Gig Review: Katie Spencer - Kitchen Garden, Kings Heath, Birmingham. Wednesday 28th July 2021

 

There is nothing quite like music, especially in its live format, for experiencing life in the absolute present. Getting into a zone where nothing else matters for a defined period is a real treat and one associated with the music of Katie Spencer. Over the last few years through an expanding live exposure and an increasing collection of recorded material, the music of this Yorkshire-based singer-songwriter and exceptional guitarist continues to beguile and transfix listeners that tune in. Tonight was the most extensive live exposure to date with a full 90-minute twin set gig virtually doubling up on previous live experiences seen, namely a co-headline slot in Coventry and a set at Beardy Folk Festival in 2019. With a solo platform afforded by the Kitchen Garden, this prodigious talent duly mesmerised a healthy Birmingham gathering.

In line with many artists edging back onto the live circuit in the summer of 2021, a recurring theme of the inspiration and the challenging is evolving as the truth behind the last eighteen months for a creative performer emerges. For Katie, we had the joy of a new song born out of a lockdown view from her new hometown of Bradford in 'Silence on the Hillside' and the fruits of her dream session with two members of John Martyn's band. This session resulted in the latest Katie Spencer release, a three track EP of re-interpreted John Martyn tracks comprising of the title song 'Hurt in Your Heart' alongside 'Couldn't Love You More' and 'Small Hours'. The first two of this trio were shared with a Birmingham audience this evening and confirmed her eminence as an authentic interpreter of one of English folk music's most enigmatic and celebrated artists from the last half a century. 

One of these tracks saw Katie switch guitars to electric and thus a spine tingling demo of how to caress and charm a tune out of the beast with the most delicate of playing. This was repeated once more in the show to leave a memory of something special. Whether on electric or straightforward acoustic, the guitar playing of Katie Spencer is an true gift to savour.

While the new song and intepretative release emerged as lockdown positives, we heard about the challenges including seeking employment in a conventional supermarket setting to make ends meet. Maybe a little sad with true creative talent being cruelly curtailed and denied a platform to prosper commercially. Hopefully an upturn will lead to a re-alignment of economic activity, and surely there will be a line a mile long to book Katie Spencer once the world confidently re-opens on a large scale. 

During a gig where Katie's inter-song chat grew exponentially more confident and informative than previous appearances, the jigsaw pieces of her career were put together including a couple of songs inspired by the city of Hull where she grew up and was introduced as her home up until the recent past. These included a personal piece titled 'Shannon Road' and a commissioned project called 'Edge of the Land' focussing on the erosion of the coastal part of previous home. 

Of the two main Katie Spencer original recordings to surface to date, the 2019 album WEATHER BEATEN was represented the most with the title track joining 'Hello Sun', 'Helsa' and 'The Hunter' as set list inserts. Listening to the last one live drew comparisons in delivery to Laura Marling. Not an associate previously recognised but it certainly came to the fore this evening. While none of the songs from recollection were shared during this gig there is merit in starting your past Katie Spencer journey with her debut EP GOOD MORNING SKY, which first crossed my path in 2017.

As much as her evolving history and undisputed potential to rival serious folk players starts to define Katie Spencer, it is the presence of the here and now where her music intrinsically flourishes. This is a young performer hailing John Martyn and Martin Simpson as her heroes and making a jolly laudable effort to place her own playing, writing and performing skills on a pedestal growing in stature with each show. This Kitchen Garden gig may be a small piece in an eventual large jigsaw, but for 90 minutes it was an enormous performance in terms of aura and delicate craft. 

www.katiespencer.net

Album Review: Flo Perlin - Characters

 

www.floperlin.com

CHARACTERS is the debut release from London-based artist Flo Perlin. Its eight tracks evolve as a hypnotic and mesmerising experience keeping the listener entranced for an intoxicating half an hour. The addictive qualities shine through as a deeply personal folk overcoat is underpinned by emerging jazzy undertones. Themes range from exploring her own diverse heritage in 'Baghdad' to something even more personal than the general feel to the album in 'Hold Up Your Head Child'. This last track employs the writing technique of repetition that plays a significant part in embedding the album into your psyche via the reams of repeat plays that are a compelling outcome of hooking in. 

