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! 

Gig review: Jenny Sturgeon - Thimblemill Library, Bearwood. Saturday 27th November 2021

 

www.jennysturgeonmusic.com

There are conventional gigs and those inspired to do things a little differently. While so much pleasure can be derived from high quality convention, a touch of deviation can inspire an awakening to the alternative places where musical art can take you. From the outset of the blue touch paper being lit on Jenny Sturgeon's latest project, the culmination was always likely to be an evening like presented in the English West Midlands tonight. The Living Mountain - a book by Nan Shepherd and an album by Jenny Sturgeon - transports the beauty, harshness and vibrancy of the Cairngorms to anywhere a mind opens its portal. This is just the starting point of a journey that terminates when the amalgam of inspired literature, gorgeously curated music and innovative filmmaking collide in a mosaic of integrated art.

Thimblemill Library bristles in an emporium of great writing and purveys a cultural air that aligns with sisterly art. The fit for Jenny Sturgeon to venture south from her Shetland home to share the sum of her version of The Living Mountain project was ideal. The core of the work is a full length 2020 released album nestling among the year's premium folk records that in itself brought a flavour of the Cairngorms to the fertile imagination of listeners hooked in by its luscious tone and associated field recordings. 

The addendum is a hour long film produced by Shona Thomson, who spent many hours perusing the archives for footage that captured the essence of the Cairngorms from a scenic, natural habitation and human exploration perspective. Sprinkling in selective excerpts from Nan Shepherd's world renowned book, the film provided the backdrop to Jenny Sturgeon playing the entire record in its recorded form free of comment while seamlessly connecting the odd loops and switching between guitar and piano. Not only did you get a replication of the record in a form igniting fragments of your imagination, but the visual experience of some breathtaking and narrative images added an extra sensory layer to bring the full focus of the project into view.

Awareness of a need to share the context and an extra flavour of her career as a musician, Jenny spent the first thirty minutes of the evening spilling stories and playing a quartet of songs that did not appear on the album, but equally demonstrate what fires her as one of Scotland's most esteemed folk artists. Whether writing, playing a multitude of instruments or generating the most warmly pristine of accomplished vocals, the eminence was laid out before a sold out audience that eagerly bought into the musical offerings of Jenny Sturgeon. 

Obviously the pandemic had delayed the road testing of this project by a near eighteen months. Even now it appears to be more prominent north of the border, but spreading of the positive word can only inspire further sorties south to share this outstanding piece of multi-media art. 

This Thimblemill Library gig was designed to be the final destination of a personal autumn gig spine of similar artists that commenced with Hannah Rarity at the end of the summer before continuing with Siobhan Miller and Karine Polwart. This Scottish favoured folk quartet was further strengthened by Jenny visiting the area earlier in the month with her other band Salt House and John McCusker bringing his trio back to town. 

When reviewing The Living Mountain in 2020 focus was lent towards the effect of the music on the listener rather than the wider Nan Shepherd literary influence. The turn is a full 180 degrees when absorbing the background through words and images. Both angles have illuminated the work of Jenny Sturgeon and those with whom she worked alongside to bring the project to fruition. Nights like this do not come around too often, and its uniqueness polishes a real gem in a gig memory bank packed with many outstanding evenings. 

Gig Review: Frazey Ford - Warwick Arts Centre, Coventry. Saturday 20th November 2021

 

www.frazeyford.com

The music of Frazey Ford doesn't ebb and flow, nor does it meander around a plethora of moods and emotions. It aims for the pulse and once settled drifts along in a rhythmic haze. This is an artist raised on a diet of folk and its alternative strands before finding a rich seam blending in the most hypnotic restful soul. The pinnacle of a three album solo expanse since the gradual wind down of the Be Good Tanyas came in 2020 with the utterly delightful U KIN BE THE SUN. Now the time has arrived to ramp up the live presence and take its luscious sound on the road. 

With a 5-piece band intact, the departure from western Canada for a return to European shores was in safe hands. Early reports from the initial shows sounded positive and this proved the case as Frazey and her band returned to the lavish surroundings of Warwick Arts Centre right at the heart of the campus of the university of the same name. 

It was the larger of this venue's two auditoriums that first introduced me to the music of the Be Good Tanyas in a live capacity, but this was at the back end of their career in 2013. In the intervening years, the band did return to play Moseley Folk festival later that year, but focus as shifted to the solo career of Frazey Ford. A high spot came a couple of years later when one of her UK tours called into the Birmingham Glee Club to leave a lasting memory. Things has been a little quiet since 2015 and the current worldwide situation meant a lengthier extension to getting back into the cyclical groove of recording and touring.

