wares far.

What the enlightened mass got to witness on this proverbial Good Friday was two of the finest performing singer-songwriters operating on the scene that often takes shelter under the umbrella of Americana. Hannah’s impassioned gut pouring and Don’s crafted guile made for a splendid combination on an evening where curfews seemed as light as the timeless feel to the setting. Even though local opening act Phantom Horse afforded themselves well over the usual support time, we still had nearly two and a half hours of our stateside guests; this clearly evolved into a night shrouded free of convention.

The ease and clarity of the Don Gallardo performance aligned to what we have come to expect from his records and shows. In unison with his regular touring pal, bassist Travis Stock, the pair rattled through a batch of cultured songs that resonate with immediate positive impact. This is not grower music, but stellar tunes, meaningful lyrics and a cutting edge to power through the genre haziness of country, folk and rock.

Who needs a set list? Well maybe copies of your two most recent CDs rear side up are useful prompts. They certainly were not required for an older song in ‘Burgundy Wine’ or a cover of John Prine’s ‘Speed of the Sound of Loneliness’, but generally the set was based around HICKORY and STILL HERE. The latter is going through a phase of staggered releases between here and the States. Hearing songs live for the first time like ‘The Golden Rule’, Stay Awhile’, ‘The Losing Kind’, ‘Something I Gotta Learn’ and ‘Same Ol’ Alley Talkin’ Blues #12’ suggest this release possesses plenty of stamina.

The latter was dealt with the trademark introductory blurb, an informative aspect perfected over many years. Fans of Don from previous shows needed little reminding about the background to popular songs such as ‘Midnight Sounds’ and ‘The North Dakota Blues’, but patience is required, especially in new venues, with at least some new admirers present. This last song has evolved into the most prominent piece from his repertoire, packed to the hilt with catchy lines and entertaining hooks as an updated entry to the outlaw genre emerges.

In contrast to this being Don and Travis’ penultimate UK show before heading home, Hannah actually raced to Appleby Magna straight from the airport to renew her love affair with Britain after another raft of dates in continental Europe. Hastily readjusting her stage presence including borrowing Don’s guitar proved no barrier as she quickly adopted her stride and proceeded to ascend to a performing level unrivalled in previous shows seen.

Similar to Don, but from a more restricted offering, Hannah uses material off her two albums to recount a bunch of songs, rich in intensity, passion and now a strong sense of familiarity. ‘Old Ghost’ from RAZOR WIRE and ‘Lace’ off the more recent GOLD RUSH album were astutely chosen for the aforementioned surrounding, setting the tone for a set eventually pushing an hour and half long before reaching an impressive crescendo.

That climax came in the trio of main set closer and two encore numbers. An improvised backing band (you know who you are) was hastily assembled to blast out the biting revenge piece ‘Burning Down Birmingham’. On this occasion, a whole city facing Hannah’s wrath, not just an ill-advised individual. Following the immediate encore invite, ‘Parchman’ had its painfully emotive but utterly brilliant airing, stirring the primal instincts of human reaction. To close, who needs amplification when you can unplug from the mains and plug into the natural vacuous acoustics of a high ceilinged hall. If you were not jaw-dropped by an artist pacing around a room belting out ‘Howlin' Bones’, then therapy is available.

Earlier in the set, the live version of ‘Gold Rush’ probably peaked in the rankings of the original songs. Away from these, a version of Tom Waits’ ‘Take It With Me’ was adorable, likewise a dip into the unrecorded world of her song-writing father Walt and a slightly taboo song back home that he wrote with Dylan Le Blanc’s father titled ‘Yankee Bank’. Of course, Don was not let off the hook from returning, and it was fitting that he joined Hannah on the song they co-wrote ‘Shouldn’t Hurt So Bad’.

Corporate sponsored soulless venues may be the inevitable more lucrative desire for touring musicians, but they can never replace the richly textured raw interaction that the quirky pop-up stages provide. Whatever course their career takes them on, these nights will define the artist. Thinking outside the box may be driven by survival but it leads to the most wonderful of musical experiences for fans offering a lifeline to live music. Hannah Aldridge and Don Gallardo feed off this. Those heading to Appleby Magna on a wet and blustery Good Friday evening had the perfect holiday feast.

Thursday, 29 March 2018

ALBUM REVIEW: Ashley McBryde - Girl Going Nowhere : Warner Music Nashville

Momentum and opportunity are two drivers key to the process of seeking success in the music industry. The latter opened doors for Ashley McBryde after over a decade of playing out the archetype unsigned Nashville singer-songwriter narrative, while the former is about to ignite in the shape of GIRL GOING NOWHERE. This debut album blows right through the country music mainstream like a breath of fresh air without doing too much radical. Maybe view it as a conciliatory record within the contest to save country music, although an act of appeasement is an incidental observation among a rack of eleven songs strengthened by a high tensile outer and similar core.

What makes this record soar up the scale is that its high spots build up so much credit to iron out casual imperfections that could mould it into something more personal for the listener. The inevitable lack of steel, fiddle or banjo twang from a Warner Nashville release does not bow to a traditionalist desire, yet such is the utmost sincerity that the oversight is pardoned. Likewise, there is no real dash to court a trend outside the country confines and thus alienate a loyal base of devotees. The team behind this record, including producer Jay Joyce, must be commended for getting the tinkering and guidance generally right and allowing the undoubted talent of Ashley McBryde to shine brightly from start to finish.

This album has had a lengthy introduction to the wider world since its cracking heartbeat ‘A Little Dive Bar in Dahlonega’ was unveiled in the middle of last year. This track is so much more than the proverbial ‘jewel in the crown’ and is a country song for all ages. In the week ahead of its Good Friday release (the most appropriately titled of days), nearly half of the content is freely available on the streaming sites and a raft of videos exist including national TV and Opry appearances. UK audiences had the presence of Ashley at the recent Country-to-Country Festival and hopefully, this is just the beginning of a lengthy love affair with our Isles.

With so much of the album previously out there, the most anticipated task upon receiving the full complement was to check out the six newer tracks. Heading these was the only solo write present and a superb effort to boot in ‘Andy (I Can’t Live Without You)’. A gorgeous stripped down song that allows Ashley to retain ultimate control. The other eyebrow raiser among this dozen is the straight up rocker ‘El Dorado’, which strays deeply in Springsteen territory in the melody attached to the verses. But like so much of the album, it works, even if the rock element throws in a slither of potential doubt. An infectious newbie brings up the album’s rear with Ashley in heartfelt motivational mode as she pours every sensitive sinew into ‘Home Sweet Highway’.

A vital contemporary feel to the sound brings in fans of Miranda Lambert and Kacey Musgraves, while its generational spin at least goes back to Martina McBride and Lee Ann Womack. It is good that Ashley’s song writing is fully embraced with a co-hand in each one outside the aforementioned solo piece. Of course the lead off and title track ‘Girl Goin’ Nowhere’ jumps out from the pack, especially considering the back story of an Arkansas girl following her dreams while leapfrogging an obstacle course of barriers.

