Top 10 Favourite Gigs of 2021

This blog was launched on January 15th 2012 with a review of the Ruth Moody gig in Warwick. It then became a tradition to anoint a favourite gig for each calendar year. This has duly been revealed each December since that opening year and one was even extracted from the curtailed shortlist of 2020. 

The wait for live music in 2021 ended on May 26th and through a minefield of restrictions including a vast dearth of overseas touring artists, the end of year tally amounted to a credible 31 shows in addition to 7 days spent in those sacred festival fields. This proved a reasonable return in comparison to normal years on a pro rata basis with the main difference being the reduced options of venues to visit and artists to see. 

However life is all about grabbing what is on offer and there is no doubt the ten events selected as the personal elite of 2021 would have featured highly in any of the previous years. I am quite fortunate to curate a gig journey where any disappointing events are few and far between. Maybe the general level of shows in terms of industry and commercial standing tend to steer away from egos and you rarely ever see an artist going through the motions. Therefore in this most difficult of years, full credit goes to each and every artist seen in 2021.You are all stars. 

As the gig journey is a hugely personal one, this list is purely unique and subject only to inner debate. What it may do is spark thought and contemplation elsewhere for others to do the same. Sharing has no other value than a therapeutic one, but no harm is done and it does capture a framework of what made 2021 special. Of course links are available to shed further light on these treasured nights.

1. Thea Gilmore @ Midlands Arts Centre, Birmingham

2. Courtney Marie Andrews @ Gorilla, Manchester

3. Sara Petite @ Kitchen Garden, Birmingham

4. Frazey Ford @ Warwick Arts Centre, Coventry

5 Katherine Priddy @ Kitchen Garden, Birmingham

6. Jenny Sturgeon @ Thimblemill Library, Smethwick

7. Blue Rose Code @ Kitchen Garden, Birmingham

8. Hannah Aldridge @ St.George's Hall, Bewdley

9. Diana Jones @ Kitchen Garden, Birmingham

10. Hannah White @ Kitchen Garden, Birmingham

So Thea Gilmore's stunning presentation mixing the old stuff with her new Afterlight persona joins an illustrious list of nine previous recipients of this accolade. Shows by Terri Clark, My Darling Clementine, The Mavericks, Old Crow Medicine Show, Brandi Carlile, Chuck Prophet, American Aquarium, Lucinda Williams and Luke Jackson all had the common thread of being in a different venue and this year's continues the trend. 

2021 at least rose from the ashes of 2020 with its head held high. Let's see what 2022 brings.

Most Enjoyable Albums of 2021

For the first time since 2014 there is going to be no album getting that first among equals status. Maybe this is a tilt towards the trend of art not being a competition or that a suitable candidate did not soar to that spot of towering over others in the personal appreciation stakes. Although merit is seen in the first statement, when it comes to a purely personal perspective there is nothing wrong in evaluating music on an objective basis and ranking preference. A proclamation of the best has always been a ludicrous concept here with the term favourite deemed the most appropriate way of defining a certain album of any given period. Therefore it transpires that 2021 is the first year where one doesn't jump out from a shortlist curated by perusing the lengthy parade of releases accruing plenty of listening time. So there is no successor to Brandy Clark's Your Life is a Record. There was a strong contender but in the final shake up it didn't meet the criteria that elevated each of the previous year's number ones in terms of daylight between the others. 

So to wrap up the listening year of 2021 here is the shortlist of releases most enjoyed over the last twelve months. Each album has either a review or access link, where applicable. 