Finding a groove is not something Frazey Ford struggles with. Aided by the impressive triumvirate of drums, bass and lead guitar, which support without dominating, and the trusted backing vocals of long established sidekick Caroline Ballhorn, an appreciative audience converging on the the outskirts of Coventry from all parts of the West Midlands witnessed a fabulous performance. Between an immaculately timed 8:30 entry point and 10:00 theatre curfew, folk 'n' soul in its blueprint form circulated a room blessed with an optimum sound presence. 

As expected, material from U KIN BE THE SUN bristled and blossomed. Tracks such as 'The Kids are Having None of It', 'Money Can't Buy' and 'U and Me' oozed with splendour. We learned of album opener 'Azad' being dedicated to Frazey's sister and title track 'U Kin Be the Sun' duplicate its role of closing the album and now the encore. Older material held up as exemplified by 'Done' being introduced as a bitch anthem and the top notch 'Firecracker' . The latter now dates back over a decade from the debut album OBADIAH, released before the Be Good Tanyas took their apparent final bow. 

Frazey herself chooses the fill frequent moments of inter song respite with irreverent chat, adding to a personal charm rather than sending you home furnished with the ins and outs of what has been and still is a distinguished career. You have to settle with the parting shot of a blissful massage of your aural senses. Musically, you can ask for no more, and a most distinctive of voices joined by keyboard and guitar work deploys a sound sculptured with a reassuring and consistent texture.

Warming a healthy turnout for a gig postponed a year was a local based Coventry sibling duo going by the names of Catherine and Josephine Nightingale. Two voices, one guitar and an ancestry ripe for song exploration defined their stage presence and their booking was a good fit for a soulful theme that threaded throughout the evening. This is soul in its purest form. Not brash, but putting the emphasis on roots and meaning, rather than a more active allurement. This is in line with what Frazey Ford achieves from the route she has taken her solo career.

U KIN BE THE SUN was a lockdown anthem in the way many of us looked inwards in the dark months of late spring 2020. Now thanks to Frazey Ford, her band and the mechanism that has landed a decent run of dates on the current tour, we are now no longer looking inwards but out towards a shared feeling of a record getting its true vocation. Out there and up front for all to enjoy in a variety of dimensions. 

Gig Review: McGoldrick, McCusker and Doyle - Midlands Arts Centre (MAC), Birmingham. Friday 12th November 2021

A quick trawl through the gig archives revealed that this was the third occasion of seeing Mike McGoldrick, John McCusker and John Doyle at the Midlands Art Centre. It is hard to split the effect of each show such is the lofty consistency and high calibre of their musicianship. Taking each one as a stand alone exhibition of British Isles folk music in its finest and most exhilarating form is all that is required, and a latest visit to Birmingham produced no exception to the rule.

The MAC has been one of the more proactive multi arts venues getting back into performances, and checking their listings or perusing the promotional emails has thrown up a series of good events with folk becoming their preferred genre for staging live music. The venue was also praised by the trio for being hospitable hosts and this evening's show transpired to be the culmination of a 5-week run of getting back on the road after that enforced break.

Apart from the virtuoso playing which is akin to classical trimming down to meet the horizon of everyday folk, this long established trio, albeit part time in collaboration due to a multitude of other projects and residential divide, ooze affable camaraderie and spontaneous wit. It was a case of an Englishman, Irishman and Scot entering the stage and proving that traditional music has no barriers as we branched out from their homeland to places far and wide including northern Spain, north eastern US and down deep in the Bayou.

There was little structure to how two sets, packed with tunes and songs, and a commercial break spanned a couple of hours. John Doyle from the Emerald Isle, but now based in Asheville North Carolina, takes the vocal lead on his mesmerisingly mined old time folk songs with the other pair playing a lot more than an accompanying role on them. From his chosen mode of various pipes and whistles, Manchester's finest Mike McGoldrick also brings his own tunes to the table, some borrowed some designed. Likewise Glasgow-born, Edinburgh-based John McCusker is not only a world class fiddle player but also an accomplished composer and one of the faces of his homeland's folk scene. However the key component of the trio act is the chemistry concocted and the transfixed zone they lead you into when in full flow.