While on the topic of what we already know, ‘Radio Land’ is an infectious romp through the obvious, but full credit to getting tractor and Townes Van Zandt in the same line. In a similar vein, getting Kennedy and Monroe namechecked in ‘American Scandal’ draws attention to a semi-epic song that evolves into one of personal interpretation. ‘Tired of Being Happy’ is the final pre-available song and a mischievous slant on the time honoured country music DNA trait of putting ‘good ole cheatin’’ at least on the table. Here, like continually throughout the record, the vocals sparkle with a southern charm, echoing strength, sadness, hope and gratitude. In other words, they make a critical incision.

The three remaining tracks return to the new category and form a thread at the heart of the record. ‘Southern Babylon’ starts the run in a sultry dark mood as we head in another storytelling direction, which glues your ears to the narrative being revealed. This is followed by ‘The Jacket’, dripping in nostalgia and that everlasting country music trait of keeping the song writing clear and meaningfully explicit. Another example of the temperate production doing the job. ‘Livin’ Next to LeRoy’ takes you right into the earthy roots of country music song mining with its character development.

GIRL GOING NOWHERE could be the most important release by a mainstream Nashville label this year, especially if you apply any factors relating to gender politics. A record which funnels the listener straight into its strengths, and there are plenty. Ashley McBryde has created a mightily impressive album that endorses the apparent momentum being built. Where it leads her who knows, but being on board is a ticket not to be missed.

GIG REVIEW: Kim Lowings and the Greenwood - Red Lion Folk Club, Kings Heath, Birmingham. Wednesday 28th March 2018

It has just been over five years since Kim Lowings and the Greenwood first crossed my path with the realisation that sometimes you do not have to venture too far from your home to discover great new acts. The added bonus has been to see them blossom across many shows over the ensuing period and widen their repertoire considerably. From that first night at Katie Fitzgerald’s in Stourbridge, another eight venues across the West Midlands join the list, ranging from the quirky surroundings of Scary Canary to the lavish setting of Moseley Park, home of the annual big name folk festival. Each occasion (and there has been multiple ones at some of the venues) brings out the best in Kim and her band, with the Red Lion Folk Club in Birmingham ensuring this upward trajectory is maintained.

While this was not their first appearance at the venue, it was good to catch them in a different setting, although their music usually commands an attentive listening audience wherever played. Across the two sets, the songs blew a breadth of fresh air as the new album beds in alongside established favourites. Of course, time waits for no decent act and the future is already in motion with new material. From memory, a quartet of songs had their first airing in my presence this evening. A traditional Canadian folk number titled ‘Jones Boys’ was introduced as a step into the future, with Kim continuing to scroll the archives to supplement her own writing.

This quartet began right at the start of the set with an instrument-free version of the Dick Gaughin passionate ballad ‘Workers’ Song’, before Kim eased into her musical role of dulcimer, and this evening a rare foray into some acoustic guitar work. Sadly, there was no piano available to deliver the stunning twin peaks of the WILD AND WICKED YOUTH album, but the well of material is still considerably stocked. Another song not heard before was ‘Beggar Man’, which Kim has included on a new covers release as part of the Pledge process for the album. Stocks are limited, but check out the Bandcamp download link below, and amongst other tracks selected by her valued sponsors is the gorgeously sung ‘The Littlest Birds’. This is a long term live favourite and a rendition that stands proudly alongside the Be Good Tanyas original.

The final song not heard before was a cover of Joni Mitchell’s ‘Carey’. While she has previously covered the great lady at gigs I attended, I am quite sure it was not this classic. Anyhow, somebody requested it this evening; Kim decided to go off piste and did a grand job.

Of course, there was plenty of familiar Greenwood material to savour as well. Originals like ‘Stay’, ‘Lullaby’ and ‘Maggie’s Song’ continue to shape up admirably against borrowed pieces like ‘Away Ye Merry Lasses’ and arrangements of traditional numbers such as ‘Bold Riley’ and ‘Oh the Wind and Rain’. We even had a version of the old standard ‘Shady Grove’ this evening, with Kim admitting it had been a long time since featuring in a set. On similar lines, I cannot recall hearing the stirring Scottish song ‘Annie Laurie’ too frequently recently, but there was no harm in it returning to the fold tonight. This song always brings back memories of the superb video that accompanied it a few years back.

It was interesting to note that the show did not feature the usual closer ‘The Begging Song’. While a folk staple, its connotation has perhaps been slightly impeded by the proliferation of homeless people in towns across the land.

While the sound of Kim and her usual backing trio was adorable all evening, the choice of the organisers to enlist the services of Paul O’Neill to open proceedings gave the event an extra sparkle. A stalwart of the Celtic folk scene as front person for the Roving Crows, the solo work of this exiled Irishman (I know he is not alone) is less familiar. However, more of the fare served up in this near fifty-minute opening slot will knock down a few doors. Songs and stories entwined as the quintessential troubadour set about turning observations into catchy songs, ripe to engage with a receptive audience. There were similarities in a blend between Steve Knightley and Paul Brady, alongside an inching towards the country side of folk. Subjects such as family, God, fun in Barcelona and casual acquaintances all got the song writing spin and if you had not come across the work of Paul O’Neill before, there was ample on show to check him out. Although this will become easier when he keeps the promise of recording some of these songs

The recorded format has been kind to Kim Lowings and the Greenwood. The three studio albums plus an EP and now this covers release will keep grounded fans happy, while there is always a fine show around the corner for those willing to branch out and engage with live music. Hopefully, the tenth different venue to host a gig in terms of this blog's reviews will surface before the year is out. The chances of at least equalling this night are guaranteed, with the added anticipation that things are likely to get better.

Monday, 26 March 2018

ALBUM REVIEW: Merritt Gibson - Eyes on Us : Self-Released

Some records transcend the periphery of their architect and permeate through the generations. While the debut album of Merritt Gibson is liberally laced with a teenage outlook, there is a timeless feel to its content. You could quite easily replace the year 2018 with 1988 and the fit would remain as compact. The fact that EYES ON US is thrown into the mix with a wider selection on the maturity scale is a testimony to its strength in terms of inspirational song writing and acute ability to bury deep into the psyche of an open-minded listener. A youthful zest froths out of a sophisticated substance to mark an album that successfully courts the intended desire of serious subjective approval.

Primarily, the sound settles on an indie pop rock base, with an astute angling to encompass those of a country, Americana or general singer-songwriter persuasion. Indeed, the latter appears to be the likely ultimate destination, although a strong case exists that this University of Virginia student, heading in the direction of majoring in English, is already succeeding in this facet of her music.

It came as little surprise to learn that Nashville, and its sought after infrastructure, was the destination for Merritt to evolve the raw components of her art into a recorded status ripe for commercial consumption. The twelve tracks forming this album are a trusted collection of jaunty rockers and emotive ballads. It is perhaps fitting that the record ends with a trio of the latter as they probably represent the core muscle of where Merritt is likely to succeed in music. Leading this trio is ‘Area Code’, a prime candidate for the standout number from a personal perspective and a song with a heartfelt plea that crosses the land in retro shades, Wholly epitomised in the lines ‘But punch in numbers, 508-609, I need another dime /Area code is across the states /City of Angels to an east coast bay’.

