Gig Diary: Daisy Chute - Kitchen Garden, Kings Heath, Birmingham. Thursday 24th February 2022

 

www.daisychute.com

The last gig diary post a couple of weeks ago looked at the factors for choosing to see an artist you are not too familiar with for the first time. That show paid off handsomely with a brand new introduction to the music of Rachel Croft. There was a little more substance when choosing to take in Daisy Chute's debut Birmingham show. First of all she was briefly caught live previously when playing a short concourse stage set at SummerTyne in 2019. Secondly, she appeared a couple of times on the multi-artist event streams witnessed during lockdown - namely Virtually Green Note and AMA UK Staying Connected. Finally, trusted sources had put forward her name as someone to check out.

Although Daisy has had a rich and varied music career for a few years, the two missing pieces from the perspective of some potential fans are getting around the country playing shows and putting out a full length solo album. The first of these was starting to be rectified with the current tour and we learned the second was in the pipeline for hopefully later in the year. This is not to say she has been inactive in promoting her solo material. EPs, singles, live streams and pop up shows have been liberally sprinkled accumulating a decent following highlighted in the turnout for her first appearance at the Kitchen Garden. 

The audience appeared a mix of those taking a gamble on a new artist and plenty already in the know leading to an increased confidence to open the request lines. The latter probably emanated from the many interactive streams. There was also the decision to split her performance into two halves which meant the evening was extended with an opening act kicking things off. Also plenty of opportunities for perusing the merch table. 

There was a last minute change to the opener due to the unavailability of Jessie Reid. In line with a local act being selected for each date of the tour, Birmingham based country singer Charlotte Young met the eleventh hour call and was afforded the chance to share her heartfelt life exploring songs in an acoustic format. A gutsy performance gave a brief hint of what she is capable with the highlight being a very good song titled 'On the Loose'. Checking out her EPs reveal a much more polished studio performance and she lodges in the modern realm of country music with echoes of her influences in Taylor Swift and Carrie Underwood. To add a different dimension she tossed a standard Johnny Cash cover into the set and you got the impression she could get a foothold in the national scene with praise from a variety of angles.

Genre is not something that defines Daisy Chute. A strained ear can detect a jazz background; she wanders into the world of folk, but doesn't stay too long and there are shades of Americana without being soaked in the sounds of that land. She does possess the key components to become an established performer commanding a loyal following. An inquisitive songwriter combines with a beautiful voice and engaging stage presence to mark out as an entertainer. Musically, she majors on guitar and was buzzing about her new addition, named appropriately on the evening. Banjo gets billed in her headlines, but this was only turned to a couple of times during the show. Both turns pretty good though. 

Joining Daisy on stage was fellow performer Nick Ereaut. His prime role was playing stand up bass, but for a couple of songs during each set he took centre stage playing his own material via piano. His style was straight out of something from 1972 and thoroughly absorbing. He even casually mentioned Carole King and Paul McCartney, probably without the irony. We cannot leave without applauding the song 'Icarus' which even had some extended vocal parts for Daisy to enhance. 

On the song front, Daisy started with a selection of songs from her 2021 EP SONGS OF SOLACE. The pick of these was 'Meet in the Middle'. Another impressive inclusion in the set list was off the latest EP where a selection of poems from Scottish female poets have been set to music. To show off Daisy's ability to co-write 'Music is There' was definitely in the best of the rest category. From the requests and set list there was little doubt that 'London's on Fire' would form part of the finale. Listening to this for the first time sensed that it was built for a fuller band sound. 

By the time the plug was pulled an another successful evening, the music of Daisy Chute, Nick Ereaut and Charlotte Young had moved the dial of exposure forward. A virtual existence can have many benefits, but there is a whole different world out there when presenting your music up close and personal. The Kitchen Garden is the ideal venue for artists like this and the success of the evening can be summed up in the slogan 'keep music live'. Do this and it will find new ears.