Adding further spice to a McGoldrick, McCusker and Doyle show is the Scot's numerous harmonium contributions and the single appearance of what was thought to be a mandola. While the tendency is to focus more on the playing of McCusker and McGoldrick, strip the vocals from Doyle and you are still left with a superb guitar player, bringing some southpaw grace to both acoustic and electric. You could argue that the sum is greater than the parts. That accolade is made even more superlative when you factor in the starting point of the parts.

The gig archive had 2016 and 2019 inked in as dates the MAC bowed to the talents of John Doyle, John McCusker and Mike McGoldrick. You can now add 2021 and odds are pretty short that that there will be another entry in the not-too-distant future. Alternatively they will surely pop up elsewhere in many other guises. 

Album Review: Abby Posner - Kisbee Ring

 

www.abbyposner.com

A little research into the background of Abby Posner reveals a fully diversified musician dipping into every facet of their skillset to pop up in a multitude of arenas from scoring film music to treading the boards as a touring musician flitting between bands and solo. It appears the music does get ahead of the name, which while not being a bad thing if your heart is in your craft may inhibit full exploration of what can be offered. The release of a brand new solo album with an international horizon could correct that and KISBEE RING is set to give the career of this LA based artist a boost.

From a perspective of writing, producing, arranging, mixing and playing, this ten track effort is just a trio of slight contributions short of being the ultimate one person affair. The result is a transparent piece of work that allows the considerable talent of Abby Posner to flourish and shine. Any listener tuning in with a particular ear for music fluctuating between indie folk and light pop will immediate click in. If making your music accessible for a desirable market who cherishes acutely crafted material is an artist's aim, this album with the slightly unusual title evidences game, set and match.

Debate can rage around the optimum length of an album, but there is nothing wrong with a neat round ten track 33 minutes. Pop music thrives on the three-minute track, and while this is more of an acoustically driven folk-style album, there is an ease to which it transmits from artist voice to listener space. The album title doubles up as the first track and transpires to be another name for Life Preserver. Enhanced knowledge each day keeps the mind fresh.

Meandering out from 'Kisbee Ring', the other nine tracks take you on a deep and meaningful journey theme-wise, highly personal to Posner, but delectably played and beautifully sung. One warning is that this record does need a little space to prosper or headroom away from the hustle and bustle. There isn't a go to track that will enhance a sampled playlist. This is probably not an artist's intention when they set on the path of a commercial release, but there is at least the consolation of parading a record that hits a chord in its entirety and invites a listener to engage for a time friendly period.

Another notable feature is the admirable blend of vocal presence and subtly delivered sound. The former is generally to the forefront and leaves symbolic moments for the latter to simmer. There is no hesitation in hitting the repeat button and before you know it a couple of blissful hours have been sunk into the musical world of Abby Posner. KISBEE RING shines a light on where her career is at the end of 2021. The early year of a new decade that may lead into new spheres for this obviously well equipped all round musician. 

Gig Review: Martin Simpson - Green Duck Brewery, Stourbridge. Sunday 7th November 2021

 

www.martinsimpson.com

Mix things up, step out of the comfort zone and good things will happen in the live music world. There was an air of unfamiliarity to this gig bound together by one of the legends from the folk scene popping into your local town. This show was like many others in the late 2021 diary, subject to postponements and rescheduling since first announced. It helps when you are in the safe hands of Martin Simpson, and a turnout in the vicinity of three figures proved that patience is a virtue. A new scene was set and a gig with a difference joined the annals of those springing up from left field with a propensity to create more than a ripple.

The first unique feature was doors at 1:30 with organiser and local musician Sunjay playing for half an hour ahead of a short break suitable for the surroundings followed by Martin Simpson delivering a mesmerising hour and three quarter main set. All done and dusted by 5 and home for tea. Sunday afternoon shows have an air of civility about them, unless the temptations of being in a local brewery take hold. 

Gigs in Stourbridge have been rare as this blog approaches its tenth anniversary early in the New Year. Even rarer is the Green Duck Brewery hosting them, although the collaboration staging this show also promoted Phil Beer in September. The promise from this afternoon's successful event is that more may appear in the future. As much as a 26-mile round trip to Kings Heath is a staple of my gig journey, a 10 minute walk around the corner has a certain appeal. 

Sunjay opened the show with an entertaining set blending intrinsic blues with a cheeky eye on light entertainment. A mix that served him well pre-lockdown via recognition in the folk world and hook ups with a Buddy Holly theatre show. His set here ended with a plug for new music out soon and a follow up to a previous record with the clearly explained title Black and Blues Revisited.

