Although
appreciation for Eilen Jewell traces back to the 2007 album LETTERS TO SINNERS & STRANGERS, opportunities to see her live have conspired to leave
this ambition unfulfilled. Finally, circumstances fell into place to make the
trip up to the Potteries on the eve of the Cambridge Folk Festival and catch a
show at Biddulph Town Hall. Her previous visits to the wider Midlands area have
tended to concentrate on the eastern side with last year’s Nottingham date
attaining sold out status during the run up. That show was on the back of her
2017 album DOWN HEARTED BLUES, which once again saw Eilen take a break from original
music and explore another fascinating aspect of the roots world. The clue to
the style is in the title and it was set to feature prominently this evening. The early and
middle parts of 2018 has seen Eilen and her long time trio of travelling
musical companions cram in as many dates around the globe as possible before once again
embarking on a little family downtime prior to the promise of new original
material.
Ahead of
Eilen and the band taking to the stage, a well-populated hall enjoyed a short
set from singer-songwriter, Lissy Taylor. Hailing from Stoke-on-Trent, but
audibly schooled in Lexington Kentucky, Lissy eased into the opening role with
a bunch of original songs taking their influence from a host of personal situations
and surroundings. Her sound was drenched in country folk sentiment, and
although Lissy herself used the word 'pop' in her self-introduction, the added
feel was one of indie, albeit from a slow moody perspective. You could quite
envisage the songs getting the atmospheric electric treatment. She had a
similar statuesque poise on stage to Erin Rae, and a tempo that similarly hooked
you into the groove. A southern twang had infiltrated the vocals, although
there was no mistaking her roots between songs. Overall, an effective opening
act with heaps of promise at her feet. A name to look out for in the future.
Flanked by
band members, Jerry Miller (electric guitar), Shawn Supra (electric/upright
bass) and Jason Beek (drums/percussion), Eilen Jewell set out to show why she has cut
a highly respected career as one of the most innovative and exploratory
artisans of American roots music over the last decade. A sleek and classy style
breezed through an impulsive set stretching the breadth of her career, with
more than a slight bias towards the most recent album.
Eilen’s
love of the blues may not be in her DNA, but it is certainly in her soul.
Starting her set with ‘It’s Your Voodoo
Warning’, she frequently dipped into songs covered on the recent record such
as the title track, ‘Nothing in Rambling’
and ‘Don’t Leave Poor Me’. Names that
have clearly influenced her shared during the evening included Willie Dixon,
Bessie Smith and Memphis Minnie.
Such is the
diverse aspect to Eilen Jewell’s music, the term ‘Americana’ as referenced by a
pot pourri of American roots sounds could almost have been invented for her.
Country music features strong and it was of no surprise to hear a Loretta Lynn
song covered. In fact, ‘You Wanna Give Me
a Lift’ was one of the tunes featured on her 2010 tribute album to the
legend. ‘Heartache Boulevard’ and the
requested ‘Boundary County’ also
reflected this chosen style.
With the
band that Eilen has assembled, good ole fashioned rock ‘n’ roll was always
going to play a part. Plenty of upright bass was slapped by Supra alongside multiple
scintillating guitar riffs and solos from the outstanding Miller. Beek had his
moment in the sun towards the end when advancing from behind the drum kit to
lead on the washboard, straight out of Columbus Ohio.
Outside her
genre specific material, plenty of other old favourites thrilled the audience
including the triple opening to the LETTERS album of ‘Rich Man’s World’, ‘Dusty
Boxcar Wall’ and ‘High Shelf Booze’.
When in full flow, few songs were better than a riveting foot tapping version
of ‘Sea of Tears’. Perhaps when we
just needed a helping hand down before heading home, Eilen ripped open her
heart, and in solo mode accompanied only by harmonica and acoustic guitar she
shone an adoring light on her daughter in the track ‘Songbird’. Quintessentially folk in the delivery style and likewise
beautifully sung.
As
indicated previously, this gig was on the eve of a return to the Cambridge Folk
Festival. Not relevant regarding the Eilen Jewell tour schedule, but symbolic
to the strains of musical variety that are likely to dominate this four-day
event. The evening concluded on a note of mission accomplished. Nothing gained
from harking back over lost opportunities, but fully blessed that the chance to
finally see Eilen Jewell play live had been grasped, and this gig-going
adventure become a little richer. If Emmylou coined the phrase ‘Boulder to
Birmingham’, then why not evoke the alliteration ‘Boise to Biddulph’. Deepest
Idaho and the Potteries interwove this evening.
www.eilenjewell.com