Album Review: Bird in the Belly - After the City

 

www.birdinthebelly.com

For an ever evolving moody slice of seismic change, all played out in the true sense of the folk tradition, hook up (or more likely bend your mind) to the theatrical tones of Bird in the Belly. Their brand new album is a gripping conceptual stab of how the apocalypse will emerge and leave an everlasting imprint. There are two significant strands to how AFTER THE CITY plays out. On the surface you can comfortably detect the blending of four consummate folk practitioners with a deep entwining of the contrasting voice and multi instrumentalism on a vast scale. Dig a little deeper and you can follow the narrative that rolls out in three distinct phases. The key two parts of apocalyptic occurrence and aftermath are spliced by a poignant instrumental interlude that supremely lubricates the listeners ability to decipher the path of an album that does ultimately flit from darkness to some resemblance of alternative light. 

This is the band's third album release, a performing quartet comprising of Hickory Signals' members Laura Ward and Adam Ronchetti joined by contrasting sounding vocalist Ben Webb and ultra instrumentalist Tom Pryor. Whether it's vocals blending in gruff and beauty or a soundtrack hopping around a well stocked music room with flute coming to the fore, the band have nailed the tone of their aim long before we trace the story.

The scene is set in album opener 'Tragic Hearts of Towns', adapted from a poem and a precursor to a dip into the darker vault of folklore. To lure you in this prelude is a jaunty effort full of enterprising musicianship with a thumping beat belying the undercurrent. What follows unveils as an analogy of the four horsemen of the apocalypse in the form of four tracks sourced from the archives, broadside ballads, centuries old play adaptions and a self-penned effort. A sombre mood to end the first half, but right at the core of folk noir. 

A poem-inspired track titled 'Smokeless Chimneys' turns the corner as our world has now been decimated and the aftermath starts to appear. The dark satanic mills of East Lancashire at a time of famine proves the source for this acapella number. At this point the quartet hand over the license of imagination wholly to the listener in the shape of a short instrumental interlude. Just over two minutes to visualise what 'Landmark' is left. 

As we head into a new world, the mood changes with the final three tracks. This trio go back to the origin of the project, a 19th century book by nature writer Richard Jeffries that shed some literary light on how the natural world can reclaim its manmade counterpart in the aftermath of the apocalypse. 'After London' effectively is a more explicit version of the album title, while 'Lay Low Lay' and 'The Ships' ease in a future that depicts a world strong enough to pull through with an element of light intact. 

All facets of Bird in the Belly's creative arteries are in full flow as the story of AFTER THE CITY glides its way across a mesmerising folk landscape. Subsequent listens intensify the impact and little nuggets emerge dependent of how you focus your antennae. Vocals, musicianship, arrangements and song selection all inspire to make this an album to bristle with evocative visionary and aural pleasure. 

Album Review: Jon Tyler Wiley - The Longing

 

www.jontylerwiley.com

In the press write up accompanying this album, Jon Tyler Wiley confesses an unease that the term 'three chords and the truth' implies honest songs and complex arrangements cannot co-exist. Let's get off to a good start then. Mind you my blog strap line states 'it started with the cliche before branching out where the music mattered'. So an olive branch is offered followed by the assertion that on the evidence of THE LONGING, the music here certainly branches out in innovative and experimental ways to fall within the realm of mattering. 

The overarching effect of this album is Wiley nailing the time honoured tradition of saving the best until last. Right from the off there is little doubt that you are entering the rock infused side of Americana as guitars ramp up and beats major on the uptempo side. The full sound is a testimony to the revelation that everything on this album is done solely by this Virginian-based singer-songwriter/multi instrumentalist/producer. You certainly feel in a large scale band environment. While the studio is Wiley's sole domain, we do learn that the act is enhanced to the tune of 'Jon Tyler Wiley and His Virginia Choir' when on the road. However, the here and now is focussed on what rolls out on record. 