Afterlight//Thea Gilmore - Afterlight

Amy Speace - There Used to be Horses Here

Annie Keating - Bristol County Tides

Brandi Carlile - In These Silent Days

Charlie Marie - Ramble On

Claudia Combs Carty - Phases

Fine Lines - Deadbeat Lullabies

Ingram, Randall and Lambert - The Marfa Tapes

Jenny Colquitt - Something Beautiful

Justin Rutledge - Islands

Katherine Priddy - The Eternal Rocks Beneath

Kiely Connell - Calumet Queen

Margo Cilker - Pohorylle

Mark Germino - Midnight Carnival

Natalie Hemby - Pins and Needles

Peach and Quiet - Just Beyond the Shine

Pearl Charles - Magic Mirror

Sara Petite - Rare Bird

Side Pony - Lucky Break

The Staves - Good Woman

Gig Review: Hannah Aldridge - St.George's Hall, Bewdley. Friday 10th December 2021

 

www.hannahaldridge.com

If you wanted to put a fiver on which American touring artist would be among the first to return to our shores, odds would be considerable short on Hannah Aldridge. True to form it has taken less than a couple of months from the touring green light for dates to materialise and even less surprising that St.George's Hall in Bewdley emerged as one of the venues hosting her. Hiccups are always around the corner though and this evening's show had faced significant challenges starting from two of her original touring partners being stuck back in the States and evolving issues presenting last minute schedule changes to the UK leg of the tour. Yet as resolute as ever, Hannah strolled onto stage at the stroke of 9 and played the ever consummate professional. Ably assisted by Swedish touring partner Gustav Sjodin, it was soon business as usual. In other words an emotive spilling of the guts in front of a room of fleeting strangers. Just like she has done hundreds of times around the world over the last ten years.

Around midway through this near two hour show, the gig sweet spot was hit. After musing about how much playing live meant to her, the lights dimmed and 'Gold Rush' filled the hall in a fit of reassuring renewal.  That would have been a fitting finale, but the moment was eclipsed in the first encore slot when reappearing alone, obliging to a request and breaking the hearts of everyone present with 'Parchman' in a hall now bestowed in near darkness.

There were two facets to this show. One reflecting on what Hannah Aldridge had accomplished prior to the dark days of March 2020. This bookended the set with 'Razor Wire' getting things underway and 'Howlin' Bones' sending a very healthy turnout home happy. In between many old favourites were shared alongside stories never quite ageing as much as they should. Cue, 'Burning Down Birmingham'. 'Lace' and several others led by the ever impressive 'Aftermath'. 

The other facet was activity since last hitting our shores in late 2019. This included working with Jason Charles Miller from popular early 2000s US metal act Godhead. He was due to tour with Hannah but succumbed to the irritant refusal of the pandemic to subside. The pair have put out a double sided single where they covered a Godhead song in 'Sinking' and added a new one called 'Some Ghosts (Don't Make a Sound)' Even delivered in acoustic mode you could detect the deviation in sound. We have regularly heard Hannah proudly proclaim her love for rock music and this is a break way from what has generally defined her as a touring artist. Namely, southern Americana with a natural lilt towards country. 

Perhaps more towards the nature of what rose her to touring prominence is the ongoing work with Australian artist Lachlan Bryan. He like Hannah is a regular visit to Europe and they both frequent the Maverick Festival on a near ongoing basis. Together they have managed to virtually record an album that will hopefully see the light of day some time in 2022. Tonight we only heard one song from it, which coincidentally was not one co-written by the pair but the result of a writing encounter with Ben Glover. Watch this space but expect a lot of UK action next year. Circumstances permitting!

While the work with Jason Charles Miller and Lachlan Bryan seems to have taken up most of the space, a new solo Hannah Aldridge song emerged, and on first listen 'Unbeliever' sounded fantastic. Very personal, a slow number and hugely impressive. 

Before we finish with the name dropping, Andrew Combs was reminded as the co-architect of 'Living on Lonely' and Ashley McBryde was mentioned a couple of times as an inspirational friend for firing up the songwriting juices. While this was going on Jetbone guitarist and long time Hannah Aldridge collaborator Gustav Sjodin accompanied her on acoustic guitar, backing vocals and duetting on the Ben Glover co-write, believed to be titled 'Babylon'. A final bit of namedropping was a Radiohead cover. No other link except Hannah extolling her love for the band.

