Gig Review: Salt House - The Bear Tavern, Bearwood. Friday 29th October 2021

 

www.salthousemusic.com

The autumn gig thread of likeminded Scottish folk music added an extra notch this evening as Salt House popped into the West Midlands for a show in the final throes of a short UK tour. The original thread was due to start and end with solo shows from Hannah Rarity and Jenny Sturgeon interspersed with catching the trio formats of Karine Polwart and Siobhan Miller as they passed through Birmingham. One current link between this quartet and Salt House is that Jenny Sturgeon is the third member of that trio alongside guitar/vocalist/songwriter Ewan MacPherson and fiddle player/vocalist Lauren MacColl. A more distant connection unearthed from delving into Salt House's back catalogue revealed Siobhan Miller providing the lead vocals on a 2013 album.

You start to get the picture that a certain scene in Scotland is highly collaborative as they all strive to the same end of framing folk music in its twin posture of capturing the past through song and projecting issues of the day forward in the sense that future generations will pick them up. Salt House meet these ideals in a concoction of meticulously curated traditional songs and self-written originals sharing their take on the world around them.

Like so much of this scene exported south of the border, the quality of musicianship and vocal prowess is exceptional. Salt House are key exponents of this without a doubt. Jenny Sturgeon is the most gorgeous of vocalists and the ideal scenic purveyor of the world around her through the magic of song. That world is based in the Shetlands but expands to many other areas, mainly dotted around the north of Scotland. In fact, her solo show that completes this autumn thread is a presentation of the Cairngorms through the words of Nan Shepherd channelled via the superb Jenny Sturgeon album of 2020 - THE LIVING MOUNTAIN.

However her vocals, harmonium and guitar playing are just one component of Salt House's artistry. To her left is the divine violin playing of Lauren MacColl. Such texture, depth and motion came from the fiddle and the bow, executed perfectly on cue to either rouse or serenade the songs. The set up is completed by Ewan MacPherson on twin guitars - acoustic grace from the traditional and some delicate twang from the Gretsch. His vocals complement on tone and pitch as well as leading on several numbers. The original content seemed to generally trace back to his writing as exemplified by a song inspired by the lockdown necessity of finding work in planting trees to fill the gig void. 

Lockdown is also a driver to the next Salt House release. The WORKING FOR ZEUS EP is due out in December and defied the laws of dodgy north of Scotland broadband as the trio had to work virtually conjuring up five songs to keep the Salt House wheels turning. Many of the songs dealt to a Midlands audience this evening came from this in addition to the twin source of 2020's HUAM and going a back a couple of years further UNDERSONG from 2017.

This evening's show was brought by the Thimblemill Library team who had to hastily find another venue in the area for a Friday night gig. The nearby library has hosted many wonderful well attended evenings over the last few years and the good news is that Jenny Sturgeon's solo show is set to resume there in November. However for one night The Bear Tavern gratefully provided a platform for Salt House to share their wares with an audience at least hearty in song. Joining the two sets delivered by the trio was a local singer-songwriter going by the name King of Spain, who kindly accepted the invite to play a few tunes in the opener role. 

The world of discovery shows no sign of abating. Salt House dipped into the earthy suburb of Bearwood, while those in attendance let their minds drift far north for a couple of hours in the presence of three highly accomplished artists. It may have been the prelude to Jenny Sturgeon's 2021 association with the West Midlands, but it was ultimately the night Salt House connected with a few more folks on their long and winding journey. Travelling musicians and inquisitive gig goers can ask for no more. 

Check out the Salt House Bandcamp Collection

Album Review: Mr Alec Bowman-Clarke - A Place Like Home

 

www.alecbowman.com

Two significant changes in the music of Alec Bowman since the release of his debut album in 2020. The surname is extended to reflect his marital union with fellow artist Josienne Clarke and the sound has accrued a makeover courtesy of a trip down to Lukas Drinkwater's Polyphonic Recording studio in Stroud. These two changes are intrinsically linked by Josienne Clarke taking an apparent more active role alongside adding some fine touches of backing vocal and brass to a sound a little fuller than what first introduced his music. Still piercing the sound waves alongside these subtle moves is the trademark style of an artist sharp with words, upfront on delivery and highly articulate in deep thought. A PLACE LIKE HOME is a less in stature than its predecessor in terms of length, but it has the potential to prove a significant link between an artist starting point and where their music eventually ends up.

Mr. Alec Bowman_Clarke, to formalise things, only politely requests 15 minutes of your valuable time via 5 songs in this offering, but that is sufficient to plant the seeds of intuitive prose and lyrics to ponder. Don't expect to fully tune in on first play. Like many artists toying with words, there is much to decipher. Some listeners may choose to hop off on first listen due to its left field tendencies, though the softer more comforting vibes associated with this release enable a smooth passage. There is also a perception that this is the type of music that resonates with fellow creatives. Leonard Cohen may have sold shed loads of records, but I stand by the assertion that his music is best understood by the artistic community. 

One capability of the work of Bowman_Clarke is to inject a hypnotic rhythmic thread into the songs. This starts off with the stand out track from the record 'Deleted Scenes', his strongest melody to date, and remains in tact throughout. You do get hooked in and an opportunity to savour what is being  presented. That is probably all A PLACE LIKE HOME desires. A space and a willing ear. Lend it to the two twin lugholes that nature has given you and the music of Mr. Alec Bowman_Clarke will kindly oblige with something deep, meaningful and worthwhile.

Album Review: The Story Song Scientists (Megan Henwood and Findlay Napier) - Quantum Lyrics

 

www.storysongscientists.com

The juxtaposition of art and science is alive and kicking when Findlay Napier and Megan Henwood get their heads together. Fresh from a pre-pandemic debut outing of The Story Song Scientists, the unlikely pairing of an established Scottish folk singer-songwriter and one from Oxfordshire with a tendency to blend some indie style electronica into her music is back and right on cue to entertain and educate in equal portions. QUANTUM LYRICS is basically five stories doubling to ten tracks when each one has a song and multi media piece attached. The result is an album quite like no other, and hugely satisfying when you ultimately digest the content. 

The pick of the conventional songs is the country tinged 'Lo and Behold' where the duo cleverly weave in a clash of the technology giants personifying the twin phenomena of Siri and Alexa. From the multi media inclusions, a recording of the manifesto of the Cloud Appreciation Society inspires, enthrals and commands many a repeat play to let its ethos for dreamers sink in. As you would expect, the song accompanying the latter is full of ethereal splendour. 

The most intriguing and eye catching of the rest doubles up as a news report and a song titled 'Ode to the Man with the Golden Arm'. The story behind this input is an Australian man famed for a status of prolific blood plasma donor that incredibly resulted in over a million babies owing the gratitude of their lives to this ultimate act of practical kindness. This pairing contrasts a highly explicit and informative media clip with a song, subtle and implicit in its title

The album opens with a reading of a Byron poem that leads into the bluesy '1800 and Froze to Death'. Like every inch of the record, the details are meticulously researched and creatively curated. 'The Anarchist's Cookbook' completes the set of The Story Song Scientists Part 2 proving the most left field addition, both in the subject content and the futuristic multi media accompaniment. 