Before we get to a finale that certainly leaves an impression, eight tracks lay the way led off by 'Wolves'. A slightly scratchy opener that gives way to the rugged and soaring 'St. Mary's River' and the follow on track, the confessional and swirling temperate number 'Whiskey'. A solid start is cemented by the further rock-infused 'Just Another Heartbreak Song' before Wiley's sense of adventure tests the water with a string of different feeling songs.

The pick of a quartet beginning with 'Wannabe' is the faintly psychedelic 'I Saw Her in the Sky'. Despite the laudable intentions of Wiley wanting to challenge the listener, there is an element of conformity in style in how the album ends. The penultimate track 'He Knew Me' is a four-minute slice of pure nostalgia as the loss of heroes including Williams, Haggard and Petty is lamented. Such songs do resonate here, which leaves one more effort to ponder.

Nine-minute songs can hugely divide opinion. Wiley takes that controversy head on with the memorable 'Laredo Texas Oil Well Blues'. Shades of brilliance in how this song evolves shuffle alongside a stamina inducing concentration span that does question whether an alternative approach could have yielded a more positive reception. Shivers of folk-waltz-rock ballad-country all collide in this story song ensuring that at least THE LONGING ends with the thought process spinning and an exposure of what Jon Tyler Wiley does best. 

Album Review: Massy Ferguson - Joe's Meat & Grocery

 

www.massyfergusonband.com

Seattle alt-country rockers Massy Ferguson are at a stage in their career where they know what suits them best. It would be mistaken to say that this album differs too much from the previous releases that really started to gain traction with 2014s VICTORY AND RUINS. The most recent release coincided with a UK visit in 2019, just prior to an enforced reset, at least from the touring angle. Now back and firing on all cylinders, Ethan Anderson and his sidekicks are set to carry on where they left off with JOE'S MEAT & GROCERY the perfect accompaniment for normal service to be resumed. 

This album comprises of a dozen tracks, all but one Massy originals. The odd one out being a cover of Seattle supergroup The Cupholders 'You Don't Bother Me'. This acoustic effort slips unassumingly into the last slot leaving the band to largely solely own the domain and ram home the Massy Ferguson that fans across the continent and beyond have come to love. 

For anybody new to Massy Ferguson just imagine a country upbringing soaked in the grungy sounds of the Pacific North West. There is a raw punk sound to the finished product and in some spheres can be described as hard edged blue collar twang. You get a sense that the band have hardened their sound for an album named after a real life store personal to band member Adam Monda. Also honoured in the liner notes as being just as influential on this latest release as band founder Ethan Anderson. 

Right from opener 'Miles Away', Massy quickly find their guitar riff, drums and gruff vocal groove before hitting the cruise control button. Songwriting also plays a key role in the music of Massy Ferguson with second track 'Save What Couldn't Be Saved' proving the pick of the story songs. Lyrically, there is reference to the UK city of Newcastle-Upon-Tyne in 'Backspin'. A sense of irony since Ethan and the boys were last seen in the UK in the summer of 2019 playing aboard a boat cruising up the Tyne to the mouth of the North Sea. Other tracks to prick the ear on this rampant release are the different feel to 'I Don't Know Why', the rough edged 'Sister Roll Up' and a potential stand out tune in 'Off My Mind'.

While some records are designed for a personal listening experience, JOE'S MEAT & GROCERY has a social feel to it. Obviously it is primed for a live airing, but in the event of this not being practical it can be enjoyed in a variety of settings and does not require undisturbed attention. Given only the slightest of gaps presents no obstacle for Massy Ferguson to penetrate their music. This album lives up to that pretence and any scene embracing them is richer for their presence.