Prior to Hannah and Gustav taking the stage, we were treated to an entertaining opening set by duo operation Son of John. This is primarily Jacob Johnson's project and he was joined this evening by John Parker, one of the country's premium double bass players. Together they delivered a sound dark in places but created a mood for Hannah Aldridge to fire up her stuff in the main part of the show.

The ultimate conclusion from this return to Bewdley was how much Hannah Aldridge has missed touring and likewise how much those who rate her highly have missed seeing her play live. When someone tours so regularly a touch of complacency can creep in. The last two years have binned this feeling. She was firing on all cylinders and repaying the faith given to her by the UK faithful since first playing here in 2014. 

Album Review: Kiely Connell - Calumet Queen

 

www.keilyconnell.com

CALUMET QUEEN is one of those albums that springs out of nowhere embodying all that is sought in music parading under the left of centre Americana banner. A unique aura surrounds the music of Kiely Connell radiating from a vocal presence aching with vulnerability and a lyrical output ebbing between personal reflection and astute observation. Great music can come from being challenged and the experience of submerging into the musical world of this now Nashville-based artist is one of sharing the truths, doubts and acts of seeking the light. 

Originating from Hammond Indiana before heading to Music City to bring the dream to fruition, Connell takes part of the album name from the nearby Calumet River and the rest from whoever wears the crown. The title track is heralded as using the river as a metaphor for a life path. If you are going to get personal you might as well jump right in and go with the flow. From this starting point Connell lures the listener down an awkward road. A fascinating listen is a derived conclusion, although part-gripping, part-grappling and in parts uncomfortable are all staging posts on the journey of the Calumet Queen. 

The worn vocals shake the experience of tapping into the music of Kiely Connell to the bone. Yet they are the embodiment of an impassioned singer-songwriter and an enormous part of what draws you into the album; one of a hard hitting nature and a highly credible debut status. The slow burning nature of it will only add to the magnitude as it does take time to sink in and truly expand its worth. Once embedded its take on the struggles of the rust belt meeting southern sentiment serves up an album of unique familiarity. 

Themes on the album range from depression in 'The Blues That Really Burn' to abusive relationships in 'Clear My Mind'. Add into the mix self medication in 'Nobody's Business But Mine' (a strong case for the album peak) and panic attacks in 'Disappear' paint a stark picture of the strength of this album's darker side. Harshness and brutality linger under the surface but you only go near albums like this with a worldly view that Americana music is partially designed to take you down roads of an alternative nature. This is the truth and candour of music that rewards intuitive endeavour. For a real slice of observational excellence 'Caroline's Corner Cafe' is one of those songs compelling you to intently repeat the listening experience for further dissection. 

Away from the connotation, the soundtrack flourishes from a touch of cello, steel, fiddle, bass and percussion. All components make this a captivating listen and note the name of Kiely Connell as an artist right on the pulse of making absorbing music. If Lucinda Williams coined the phrase 'down where the spirit meets the bone, it is successfully found here. CALUMET QUEEN possesses the sincerity of country, the soundscape of folk and the trappings of Americana. It is a self released personal journey of lifelong reflection and ripe for whichever genre stakes it claim.

Album Review: Ken Pomeroy - Christmas Lights in April

 

www.kenpomeroymusic.com

Ken Pomeroy is a prodigious singer-songwriter operating out of that seemingly hotbed state of literary music talent: Oklahoma USA. An exemplar of stripped down song delivery sees her as one of Horton Records shared secrets until word gets around that someone with such innate talent is ready to knock on doors of acute listeners to painstakingly emotive acoustic music. CHRISTMAS LIGHTS IN APRIL throws up images of continually searching for some sort of contentment,. This includes doubling up as an eye catching title and the name of the final song concluding this ten-track collection criss crossing the path of highly personalised songwriting output. 

Across a spectrum spanning thirty-five minutes you are left with the perception of Pomeroy planting herself in the canyons of your mind gently strumming a simple tune carrying lyrics of such depth and sincerity. A cathartic essence seeps from the echoes of the vocals ensuring a youthful zest blends in acres of hope to subjects that can surface from an inner doubt and a touch of heartache. 