To neatly package their second assault on the duality of science and art, Napier and Henwood label each multi media piece Specimen 1 - 5 and carefully position it next to the song. Although the order does randomly rotate as you wouldn't expect artists to be ultimately governed by structure and place. 

QUANTUM LYRICS is one of those albums that you need to weigh up first and then align your appetite to what The Story Song Scientists set out to do. Once in place you can truly value what Findlay Napier and Megan Henwood have accomplished in this side project. The pair hit the road shortly to bring you part two of their adventure. Expect a little solo input as well as you sit down to marvel how well science and art can entwine. 

Gig Review: Courtney Marie Andrews - Gorilla, Manchester. Tuesday 26th October 2021

 

www.courtneymarieandrews.com

There is a vision of Courtney Marie Andrews departing a grand stage such as the splendid 900-seater Birmingham Town Hall with its extraordinary acoustics after delivering a spellbinding performance befit of a platform of grandeur. In the meantime, being present for immaculate shows like tonight at the slightly less spectacular Gorilla venue in Manchester captures the here and now perfectly. 

The missing link from absorbing an abundance of music made available during the lockdown months of 2020 was the hugely anticipated live airing accompanying the release of OLD FLOWERS. These add so much more dimension to the music of Courtney Marie Andrews. Anyway that wait is now over and an inadvertent wrong is corrected. 

It may have been a stroke of good fortune that personal circumstances and convenience shifted the opportunity to see a tour show from Birmingham on opening night to Manchester right at the heart of the UK schedule. This meant anecdotal evidence of potential jet lag and a set time deemed a touch short was almost blown away by the momentum of several shows. The set time here did just tip over the acceptable threshold of 60 minutes pre-encore and an extra 10 minutes to conform to convention. From a primarily lone status on stage, it was a case of quality trumping quantity. Few could doubt that Courtney Marie Andrews was in the groove and a comfortably packed venue gave her the utmost respect of a hushed landscape.

In line with other dates on this re-scheduled tour, Brighton-based duo Memorial opened the show with a 30 minute supporting set. Their brand of impressive harmonies gravitates into a lightly spun acoustic sound. They add a certain aura to the evening and with a further addition of some flagship songs could prosper independently in a conducive scene. Courtney quipped that she had first worked with them four years ago. You could clearly see that they were a good fit for opening these solo shows and this expanded into joining her on stage for several harmony pieces in the main set. 

We learnt from an uncharacteristically chatty Courtney as observed from previous shows  that this tour was originally planned as a full band one, but Covid logistics meant it had to be trimmed to a solo format. You can take your pick as to whether a full band or solo performance is your preferred mode. The former does offer a more rounded and fuller gig experience, but the later induces melting moments of the shivers to what one artist can do on stage with wonderful songs and an air of simplicity. 

So it was a case of five songs on piano and the rest on acoustic guitar off a set list that from memory ran to sixteen songs. Among this choice we had all but one from OLD FLOWERS with the odd one out being the title track. It was tough to pick a standout moment from the new batch, but 'Guilty' sounded superb as she finally utilised the lonely piano three songs from the encore and 'Carnival Dream' was a new one to close the evening after perusing what happened on the first few shows on the tour. The most important thing was these new songs came to life and no doubt many will become staples in years to come. 

All but two songs on the night came from the last three albums. The odd pair were a new song titled 'James Dean' and a live favourite in 'Near Me' which she said was becoming so requested that it would have to be elevated to the main set this evening. 2017's HONEST LIFE was a popular source with 'Rookie Dreaming' opening the show and 'How Quickly Your Heart Mends' proving one of the requested songs for the encore. No Courtney Marie Andrews Show is complete without the awesome 'Table for One', and 'Irene' completed the quartet shared this evening. Unfortunately, MAY YOUR KINDNESS REMAIN was largely left alone after featuring highly during her last tours in 2018. However we did have the title track with its immortal line 'broke on a barstool throwing your pay check away/ on overpriced booze, slots and valet'. Classic Courtney. 

There really is something mesmerising when Courtney Marie Andrews steps into the limelight. It could be the poise, the stature or the steely gaze. She defines a whole movement of one person funnelling so much emotion and poetic comment through the median of song. The delivery is complete and when venues like the Gorilla present an ideal sonic landscape coupled with the most respectful of besotted audiences, magical gig moments surface and flourish. Welcome back Courtney Marie Andrews, the new album is well and truly out of the bottle. See you in 2022. 

Album Review: Fine Lines - Deadbeat Lullabies

 

www.wearefinelines.com

This year's Beardy Folk Festival is gradually becoming a fertile ground for revised, renewed and new discoveries. Joining a growing list of featured acts getting extended focus is Cheshire based band Fine Lines who brought a spark of diversity to the fields and hills of south Shropshire in June. From a thoroughly enjoyable hour long Saturday afternoon set, we now move onto an equally admirable full length release almost pushing a similar time span yet far from outstaying its welcome. DEADBEAT LULLABIES is a prime example of UK Americana done well and an agreeable nod that the provinces can match what seemingly feels like the domain of the South East. 

If starting and finishing an album is a pre-requisite to a highly engaging listen then Fine Lines have nailed this concept right to the top of the mast. Storytelling, emotive context, endearing melodies and framing an iconic sound are full to the brim in the twin pairing of 'King of These Streets' and 'New Year's Eve'. The first one of jangly delight and second hauntingly ends with faint shades of Auld Lange Syne following the most heartfelt of tales.

The first of these is a worthy candidate for many a playlist and features band architect David Boardman on lead vocals. Boardman is indeed the co-writer of all eleven tracks featuring on this album. The other contributor in this task is famed music broadcaster Mark Radcliffe who doubles up as the drummer in this seven piece line up. With no offence to the crucial contribution from rest of the band especially those on the essential fiddle and steel, the other upfront focal part to the band is twin vocalist Zoe Blythe who leads on another standout track, the second in line and rather fetching 'Del Rio'.

If this, the Fine Lines third album had only these three songs to offer it would be a winner, but there is so much more as a roller coaster of tunes spill out to keep the band firmly in the groove. 'First Light' brings the sound down to sedater levels after the top notch opening couple, yet shows a depth to a record that frames perfectly what Americana music should sound like when echoes of country and melodies of pop are blended into a pot built on the substance of informed songwriting. Fourth in line is the album's third single, but when you move onto the album in its entirety the pre-released status of some tracks becomes irrelevant and mere integral parts in a consolidated effort. The song in question is 'The Island' and a more conventional pop-rock song than the other country tinged efforts, although it too gets a twang rinse in parts. 

The core sound rallies along in 'Far Rockaway' and this is a good point to acknowledge the contribution of Emily Doggett (fiddle), Chris Lee (pedal steel), Jim Broughton (bass) and Gary O'Brien (piano and Hammond organ). While influences obviously filter in from across the pond, there is a very English stamp on the style. In contradiction though, the UK sound most similar is Bob Collum and the Welfare Mothers, whose lead is an exiled American. 