Album Review: The HawtThorns - Tarot Cards & Shooting Stars

 

www.thehawtthorns.com

Back in 2019 husband and wife duo act The HawtThorns created a wave with a thoroughly enjoyable and impressive album in MORNING SUN. Three years on, KP and Johnny Hawthorn are back in tandem, and if you thought the previous record couldn't be surpassed, then stand up to have this assertion corrected. It can be a positive experience witnessing music moving positively forward even if you join an act in mid career. TAROT CARDS & SHOOTING STARS is one such experience and there is every shout that this record can gallop towards a fond reflection when the dust settles on the calendar year. However before we propel that far forward let's step back and assess how things are evolving in the early months of 2022. 

The HawtThorns are a musical enterprise that starts at the fringes, but doesn't fray from drifting into the middle ground. When making this move the songs are so well equipped and constructed that a glossy sheen of delivery only polishes up what is already an astoundingly good product. Settling on ten songs creates an orderly feel and they have few qualms in slotting in a Neil Young cover alongside the others that all have a Hawthorn writing stamp on them. 

Both KP and Johnny have had extensive careers prior to hooking up in this format for the debut aforementioned 2019 album. Subsequently the pair have relocated from their original California base to Nashville. It doesn't take too many listens to note the influence of their new home. The move took place in 2020, so there has been plenty of downtime to craft the wares of the new album. 

While the sound is not afraid to challenge country pop on its own territory, coming from a hardened Americana edge gives the carefree and easy listening songs a potent sheen. The melodies are sublime and the 39-minute playing time goes by in a flash. 

This playing time opens with the sparkling and catchy 'All the Right Reasons' with more than the odd popular song title featuring in the lyrics. Close on 40 minutes later 'When Georgia Cries' de-accelerates the pace to a restful conclusion. In between there are four absolute pinnacle moments that lift the album as a serious impactful contender. 

'Let's Get Together' pulls all the key components together with a killer chorus powering a playlist candidate. You can seek for associations and I'm going to plump for Little Big Town or Lady Antebellum in their prime early days before a repetitive blandness kicked in. 'One Human at a Time' is a spine tingling - hair raising addition possessing the fetching lyric 'we'll get through this paradigm' in the chorus. 'This One is Ours' and 'It's a Gift' get into the top quartile partly on the back of guitar work that is both gorgeous and effective. 

The Neil Young cover 'Lotta Love' slots in the first half like a sweet 70s summer breeze, while you can find the album title nestled in the lyrics of the nostalgia strewn 'On the Way' in the the playing order's second slot. The final two tracks - 'Keep it Alive' and 'The One Got Away' - are further examples of The HawtThorns finding their plateau and living up to a high standard across the piece.

TAROT CARDS & SHOOTING STARS fires the engine of the perfect release to create a go-to template when you yearn for simple, bright and buoyant songs. KP sings impeccably, Johnny plays admirably, the rest of the team chip in and The HawtThorns have delivered an album to savour. 

Album Review: Harley Kimbro Lewis - Harley Kimbro Lewis

 

www.harleykimbrolewis.com

Questions sometime arise whether collaboration breeds enhancement or dilution. This is especially pertinent when artists of the calibre of Martin Harley, Daniel Kimbro and Sam Lewis have been able to carve out critically acclaimed careers within their chosen styles. The key to success when entering an arrangement as such now released in this trio album is chemistry; not just in the output but in every strain of the process. Evaluation of this comes across in the affirmative as the path is laid out in getting the record out. Now it's all down to the reception HARLEY KIMBRO LEWIS gets from the ears of the intended. 

The album rolls out as a 39-minute compendium of gently constructed songs breathing the air of an Americana breeze drifting in a blissful waft of fine acoustic combined playing, casually relaxed shared vocals and variedly curated tunes caressing your soul.  Let the tracks permeate a secluded listening space and attaining the succulent vibes conjured up by the trio becomes a purposeful pastime. 

Each player brings a combination of talents to the party. Obviously there is an egalitarian streak to the output, defined most strikingly in the trio sharing out the lead vocals in equal portion. Thus creating a diverse sound that keeps things fresh. A more hidden trait is the songwriting springing from a multitude of compact sources, namely solo, duo and trio co-writes. The playing also gets banded around the trio though rarely deviating from an prime acoustic template that supplements the songs and creates a time static effect. 