For someone still in her teenage years, this is Ken Pomeroy's third album and a second release on Horton Records following up its 2018 predecessor HALLWAYS. While it is not uncommon for such introspective songwriters to flow freely with material, it is credit to her and the tight team in support to conjure up a neat concise collection showcasing a promise that stretches a long way into the future. Of course this is the type of music prevalent for well over half a century since artists first flexed their songwriting chops to branch out alone. It is a staple part of the music market today that does contain pan-generational appeal for artists like Ken Pomeroy. 

Consistency is the key to this album accruing acclaim. The highs spring up as regular as a city skyline while the lows are non existent. Highs come in the body of tracks such as the evocative 'Cowboy Song', sensitive opener 'Joan' and 'Magnolia' which circulates in an ear worm vacuum . Shades of delicate twang from some sort of steel brush against the light therapeutic strumming of acoustic guitar affording wide open spaces for transfixing vocals to illuminate a darkened room. This is where Ken Pomeroy succeeds as a recording artist. Ethereal transportation into a world of optimistic angst and profound inner exploration. 

Gig Review: Katherine Priddy - Kitchen Garden, Kings Heath, Birmingham. Tuesday 7th December 2021

 

www.katherinepriddy.co.uk

There may be homecomings in grander surroundings in the future such as the Town or Symphony Hall, but few would have as much meaning as two sold out evenings at the Kitchen Garden with all the venue aura and pin drop tranquility thrown in. She may have been active on the circuit for a number of years (a 2014 show was mentioned). yet 2021 will always be known as Katherine Priddy's breakthrough year. Evidence circulates around the reaction to her debut full length album released on Navigator Records and the horizons it permeated to broaden the appeal. Tickets for these two intimate shows were quickly snapped up and the chosen few were dealt a stunning performance of music wrapped in a rich swathe of tendered beauty.

Although her standing on the local circuit as been cut as a solo performer, hooking up with Northallerton-based singer-songwriter-guitarist George Boomsma has proved a decisive move as witnessed by the way they gelled during the second of the two sold out shows (assuringly on the first as well). For just over an hour the pair navigated a setlist of fifteen tracks mixing most from the aforementioned album THE ETERNAL ROCKS BENEATH with a sprinkling of some older numbers and new songs in various stages of development. 

'Wolf' as a recorded song has been around for quite a while even prior to being the title track of a 2019 EP. However it has soared to the status of one of the dominant songs of 2021. We didn't quite have the lavish arrangement of the album track this evening, but an introduction of a link to Wuthering Heights and Heathcliff's position between love and hate shared a dimension not picked up from multiple recorded plays. 

Track after track from the album soaked into a deeply anticipated Kitchen Garden atmosphere. The electric guitar from Boomsma was delicate and deft; the vocals of Priddy forever pristine and serene. The gel melded two performers into one especially when harmonies were added. This was punctuated by moments of necessary solo delivery as required for the diligently introduced 'The Isle of Eigg' and a delve into the pantheon of the love song for 'Northern Sunrise'.

A love for Greek mythology influences songs such as 'Icarus' and 'Eurydice', while a more contemporary infatuation brought a finely crafted version of Nick Drake's 'Black Eyed Dog' to the table. Safely in the knowledge that Gabrielle Drake wasn't sitting in the front row like the previous evening, although approval was forthcoming. 

While Katherine Priddy is throughly embedded in the British folk scene, perhaps more contemporary than traditional, there was a slight deviation in the encore where she took a lead from her partner on the evening. 'Dink Song' was a piece introduced via the US throwback folk movie Inside Llewyn Davis and the finale an eventual brand new co-write titled 'Ready to Go' even had strains of a country duet.

Other key moments from a highly informative and revealing evening was a yet to be named song in honour of Katherine's father and tip to the season with the playing of 'Still Winter, Still Waiting'. The latter a lockdown single just celebrating its first anniversary. 