The album's pivotal positional track is the fiddle led ballad 'The Old Haunts' as the listener is serenaded in a waltz like spin across a a dusty rural dance floor. Just like you find in Cheshire! Seriously, UK Americana done well is a cue for dreamers and this album from start to finish meets the objective. 

The second half of DEADBEAT LULLABIES (itself a wonderfully evocative title) commences with the combo of fiddle, organ and acoustic strumming leading into 'Long Way to Fall'. This is probably the folkiest part of the album and sees an exchange of vocals between Boardman and Blythe. 

Three more tracks to the storming closer. 'Out on the Shore' leads off the trio and once again shows the milder side to the band's sound. Just like the perfect gig, a a spread of sonic mood gives the proceedings a fuller and more satisfying appeal. 'The Lie of the Land' ramps up the pace just like the point in a gig where the sidelined band returns to join the spotlighted duo. 'I Never Asked For Much' is a lot more than a warm up for the album climax and once again sees the vocal work of Zoe Blythe brought to the fore in a song symbolic of the Fine Lines acute ability to curate a catchy melody. 

DEADBEAT LULLABIES is a delightful listen packed to the hilt with songs to move you and just plainly entertain where simplicity is required. The whole team effort of Fine Lines is to be applauded. The high spots are right up in the clouds and the supporting efforts not far below. Very few UK labelled Americana albums will match this is 2021.

Gig Review: Harbottle and Jonas - Kitchen Garden, Kings Heath, Birmingham. Sunday 24th October 2021

 

www.harbottleandjonas.com

A waft of folk serenity floated across the Kitchen Garden this evening as Devon-based duo Harbottle and Jonas brought their alluring style of music to the good folks of Kings Heath and beyond. It was the sort of night which began with the formalities of surnames, but easily slipped into the domain of Dave and Freya courtesy of a friendly demeanour. Throughout a two-hour span interjected by the obligatory commercial break, a light shone brightly on the duo's affirmed ability to sing, play, write, observe and interpret. If the top table of the folk fraternity is a little congested with the female-male duo format, I'm afraid room will have to be made for one more now the stature of Harbottle and Jonas is rising.

My journey following the duo has been a little stuttered. Acquaintance with their music was first made reviewing the 2019 album THE SEA IS MY BROTHER. Unfortunately the plan to double up with a live viewing was scuppered at the time and like many things in the cultural word circumstances took over and the enforced break ensued. Likewise the latest album released in March this year slipped the net, but the tide began to turn when catching them as part of the Brother Sea band at this summer's Beardy Folk festival. Now the circle is complete as there is nothing like an immersive gig to really get to grips with an artist.

From a base of combined vocals plus Freya's concertina, harmonium and piano, and Dave's multiple strings, the sets evolved as a mixture of contemporary, traditional and borrowed folk music. Themes ranged from the sea to personal connections and figures mined through reams of research and observation. This was your archetypal folk gig with heaps of informative chat adding to a heady cultural mix. 

On the aesthetic front, few would dispute the stunning beauty to Freya's vocals when taking lead as being a highlight to the show. An immaculate construction echoed those on top of the game and they delivered the standout moment of the show when Freya took to the piano for the first time and sung her personal lockdown song 'Lights',

This song was one of several lifted from the new album titled THE BEACON. Others included the title track depicting a local Dartmoor landmark, an unsung wartime hero in 'Edith Cavell' and the most personal of tributes in 'Whenever I See a Robin'. The album also includes a version of the much loved and interpreted 'Black is the Colour'' which Freya gorgeously delivered in the pre-encore slot.

The final number before an appreciative audience bid farewell was 'Blessing' from The Lost Words Spell Songs project. Ironically the very same track was sung by Karine Polwart earlier this month in her Birmingham Town Hall gig. Two versions of a wonderful song are not to be sniffed at. 

From the encore, let's rewind back a couple of hours to the opening where 'Was It For You' and 'Hall Sands', both from the excellent THE SEA IS MY BROTHER album, got things underway. However the remainder of the show tended to give this album a miss, and in turn we went back a little further to an earlier recording with tracks from Dave's home area of 'Northumberland' and a song about Grimsby in 'The North Sea Ground' adding a geographical spin to the output. 

On the covers front, versions of Steeleye Span's 'Hard Times of Old England' and the famous 'Motherland' from Christy Moore's back catalogue both went down well. Similarly a dip into the Scottish traditional songbook with 'Mingalay' brought out an invited bout of audience participation. Possibly the most popular of the covers had a link into the next Harbottle and Jonas project. A new record with fellow Devon resident Reg Meuross is out very soon and the duo couldn't resist sharing his song 'England Green and England Grey' with a delighted crowd. 

You couldn't fault anything delivered from the stage this evening. Fine musicianship underpins the sound, but there is so much more elevating Harbottle and Jonas rapidly up the folk ladder. Even the Kitchen Garden got in on the act and created another innovative floorspace to utilise the whole of the area now the onset of late autumn has rendered the patio out of bounds. All in all, a wonderful insightful evening that allayed the stuttered start to appreciating Harbottle and Jonas. Thus moving Dave and Freya into the frame as one of the favourite duos operating on the folk circuit. 

Album Review: Dwight + Nicole - Further (EP)

Dwight + Nicole start off as Dwight Ritcher and Nicole Nelson expanding into a band with Ezra Oklan on drums before hitting the airwaves via a high impactful five track EP brimming with a sound sunk deep into the American roots of soul and blues. FURTHER is a record short, sharp and sweet. It wastes no space in hitting its mark whilst dipping deep into the cavernous and heartfelt canyons of artists sensing a sound destiny. 

Hailed by Mavis Staples as her 'favourite new band' is no mean accolade to at least make heads turn before pressing the play button. Across the seventeen minutes of playing time, it is not difficult to get a sense of the hyperbole as the core duo swap vocals to deliver a set of songs crafted to appeal.

'The Next Go Round' kicks things off with Nelson taking vocal lead in a sensuous and impassioned almost plea-induced style. It echoes one of those late night cool songs where an interlude of twangy guitar melds alongside the most expressive of vocals. Title track 'Further' digs deep into the retro soul vaults with Ritcher this time leading off before being joined on harmonised chorus. It is a punchy number that raises the heat a little from the temperate opener. 'Into the Shadows' jags back into Nelson's vocal domain and a return to a more restful place. This song has a slightly haunting backdrop to add to the theme hinted in the title. 

The final two tracks of yet another record afflicted, affected or moulded by the lockdown sees Nelson raise her own vocal tempo on 'Time' which brings the sound right up to date in a contemporary sphere. Polished soul for the 2020s where a classic sheen is brushed up and a deeper inner core preserved. 'Heart is Home' closes the show and allows more airing of Ritcher's prowess of wrapping his chops around a song that ebbs and flows along. Another one sparkling with a gleam of modernity, yet brandishing its roots with transparent clarity. 