The gently strummed 'Slowly Unfold' kicks things off in a lo fi kind of way with subtle strings hazily serenading you. This is followed by the record's first single 'Back in Time', which like it says in the title brings nostalgia right into focus. The two tracks mentioned earlier form a twin cannon to take you to the half way mark and probably hover around a peak of the album's appeal in their presence. 

There is a heavy sensual feel to the album's second half. The art of communication influences 'Words', while the scent of 'Pine' prods the aromatic side to your imagination. 'Blue is the Colour' is as visual as you want it to be and the motion attached to 'Move Through the Waves' gently guides you to the conclusion. A point where you feel the transition from a folky outlook to a jazzy cloud is complete. 

Gig Review: Adam Beattie and Fiona Bevan - Kitchen Garden, Kings Heath, Birmingham. Tuesday 20th July 2021

The value of ending a show on a high can never be underestimated. A trait perfectly illustrated by the latest offering from the Kitchen Garden as it eases from a situation of enforced restrictions to ones of a different dimension. This was in fact the second show at the venue since the significant live music switch a couple of days ago, but it was business as usual in terms of a comfortable gathering. What may have been lacking in numbers to test the new normal was made up by the heart and soul exhibited by Adam Beattie and Fiona Bevan as they chose to end their show with a sublime version of 'Killing the Blues'. Probably the best version heard in the city since Robert Plant and Alison Krauss brought their Raising Sands tour to the NIA in 2008. 

Despite this version being delivered in stunning duo mode, the format of Adam Beattie and Fiona Bevan is one of supportive collaborators rather than the out and out harmonising of the common voice. They both operate in the field of individual artists, tending to focus on independent writing and releases. Of course their real life partnership status does extend to exerting influence when on stage and the pair of sets played this evening both used the full band status of a four-piece line up featuring drums and lead guitar backing the presentation. 

Adam Beattie opened the evening with a selection of songs mainly from his newly released album SOMEWHERE ROUND THE BEND that came out last December. The pick of these was 'Lovers Old and Lovers New' which fondly reflects the presence of the Jamboree venue prior to its closure. The jazz feel to this sound juxtaposes the overall folk vibes, injected occasionally with shades of technological innovation. All the songs were presented in an alluring and engagingly soft manner. The audience were fully furnished with an appetite for geographical influence and inspiration as we moved from the clubs of London to the streets of Paris, a stint in the Greek islands before a roam round the Scottish Highlands. 

During the opening set we were introduced to the percussion of Chris Jones and the guitar playing of Filippo Ferazzoli. They remained in place for the duration of the evening. Right up alongside Beattie was the multi instrumentalist activities of Fiona Bevan easing between violin, guitars, double bass, keys and the ever omnipresent backing vocals. Overall an entertaining lead up to the break.

Unlike her partner, Fiona Bevan's most recent release is a few years back, but she does have an EP out soon which was gleefully promoted throughout her set. There is also a major Fiona Bevan songwriting presence out there which doesn't take too much searching.  Back to her solo material, the vocals are slight and welcoming, driving the band to tone down their presence to give them the space to blossom. She smoothly interchanges between the keys and guitar, while given stellar sidekick support from her partner mainly on guitar. The most impressionable songs from the set were 'Peaches' and one recalled as 'Revelation' towards the end but cannot be 100% sure of the title. 

The band were due to head back to London to play the Green Note for their next gig. A venue that first alerted me to the music of Adam Beattie and Fiona Bevan via their lockdown stream series complete with the self-designed red velvet theatre. While taking a punt on a newish artist can be a risk, full justification was sealed with the finale. Solos will probably remain de facto but the duet was something else.

www.adambeattie.com

www.fionabevan.co.uk

Gig Review: Luke Jackson - Kitchen Garden, Kings Heath, Birmingham. Sunday 18th July 2021

Luke Jackson last visited the Kitchen Garden on 9th February 2020. The following day he flew to America to undertake a tour, which by the skin of its teeth was completed just as the world closed in. Like so many artists returning to the live circuit in the summer of 2021, the last eighteen months has provided at least an experience even if in many cases this hasn’t equated to productivity. Luke Jackson doesn’t fall into the latter category as a seven-track digital only EP (or mini album, whatever the definition) emerged at the start of the year. Also, while the regularity of gigs is steadily gathering pace for some, he did have the opportunity to play a show in his trio format back in September when invited to appear at the Beardy Folk festival in Shropshire. However, we are now in reset mode for many and Luke Jackson is looking to build on a career that is amazingly well into a second decade.