Ahead of the main event, George Boomsma took to the stage to share his brand of softly spun folk songs for the allotted half hour support slot. The most impressive of the offerings was an a cappella number to showcase a voice to match the undoubted guitar skills that flourished across the evening. 

If 2021 was the breakthrough year in terms of album reach, 2022 could extend to the live impact. In the vicinity of these two homecoming gigs, a main stage slot at the prestigious Cambridge Folk Festival and a first show in Ireland have been announced. It will also be interesting to see where she plays Birmingham gigs in the future. Premium venues have been played before in support roles, and while the Kitchen will always remain special, numbers present a limitation. What these two evenings brought to the party was full confirmation of Katherine Priddy as a hugely impressive vocalist, song writer and immensely amenable performer. Many already knew. A lot more do now. 

Gig Review: Blue Rose Code - Kitchen Garden, Kings Heath, Birmingham. Tuesday 30th November 2021

www.bluerosecode.com

Tuesday 10th March 2020, a date forever etched into my gig memory bank. When Ross Wilson departed the performing space at the Kitchen Garden after another successful Blue Rose Code show the storm clouds were already gathering. It was to be another six months before live music briefly surfaced in the guise of a single outdoor festival and a solitary Kitchen Garden gig. Eventually it would be close on fifteen months before light appeared out of the cultural darkness of 20-21. It was little surprise to see Blue Rose Code back on the road as soon as restrictions eased, and a renewal of their growing love affair with a devoted audience frequenting the Kitchen Garden for what is now a regular tour stopping off point. 

It is to Blue Rose Code's credit that they manage to make each show unique without any compromise of the quality. This was the fifth time seeing them play the Kitchen Garden and if you thought you had seen all the permutations Ross Wilson could bring to the venue then a pleasant surprise was in store. Obviously the full symphonic roll out isn't going to turn up but a four piece operation with drums, electric guitar and keys backing the esteemed front man is sufficient to push the surroundings to the limit. 

Bounding onto stage with bundles of effervescent energy emboldened by the release from the shackles of the stream, Ross Wilson had one motive: to rip things up and dig deep into his vast canyon of Caledonian soul to remind everybody that Blue Rose Code were back and very much alive and kicking. Aided by the ever reliant Lyle Watt on guitar, Paul Harrison offering deft touches on keys and the mesmeric drumming of Glasgow-based Stu Brown, the exiled but forever Scottish Wilson conducted, caressed and carved out a sparkling band output to showcase Blue Rose Code in all their shades of mood-driven music.

Everything the band does is underpinned by Wilson's chiselled vocals that retain an earthy element while searching for a soulful significance. They land in the listener's sphere wrapped in an impish charm riding on the wave of an upbeat sound or owning the tenderest of moment. There was no holding back in the cacophony of emotions as spools of genuine gratitude spilled from the floor into a receptive crowd. 

After a blistering opening set where chat was minimal but songs choice was sublime, Wilson promised a better second half. We had started off with recent Blue Rose Code in the guise of 'Red Kites', while ending in a redemptive grasp at owning 'Amazing Grace' for at least three minutes. You can take your pick of a favourite Blue Rose Code song but few would shy away from at least recognising 'Edina' and 'The Wild Atlantic Way'. Two peerless moments from the second set. At these moments the bared all soul of Ross Wilson challenges the mode which just wants to rock out. 

Full on all-inclusive dance moments don't come along too often in this corner of Kings Heath. You sat in your seat at your peril for a barnstorming finale of 'Bennie and the Jets'. This crowned a set where the second half was a lot more revealing and candid, while the total cohesion of four talented musicians remained solid throughout. 

The music of Blue Rose Code is balm to your soul. Ross Wilson proudly defines himself as a social animal. He needs an audience like this and it was reciprocated wholeheartedly from a band of followers smart with their choices. Therapy of the highest order was scattered with free flow as the clouds of Tuesday March 10th 2020 were banished for at least the time being!