FURTHER can double up as a short sampler to this melding of the old and new in respect to a soulful sound bridging a wide expanse. Dwight + Nicole know the ropes and assemble a showcase capable of being a launch pad to a wider and more populous output. 

Album Review: Katie Callahan - The Water Comes Back

www.katiecallahanmusic.com

This brand new album from Katie Callahan is certainly one that leads rather than follows. It is an intriguing box of tricks from start to finish toying with your senses, while not quite settling within sought parameters of definition. From a patchwork of styles and tone, THE WATER COMES BACK continually invites you to check back in creating an alluring engagement between artist and listener.

This is the second album from a Baltimore based artist seizing a welcome chance to create waves in a music community inhabited by those curious of newly discovered acts making a valued stab of adding a fresh spin to music that can fall into the cracks. Just listening to the opening three tracks from a twelve strong collection we are induced into a secular spiritual state with the spine tingling opener 'In a Garden', engulfed in a luscious pop infused effort  going by the name of 'One Sided Sea' and suitably toned down in the lighter airier sound of 'Lullaby'.

Faith from a multitude of angles plays its part in the music of Katie Callahan. Implicitly the track 'Sri Lanka' recalls the terrorist attack on the church and draws the mood into one of choral chamber pop. 'Baptism' is more explicit in title and reflects Callahan's glacial vocals at their best. On a similar theme, 'I Miss God' asks questions and evolves as a grower.

While the aforementioned 'One Sided Sea' accrues most appeal from the album's early stages, the deep realm of the record sees the appealing 'I Won't Give Up' emerge as the pick. Here, things get a little stubborn but wholly uplifting. Plenty will make a valid case for the conclusive closer where 'Low Tide' ceremoniously bring the curtain down with repeated lines of the album title. A fitting moment to hand over ownership to the listener.

The term genre bending gets tossed around these days. More accurately the term genre gets shelved here as Katie Callahan just follows her whims courting listeners on the premise that they just wish to tag along. Yet tagging along in the jet stream of THE WATER COMES BACK is not a bad place to be. There is much to be discovered in the depth of the writing and ample to be enjoyed in an undulating journey that the music guides you on. Sometimes being lead by an artist following their sixth sense is right on the mark especially when the wares are as inviting as what is served up here. 

Album Review: The Honeyrunners - Everything is on Fire

 

www.thehoneyrunners.com

EVERYTHING IS ON FIRE is the enigmatic new album from Toronto based band The Honeyrunners and another release from Canada reaching out to seek love across the seas. The band are short and snappy in the content with the nine tracks checking in exactly at half an hour. However multiple listens to the album make it seem a lot longer which can be construed as polar opposites when time comes to close the review phase. Merit is embedded in a record cut by a band who wear a cultured status on their sleeve, yet it makes no bones of working the listener to the point where at the crossroads some may choose a different path.

Those remaining with the album are able to call on a southern thread many miles from the northern climes of the home where dashes of soul entwine around a rock template drawing influence from an abundance of acts that sprang up in the early 70s. At times it appears a touch scratchy and jagged, alternatively there are moments when things really click into gear most notably the desirable and brass infused 'Honeymoon' as the album turns its corner into the home straight. 

The fine form carries on in the rockier 'Mixtape' and we have reached the point of reward for surviving some of the earlier craggy efforts especially the album opener 'Run & Hide'. The lead vocals reside in the higher upper echelons of the scale adding to the rock feel and these interject with a soundscape that merges the soulful rock echoes befit of bands such as Alabama Shakes. 

Although the band choose to end in the mellow chimes of 'Those Eyes', it is the more punchy efforts at the core of the album that probably go a long way to summarise what The Honeyrunners have created in this release. To this end an emerging key track in 'Wake Up' gathers more appeal with each play and the explosive title piece 'Everything is on Fire' exemplifies the enigmatic nature to the album. 

EVERYTHING IS ON FIRE does present options and it is envisaged that many will fall in love with what The Honeyrunners has conjured up in this album. Merit and a touch of class does float to the surface in good time thus rewarding those choosing to ride with this record on its winding road trip of effect and effervescence. 

Album Review: Claudia Combs Carty - Phases

 

www.claudiacombscarty.com

Pour a drink of your preferred tipple, sit back in your favourite chair and close your eyes to blank out any thoughts flickering like a dying ember. Now you are in the right zone to devote forty minutes of your personalised listening time to the gorgeous new album from Claudia Combs Carty. PHASES is one of those records that pops up from left field and manages to inject the pulse with a flick of a switch. It is a simple operation of magically blending a sultry voice, mainly piano and songs bursting with sedate emotion. Letting this album run its course through your senses is akin to giving yourself some 'me' time.

Claudia Combs Carty is a San Francisco-based singer-songwriter and pianist. PHASES is her debut album, but the songs have been knocking around on the streaming sites for a while including the sensational simmering opener 'Silent Whispers'. A further four of the nine tracks have found their way out officially, but the true and ultimate experience is slipping on the entire album and soaking every ounce of grandeur easing out of the music in a seamless format. 

Occasionally, albums where there is a hair breadth between tracks in terms of sound can be deemed dull and repetitive. This is not the case here as it's all about finding that special groove and riding the smooth wave that ensues. Also a running time of thirty seven minutes optimises the experience ejecting at the right moment. 

While the sound is straight out of Laurel Canyon and a worthy 2021 expansion of Blue and Tapesty, the Barcelona birth and Boston raising also likely adds to the mix such is the richness that emanates from Carty's dark and tender vocals. Each track is primarily led by piano, but a faint insertion of guitar and occasional backing vocal gives the album a deeper texture without detracting from a Claudia Combs Carty vocal masterclass. 

On the task front, the search for the first among equals is a tough ask especially when Carty hits the formula groove from the off and refuses to budge. Pushed to pin a couple to define the record, the melting chorus of 'All That' and the sadness drenched pleading song 'Don't Blame Me' are worthy nominees. 

From a theme perspective there are subtle detections of hope flickering in album closer 'You Make Me Wanna Stay', the ethereal 'Bridge Over Seas' and the suggestive freedom song 'Can't Wait Not To Love You' . However the general mood is one of sadness and regret as strongly exemplified in 'Every Single Time'.

While as previously referred to, the piano of Claudia Combs Carry rules the airwaves, there are a couple of tender guitar interludes, most notably in the intro for 'Sing to Me' and the penultimate track 'South'. The latter really seals the deal of Carty burying deep into her songs to the extent of breathing their very existence. 

PHASES is really one of those albums hand crafted for moments when sad songs press the button of artistic marvel. The gorgeous dark and sultry voice of Claudia Combs Carty owns every inch of the canvas and carves a debut record rich in a single track groove to beguile a smitten listener. 

Album Review: John Wort Hannam - Long Haul

 

www.johnworthannam.com

John Wort Hannam appeared in the review of the 2016 Maverick Festival which was based on a geographical spin around that year's performing artists. Alberta, Canada was the location for this singer-songwriter and our paths cross a few years later, though this time in the digital sphere of music being shared far and wide across the wires. A hook up with Steve Dawson's Black Hen Music operation in Nashville is a link back to the European market in respect of reach and a suitable new album title of LONG HAUL is the material to renew a mode of respect born from that appearance five years ago.