Worthy songs to help propel the album forward include the three pre-released numbers. The jaunty ear worm 'Neighbours' straight from solo pen and rhythmic vocals of Lewis led the way at the back end of 2021 and represents the album at its wide reaching pinnacle. Harley's 'Cowboy in Hawaii' takes the album in a slightly more twangy direction with fine effect and a stab straight out of the 50s. To conclude the singles, Kimbro assumes the writing and vocals to close out the album with the flighty and jovial 'Man Get A Hold of Yourself' 

From the new ones surfacing in an album born out of a traditionally simplistic recording session in East Nashville, 'Good Guy' catches the ear in the first half, while 'Who's Hungry' simmers to the surface in the second with hints of a deep 60s southern cut alongside the Prine-like tone to 'I Gotta Chair'. 

Ultimately it's tough to split hairs between the dozen strong set. All either sparkle with the blues infused intrinsic picking of Brit Martin Harley, the Appalachian influences from Daniel Kimbro or the soulful strands to the sound of Nashville based Sam Lewis. Mainly the success of HARLEY KIMBRO LEWIS is down to a subtle mix of chemistry to seek and capture a cocktail of finely spun American roots music. An album to wallow away the days and feel a sense of achievement.

Album Review: Kate Ellis - Spirals

 

www.kateeillis.com

Kate Ellis has hovered around the UK country/Americana scene for a while. Now with a few adjustments and a finely crafted product, she is poised for a major career lift off with the release of her latest album. SPIRALS is a classic case of a fine accumulation of talent proving the adage that the sum of the parts can really launch a record up the appreciation ladder. Settling on an unassuming role that suits her style, Ellis and her assembled team orchestrate an emotive rack of songs that simmer and shine in a classic haze of imprint inner writing.

The ten songs forming this album take their cue from the title track as she tackles the way life's emotions spiral while getting dealt with through the ages. There is ample space in the production for the lyrics to take centre stage and here is where a prime asset of Ellis's artistic armoury sits proudly for an eager listener to devour. Telling the stories from a deep dive into the heart are softly spun vocals, slightly more vulnerable than brash, but in situ with a soundscape that articulates a wealth of stellar musicianship.

From the ethereal chimes of 'Wonderland' to the earthy honky tonk vibes of 'Scars', the pace and style vibrates along the template of the subjects inspiring a call to record. Opener 'Can't Not' excels in a fit of sonic escalation, while the lyrics to 'Another Day' catch the ear the most with an air to where they are going to lead. Songs like 'Other Side of the Street' slip into the airwaves with a carefree attitude allowing a smooth passage through the listening process. Never lose sight of the benefit a little ear massage can make when delivering strong serious messages in your songs. It is also useful to depart the stage on a high and album closer 'The Story You've Been Told' exhibits a beautiful sheen to a conclusive moment. 

Kate Ellis's anglo existence (Louisiana born - New York raised - London based) gives her a twin approach of tapping into a rich stateside musical DNA and operating in a homeland where her distinctive features can create a niche. There is every optimism that SPIRALS can cut through and showcase an artist maturing in a way that their music acts as a blueprint for others to follow. It isn't an extensive release, but an awful lot is packed into a sincere 35 minutes. While albums once out become the domain of the listener, expect Kate Ellis to enthusiastically take it to other levels with a desire to share the experience and inspiration that brought this record to life. It's pretty sure that checking her out live will ramp up the approval and help the album add further dimension. 

Album Review: Dean Owens - Sinner's Shrine

www.deanowens.com

After a lengthy run up dictated often by external factors, the latest album by Dean Owens finally sees daylight and the ultimate cumulation of a smart decision a while ago to team up with American band Calexico. In the distant jet stream of 2021's DESERT TRILOGY EPs, SINNER'S SHRINE emerges as the duly promised full length release and a monumental representation of why the 'Man from Leith' is one of the most innovative songwriting performers operating in the shadows and beyond. 