The last statement is found on an artist starting out exceedingly young and you only need to spend a short time in the presence of a Luke Jackson show to realise there are many years ahead. If what we are witnessing now is only the precursor to an illustrious career, then there are some mighty peaks to clamber up.

This latest visit to Birmingham was one beset with date changes as we lurched from one set of restrictions to another. It was somewhat ironic that the eventual date was on the eve of the pretence that everything would return to normal. We will wait and see on that. So, this show went ahead within some sort of restriction and another opportunity for the Kitchen to showcase its patio performing area. In fairness we were given the perfect evening weather-wise as the 30°C daytime temperature barely dipped a few marks under as night drew in. 

Having seen Luke Jackson many times over the years, there is a tendency to separate the new from the familiarity. The latter will always play a part as it often defines an artist, and if they don’t delve into their back-catalogue they are cutting off a significant part of what forms them. To freshen things up, we had several old songs this evening that had been given a new lease of life from the Facebook live shows played during lockdown. One example being ‘Bakers Woods’ from the 2011 debut album MORE THAN BOYS.

The newer element to this Luke Jackson show fell into multiple camps. Four songs were shared off the release  OF THE TIME, from earlier this year. ‘Nothing But Time’ opened the show, ‘Blinding’ and ‘Tiny Windows’ were overtly introduced, but all three were trumped in the ultimate received praise by ‘Keep it Down’. Some of these songs were remembered from the festival set last September and they sound as equally stunning in the fuller format as we heard solo this evening. 

On the subject of new songs, we were asked to be guinea pigs for a premiere of ‘Hummingbirds in Kingston’, one inspired by a previous US trip. While sounding a little different in style to a lot of the other material, it came across well and presents an enticing side to how his song writing can be developed. We were also informed of a John Prine awakening during the lockdown. The riches of roaming down that rabbit hole as a source of influence will set us up for a few years. In the meantime, we were given a version of ‘Angel From Montgomery’. If we need to start somewhere, why not there! 

Of course, we should never shy away of the familiar side to Luke Jackson. The gems from the 2019 album JOURNALS continue to shine. ‘Honeycomb’, ‘Cherry Picker’ and ‘Heavy’ all sounded chipper tonight but were slightly eclipsed by ‘Eliza Holt’ as the strongest performance from the recent past. Other much treasured Luke Jackson moments are retained such as opening a set (this time the second) with the unaccompanied ‘Trouble Now’ and ending the pre-encore part of the show with the popular singalong ‘The Road’. 

A quick scan down the future tour dates for Luke Jackson reveals an extensive run supporting Fairport Convention. It is often viewed that he doesn’t neatly fit in any genre box and is driven by ploughing an independent furrow down music’s long winding highway. Although, the folk credentials are intact and will be lapped up on these dates. Putting this future experience to one side, here is an artist driven by the road, whether all over the UK, Europe or increasingly the US. While slots supporting folk luminary raise the profile, he is perfectly adaptable and adept whatever format or size of venue played.

Eighteen months since the last full Luke Jackson show seen and circumstances have strengthened this Canterbury-based performer. Whether fine tuning the powerful vocals, calibrating the picking skills or evolving the writing content, the wheels of independent musicianship continue to gather momentum and a packed career so far is set to get busier. Perhaps, with a little justice, one more successful and lucrative. 

www.lukepauljackson.com

Album Review: Ben Reddell Band - ¡LA Baby!

 

www.benreddellband.com

¡LA Baby! is a short sumptuous collection of superlative songs from Texas-raised LA-based mover, shaker, stalwart and scene activist Ben Reddell. While there has been plenty of Ben Reddell Band shows over the years, releases have been been a little thinner on the ground and the only one traced back is a 2012 EP. This 2021 effort falls into that grey area between EP and short album with the eventual set up of six tracks plus a bonus single available at the same time puts this release into the latter category. 