Martin Simpson needs no introduction to followers of English folk music, and has held a premium position in the hierarchy for most of the fifty years he has been playing professionally. The stories and anecdotes were as rich as the exquisite guitar playing. Although the songwriting credentials are in tact, there was a heavy leaning towards interpreting the works of others in the songs shared this afternoon. These ranged from traditional pieces sourced pan-Atlantic to celebrating the work of peers such as the late John Prine, Lyle Lovett, June Tabor and Incredible String Band.

Themes randomly swung between birds, environmental awareness, personal recollections and issues core to making the world a better place. A psychic energy encompassing the importance of song transmits from the presence of Martin Simpson in full flow. The only soft option is an affable style as the intensity demands a certain level of cultural and attentive application. Attending one of his shows rewards a commitment, whether you are a guitar junkie holding onto every tuning mode and chord change or besotted from the literary aspect of soaking up the stories and words. You don't have the accolades in Martin Simpson's locker led by BBC Radio 2 Folk nominations and subsequent wins without leaving an element of class in your wake. Especially when hitting the road playing shows to audiences of many diverse standings and levels of interaction.

It wasn't quite exiting the Green Duck Brewery in the hours of daylight as the diminishing November days ensured that. However there was a refreshing aspect to attending live music in the afternoon away from the sunlit festival days of high summer. So many parts of this gig clicked into place including a decent sound output from a venue that is an adapted drinking and brewing space, let alone one conducive with staging live music. Yet it worked and an overwhelming sense of success from all parties raised signals that there might be a future from the twin presentations staged so far. Matters were helped by booking Martin Simpson, an artist you know will never fail to deliver and enrapture an audience tuned into his eminence.

Gig Review: Baskery - Kitchen Garden, Kings Heath, Birmingham. Sunday 31st October 2021

www.baskery.com

There was no Sunday slumber when Baskery come to town. The Bondesson sisters do have a habit of flicking the on and off switch, but when fully tuned in they prove one heck of an entertaining night out. The pattern of live Baskery experiences does have a certain spaced out theme to it - 2008, 2012, 2014, 2019 and 2021- and the promise from the stage this evening was that we should do this more often. From the early days of supporting Seth Lakeman and a fleeting festival appearance at Shrewsbury, the band have settled with the Kitchen Garden as their West Midlands host when they decide to hop on the tour bus around the UK. Greeted by a sizeable turnout, the sisters - Greta, Stella and Sunniva - responded with an effortless display of rampant rhythm, habitual harmonies and a zestful demeanour.

Album releases of original material tend to be lopsided towards the early years of Baskery mounting a world challenge. Nowadays they appear content with mixing old favourites with covers of old luminaries like Neil Young and Tom Petty. Whatever they turn to Baskery do it well and coax an audience into rapturous approval.

In line with previous Baskery shows, the theme of a whistle stop world tour twists and spins with many a location heralding or inspiring a new song. From the twin Scandinavian outposts of Sweden and Finland, we venture south to the Mediterranean playground, or Greece to be precise, before crossing the pond, just like the band did in the heady days of their pursuit, where the full breadth of the northern part is covered from Canada down to Mexico. Each place has a celebrated tuneful recollection ranging from an air crash with a difference in Mexico ('Big Flo' (Adios)) to a 1700s Swedish drinking song which shall forever remain nameless to non-native speakers. 

Rhythm is king when Baskery hit the beat. Stella slaps and plucks the bass in faultless time, while Greta consistently doubles up on expressive banjo and kick drum. Even Sunniva adds a a touch of drumming to the electric and acoustic guitar to take multi tasking to a new level. Stylistic comparisons are fleeting moments of association, but any country, rock, folk or blues analogies should always be pre-fixed alt. Americana is a little too simplistic, unless you mean the state of mind and Nordicana/Scandicana sounds crass, but makes a point.

Ultimately, a Baskery gig is about tempo and crescendo. You always feel these Stockholm siblings are about to take you somewhere interesting. Although Stockholm at least has an origin status once revealed that Greta now lives in Devon. Where Baskery take you is always climaxed in the encore. A quick glance to a low ceiling is a precaution Sunniva has probably developed over time. The Kitchen Garden has a fairly low one, but not one that was going to restrict. At that point, the Bondesson sisters had signed, sealed and delivered their return to Birmingham. 

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.