You can pick any relevant tag describing this album - folk, country, Americana, Canadiana, singer-songwriter - all play a part and are determined by at which stopping point you reach on a record gracefully sailing through forty minutes worth of delightful material. All eleven original tracks surface from a solo or co-write origin and get an extra sheen from hooking up with players from the label, who add in a multitude of instrumental subtleties. This is John Wort Hannam's eighth album and acts as a good starting point if you are new to his work.

There are few deviations from a standard template of song structure giving a reassuring feel to those choosing to spend a slice of their listening time with this record. The vocals are clear, heartfelt and aligned to the desired mood of each piece. To spice things up a little, a top drawer duet is thrown into the mix with Shaela Miller joining in the affray on 'Beautiful Mess' and quite rightly getting the 'featuring' credit. 

No time is wasted in introducing the title track and 'Long Haul' is one of several where the vocals kick straight in with no instrumental intro. A detected technique that works and repeated in 'Hurry Up Kid'. The melody in the opener is also of an agreeable nature and proves to be a recurring theme as the album proceeds. 'Wonderful Things' contrasts in terms of a touch of twangy guitar leading things in and echoes with strains of natural positivity. 

The aforementioned duet is full of country sentiment with an extra step of pedal steel and some choice fiddle permeating the sound. There are also audible visions of the late John Prine with a spout of irony flickering in and out of the lyrics. 'Old Friend' is another more of a country than a folk persuasion and is a no holds barred take on sentimentality. The like of which could frequent any country album from the last half a century including some mainstream releases. 

Anchoring the record in the pivotal position is the redemptive and regretful number 'What I Know Now' coupled with a extended rueful play out. 'Meat Draw' is framed like your archetypal country duet akin to one with a touch of humour, but enacts as just a solitary voice. 'Twilight Diner' has a gothic tinge to steer the sound in a lightly different direction without really losing the thread sewn by John Wort Hannam's reassuring presence. 'Other Side of the Curve' sees the album dip into a mellower pot with an almost classical violin sound adding to the change. 

As we approach the conclusion of an album that does resonate once given a couple of spins, we see more of the philosophical side to John Wort Hannam. 'Round & Round' appears to be a very family oriented piece, almost in direct dialogue, while 'Young at Heart' is what we all feel at times once reaching a certain age yet still retaining a youthful zest. Mind you this song gets a little terminal in places. 

Without too much insight into the back catalogue, you feel that LONG HAUL is a useful addition and the sum of John Wort Hannam pouring a huge pocket of experience into a record that was unconventionally made in unprecedented times. The team around him have helped enormously and it was a pleasure re-acquainting with this Canadian five years after enjoying his music at the Maverick Festival. 

Album Review: The Long Haul - 21st Century Blues

 

www.longhaulband.com

They may have pop up status as an active band but when The Long Haul start the engine and move through the gears they make damn fine music. Their 2017 album BEAUTIFUL LIES drew much praise here, and four years later it is de ja vu as its successor in terms of original music hits the shelves. Technicalities pose 21ST CENTURY BLUES has this Brighton band's 3rd album as a covers release is also in the vaults. While such an album can have merits there is something extra special when a batch of new tunes appear with a straightforward nod to projecting a certain style into the future. The style here is heavily slanted towards a traditional Texas country state of mind. Start in any old time dance hall in the Lone Star state and branch out to all points of the compass. Austin gets championed as a core but exclusivity is not a done deal, especially when shuffling Sussex gets in on the act. 

The Long Haul Band operate as a five piece with a steady make up of drums, bass and the triple guitar take of acoustic, electric lead and pedal steel. You could have the latter up front as there is no great surprise that much of the album powers along with this fine package of twang firmly in the driving seat. 

A quick delve into the songwriting credits sees three of the band chip in on that axis with a fourth member coordinating things on a promotional front from the rear. That person is the most well known member, and if you have an active interest in the UK Americana circuit the name of Scott Warman will be familiar. You will also be aware of his many projects, probably an inkling as to why this incarnation pops up at infrequent moments. 

Right from the opening bars of 'Satellite Game Show Sky', you sense a winner is about to emerge. There is nothing too complex from the subsequent ten tracks to follow, just a combined saunter down an old time road of music tested, tried and capable of finding those melody strewn coat hangers in your mind. 

Subtleties are left on the shelf and standard templates come into play including the habitual split gender duet that appears in 'Dangerous Things' and features later as well. Songs to make you dance, weep and drink freely flow with 'Shoulder to Cry On' falling into the first two categories and maybe the third if you stretch the imagination. Four tracks in and this song two steps out in front with a challenge for the rest of the album to follow in its wake. 'Lonestar State' makes a vaunted effort and is explicit in the roaming intentions that flirt on the mind of an exiled lover of music that swings, shuffles and aches to the beat of a broken heart.

By the time 'Haulin'', the album's sole instrumental, rocks and rolls along at the midway point, a scene is embedded and we are truly in the arms of Western Swing paying homage to everybody who dances to a beat immortalised by Bob Wills, Asleep at the Wheel, Hot Club of Cowtown and many other acts practising an art form born of fused styles. We then enter waltz territory, hardly a surprise and perfectly executed in the title track '21st Century Blues'.

Leading the last quartet of tracks is 'Babylon' and another from the waltz mode hosting some detected mandolin to conduct the swaying. Lyrically the theme resoundingly recalls remembrance and likely to have personal connection. 'Only Game in Town' is a straight up rock 'n' roller before we end up with a pair of tracks borrowed from the country music playbook. 'Two Step Recovery' is an interesting play on words before the obligatory drinking song brings the curtain down in 'Me and Wine'.

21ST CENTURY BLUES is packed to the hilt with catchy numbers and worthy of consideration for anybody interested in a fresh home-grown take on country music that swings, beats and kicks up dust like it was meant to do. The Long Haul drew from a secure and strong formula but join the dots with an added shine and have made an album ready to put a smile on faces. What more do you want and what is better than a good ole slice of traditional country music?

Gig Review: Diana Jones - Kitchen Garden, Kings Heath, Birmingham. Wednesday 13th October 2021

 

www.dianajonesmusic.com

The immortal lyric "that you don't know what you got 'till it's gone" is proving a popular quote as live music inches back into life to the extent of reaching cliche status. Another choice cliche is 'where has all the time gone' as you reflect on a gaping gap duly spanning years but seemingly feeling like a lot shorter. Diana Jones offered the first quip in the opening exchanges of this penultimate gig of a successful UK tour, while the latter drew from yours truly as thoughts turned back to the last time this singer-songwriter was personally seen at the Kitchen Garden. The year is hazy, definitely pre-dates this blog and likely in the latter years of the millennium's first decade. The thread of this show started from songs distinctly remembered from wallowing in their magnitude from the outset and climaxed in the triumph of the latest Diana Jones album, probably her most celebrated and profound to date.