‘Ghost Train’ and ‘Faraway’ complete the trio and demonstrate Merritt’s ability to resonate in an articulate style. This is especially relevant to the piano-accompanied pieces and indicative to a way all twelve tracks are able to tailor for a more frugal solo delivery. This does not detract from the enhanced upbeat album numbers that give the record a jaunty feel in places. ‘When You Were Mine’ leads off in fine style leaving the listener in little doubt that there is a defined campus tinge to the feel. Occasionally, the sound does fall away a little in reaching out behind its hinterland, but infectious melodies never cease, along with the sincere way Merritt goes about making her music.

Planting a great organic tune in your mind does the initial job and subsequently lures you into discovering the nuances of Merritt’s writing. ‘Truth and Myth’ opens up with the fabulous line ‘awake in the storm of sleep’. Even when the subject tracks back to the obvious teenage staples such as in ‘My Best Friends’ and ‘Lovesick’, the writing elevates the record out of a melange of similar releases and into the realm of the conditioned ear.

As intimated throughout, a cross-generational appeal applies and tracks like ‘Eyes On Us’, ‘Burning Red Hot’ and ‘I Heard’ are more than capable of attracting the casual observant. When trying to relate this to contemporary artists, it is hard to escape some Taylor Swift comparisons, especially from her debut album. However, this record has a more cultured edge to it along with stretching the sound across a multitude of platforms.

The whole approach by Merritt Gibson in getting EYES ON US out to the world is blessed with a high degree of professionalism. Its intended audience is likely to be a fluid affair and throw up suprising recipients drawn into a record awash with many affable traits. Blurred boundaries have their benefits and this album will flourish on its own merits.

Sunday, 25 March 2018

GIG REVIEW: Ags Connolly @ Wolverhampton Country Songwriter's Night. Saturday 24th March 2018

Opportunities to see Ags Connolly in the West Midlands have been thin on the ground in the past. Therefore, a quick last minute notification of an appearance on the Wolverhampton Country Songwriter’s Night needed little invitation once a window appeared. The slot may have been just over half an hour in a four-way presentation, but this brief acquaintance at least reaffirmed the unique style that he successfully cultivates.

In a climate where country music evolution frequently takes a turn for the worse, Ags adopts a naturally organic steadfast stance pertaining to a style endemic to the roots of the genre. Discovering similar performers of his ilk in terms of vocal, sincerity and song writing approach has often proved a futile task. Frequently, Ags has found soulmate collaboration in touring American artists, usually those of an Ameripolitan persuasion. For the uninitiated, this is a phrase coined by Dale Watson in response to traditional country and honky tonk performers facing alienation on the mainstream wing of the genre.

For me the term ‘traditional’ gets increasingly uncomfortable, suggesting an ‘ill-informed’ Luddite existence. This is particularly pertinent to a writer of original material that brims with respect, and succeeds in succumbing to some of life’s most primal feelings in a style immersed into the mood of the song. Ags has successfully achieved this across his two major studio albums to date, with positive indication that it will continue in the future. This last point was re-enforced by a new song shared in tonight’s set titled ‘Lonely Night in Austin’. Many advocates of ‘new country’ argue that UK audiences fail to connect with augmented American references, but that is part of the romanticised appeal of the genre in its purist form for those seeking a virtual escape from the rituals of suburbia.

This brief exposure to an artist with a finger on the pulse of these ideals lived up to expectation. With the modest investment of the evening firmly in the credit column, it was interesting to assess what else was on offer from this well attended monthly event. Opening the evening was a family trio from North Wales parading under the ironic name Blue Genes. Of the remaining acts, they came across as closer to my taste possessing an organic sound awash with pristine harmonies and selective bouts of vocal impressiveness. A foray into the Welsh language also met with approval in an indicative statement of country’s natural alignment with folk.

Midlands based duo, Gasoline & Matches sandwiched Ags and Blue Genes in the running order and are intrinsically entrenched in the modern stream of the genre, currently experiencing an upsurge in interest across the nation. Another local act in the Emma Swindells Band adopts the role of resident artist and is scheduled to close most of these monthly gatherings. Both acts accrued a positive reaction from the audience, but would need major readjustments to resonate further with my musical ideals.

Ags Connolly meets these head on and continues to spearhead a fulfilling lonesome trail, which is at least spiritually rich in kinfolk. Long may this connection remain, with perhaps room still for one or two likeminded artists to give him a competitive run on the UK scene.

Wednesday, 21 March 2018

GIG REVIEW: Rod Picott - The Musician, Leicester. Tuesday 20th March 2018

Rod Picott is the trusty troubadour whose art never subsides from a lofty plateau. Whether immersing in the creative process or presenting his material on the road, consistency has been the badge of honour proudly worn across the continents. Throughout a lengthy and humbled song-writing career, this Maine native has long defied the notion of heart and soul being the sole instigator of the moving song. Framing an image of muscle, toughness and a philosophical perceptive field has proved a fertile strand of influence across a conveyor belt of records and shows over many years. If anything, the output is likely to escalate, with the written word now spreading from literally hundreds of songs to poetry, screenplay and a fledgling novel. Amidst this prolific period, trips to regular haunts this side of the pond are still on the agenda, with the city of Leicester welcoming Rod Picott back after a few blank years.

Although his association with our country stretches back a lot further, the Musician hosted my first Rod Picott gig back in 2012. Collaborations have altered since that show with Amanda Shires, and it is the solo mode, which houses him these days. This latest visit to the UK coincides with the release of his latest double record, OUT PAST THE WIRES and a few tracks from it were shared among a string of old favourites.

Rod was certainly in a chipper mood, buoyed by the hotel upgrade and perhaps at ease in the comforting environment of playing songs to a familiar audience. Throughout the hour and a quarter stage time, relaxed anecdotes weaved in between the impassionedly strummed tunes, all wrapped in an industrial haze. The almost total lopsided tilt away from the happy song resonates well with serious song writing connoisseurs. There is almost a precedent of getting ‘Angels and Acrobats’ swiftly out the way, but it long remains a staple of a Rod Picott set and possesses a strong melody to retain its eminence.

It would be accurate to state that Rod has had some of his finest song writing moments to date in unison with his long-term pal Slaid Cleaves. We had an interesting insight to the brilliant and inspirational ‘Broke Down’ this evening with the revelation of it being in strong consideration for a Dixie Chicks cut in their heyday. Herein lays the consequence that Travelodge and Premier Inn still dominate the touring accommodation chat many years later. 

Much loved oldies like ‘Welding Burns’ and ‘Rust Belt Fields’ never lose their sheen and more recent material such as ‘Take Home Pay’, ‘Primer Gray’ and ‘On the Way Down’ are likely to ascend to such status given time. Introductions tended to border on the conversational irreverent rather than informed insights, maybe due to a perception of familiarity on both sides.

You get the impression that new fans find the work of Rod Picott as they enter a phase of maturity, not necessarily in age, but definitely in outlook. A rock solid reliability has been in place for a long time and trends find this artist rather than vice versa.

Other excellent songs to add to the evening’s enjoyment included ‘410’, ‘Until I’m Satisfied’ and the spiritually captive ‘Elbow Grease’. There was even time for a request in the encore slot in ‘Circus Girl’.