The bonus single 'Hey' has been out and about for everybody to listen to since the spring and is a little different to the six tracks that form the new longer release, This extended collection keeps you hooked in for its 25 minute duration and unveils as a set of top tunes skirting country, wider roots and a rougher rocky input. Among the stand alone content are six tracks that you can quite easily package into three compartments, not a thing that an artist regularly courts, but sometimes the reception can alter the intent. 

For a little strap line, you can always consider the path from mid 70s Eagles to The Mavericks via George Jones. The opening two tracks are rockier and edgier than the rest with guitar, keys and rock 'n' roll coming to the fore. 'My Baby' is a straight up feel good roller where an amicable gentle number breezes through an accessible exchange of guitar and keys. It is followed by 'Cocaine' where the aggressive tempo is raised a touch and you come out with a feeling of drastic action for drastic times. This is a track which builds through the play with ear worm chorus repetition sealing the deal at the end.

As soon as Reddell has rocked us up, he follows up with a couple of country gems, one primed for the play lists and as good as any genre piece picked up this year. 'Twelve Bar Blues' is a pure dance room shuffle mingling some pedal steel bliss with a slice of dreamy romanticism. Prior to that 'Tumbleweed' is the conduit from the rocky stuff to country mode. A little bit of wanderlust mixes with some vivid imagination in a temperate effort that appears to be personal from the titbits supplied with the release. 

We end with a pair of foot tapping accordion driven efforts that you could place anywhere from Cajun soaked Louisiana to the Tex-Mex border or even the Latino quarters of Southern California. It is tough to split the merit of 'If You Lover Her and Need Her' and 'Good Thing'. So don't bother to, just enjoy their feel good vibes and celebrate this super effort from the Ben Reddell Band.

Not a second of the template the band has chosen to frequent is wasted. ¡LA Baby! serves up a simple set of accessible tunes right on the mark of an eager ear active in this genre radar. Everything is in place with just one final thing to do - add 'Twelve Bar Blues' to those country playlists. Maybe the accolade will tempt Ben Reddell and his band to record again in the near future.

Album Review: The Flatlanders - Treasure of Love

 

www.theflatlanders.com

The name derives from the vast open expanses of West Texas, but The Flatlanders have long been a beacon of influence towering over that state's alt-country music scene for close on fifty years. Even when inactive as a trio, the solo work of Joe Ely, Jimmie Dale Gilmour and Butch Hancock has travelled far and wide They may have to jostle with more familiar names like Willie Nelson, Guy Clark, Townes Van Zandt and Steve Earle for the ultimate public appeal, yet a strong argument can be made to equate the eminence of The Flatlanders, either in unison or solo, on a similar plateau.

Now with all three members at least at the three-quarter pole mark of life's long race, the time was right to get the band back together to record another album. TREASURE OF LOVE is a fifteen strong collection of mainly borrowed songs mingled with shades that the old song writing magic hasn't been dimmed by time. Mind you, both Ely and Gilmour have been active with new material over the last few years, but it was perhaps more pertinent that the album opens with a Hancock penned track 'Moanin' of the Midnight Train' to set the tone.

Elsewhere, the trio put a very Texas take on songs by legends such as Johnny Cash, Bob Dylan, Mickey Newberry, Leon Russell and The Everly Brothers. These songs may not always be the standards that every barroom warbler would bang out, but then again you would expect Ely, Gilmour and Hancock to be smarter. The common trait is that The Flatlanders' versions are a cut above the norm and ably enhanced by the pedal steel work of legendary Texas picker Lloyd Maines, who also lent a hand in the co-producing role.

It goes without saying that a Flatlanders album in 2021 is all about the here and now. It does nestle in neatly among the wave of artists making music at slightly different positions of their career to a band intermittently active for half a century. It is a gift from the heavens for old timers who haven't had new material for well over a decade and were last graced with unreleased seventies recordings in 2012. While TREASURE OF LOVE is not bestowed with much of the new song variety, its alluded freshness, prime class and seasoned panache is to be celebrated alongside rejoicing in the reunion of Ely, Gilmour and Hancock. 