What makes Diana Jones a captivating and engaging artist is a melding of her twin backgrounds of roots in the Smokey Mountains and an upbringing in the populated confines of the urban north east. The framework is definitely of a folk singer-songwriter akin to the coffee houses of Boston and New York, while the vocals take this starting place before soaking in some serious mountain essence to create a unique point of output. Essentially a slice of southern reality cohabiting with the ethereal state of a northern dreamer. 

Her first set at Birmingham's Kitchen Garden, a venue still defying the seasonal onset with yet another creative staging, saw the ears finely tuned in the opening salvo before the whole experience slipped into a divine state of bliss. The guitar playing drizzled a fine dressing onto the songs and the chat grew more informative, increasingly relaxed and wholly compatible with how a career can evolve and prosper. The pinnacle of that career at this moment in time is the influential album SONG TO A REFUGEE. A piece of art hailed for its sensitivity and power to shine a light on those in need of their story being told. 

With the help of musical nods to Richard Thompson, Steve Earle and Peggy Seeger; political nods to Alexandria Ocasio-Cortez and Elizabeth Warren, and a neighbourly acquaintance with Emma Thompson, we were led into a string of songs stretching from the infamous US-Mexico border to the ruins of Aleppo. Each had a human story and hidden condemnation of those enabling such affliction. 

Supremely crafted songs such as 'We Believe You', 'Mama Hold Your Baby', 'Ask a Woman', 'Santiago' and title track 'Song to a Refugee' proudly showcased an album that proved one of the hits of lockdown and still has plenty of fuel in the tank now more widely available. Sadly the issue sees no sign of relenting, meaning the intervention of art remains relevant and critical. 

Away from the new album, older material winded back all the way to 'Pony'. A song from 2006 that raised the flag of Diana Jones, a singer-songwriter of socially conscious virtues. In between we were served the optimism of 'Better Times Will Come', the issue charged 'If I Had a Gun', the emotional 'Henry Russell's Last Words' and spine tinglingly unaccompanied 'Cold Grey Ground'. Throw in the excellently cultivated 'Poverty' and 'Cracked and Broken' alongside a new song song signalling a way forward and a perfectly formed set duly entertained an appreciative Birmingham audience revelling in the return of the touring musician.

Diana Jones is one of those unique artists that richly flavours an Americana songwriting scene residing in the cracks of conforming credence. Her presence may flicker in and out, but when she is right on the mark the upper echelons of a sub genre shimmer with the duality of an artist soaking multiple influences. One suspects that many more fruitful years lie ahead and the cliche 'where has the time gone' will return. At least the Joni Mitchell cliche is put to bed and we will cherish what we have.

 

Gig Review: Karine Polwart - Town Hall, Birmingham. Tuesday 12th October 2021

 

www.karinepolwart.com

Leg 3 of the Scottish familiar folk quartet and the trusted territory of elite performer Karine Polwart. A mid pandemic Birmingham Town Hall had a different feel to previous journeys south for a trio format that rose to the challenge of celebrating a return to the stage. Flanked by her brother Steven on assorted guitars and Inge Thomson, one of Scotland's most sought after multi-instrumentalists, Karine drew on her many years of experience to share a passion for tuneful lyrical musings, varied stories and an innate skill to curate and deliver the immaculate song. Majoring on guitar with occasional dips into the darker sound of the harmonium, it is the soothing brogue melting into the most gorgeous of song that illuminates a rich batch of inspiration, passion and acute observation. 

The breadth of Karine Polwart's illustrious career weaved around a chamber steeped in history itself almost in synch with her ability to draw on the past for song content. Bringing things right up to date, we had a couple of offerings from the latest album, a duet set of songs with pianist Dave Milligan. These included the local origins of 'The Path That Winds Before Us', one of many songs bequeathed with a short story and an illuminating version of 'The Parting Glass' suggesting that no iconic song is complete until all fine voices have wrapped their vocal chords around it. 

A quick shuffle from the here and now sees Polwart in contemporary pop mode by sprinkling some stimulating charm on a cover of Frightened Rabbits 'Swim Until You Can't See Land' and thinking on the hop that 'Video Killed the Radio Star' went down well in 2017, so why not offer a repeat. One guarantee is that you will find the latter version incomparable, and if you fancy hearing some other pop songs get the Karine Polwart makeover check out 2019's SCOTTISH SONGBOOK album.

Staying on the familiar but more of a staple platform, no Karine Polwart concert is complete without the ornithological trilogy of 'Crow on the Cradle',  'King of Birds' and 'Follow the Heron'. At the heart of the finale is the rightful place for this exceptional string of natural wonders. 

Calling in on past collaborations, 'We're All Leaving' celebrated the Darwin Project, while 'The Lost Words Blessing' showcased Spell Songs. The latter makes a swift return to Birmingham in the New Year on the back of a successful pre-pandemic airing supplemented by some of Scotland's finest folk musicians. 

Two gems showing how the Scottish landscape can provide the backdrop to a drooling song included the alternate view visualised in 'Tinsel Show' and the weaving of war time Italy into areas of beauty nearer to home in 'Young Man on a Mountain'. The latter based on the mysterious side of the Polwart family.

Two final song recollections from a show whose twin sets gently floated close to a couple of hours were 'Daisy' where a version of this old song twanged up by Bruce Molsky inspired a rejig by the trio and the moving account of past European refugee migration echoing in 'Suitcase'. A pair of stories lodged into the brain for different reasons and representative of the diverse themes that channel the work of Karine Polwart.

A brief spot in the limelight for Inge Thomson to share her solo wares re-energised the set. She and Steven also supplied regular backing vocals that added an extra layer to the main attraction. That domain was majestically owned by Karine Polwart. The architect of many stately performances over the years and one not to be muted by a pandemic. Indeed racing to be back on the road doing what is so special and natural. 

By the way, the first two legs of the Scottish familiar folk quartet were Hannah Rarity and Siobhan Miller with Jenny Sturgeon sealing the deal next month. If all three rise to the prominence of Karine Polwart, then ripened day are ahead. 

Gig Review: Thea Gilmore - Midlands Arts Centre (MAC), Birmingham. Saturday 9th October 2021

www.theagilmore.net

Light is one of the life's great metaphors. It punctuates a bleak outlook and offers a beacon of hope. It also leads the way of escape on a road to recovery. If before light is darkness, then a post more positive state is the after light. Put these two words together and you get the new artistic moniker of Thea Gilmore as she turns the corner with in effect a new beginning. Afterlight - the artist and the album - is set to be one of the most profound and strongest album releases of 2021 and folks around the country have been having the most striking of previews attending shows on what has been described as a mid-pandemic tour. The transition from Thea Gilmore to Afterlight is brave from a commercial standpoint, but nowhere near as that of the seismic movement depicted in its theme. This evening the tentative steps of a new journey trod the boards of the Midland Arts Centre in Birmingham and it would have been an act of stoical defiance to leave without a slither of movement from a performance raw, honest, stunning and tapping into the attributes of a long established talent.