Dean Owens has form in basing his work around the exotic wide open spaces of America's far south west. Buffalo Blood - the most recent large scale collaboration - was inspired by trips out there to tap into the land, culture and people. Now he merges his own Celtic heritage with the latino inspired rock of Calexico complete with a taste of the border and even tastier added sounds led by the horns. 

You get strong hints of where this record is heading in the titles of three of the first four tracks, namely: 'Arizona', 'New Mexico' and 'Companera' (you're more than capable of hitting the translator). There is also a strong sense of this collaboration working as Owens perfectly blends in his own inimitable style with those he wrote and recorded with. This includes sharing the vocal duties on a couple of songs, most notably with Gaby Moreno on 'Land of the Hummingbird'.

To spice up the action a whistle-led instrumental splits proceedings just before the half way mark with the mind lodging title 'Here Comes Paul Newman'. This precedes one of the album's darker presented tracks in 'The Barbed Wire's Still Weeping'. Maybe the whistling softens you up as it also features in the follow up. Innovation and a delicious touch of latino rhythmical sense co-habit 'La Lomita' as Owens is more than convivial to share the canvas without trading a defined stamp from a lengthy career. 

It transpires that some of the songs have been knocking around for years. It is pretty certain here that the treatment applied via a diverse team assembled across the seas has brushed them up. No more so than the climactic closer 'After the Rain' where Owens doesn't shy away from taking centre stage. Ultimately summing up a desire for him to never stand still as an artist. Something wholeheartedly achieved across the breadth of SINNER'S SHRINE. 

If you are a strongly cemented to, and a highly rated member of an Americana movement, you only add credence by delivering projects like this that get right to the heart of the term. 2021 was the year where Dean Owens had artist-labelled commemoration by industry bodies. Expect 2022 to link that to an album.

Album Review: The Pine Hearts - Lost Love Songs

 

www.thepinehearts.com

The lines where official bluegrass and old time fiddle music merge is often a blur to the casual ear. What is important is that when acts like The Pine Hearts conjure up a timeless sound melting into a sea of carefree nostalgia to simpler times, all you need is to bow to this style of music. From a dusty tattered cover, it barely takes a couple of tracks for LOST LOVE SONGS to sink deep into your roots psyche. 

The Pine Hearts are a band operating out of the Pacific north west state of Washington but they have form for getting around. The album's stand out song 'Wouldn't You Know' even had its origin in Antartica, although in reality it can evoke any rural point from the Cascades outside Seattle to the Georgia woods. This outstanding song delivers the album title in the second track slot. A brave time to peak, yet what follows matches the standard of a trio experienced in cultivating their sound and fully immersed in a DIY approach. 

Top quality picking surfaces across the thirteen tracks, far from proving unlucky for anybody fortunate to cash in on this record. All the components of instrumental interludes (fiddle, guitar, mandolin et al) intersperse a ruck of tunes packed with toe tapping appeal. Some songs serenade, some songs long, other rouse,  all beckon a bygone age. Folks choose this type of music to escape from the tribulations of the twenty-first century and handing over your ear for The Pine Hearts to fill it with their luscious, heartfelt and intrinsic sound is a smart transaction. 

The beauty of delving into top class Americana music is you can skip from up front brash alt-country rock right through to delicately sung folk tunes. Midway through this journey a deviation to old time/bluegrass takes the roots concept as deep as you need to go. The Pine Hearts serve this up in a throughly entertaining and comprehensive way. Ideals exist for bands to chase them, consciously or not. LOST LOVE SONGS goes a long way to matching such a lofty attainment as unfiltered idealism. A delightful set of songs that have travelled far; in this scenario right across the pond to intuitive ears. 