Album Review: Joe Danks - Seaspeak

 

www.joedanks.co.uk

If there was to be a Eurovision album contest for folk music then the UK (or England to be strictly more geographically relevant) would be supremely served by the new record from Joe Danks. It would be slightly ingenuous to call this a tick box folk release, even though it appears to cover a multitude of bases in what you would expect from a deep rooted and far reaching long player from this genre. SEASPEAK does what it says in the title with its strong maritime theme, but this is just the beginning as you excavate deep into the creative mind of one of this country's leading folk lights.

Joe Danks is known for work as a member of the band Ranagri and was the lucky recipient of a year long residency at the National Maritime Museum in Greenwich courtesy of the English Folk Dance and Song Society's (EFDSS) 'Musicians in Museums' project to support his solo debut. Surrounded by such nautical stimuli, Danks pontificated about where this album could go and roamed many nooks and crevices unearthing poems, traditional songs and tunes, enlisting help from stellar musicians as well as dipping into his own songwriting well. The sum is an album brimming with intrigue and intellect alongside innovation and inspiration. 

For forty-two minutes from the opening track 'Sea Fever' sparked by the entwining of two poems to a closing nod to the work of Ewan Maccoll with a delightful cover of 'Sweet Thames Flow Softly', the listener is riveted to where Danks takes this album. We get some widely prevalent sparkling tunes courtesy of esteemed musicianship, historical tales re-told in Danks' words ('Jutland 1916' and '308') and even Simon Harmer step dancing on two tracks including the second in line 'Quadrilles'.

Like all rounded folk albums of this ilk, the liner notes, or in this case, the comprehensive song booklet is an invaluable source of accompanying enjoyment. Where else can you learn of choosing the traditional song 'Man of War' to represent Turner's Battle of Trafalgar that proudly stands as the museum's leading nineteenth century piece of time commissioned artwork or the origin of 'Jumbo/The Matthew Scott Schottische'. Yes, it is about an elephant. 

While fixated folk critics and aficionados will scrutinise the components of SEASPEAK, the twofold approach of letting the album casually float over you for a fair few spins before diving deep into the details worked wonders in getting the true worth of this record. Ultimately it proved a wise investment of listening time and a small part of payback to Joe Danks for sinking his whole craft into something that is set to reap rewards.

Album Review: Tylor & the Train Robbers - Non-Typical Find

 

www.tylorandthetrainrobbers.com

Tylor and the Train Robbers are an alt-country band operating out of Boise Idaho and NON-TYPICAL FIND is their third album. The previous record from 2019 BEST OF THE WORST KIND was met with widespread praise but only skirted across my horizon, and like so many other decent releases unable to penetrate a saturated supply line. This time a chink of light was offered and the eleven track offering grasped the opportunity to make an impact. 

A little check into the background of the new album reveals a link up with Cody Braun of Reckless Kelly. Now that is one top band which has been on my horizon for years. Braun takes the production reins on this album and a further involvement sees the band join Reckless Kelly on some US dates later in the year. 

Putting the titbits aside, there are many redeeming features that hoists this album into the realm of generating a few kind words and heeding a recommendation. First up is the track 'Jenny Lynn' which band leader Tylor Ketchum wrote for his wife and fellow 'train robber' Jennifer Pisano Ketchum. There is a strong case for this being the standout track and its Irish feel adds to the mix. It is followed by the album's most fascinating song. Title track 'Non Typical Find' is an epic story song, apparently true, which twists and turns to the classic literary ending.

Other redeeming features are a folky feel throughout, starting with opening track 'Equation of Life!', which also features pedal steel. Always a winner in my book whether you deem the overall style country, alt or contemporary roots. The album does rock more in some places than others notably the homespun 'This Town'. Meanwhile for a touch of bluegrass check out 'Lemonade' coupled with some strong perceptive writing that features throughout. 'Staring Down the North' is the accessible track on the socials and reflects a more upbeat side to the Tylor and the Train Robbers sound. Worth checking out to get a feel to what this band is about. 

As the album glides towards its conclusion after a rewarding fifty-plus minutes, we are treated to the gently rolling vibes of 'These Days', a little more oomph in 'Back The Other Day' and the positivity shining through in the finale number 'Silver Line'. The latter being yet another glowing example of Ketchum writing a very attractive song that resonates strongly in its structure and appeal. 