Flashback to May 2019 and Thea Gilmore brought the tour supporting her most recent album SMALL WORLD TURNING to nearby Bromgrove and the now mothballed Artrix. A full band set up paved the way for a polished and plush performance to affirm a reputation stemmed from 20 years of productive output. Spring forward two and a half years and now you just have one artist, one piano, two guitars, a loop and an individual at peace with themselves. 

At the time of this show, the world is still a week away from the album seeing the light of day but the gist more than lightly floated from stage to audience. You could even see how the opening and closing songs were sitting on a plate begging for those positions, both on the album and the set list. The degree that 'Of All the Violence I Have Known' and 'Last' are poetic epics adding to the aura generated from their recitals is a stark reminder that Gilmore is the ace lyricist and a champion of mixing literary excellence with a minimalist backdrop. 

To set the scene for this show and a few others on the tour, northern poet Steven Langstaff was invited to share his very contemporary work with the audience to act more than a mere warm up. Thirty minutes flew by as his work ranged from reluctant GCSE students to a Wembley winner. A little niche in places, but delivered in a pacy vivacious style that both held your attention and prompted a state of alertness. 

Little introduction was needed for the first Thea Gilmore / Afterlight song. You don't have to search hard for the full narrative. It's candid, in the lyrics and open for the curious should you wish to seek. More importantly it has sparked a creative explosion to burn brightly from what is already a steeply mounted base. For the next seventy five minutes of the pre-encore set, AFTERLIGHT the album got centre stage though a fleeting flag was still raised for snippets from a back catalogue, mainly the aforementioned 2019 album and THE COUNTERWEIGHT from 2017.

There were moments when things veered away from original words. Peter Gabriel's 'The Book of Love' is an unashamed Thea Gilmore favourite, 'Bad Moon Rising' has a previously recorded version now added to a Zombie soundtrack and there was more than a hint of irony with the whole curtain being brought down to 'Cabaret'. All three signed, stamped and sealed with a wistful Thea Gilmore mark. 

Instrumentally, Gilmore majored on acoustic guitar, glided over to piano on several occasions and proved a little tease by only picking up the sparkling "electric beast" once. Part frustratingly-part wonderful, the latter sounded gorgeous on a new song 'Vespering'. More electric next time from a grateful and insatiable fan. From a long time loop sceptic, it has to be said that this electronic art form was executed to maximum effect and a welcome addition. 

In addition to the three new songs mentioned, we learned that '26 Letters' was perceived the most folky, 'Stain' is a personal Gilmore favourite, 'Parallax' had a different source of inspiration and, well, 'Cut and Run' is what it says on the tin. From the stack of old stuff not forgotten, 'Rise' had a pre-song applause and many old time fans smiled at a resurrection of the 2001 song 'This Girl is Taking Bets'.

Personally, Gilmore confessed to a performing vulnerability that quickly evaporated. Ten solo shows after twenty years of band activity is the steepest of learning curves. Her voice mixes a quirky Englishness within an immaculate structure. The playing is subtle, minimalist and the perfect backdrop to the songs she wants her audience to listen to. The exterior is warm and grateful of being afforded a chance to move in a new direction. First and foremost, there is a bursting pride in a new record that sprinkled a renewed optimism around the room. 

Afterlight / Thea Gilmore will need a period of audience readjustment. Patience on all parts is a virtue. Stick in there and rewards will ensue. This evening was the most perfect of promotions to put a commercial slant on it. Moving away from the cold to the cathartic, sitting and listening intently to a sublime performance was a blessing. 2021 will be a gig year with a small sample. In contrast shows like Thea Gilmore / Afterlight put on tonight in the MAC would soar to the top in any gig year. Enough said, let's sit and wait for the birth of AFTERLIGHT on October 15th. 

Album Review: Taylor Young Band - Mercury Transit

 

www.tayloryoungband.com

There is a whole pandemic splitting the twin release dates for the Taylor Young Band album MERCURY TRANSIT. The seismic month of March 2020 saw it hit the stores in the US, and after a lengthy wait of eighteen months Europe gets it bow as October brings its shortening days. The irony of these spring and autumn references is that the whole feel of this album is its summer vibes and feel good warmth. Not necessarily a bad thing when things start to cool down.

Although it didn't immediately twig, Taylor Young is a member of The O's. A Texan band that crossed my path in early 2014 when getting acquainted with their acoustically driven album THUNDERDOG. While a lot of water has flowed under the bridge since, the biggest shift when comparing releases is the extent to which the new one is tuned into the whims of the electric guitar, and in particular the jingle jangle version that spawned from the mid to late sixties and flavoured a power pop movement that seems to eternally spring up in popular music. A sound that does frequently link bands from the UK and US.

MERCURY TRANSIT to the crux is a short, sharp and sweet album using its infectious hooks and melodies to create a most desirable positive environment. There is a string of familiarity and consistency in the ten tracks that do switch occasionally in tone and pace but never lose sight of the chiselled groove created by a band driven by an iconic sound. 

When seeking a standout moment, a tough task ensues with 'Blue Eyed' from the first half edging out in front on the basis of epitomising the sound sought. Its strongest challenger emerges in the final furlong where a distinctive country flirtation adorns the track 'Drinkin'', and not just in the title. It also cements a slightly tenuous link of jangle pop threading a sixties origin through a late seventies new wave revival and cropping up in loads of bands deemed alt-country. 

If the European release achieves its aim then MERCURY TRANSIT will definitely be an album of two lives with enough punch to take advantage of such an opportunity. The Taylor Young connection has been endearing as it prompted a listen back to 2014 and check the evolution of an artist. The new album receives full approval here and maybe it won't be another seven year gap between checking out the works of an artist involving themselves in such fine projects.

Album Review: Side Pony - Lucky Break

 

Side Pony is a brand new recording and performing duo comprising of Alice Wallace and Caitlin Cannon. LUCKY BREAK is the title of their debut album and no such good fortune is required for it to make waves in spheres besotted by an edgy and sassy style of country music. Across a brief template of eight songs falling just a minute short of the half hour mark, every inch of space is used to highlight the deep seam of classy collaboration and how to make a record brimming with fun mingling alongside bouts of more serious content. 

Alice Wallace is the better known here of the two dating back to an album released and reviewed in the early months of 2016. This was followed up with a subsequent release and accompanying tour, a status that is likely to be replicated in the spring of next year. Obviously this will be in tandem with her new accomplice and a lesson in how to blend a pair of fabulous vocalists in music awash with a sound driven by a country wheel yet forever reaching out to eclectic minds. 

The solo work of Caitlin Cannon is a little behind the curve of Wallace, but one suspects that anything Side Pony release will be a catalyst providing impetus for two solo career to thrive. For the meantime the focus is firmly on the duo front and this sparkling collection is set to dazzle when tempting those eager to bite. 

The fact that this is of East Nashville origin rather across the river is emblematic of an independent streak that permeates the album. All songs are co-written originals, and a top team of players join forces to create a soundtrack adorned by a vast array of instruments including the obligatory pedal steel. Yet no one sound dominates the proceedings. 

