The immaculate surroundings of Birmingham Town Hall and the
music of Gretchen Peters are the perfect fit. A hushed environment absorbed every
word from the most meaningful array of songs you are likely to hear in a single
set. This was Gretchen Peters in absolute control, cashing in on a lifetime of experience,
association and striving to pen the momentous song. The success of the latter
set the tone at the outset of a lengthy career, yet growth has been organic and
a testimony to an artist pursuing a multitude of avenues in maximising the
depth of their talent. The West Midlands, and its outer area, have been kind to
Gretchen Peters over the years, whether playing host in Birmingham, Bilston,
Bromsgrove or Leamington Spa. This evening saw a return to the grandeur of the
city centre Town Hall and the faithful were repaid with another priceless
performance.
2018 is the year of DANCING WITH THE BEAST, an album
recently unleashed on another fruitful and exciting journey. It is also the
year Gretchen has re-enlisted the services of two Northern Irish guitarists in
Conor McCreanor and Colm McClean to join her and husband Barry Walsh in re-enacting
a winning stage formula of the past. With all the pieces in place, it was just
left for a special ninety minutes to evolve inducing shivers, tears, goose
bumps and a realisation that happiness can accrue from gorging on sad songs. It
was literally a case of ‘you know the drill’ as seventeen imposing songs elaborately
enriched the minds of a few hundred willing accomplices.
There were a couple of slight adjustments to this evening’s
presentation in comparison to past formulas. Chat appeared to be streamed down
alongside sporadic track introduction. The focus was more profoundly on the
songs with each composition thriving on the space afforded to let the listener
absorb their value. Of course, older songs like ‘On a Bus to St. Cloud’, ‘The
Matador’ and ‘Guadalupe’ need no
introduction, with the latter still inducing recollection of it being heralded
as her and co-writer Tom Russell’s ‘Townes’ moment.
Being a paid up member of the school of thought that
Gretchen Peters’ songs mature like a vintage tipple is a sound investment. Title
track ‘Blackbirds’ and ‘When All You Got is a Hammer’ from her
last album BLACKBIRDS are well on their way to such status as is ‘Idlewild’ from the now six years old
record HELLO CRUEL WORLD. However, the emerging jewel in the crown from that
period ascended to the pinnacle of a special evening in the form of the spellbinding
reflective piece ‘Five Minutes’. This
exhibition of succinct and majestically crafted song writing continues to raise
the emotive tempo with each listen, rapidly accelerated in pin drop
environments like experienced this evening.
The cellophane is barely off the new record, but incisions
are starting to be made with a raft of songs implicated tonight as being
heavily gender focussed in character assimilation. Unexpectedly and with a barrage
of records to be sold, a vast complement of the album made the set list. In
line with the album running order, ‘Arguing
with Ghosts’ opened the set and ‘Love
That Makes a Cup of Tea’ acted as the parting gift. Referring back to the
intimated change in formula, the finale saw Gretchen ditch all elements of
plugged-in assistance as she used every sonic capability of an
acoustic-friendly hall to leave the audience comforted with a slice of rare
positivity.
Treat yourself to the album and the early-perceived riches
of ‘Wichita’, ‘Truckstop Angel’ and ‘Disappearing Act’ will reveal
themselves. ‘Lowlands’ was one of the
few songs afforded an impassioned intro as the result of the 2016 US election
took hold in her song writing mantra. An inspired quip from the audience at
this point suggested the grass is not that much greener over here. ‘The Boy From Rye’ will continue to raise
eyebrows when its subject content is increasingly grasped, but the surprise feature
on the evening was the impressive performance of ‘Say Grace’.
For this song, opening artist Kim Richey re-entered the
stage to join Gretchen on vocals with a substantive effect. Earlier Kim had
confirmed her status as a smart choice to play on this tour and re-affirm a
long relationship that she has had with UK audiences over a number of years.
Similarly to Gretchen, a brand new album was in tow, with tunes like ‘Pin a Rose’, ‘Chase Wild Horses’ and ‘Your
Dear John’ providing a solid showcase to what can be expected from the
record, titled EDGELAND. Older favourites such as ‘Chinese Boxes’ and ‘Straight
as the Crow Flies’ gave folks a timely reminder of why Kim Richey is one of
the most respected singer-songwriters operating on the Nashville and wider
American folk and country scene. Birmingham fans will not have to wait long
until she builds upon this half hour slot in the city, with a planned return
for a headline gig at the nearby Kitchen Garden Café in June.
There was added surprise to the cover Gretchen and Barry
selected for the encore. Joining classics from Gram Parsons, John Prine and
Rodney Crowell on recent tours, the band turned to the work of Mickey Newbury
with a rocking version of ‘Why You Been
Gone for So Long’. While this was not quite the evening finale, it did bid
farewell to the stellar work of Barry on piano and accordion; Conor on upright
and electric bass, and Colm on lead guitar. Gretchen remained steadfastly
secure to her acoustic guitar all evening, resisting the temptation to re-unite
with the keys. Maybe future shows can see this return alongside some version of
the song that first led many folks to her door in the form of the seminal ‘Independence Day’.
The precedence of a new Gretchen Peters album is that the
tours quickly follow each other. One summation is to revisit the more ‘audience
with’ shows where the songwriter can spend greater time on slicing each song
with informative chat. Appreciatively, tonight’s show was designed on maximum
song exposure and rightly so to seize the moment. Gretchen’s versatility has
been one of her greatest strengths in the two decades that she has crossed the
ocean to share her songs in person. Therefore, the end of each show does allow
a speculative thought of what next.
The bond between Gretchen Peters and this section of her widening
UK fan base strengthened a great deal more on the back of this successful show.
Being on board with her work is one of the wisest decisions advocates of significant
song writing can make. Whether you joined in 1998, 2008, 2018 or contemplating joining
now, a lifetime’s body of incredible material is at your disposal to enjoy. The
live format is pretty good as well.
Review of Dancing with the Beast
www.gretchenpeters.com
www.kimrichey.com