While the latter song referenced a slot opening for Alison Krauss, the bill this evening was enriched by the East Midlands tones of Paul McClure. In a familiar and popular style mixing wit and the articulate song, the warm up slot evolved into its own entity, appreciated by Rod as well as those wisely choosing the backstreets of Leicester for their Tuesday evening entertainment. The charity single ‘Baby That’s You’ rounded off an enjoyable set in true singalong fashion endorsing the good banter of rivalry.

You do not have to dig too deep to find the synergy between Paul McClure and Rod Picott; a staunch belief that the magic of song will ultimately win the day. Our stateside guest is forever appreciative of the opportunities that have made one dedicated artist able to make a move from a tough real world job to one which still presents challenges, albeit fruitful ones to scale. In a year where Sam Baker and Hayes Carll have already crossed my path in the first quarter, the reassuring compatibility of Rod Picott strengthens the touring American song writing fraternity considerably.

Monday, 19 March 2018

ALBUM REVIEW: Courtney Marie Andrews - May Your Kindness Remain : Loose Music

Lucinda Williams framed the phrase ‘down where the spirit meets the bone’ in the title of her 2014 album. If you were to discover such a place, Courtney Marie Andrews would be there scribbling in her notebook before wrapping the words around her vocal chords. Those cast under the spell of her previous record will still be locked in a cavern of soulful song-writing bliss as MAY YOUR KINDNESS REMAIN gets the album handover. It is a case of striking while the creative iron is hot as the antithesis to romanticised Americana feasts on the currency of kindness and hope. The intensity and capacity to move runs rapid across the ten tracks, without the slightest trace of being “overwrought”.

The search for the album’s beacon stops abruptly at the jaw-dropping momentous ballad ‘Took You Up’, which has the capability to break each listener with every play. Right from the opening line ‘is it the journey or the destination’, the instant gift of song writing nirvana has been found and we are exposed to the starkest of relationship analysis. From ‘cheap motels, diners and dives’ to ‘wouldn’t trade love for a million bucks’, the analogies relentlessly flow amidst a stirring soundtrack awash with gorgeous melodic breaks. This song is up alongside Brandi Carlile’s ‘Sugartooth’ as the best track heard for ages and is in no danger of removal from a year-shaping list.

Courtney Marie Andrews may have come to prominence with the release of HONEST LIFE, but there is a lengthy trail of exposure to the world of a working musician over the last decade. Without doubt, this experience filters into the song writing process and she certainly has a priceless knack of capturing her feelings in the sung word. Evidence for the case of removing iconic namechecking is almost complete to the extent where artists in her tailwind will soon be citing the name Courtney Marie Andrews.

Four tracks have surfaced online in the run up to the album release headed by the title number ‘May Your Kindness Remain’. An extraordinary perception to draw positives from advancing flaws is a trait in the writing process, and this song leads the way. The most recent album leak was the ironic ‘I’ve Hurt Worse’, which sees the vocals slightly soar and the fortitude of the artist spill over. Doubling up on the kindness theme is another previewed piece ‘Kindness of Strangers’. This is probably one of the fuller sounding tracks on the album, complete with extra additional backing vocals and an instrumental accompaniment marrying keys, strings and percussion. Courtney’s lead vocals push a little harder here without losing any of the sculptured elegance.

My second favourite track on the record is ‘Two Nights in Buffalo’. This was heard first when featuring in the set at Moseley Folk Festival last September and made an instant impression. The availability of repeat plays confirms this initial promise. While every sympathy is offered to the city in question (the second time it appears in my collection after Amanda Shires’ ‘Detroit or Buffalo’), it is refreshing for somewhere else other than Cleveland to attract the song writing blues. Courtney does not refrain from dishing out some near clichés in ‘wrong side of the tracks’, ‘mom and pop, 5 and dimes’, but the vision painted from this punchier song portrays the message.  

Everything about the infrastructure to this album seems to fall into place: ten tracks, forty minutes, inspiring lead off title track and the essential climactic closer. ‘Long Road Back to You’ unveils as a mini epic in this role. Passion, feeling and a killer chorus all add to the mix as we get the perfect send off, or hit the repeat button if you have some sense!

Border’ and ‘This House’ were two songs Courtney presented to a live audience when she played a fabulous solo gig in Oxford recently. The first of these takes a social look at the immigrant attitude that blights parts of the States, in this case close to the Arizona home where she was raised. The second brings the theme back into the realm of the personal vicinity and how sometimes you just have to treasure what you have – warts and all. This is an aspect of Courtney’s writing in which she really excels.

Rough Around the Edges’ gets the widely used piano intro plus its major accompaniment, and rolls out as a trademark Courtney Marie Andrews piece. The piercing vocals convey the passion of the song and demonstrate that soul music can come in many different forms. It is just an innate trait that certain performers effortlessly pour into their musical art. ‘Lift the Lonely From My Heart’ is the final track mentioned, but could quite conceivably be the first in likeminded reviews. Here, organ and Wurlitzer makes a further soulful impression and the emotive spark off the album gets a touch fiercer.

MAY YOUR KINDNESS REMAIN is the perfect embodiment of the heartfelt song. It weaves in a thread of art and reality, tearing up the singer-songwriter genre in a similar vein to her iconic American predecessors. Its ability to convey a multitude of messages awash with life’s imperfections tints it with an anti-corporate stance. Delicately sung and immaculately presented, Courtney Marie Andrews is the architect of a record that should act as a country/folk blueprint in 2018. A journey, a journal, a lesson, this album is a classic.

Saturday, 17 March 2018

GIG REVIEW: Mo Pitney + Ashley Campbell + Ryan Kinder - O2 Institute, Birmingham. Friday 16th March 2018

A new venture for the Country-to-Country operation this year has been to take a few post-festival shows around the regions under the branded ‘roadshow’ motif. Two were located in Birmingham, building upon a recent upsurge of mainstream artists getting booked to play venues across the city. The Friday presentation pitted the contrasting styles of Mo Pitney, Ashley Campbell and Ryan Kinder, who convened in the upper reaches of the O2 Institute. An early start and the fact that this was the only gig going on in a spacious tri-room venue equated to a slightly eerie entrance and departure, but a healthy gathering for the allotted space gave the artists a warm response.

Ryan Kinder opened up well before the city centre rush hour had subsided. Without being too disrespectful to the performer, he is the type of act synonymous with the diluting of the tag ‘country’ and a recruiting agent for Ameripolitan and aspects of Americana. What he produced for half an hour with the help of two backing singers, a bassist and a percussionist on cajon was fairly standard fare, probably more enjoyable with the erasing of any genre thoughts. Nevertheless, this should not matter I hear you say. It does here! Probably the pick of the songs played was ‘Alabama’, the home state of the artist. Hailing from the other Birmingham, probably gave him open license to discuss name pronunciation, even though us gig goers hear it every month.

Having checked him out prior to the show, the set from Ryan Kinder offered no surprises. The two main reasons for attending this gig subsequently lifted the evening more in the realm of ‘three chords and the truth’ and confirmed that C2C can do things right when they put their mind to it.