The bright and breezy rocker 'Bad Ideas' kicks things off and doubles up as one of the promoted tracks ahead of its early October release. Title track 'Lucky Break' was first out the traps in the single haul and takes second place in the running order while proving one of the more thought provoking tracks on the album with a theme of chance resonating strongly in the music industry. The retro and extravagant sound to 'Heels' illuminates the album with a huge slice of cutting irony and an anthem-like appeal. A sort of '9 to 5' vibe in 2021. 

'All I Have is Want' heralds the introduction of steel to fuel a country hunger and brings things into slowish ballad mode. At this point Wallace and Cannon have nailed the art of diversity without losing control of their shared cohesive input. 'Old Woman' tips the album into its second short half and more of the mellow sound prevails. Once again you could place this track in any country-focussed release from a wide span of sixty plus years proving that good music is timeless. 

As we head into the final trio of tracks, 'Under the Surface' moves the tone in a slightly different direction. Yet the writing remains strong, relevant and deeply poignant. 'Pressing My Luck' is a blueprint for the classic duet and falls into the realm of waltz territory. Definitely one for the late night moments when the pace starts to lessen a touch and bodies start to sway. All good albums leave you wanting more and 'All the Time in the World' solidly places this record in that category with once again plenty of sass liberally deposited and more than a little Reba injected into the early stages of a piano-led soundtrack that climaxes with a little stand off humour.

LUCKY BREAK is one of those treasured releases that will refuse to leave the room and never tire of being heard. Alice Wallace and Caitlin Cannon excel as independents, collaborates and an immersive paring. Their Side Pony creation has emerged as a little gem and created a journey that you know will be fun, entertaining and right on the mark for those tuned into their inner country persuasion. 

Album Review: Dar Williams - I'll Meet You Here

 

www.darwilliams.com

With the cultured edge of a seasoned operator, Dar Williams gracefully slips back into the world of newly recorded music via an album of justifiable quality. From a position of stately grandeur, a veteran status is accrued from a raft of album releases and assorted other creative literary projects since first bursting onto the Boston folk scene in the mid-90s. The ten tracks assembled under the cooperative title I'LL MEET YOU HERE elegantly glide across the groove with a silky texture. Likeminded performers such as Mary Chapin Carpenter and Beth Nielsen Chapman may attract larger numbers when venturing overseas originating from a stint in the mainstream but the music and style of Dar Williams can be placed on a similar pedestal when courting comparisons. 

Like many albums seeing the light in 2021, a period in the can arose as strategic alterations ran amok amongst music recorded in the winter of 19/20. So a five year wait for this her twelfth recording was extended by another spin around the sun. However, it is absolutely a case of worth the wait when hitting the stores and mishmash of outlets hawking music in whatever form these days. 

Themes from this singer-songwriter bounce around without really settling on a relatable thread. In any case such is the lyrical refinement on display you can get as much out of following an independently curated narrative dressed in an exquisitely spiced language than seeking the eternal link. 

The first peak of many on the album surfaces in the third track where 'Let the Wind Blow' explodes with a rising momentum to draw a smiling satisfaction from letting it hold your attention. A couple of tracks later the more passive 'Little Town' resonates strongly before we hop and skip a couple more until landing on the album's summit in the shape of the supreme 'Today and Every Day'. Truth behold you can make an equal case for any of the tremendous ten to flagship the release. None more so than the moving piano-led closer 'You're Aging Well'.

Throughout the experience served up by Dar Williams, a calm and warm reassurance softly holds sway in an optimal production field. Whether majoring on strings and keys or the odd occasion a waft of brass  breezes in, each song on I'LL MEET YOU HERE is a mini prototype of a how to deal a record rich in smooth sophistication and ripened from a classy substance. A record definitely for those relaxing moments when you want the music to take the helm.

Gig Review: Nathan Bell - Elford Village Hall, Staffordshire. Saturday 2nd October 2021

www.nathanbellmusic.com

Since aspects of the live music scene re-assembled in May, there has been countless occasions of empathy with performers overcome by the opportunity to practise their craft again in the in-person environment. This occurred once again in the rural confines of Elford, Staffordshire with one significant difference. The accurate prediction of 2021 being the live domain of the homegrown artist has come to fruition, but for those whose button is pressed by those bringing a flavour from afar things are starting to change. As much as Nathan Bell was forever grateful of a warm reception when resuming his European touring adventures, there were members of the audience on a similar plateau of gratitude that their chosen path of live music engagement was entering a stage of rebirth.

Nathan Bell is the embodiment of the travelling troubadour. Americana to the core in terms of drawing influence from a wide range of styles not exclusive to a love of folk, blues and jazz when you throw into the mix a slice of country and soul. Most of all an essence of the land he treads fills the halls played entwined in the stories, inspiration, music and songs. This land could be any point from east to west and north to south, but you distinctly feel the spirit of the heartland and a journey from Bell's origins of Iowa across to the steel mills of Pennsylvania. 

The autumn (or fall) of 2021 is proving a seismic time for an artist proudly proclaiming as to the owner of two distinctly different music careers split by a stint in the mundane world of earning a crust to fuel the profits of others. The UK tour not only represents a post-pandemic return to the spotlight, but a change of tactic is providing exposure to fresh eyes. This is all glued together by a new album - long in the can, expansive in style and ripe for framing who Nathan Bell is as a performer and a person.

The blues is Nathan Bell's first love and threaded by an exquisite guitar playing style that illuminates a live show. However this is just a starting point. From using the iconic Gill Scott Heron as inspiration for the new album to sealing the deal with the most gorgeous of song now dedicated to a late father, there are so many interesting facets used to hold a new audience in the palm of your hands. 

Fresh eyes can be joined with fresh ears as Nathan Bell moves from my periphery to centre stage. The new album has occupied a significant listening space in recent times, but the added dimension of a full two hour plus live exposure has the tendency to turn things inside out. For me the process of the album and the gig is an ideal cocktail to at least start to grasp what an artist means to those successfully wooed. The album review could now be re-jigged but creating reflections are not immune to the presence of the here and now. 

Despite a billing of now being a native of Tennessee, there was a resemblance to a certain artist prone to telling stories from further north. The image of Springsteen was visualised in the side profile and magnified in the sincerity. 

What made this inaugural Nathan Bell show special for probably most of those present in Elford Village Hall, including yours truly, was that he strode onto the stage an unknown entity and departed a genuine humble talented singer-songwriter of which you could imagine knowing for a bulk of the last fourteen years since his musical resurrection. This is a troubadour art form, which when executed as well as this evening makes the phrase 'just passing through your town' factually correct but spiritually short. 

The chugging train of Nathan Bell regularly stops to pick up new passengers. There is plenty of room to join the well-informed and connected who jumped on a few years ago with no desire to leave. The Staffordshire outpost of Elford has hailed him down and a few from even wider afield hopped on. This is what touring Americana music from a romanticised hotbed of stark reality is all about. You take the tough with the tender and the grit with the gratitude. Nathan Bell reignited a passion on October 2nd 2021. 

Remaining UK Tour Dates

Review of Red, White and American Blues (It Couldn't Happen Here)