Time will tell whether the touring sparsity of 20-21 leads to a golden age of recorded content. Popular opinion and pockets of artist anecdote indicated that inspiration comes from being out and about rather than in some element of confinement. Where Tylor and the Train Robbers ultimately drew their influence and artistic drive from is somewhat secondary  to the conclusive verdict that NON TYPICAL FIND hits its audience with a degree prevalent accomplishment to make a statement that good things do come from adversity. 

Gig Review: Eddi Reader - Lichfield Cathedral. Friday 9th July 2021

Lichfield Cathedral was a gorgeous setting to launch the music segment of this city's 2021 cultural festival. This event as a whole found a way to keep the show going and they had booked a perfect accomplice to kick things off - excuse the pun! Like all shows between 21st June and 19th July (hopefully) it was a case of can we tinker enough to proceed. The event organisers worked out that the cathedral could host around 250 comfortably, so it was all systems go to bring Eddi Reader's 40th anniversary tour to the Kingdom of Mercia.

Since live music resurfaced in May, we are getting used to artists opening their set with a comment about a first show in eighteen months. This evening we went back a little further with Eddi Reader announcing that it has been two years since playing live. She then proceeded to be brave enough to play without a set list relying on the spiritual surroundings to help out with any blank lyric moments.

The format of this gig was Eddi and her accompanying four-piece band playing a single set for just a few minutes short of two hours. Well worth the investment, even if you paid a little premium to enhance its viability due to restrictions. The band consisted of four experienced musicians, each playing their acoustic instruments in a consummate style to support the dynamic vocals of a singer capable of swinging along the song spectrum like she has done over the last forty years. 

Whether you are a keen fan of her music or casually recall her as topping the charts in1988, you leave an Eddi Reader show fully conversant in what she is about. The presentational style is informative, passionate, far reaching and fully absorbing. The chat paints a picture almost as visually as the songs and you leave knowing full well what makes her tick as well a fuelling a life long desire to fulfil a creative dream through the medium of song. 

Across an evolving setlist that expanded to well over twenty songs we criss crossed the styles, centuries and pockets of influence. One moment you witness Eddi Reader-the folk archivist and self-confessed Robert Burns nut- , then the switch to a sheen that knocks a popular song out of the park with a touch of glitz and class. There was the odd moment when the lyric memory went blank but the surroundings and band members kept things going alongside a deeply professional performer smoothing the glitches with a seasoned and smoothed elegance.

There was a slight change to her normal band line up. However when you call on the substitute services of top Scottish guitar and mandolin player Innes White to jam along, safe hands are in tow. Working with other high quality folk compatriots such as Karen Matheson and Siobhan Miller puts you in good stead to help out Eddi Reader. The remainder of the band was made up of husband John Douglas also on guitar and mandolin, Kevin McGuire on stand up bass and long standing ever active Scottish singer songwriter Boo Hewardine helping out on guitar and vocals.

We even had Boo Hewardine lead on one song, though 'Patience of Angels', recorded by Eddi in 1994, was one of his compositions. Another songwriter frequently mentioned on the evening was Mark E. Nevin who she was in tandem with when Fairground Attraction shot to fame in 1988. From their award winning album, we had the obligatory 'Perfect' though delivered in a low down Glasgow blues style and the track 'Fairground Attraction' complete with back story. We also ended with a Mark E. Nevin song in 'The Right Place', one intersected with the popular track 'Everybody's Talking'.

Talking of popular tunes we had renditions of 'Moon River' and 'Mona Lisa' when Eddi reminisced about those never to be forgotten family singalongs in 19600s working class Glasgow. All delivered in true theatrical style. While there were plenty of other songs from her back catalogue which at least have a popular twinge to it such as 'Dandelion', 'Hummingbird', 'Dragonflies' and 'My Favourite Dress', it is perhaps the attention she pays to Robert Burns which defines Eddi Reader in the maturer years of a career.

There were plenty of references, stories and songs about the Ayrshire bard during the show. Indeed the peak moment fell into place during the penultimate number as the cathedral shone in its full glory while we listened to the spellbinding 'Ae Fond Kiss'. We were truly blessed for this three minutes. On a more upbeat note, we also had 'Willie Stewart' and 'Charlie is My Darling'. Both of which can be found on the 2013 album THE SONGS OF ROBERT BURNS.