Ashley Campbell is an artist making a concerted move to inch out of the shadow of her family name. Over the last couple of years, she has visited the UK a number of times and this is starting to reap rewards. The added bonus of this trip is, at last, a record to offer fledgling fans a reminder of their acquaintance. This was the third time seeing Ashley and her two sidekicks, brother, Shannon on guitar and Eli Bishop on fiddle. Without hesitation, she improves each time to the extent where the subsequent move to a full band show should be considered.

The banjo playing of Ashley comes across as perceptibly more effective each time seen. She was at least the equal to her highly talented guitar-playing brother this evening. The tempo, pace and thrust of the trio format is still driven by the exquisite fiddle playing of Eli. The pair even jammed to an Earl Scruggs tune ‘Shuckin’ the Corn’. Who’s going to object to a bit of bluegrass and there was more to come.

The debut album THE LONELY ONE is only a week old, although a few of the songs are already familiar pieces. There is a pop streak to the proceedings, but then her father did not shy away from crossover status. The pick of the new songs this evening was a luscious version of ‘What I’m Doin’ Here’, closely followed by the increasingly popular ‘Looks Like Time’. The latter is reminiscent of the Angaleena Presley song ‘Bless My Heart’ and eases itself comfortably into the ‘cutting revenge’ genre.

Apart from the opportunity to make a true stab at being an independent artist, the passing of her father seemed to hold back the emotive backstory to the song ‘Remembering’. There probably will not be an Ashley Campbell set without this song, and a piece of Glen will always be with her on stage. Likewise, his trademark hit ‘Gentle on My Mind’ remains a staple of her sets. In a twist to the famous Samuel Johnson quip, ‘when a man (woman) is tired of this song, they are tired of country music’.

Ashley departed the stage promising to return and kept her word for the finale. For the final fifteen minutes of the evening, she set up camp with Mo Pitney and a few of the pickers to share ‘Jolene’, ‘I Still Miss Someone’ and a final unnamed bluegrass jam to to send folks home totally countrified.

In contrast to the slight familiarity with Ashley Campbell, the music of Mo Pitney was more of an unknown entity prior to this event. The name had flickered in the distance and a few dates in the UK read about a couple of years ago. Getting into his 2016 release, BEHIND THIS GUITAR proved a useful taster for this show, and certainly laid the foundation, which saw Mo billed as the headliner. Although his trademark song ‘Country’ wanders into ‘tell them’ territory, the rest of his act is certainly rinsed in the spirit of country music. The voice, simplicity of the heartfelt song and humble sentiment portray a performer hell bent on lineage.

Mo started his set in solo mode before joined by his sister on backing vocals and brother on bass, making it a family affair to further cement country tradition. The song choice leapt around a little between tracks off the album, a few covers, a couple unknown and a preview of what he has up his sleeve when the opportunity arises to make the next record. It was inevitable that the Hag would feature and true to form, the reality of ‘I Met Merle Haggard Today’ co-habited alongside ‘If We Can Make It Through December’. Feeling the buzz for audience participation, the opening line of ‘trailer for sale or rent’ needed no introduction for vociferous help on ‘King of the Road’. Another song that proved a hit with the crowd was ‘Boy & a Girl Thing’ interestingly preluded by the ubiquitous story of a song’s origin.

To be rational, the overall feel of the show was a Mo Pitney/Ashley Campbell presentation and this made it an evening to remember. They are two performers who uphold many of the principles of the genre and retain an ability to connect with a wider audience. Perhaps both artists could consider how to evolve their overseas touring with a more extensive band presence; however, this is subject to further financing. It was curious to see ten performers on stage across the three evening sets without any sighting of an electric lead guitar. Admittedly, compensation was rich with plenty of banjo and fiddle. It wil be a positive move for these two artists to retain the UK on the touring agenda and they will be made increasingly welcome by fans who care about genre preservation.

Thursday, 15 March 2018

ALBUM REVIEW: Scotty McCreery - Seasons Change : Triple Tigers Records/Sony Music Entertainment

In the week where the Nashville mainstream made their presence felt in the UK and Ireland with the Country-to-Country Festival, it would be remiss not to give a few column inches to a release embedded in this scene. Therefore, amongst the deluge of Americana, folk and singer-songwriter submissions to peruse, an interesting new record from Scotty McCreery landed to make a case. To insert a slight addendum, this is an artist on the rebound from given the boot off a major label, so in essence there is a little tale of the outsider in the story if not wholly to the sound. SEASONS CHANGE is the comeback album from an artist previously launched to big ideals on the back of ‘talent’ TV success, and an attempt to replicate the achievement of a recent #1 single from an industry position where he needed to pedal a little faster.

This album sits firmly in the mid region of the mainstream, with little pretence to attract back traditionalists or reach out to deeper non-country genres such as pop, hip hop, rock and r‘n’b. It shores up a core sound that has been a firm fixture within the genre for well over twenty years and does this particularly well. A strong entrenched country voice strides across the record presenting eleven tracks adhering to a high level of entertaining appeal.

The record is awash with formulaic traits, but to what extent you judge formulas is down to personal perception and intent. Much of the content is not earth shatteringly new, even extended to the theme of the title of the main track, ‘Five More Minutes’, most famously replicated in the shape of the song Lorrie Morgan took to the top of the charts nearly thirty years ago. In familiar country tradition, McCreery’s cut takes you through all stages of life with the inevitable conclusion. A song that does have that earworm knack of attracting repeat plays when the mood permits.

Wherever You Are’ , ‘In Between’ and ‘This is It’ immediately jump out as tracks to keep the album’s wheels moving and a pitch to cement some acceptance in the customer sphere that it is aimed at. They add to a background soundtrack that has a southern flavour peeping out from the multitude layers of studio influence. There are moments when you want to halt proceedings, or perhaps give Scotty a few records to listen to, so that the talent filters down an alternative route. However, let us not ponder too much on what a record is not.

Maybe the best approach to this record is to readjust the comparisons, tone down the intuitive analysis and accept the merits on face value. Armed with this agenda, SEASONS CHANGE comes across as a soundly constructed body of work, distinct in the model style of its aim and maybe makes an effort to stabilise a sound that has the potential to slip further away unless unchecked. Scotty McCreery is currently undergoing his second country life, seemingly harsh on somebody not yet 25; such is the cutthroat nature of having to sell records to feed an entity.

Tuesday, 13 March 2018

ALBUM REVIEW: Korby Lenker - Thousand Springs : Soundly Music

While the music always comes first, it is difficult not to take more than a passing interest in the artists who have contributed in some part to the latest album from Korby Lenker. Many of the featured artists are known in the UK for their work and likely form a close-knit network in the confines of East Nashville where they are frequently based. THOUSAND SPRINGS may have surfaced in the States a while back, but it is getting a renewal this side of the pond in conjunction with a set of upcoming tour dates. This is the seventh album from an artist best described as a mellow lo-fi folk singer bestowed with the troubadour trait of filling the world with oodles of thoughtful words. Find your space, block out the outside world, and the whispering tones of Korby Lenker will refresh your faith in the far away song.

The album broke the rules of a studio origin and arose from an impromptu wanderlust to roam the land filing inspiration from any put down point. Obviously, background knowledge informs this, but add it to the listening mix and you sink deeper into the spirit of the album. The eventual production adds a fuller element that edges it away from just a raw acoustic record. Each of the twelve tracks create a little ripple with perhaps two spreading a greater distance.

