Gloriously imperfect and once seen never forgotten are two
phrases which some up the enigma, Malcolm Holcombe. Whether listening to him
live or a recording, a necessary adjustment is essential to tune into the music
of surely one of the most distinctive performers from North Carolina to spread
their message wide and far. An imperative view of Malcolm Holcombe is to
treasure his importance to the genre of American roots music and revel in the
notion of one man flourishing with the utmost non-conformity. This successful
promotion bringing a slice of Americana to a corner of north-west Worcestershire
could once again reflect in an act of engaging diversity and leaving the folks
of Bewdley with a lasting memory.For me this was a lengthy renewal after first seeing Malcolm play solo at the Kitchen Garden CafĂ© in Birmingham several years ago. The vivid memory of a stool balancing – finger picking country blues guitarist has remained intact and the phenomena of this live performer is likewise in 2016. There were two main differences though: the chair rocking rarely surfaced and a rather useful slide guitar playing companion gave the overall music experience a more rounded glow. However still in place were the eccentric mannerisms, rambling stories and extraordinary ability to convey such inner soul drenched in a sound reminiscent of backwoods Appalachia.
It was a perceived brave move to bring such a distinct left field
artist to a community setting, but the three figure turnout was a tremendous
sight in this challenging age for original live music. It was understandable
that Malcolm may not have been to the taste of some people, yet the overall vibe
in St. George’s Hall was positive. It was pleasing to witness so many live
music fans being prepared to open their mind.
The gruff vocal side of Malcolm Holcombe is an absolute understatement
especially when compared to the occasional contribution from Jared. It is the
perfect mode for the worn and weary style of his songs which demand total
concentration, whilst rewarding such acts of dedication. In contrast to the
depth of the song material, the music is a feast of simplicity with oodles of
mighty picking filling the atmosphere.
In line with their previous presentations, the promotion
operating under the banner ‘Music in the Hall’ enlisted the services of two
local acts to give the evening a sense of variety, while underpinning the
essence of music development. An enterprising young blues duo Two Doors Down
took to the stage for the first half hour to be soon followed by a more experienced
blues rock band named One Tree Canyon. The latter act filled their set with a mixture
of covers and originals. Inevitably ‘Wagon
Wheel’ and ‘All Along the Watchtower’
assumed the role of standards, while a version of John Fullbright’s ‘Satan and St. Paul’ both intrigued and
impressed.
The turnout and subsequently successful venture of promoting
this style of music in a market town not too far from a major urban area continues
to defy general trends and this is a testimony to the promotion. The booking of
Malcolm Holcombe presented the opportunity for wider Midlands Americana music
fans to catch up with this pure and authentic performer. The good news for the
open minded is that Malcolm is in fine fettle, keeping his music true and
honest, while ploughing an undeterred individual trail of ‘three chords and the
truth’.