Away from Burns, but still on the old time folk theme, we heard the excellent song 'Macushla (My Darling)' with its Gaelic and century old courting traditions, and the full story behind 'Pangur Ban and the Primrose Lass'. Bringing things more up to date, 'Muddy Water' was a contemporary highlight and 'Pray the Devil Back to Hell' was sung in the perfect place.

To use the words of Sean Lakeman from the first post-lockdown gig, "dusting the rust" was applicable at the start of this show, but by the end the rust was all gone and the shine of Eddi Reader was there for all to see. This was a beautiful show in a beautiful setting and credit must go to the people behind the Lichfield Festival who strived to get the whole thing on. Is there room for one more 'perfect' pun? Yes. 

www.eddireader.co.uk

Gig Review: M.G. Boulter - Kitchen Garden, Kings Heath, Birmingham. Thursday 1st July 2021

A merch table stocked with CDs, LPs and posters is a refreshing sight for an artist eager to get on the road. This is more pertinent when you have released an album in lockdown and relied on the digital world to sell it. As another month clicked over, the time was right for M.G. Boulter to ease back into the gig world and commence a run of dates that extends well into the second half of 2021. Of course, fingers crossed still remains a relevant sentiment. Even if the start is slow, the intent will gain momentum, and an artist can finally move into the sphere where connection with an audience flourishes.

This was M.G. Boulter's first visit to the Kitchen Garden, a venue that has really been flying the flag solo for live music in the area during this phased period of restriction relief. Recollections and a chat confirmed previous Birmingham appearances at Moseley Folk Festival; with Emily Portman and the Coracle at the MAC and multiple shows as a member of Simone Felice's touring band. However the focus is now primarily on the solo work, so we get to see a more intimate and revealing side to his craft.

Much of this evening's show was based on material from CLIFFTOWN, M.G. Boulter's slightly conceptual but definitely thematic look at his hometown of Southend-on-Sea. This well received album is packed to the hilt with fascinating and well-told stories based within the town and its surrounding areas. In fact the perfect recipe for an enthusiastic singer-songwriter to gladly furnish an attentive audience with the background to the songs. M.G. Boulter gets the balance right between the chat and the songs to present a highly engaging and informative showcase to his music.

Part of his appeal is a warm and affable persona that when coupled with a literary enthusiasm wraps the songs in a gifted package. The guitar playing for such an accomplished and in-demand musician remains unobtrusive and wholly supportive to the process of getting the message and story of the song out in the open. Likewise the vocals are gentle, clear and transparent to make the songs the centrepiece of any performance. I'm sure such a talented and experienced creative can adapt to a multitude of styles, but this format is spot on for a time and place.

Of course the solo work of M.G. Boulter is not just about CLIFFTOWN. We had songs from his previous high profile album WITH WOLVES THE LAMB WILL LIE including 'Sean or Patrick', alongside a track from his 2020 duet EP HOW TO READ with Samantha Whates in 'My Life in Seven Bookshops'. This perfectly captured an enduring passion for books that plays a key role in forming his songwriting mode. To add a local flavour we also had a song ('Night Driving') from the BLOOD MOON EP that was recorded with Moseley based outfit The Froe.

Pertaining to the view that a singer-songwriter rarely stands still, we had a couple of new songs previewed. Where they end up, who knows? Rest assured this well-connected performer around the folk circuit will find a home.

Putting all the other stuff to one side, the focal point of this show was promoting CLIFFTOWN. The song that come over the best on the evening was 'Night Worker'. Its competition primarily came from numbers such as 'Simon of Sudbury', 'Nights at the Aquarium', 'Midnight Movies' and 'Soft White Belly'. Many of these had the valued accompaniment of the story and influence to set the scene.

At the end of the show, MG Boulter had won over more new fans and, most importantly, had broken the ice with a return to playing live in front of real people. This was my first time seeing him in this format and he fully enhanced the pleasure of an album. It cannot be reiterated enough how live music can reinvigorate and complement its recorded counterpart. Also the importance of seeing a full merch table, a little less fuller at the end of the evening cannot be understated to an independent artist. 

www.mgboulter.co.uk