Book Nerd’ is a buoyant ditty acting as the record’s marker post and weaving some iconic names into an amusing piece. Authorship is another bow to Lenker’s creative arm and the literature theme shines a light on the song’s curious character. The tune possesses shades of Slaid Cleaves’ ‘Hard to Believe’, another great piece, so the association is a high compliment. Pushing this track close is album opener ‘Northern Lights’ sending you on a starry trip to Chicago in an ethereal haze.

Pretty quickly, the sound begins to evolve with fiddle and mandolin taking hold by the time we get to the third track ‘Nothing Really Matters’, which presents itself as a roots infused effort. The pacier ‘Last Man Standing’, a historical piece detailing ‘the leader of the one Sioux nation’, injects a fierier sound into the proceedings, although it does not alter the holistic feel of the album.

Caroline Spence’s vocals on ‘Uh Oh’ commence the name-check, which eventually extends to familiar artists in Molly Tuttle, Amy Speace and Robbie Hecht getting co-write credits. Chris ‘Critter’ Eldridge (Punch Brothers) and Anthony DaCosta are two of the players to visit our shores in various guises, while Angel Snow, Anna Tivel and Carrie Elkin add their vocals to different songs across the record.

Father to the Man’ is probably the track that anchors the second half of the record and is yet another example of a catchy melody rising from a wealth of inspired lyrics. Maybe in an act that brings Lenker back to his existential core, ‘Wherever You Are’ closes things out as a gorgeous single take solo effort. Almost implying, thanks to all those giving a helping hand, but now it is time to go back to solitary folk singer status. As always seeking inspiration from within their own bubble. 

THOUSAND SPRINGS succeeds in balancing the tender and delicate with the watchful and witty. It has the legs to give Korby Lenker momentum in taking this strand of his art forward. This allows listeners to explore its many crevices, while not losing sight that engaging hook lines play a major part in securing attention. Learning more about this record via the live shows is likely to be the perfect addendum, but not wholly essential to enjoying the album as it is more than capable of hoisting itself into listening spheres.

Monday, 12 March 2018

GIG REVIEW: Emmylou Harris + Margo Price + Midland - C2C Festival, O2 Arena, London. Sunday 11th March 2018

Emmylou in ambidextrous mode!
First of all apologies for missing off Little Big Town from the headline, but the 9:10 from London Marylebone to Birmingham Snow Hill won the day. However, a curtailed day trip to North Greenwich still brought great riches as the process of cherry picking Country-to-Country (C2C) kicked back into gear. Resistance to catch a rare glimpse of the legendary Emmylou Harris drifted away as the secondary ticket market reversed its much disputed overpricing policy. The twinning with Margo Price was also a shrewd move for an event making gestures to reach out. Throw in the curious enigma of Midland, and the scene was set for a splendid afternoon/early evening’s entertainment.

Contrasts from all three acts were in abundance, although these were not necessarily all from a negative viewpoint. The allotted stage times for all three (Midland 40 mins, Margo 55 mins, Emmylou 60 mins) were entirely adequate in the context of the overall presentation and to ascertain the extent of their presence. Reports of sound issues from the Friday evening show gladly did not appear to surface, although location in the cavernous O2 Arena probably creates a disparity. Sitting in an upgraded seat on the Level 1 sideline did present an apparent distant echo from the rear of the arena if you strained one ear, but it was easy to block out and focus on the crispness emanating from the stage. This much sonically maligned ‘barn’ probably had one of its better days.

Midland emphatically scaled the sound threshold to make a bold statement as a live band with intent. Not surprisingly, Big Machine’s two-fingered gift to the critics went down a storm with a majority of the audience, and the vibrancy of their songs relayed much of the acknowledged accomplishment of the ON THE ROCKS album. While they crossed one bridge with their charisma, the reluctance to embrace the true country sound still puts a question mark against their credibility. Maybe it was just a safer option to ditch any remnants of fiddle, steel or keys, and hit C2C with a fully-fledged guitar, bass and drum attack.

Admittedly, this did not overpower a host of good songs including ‘Drinkin’ Problem’, ‘Altitude Adjustment’ and ‘More Than a Fever’, but left food for thought of what it will probably take to ultimately silence the critics. You only had to witness the different league that the bands supporting the other two acts were operating in to ram home the point. Yet Midland did many things right, and only a staunch cynic could dismiss them. The future may be revealing, but the present was appealing.

Margo: More than a front person
One perceptive observation was the contrasting covers delivered across these three sets. Midland adopted a predictable stance with trademark Petty and sampling Mellencamp, while Margo roamed into similar territory, though a slight alternative take on CCR and a little snippet of timely Willie. Emmylou trumped them all with Billy Joe Shaver, Ralph Stanley and some Bill Monroe.

Margo’s drift into ‘Whiskey River’ was entirely in accord with being joined on stage by a Nelson junior in the shape of the rapidly advancing Lukas. The pair served up the duet ‘Learning to Lose’ off her latest album, proving that ‘like father like son’ is not some overused cliché. Early into her set, Margo commented that the journey from playing the Slaughtered Lamb in the not too distant past was incredible. Having seen her both in The Exchange in Bristol and The Bullingdon in Oxford, it was a huge transition jumping into an arena, but she made it effortlessly to remove any apprehension.

Backed by a momentous band ensuring keys and steel were going to play some part in C2C 2018, Margo kept mainly to the upbeat songs from her two albums lifted to international status by the wily arm of Third Man Records. ‘Tennessee Song’, ‘Cocaine Cowboys’ and ‘Hurtin’ (On the Bottle’) played a significant part in this rousing set. Clad in a distinguished suit to match the Midland boys, Margo even rose to the challenge of a mid-set costume change. When also factoring in the genre-pushing pair ‘Do Right By Me’ and ‘A Little Pain’, there was more than a touch of show biz panache and a suggestion that traditional evolvement can work in positive ways.

No introduction required
While post C2C, Margo Price will most likely ease back into a mid-venue role, the mark made on a wider audience will have some bounce. Undoubtedly, the duet with Lukas Nelson will be fondly remembered by a large number. From a personal perspective, it was seeing her rise to the occasion that brought the greatest smile. The band was pretty good as well!

The good news about Emmylou Harris is that those shows with Rodney Crowell of a couple of years ago were not the farewell feared. An opportunity to share her distinguished class with a British and Irish audience was too good to miss across a hectic weekend. She looked every inch the statesperson as she glided through an iconic set list, especially showing that there is still mileage in the voice as she enters her septuagenarian years.

The Red Dirt Boys, Emmylou's regular band, can certainly show the younger generation how to ‘pick’ an exemplary sound, proving that amped up bass is not the only way to fill an arena. When you have such expert players as Will Kimbrough, Chris Donohue and Phil Madeira the results are only going one way. English mandolin and fiddle player Eamon Mcloughlin probably stole the instrumental show of the weekend with his sublime performance of stringed elegance and brilliance.

As mentioned earlier, Emmylou paid tribute to some great artists, with her version of Billy Joe Shaver’s ‘Old Five and Dimers Like Me’ proving the pick. Of course, there are a couple of tribute songs where introduction is superfluous. Emmylou has almost a strong claim on ‘Pancho and Lefty’ as Townes, and all the others who have covered it. It also transpired that the gem of a set closer London had in ‘Boulder to Birmingham’ might have been impromptu, with Glasgow missing out and this set seaming to finish a few minutes early before the prompt to do one more. However, there was no complaints here with the most glorious of send offs.

Prior to that stupendous hair rising finale, we were treated to unblemished songs such as ‘Red Dirt Girl’, ‘Orphan Girl’ and ‘Making Believe’. All perfectly accompanied by a seasoned band in impeccable form. This Emmylou Harris set was worth any degree of investment and is firmly locked away in the treasure trove of privileged gig memories.

Over the duration of its six-year existence, Country-to-Country has divided opinion across the country music world, and is likely to continue to as long it re-convenes each March. Periodically, they get the scheduling spot on and this afternoon/early evening was such an occasion. Little Big Town may have thrilled the masses at the close, but a certain homage to Gram Parsons hummed in the head of one person on a Chiltern train service at the corresponding time.

Thursday, 8 March 2018

GIG REVIEW: Pokey LaFarge - 02 Institute, Birmingham. Wednesday 7th March 2018

Few could remember the last time Pokey LaFarge played Birmingham; a situation now suitably remedied after a packed Institute rocked to the core of American roots music. In a vibrant haze of the sounds of the South floating north to where it gets a touch more rusty, bands getting close to the authenticity of our headliners tonight are rare on the ground. The line-up may be slightly impeded with the temporary side lining of one of its main players, but an exuberant audience rose to the challenge to fill the gap. It helped that Pokey and his three accomplices turned in a scintillating performance of rip-roaring music. Throw in smidgeons of old time country, blues, jazz and rock ‘n’ roll take you into Pokey LaFarge territory, but it is how these styles are executed that gets folks fully on board, a successful formula keeping the band firmly in prime time exposure over the last decade.

For an hour and half this evening, the art of rocking, serenading, rejoicing and participating filled the air, all orchestrated by the charisma of Pokey. It helps if you have an ace guitarist as good as Adam Hoskins at your right hand side and a rhythm section in the guise of Matt Myers (drums) and Joey Glynn (upright bass) keeping impeccable time. Filling the gap left by the accident recovering fifth member Ryan Koenig has been a critical task facing the band on this return to European venues and the success can only be measured by the reception given to the remaining quartet playing their hearts out.

Right from the opening bars of ‘Better Man Than Me’, taken from the latest album, through to classic Pokey in the crowd engulfing ‘La La Blues’, the pace only frequently dipped, and that was for songs packed with a slice of privileged sensibility. A key moment occurred straight into the encore when the uplifting chorus of ‘Cairo Illinois’ threaded through an enthralled gathering. Earlier Pokey had given his band members a brief breather to allow him the space to deliver ‘Josephine’ in all its emotion. However, this proved a solo exception as the entity of the unified band decorated the evening that few would argue peaked with a rousing version of ‘Central Time’.

Other notable tunes on the evening came in the waltzing melody of ‘Goodbye, Barcelona’, the indulgent ‘Drinkin’ Whiskey Tonight’ and the smart lyrics making ‘Something in the Water’ more than just a supreme album lead off title track. Pokey does not leave too much gap between records, and with last year’s release, MANIC REVELATIONS still finding new homes, hot off the press material is getting a preview as exemplified by this evening’s playing of a song titled ‘Rotterdam’

Whatever number played, a dedicated fan base lapped up every moment of their hero playing a full-length performance in a Midlands town. From a personal perspective, the delights of seeing them play festival sets at Cambridge in 2014 and Forecastle in 2016 were blown away by a sparkling performance that totally ruled a venue.

Opening for Pokey LaFarge on this tour is New Orleans-based country singer-songwriter Esther Rose, who accompanies her own acoustic guitar with a lap steel playing sidekick. Together, they blend a contrasting sound formed of atmospheric twang and a vocal style capable of bringing any remote dive bar to heal. Whereas Pokey takes the southern sound north, Esther took it further west. More the wide open spaces of New Mexico than the tightly knit semi-urban communities of southern Illinois. The title track from her recent album ‘This Time Last Night’ proved the consensus pick of the half hour set.

Consensus on Pokey LaFarge was rock solid on the overall appeal and only likely to be open to debate on which song proved the crowning moment. No doubt, a school of thought put the whole evening on a pedestal and that would be an assessment difficult to oppose. Winners were all round though: a band having a ball of a time; an audience grasping a rare opportunity to see a true American roots band in full glory and maybe just a city showing that it can come to the fore with supporting this type of music.

Wednesday, 7 March 2018

GIG REVIEW: Jade Bird - Hare and Hounds, Kings Heath, Birmingham. Tuesday 6th March 2018

From Stagecoach and Bonnaroo in the west to Latitude and Green Man in the east, festival goers spanning the continents this summer are going to get their heads turned when Jade Bird takes to the stage. Green lights are flashing, and it is all systems go for a young English singer-songwriter equipped to escalate her career very quickly. Populist platforms via the BBC and a signing to influential US operation Glassnote are proving useful boosts ensuring that this raw talent will not be denied an opportunity. Putting hyperbole aside for a moment, playing the small room in the Hare and Hounds to a listening audience is not a bad place to keep in touch with your metaphorical roots.

This Birmingham show saw Jade in solo mode though in tandem with a travelling piano and a trusted acoustic guitar. It is forming part of a wider UK tour that appears to be a prelude to a host of coast-to-coast dates in the States, many opening for Colter Wall. Extended sets may be at a premium for now, so the 50 minutes she played this evening is likely to be the current optimum, though every indication is that recorded material will eventually flow very freely. To date there is just the 5-track EP SOMETHING AMERICAN and a brand new single titled ‘Lottery’ to purchase, but this is not likely to be the case too much longer.

The initial impression of seeing Jade on stage is the sheer effervescent aura that pours from her persona even before a note or chord is struck. Eventually, the vocals and song delivery come to the fore, but the underpinning traits take root. The tempos of the tunes are evolving into two camps with the vocal range being aligned likewise. On the greater upbeat material, the vocals gets stretched a little, a trait that works better in a live environment than on the small recorded sample to date. However, Jade excels best when she tones it down to sink heavily into sad song mode and blend in all the elements of a pensive singer-songwriter. The released ‘What Am I Here For’ and the video-available session piece ‘If I Die’ were the pick of the songs delivered in the latter style and ascended to the highlights of the gig.

Associating Jade Bird with other artists and attaching labels is likely to be a contentious and subsequent futile task. While outlets like Rolling Stone have banded around the country and Americana terms in their ‘ones to watch’ series, these barely break the surface. There is an undeniable acoustic folk pop streak to her work that all goes into the mix of making influential operations take note. For me, similarities to American artist Lissie can be drawn in terms of style, while a useful quip on the evening suggested she might appeal to fans of Jake Bugg. On certainty is that she is starting to bridge the generations in her fan base.

To add to the diversity element, the two cover moments on the night were a version of Kate Bush’s ‘Running up that Hill’ played on the piano and a Johnny Cash medley/mash to close. Sorry, but the concept of the latter is never going to work here, despite ‘Cocaine Blues’, ‘Folsom Prison Blues’ and ‘Ring of Fire’ being great songs. If you like this sort of interpretation fine, otherwise it is best to reflect on what Jade does best.

This was reflected ably in ‘Something American’ and, more pertinently, ‘Cathedral’ from the EP; a new song introduced as ‘Good At It’ and a spritely number towards the end of the set titled ‘Uh-Huh’ . Despite it being already intimated that recorded material is limited, there is an abundance of excellently produced session videos of many unrecorded tracks online, frequently the product of the promotion drive she is being guided to in America.

For this tour, fellow young English singer-songwriter Jack Vallier is opening the shows and playing mainly songs from his debut EP REBEKAH. Switching between electric and acoustic, he kept the sound in mellow low- key mode, whilst showing a degree of promise and assuredness to ensure his career proceeds on an upward trajectory.

Jade Bird definitely strikes more than the proverbial chord with her music and oozes shed loads of relevance. This is one artist exposing a natural talent to make music, perform and ultimately entertain. Time will dictate the success of the tastemakers, and in turn impact upon the level of exposure. For those with an ear to sifting out the talent pool of artists edging in a roots direction, checking out this artist may prove a worthwhile activity.

Thanks to Paul Groves for the image.

Monday, 5 March 2018

ALBUM REVIEW: Kathryn Roberts & Sean Lakeman - Personae : I Scream Music

Part of the appeal of Kathryn Roberts and Sean Lakeman as a duo has been an ability to reach out far from their core to enlist casual folk followers into the fold. This is particularly prevalent in how the live shows are presented. To assist them in the next batch of announced dates this coming spring, a brand new album is unveiled and it staunchly underpins the core folk sound that has led the pair into award winning territory. PERSONAE is the fifth release under the Roberts/Lakeman moniker and it calls at all the usual ports in a stunning array of vocal and musicianship excellence. Seven assorted original pieces, in terms of theme and tempo, mix with the obligatory Child ballad; a further dip into traditional song and the ubiquitous Sandy Denny cover. The result is an enthralling journey through slices of mythical and satirical, albeit with the occasional twist of trusted melancholy.

It is with the latter sentiment that any delving into this album should begin and the track ‘Old, Old, Old’. On their previous album, Kathryn and Sean presented a heart breaking song about a lonely whale titled ’52 Hertz’. This time it is the turn of a Seychelles giant tortoise, aged around 150 and now given more than a voice despite 'imprisoned' on the remote island of St. Helena. The very essence of folk music is to tell the story and pass it down the line, few hearing this song now and in the future will fail to be moved.

Throughout the record, Kathryn’s peerless vocals transmit the aura of elegance, beauty and perhaps a touch of veiled doom. These are particularly pertinent in ballad mode, exemplified poignantly here in the self-penned ‘Independence’ and a cover of Sandy Denny’s ‘Solo’. There is little to split Kathryn’s voice with fellow luminaries such as Kate Rusby and Josienne Clarke, equal in spanning the bridge from the traditional to the contemporary world.

As we have come to expect from the Lakeman clan, musicianship of the highest order reigns supreme. Sean adds the production role to his defined duo duties, and has even enlisted the fiddle playing of his brother Seth to help on one song. The originals are all listed as Roberts/Lakeman co-writes, maybe split down the line in terms of lyrical content and arrangement, but who knows. One assertion is that the writing input spills out in a haze of intuitive wit, figuration and literary interpretation. ‘The Poison Club’ unravels as a jaunty ditty laced with a dark undercurrent to what can reel us in. ‘Seasons’ is a delightful joy to structurally revel in, and perhaps contemplate the meaning of the final verse, while the stories behind ‘Tribute of Hands’ and ‘The Streets of the Cats Who Danced’ move the mind forward.

Integral to a release like this is to fully savour complete with liner notes and lyrics in hand.
An unaccompanied version of the traditional song ‘Boney’s Defeat’, alongside its theme of isolation on the island of St. Helena is strategically segued into our dear friend, Jonathan the tortoise. Yes, those liner notes are useful. ‘Goddess Made Flesh’ closes the album with another timely reminder of Kathryn’s vocal bliss, and a seemly blink since we were introduced to the record merely forty minutes earlier with Child ballad #265 ‘The Knight’s Ghost’. What folk album would be complete without murder, revenge, loss and a little bit of misunderstanding?

PERSONAE (explicitly defined as: the aspect of a character that is presented to or perceived by others) is an unmistakeable treasure trove for purists and casuals alike. Punchy and tranquil in places; beautifully arranged and sparklingly sung, while rarely straying off a well-trodden path. Kathryn Roberts and Sean Lakeman have long had a regal streak about them and there is no sign of this sliding away as they present another record to fall in love with. What more can you ask for?

Thursday, 1 March 2018

ALBUM REVIEW: Michelle LeBlanc - A Man Like You : Self-Released

With an intensity of rawness and passion, Michelle LeBlanc announces her arrival as a recording artist in cracking style. A MAN LIKE YOU may be short and sharp in its five-track EP format, but it is certainly sweet, and packs a powerful punch. Tagging a genre is a tough task as it smartly represents all that is vibrant about modern Nashville, especially those active on the fringes of the independent sector. Whether you view this record from a country, pop, Americana or rock direction, crumbs of appreciation will gradually accumulate. Alternatively, take a listen across the wires without any pre-ordained ideas and its rampant hooks take hold.

Michelle is a South Carolina native now based in Nashville and the theme of this record aligns to the experience of moving to Music City from a spell in New York. In a well-worn and trusted formula of putting the pain of doomed love to pen, the five tracks are candid in their clarity, with one or two figurative inclusions. Of the two singles issued ahead of the formal EP release, ‘Loving a Hurricane’ puts a certain turbulent spin on the romantic process, and just as important, the vocal intensity ramps up the emotion.

The other single opens the record, and is more than a nod in a social media direction with the brevity of the title. ‘BTW’ twins the feelings of regret and reluctance to demonstrate Michelle's solo writing skills as opposed to a couple of her other tracks, which see the task performed in collaboration. The pick of the quintet is another solo write, and the track with the most appealing chorus. ‘Highway’ rolls along as a blistering anthem, taking the listener on a journey that keeps hope firmly in vision.

The two remaining tracks shore up the quality of the release without sharing the lofty heights of the opening trio. ‘I Would Jump’ closes the record with its sound in most rock mode, while ‘Hot and Heavy’ is the song that has to peddle hardest to make an impression. However, time is a great developer in music and these tracks' days may come. Despite this little dip, the promise is immense and it will be fascinating to see where a full album heads; of course, fingers crossed that all factors combine to allow this development. 

Just a quick gaze down the list of players involved reveals the name of Kris Donegan on guitar, who also played a significant part on the excellent Caroline Spence album last year. Moving in the right circles in her new home can reap dividends and help the raw credentials be built upon. A MAN LIKE YOU may have to fight hard to be heard in a crowded market, but there is enough in Michelle LeBlanc’s locker to make this, and future work, a success. Making a profound impact with your strongest tracks gets things underway very effectively and introduces an artist worthy of consideration.