Album Review: Peter Knight & John Spiers - Both in Tune

www.peterknight.net    www.johnspiers.co.uk

A little irony in the title as folk *cruiserweights* Peter Knight and John Spiers know no other way than to deliver perfectly in tune. Whether you hang onto every strike of Knight's majestic fiddle, fawn at each vaunted pitch from Spiers's melodeon or savour the way both musicians effortlessly blend their distinctive talents, fans of prime time instrumental folk music are in for a real treat. BOTH IN TUNE is the second album release from this unlikely duo who saw their project first flower at Folk East festival in 2016. This new offering takes a stab of re-interpreting ten traditional and assorted self composed tunes with the ultimate Knight and Spiers stamp. From a somewhat quirky rendition of the widely known and played 'Scarborough Fair' to other tunes not necessarily on the horizon of everyday listeners, the playing teases and tantalises those unafraid to hang their ears on a bout of classical meets folk. Instrumental albums often head into niche forests. If you stumble upon this album on your woodland rambles expect to stop in your tracks and soak up what these legendary performers can conjur when fiddles and squeeze boxes collide. 

 *why cruiser not heavy, well it's best to leave a smidgeon to attain*

Gig Diary: 8th February 2022 - Rachel Croft - Kitchen Garden, Kings Heath, Birmingham.

In this day and age you don't have to take a gamble when seeing a brand new artist live unless an old school approach of avoiding all digital content is adopted. One surviving feature still intact is the differentiation between listening to recorded music and experiencing it live. For some artists the gap can be huge in one context where the studio impact towers above what can be transported to the stage. In other situations the live performance can show the music in such a different dimension that appreciation and enjoyment soars. The deciding factor lies within the scope of how an artist presents their music and the often innate talent in how a performance unveils. These thoughts raced through the mind in the wake of choosing to see Rachel Croft play live for the first time. Needless to say, the lingering effect is wow! what an outstanding performer. 

The decision to attend her show at the Kitchen Garden in Birmingham was made in tow with the modern aids of checking her music out on the streaming sites. The sounds and style from a 2019 album and 2021 EP gave it the nod alongside a need to boost a slowish start to the gig year. So it was all systems go and the chance to check out a new artist. 

There were so many facets to how Rachel presented her music that met with approval. She was obviously a natural performer with so much random energy and depth. The songwriting insight, vocal accomplishment, guitar accompaniment and genuine persona all flowed from a natural source. There was no road map or grand strategic plan in place, just a heartfelt calling to power her musical creative whim. This is besides being an awesome illustrator. 

Genres vanish into thin aware when you try to define her music. Detecting a hint of indie or a slice of folk is forthcoming but neither take hold. It transpired that she had caught the eye of UK Americana, which probably says a lot about her music as most souls struggle to describe that genre, especially this side of the pond. Yet that may be where opportunities beckon. 

While keenly absorbing her two sets that stretched over the hour mark, strains of Southern Gothic flickered and at one point there was a resemblance to Hannah Aldridge. Then a detour to a bout of sass took hold, all within the most natural of performing styles. Ranking up there alongside a stylish demeanour was an impressive bunch of original songs. These followed whimsical themes right at the core of who she is as a person. All revealed in a candid setting.

To add some facts to the musical career of Rachel Croft to date. She cut most of her career experience in the city of York in her post-university years. A major life relocation phase is in motion as she has recently moved to London. A whole raft of opportunities there. A sample of her work can be found in the usual places, but it can be categorically said that this is merely the starting point. As the whole arts world moves back into the in-person form, it is duly hoped that she has the means to get gigging and out on the road. There are so many willing fans of highly crafted-absorbingly presented singer-songwriter music out there who will surely tap in.

Not only did Rachel reflect her past in the music played, but the future was previewed too. Both in definite plans and tentative moves. The new songs sounded great and there was even a hint of a future Christmas hit. All that is left is for more people to champion this artist and see someone articulate a raw talent so well. The gamble to take in this Kitchen Garden show paid off handsomely. It also rammed home the point that live music can really project a talent and fine tune all the traits sometimes hidden in the studio. Rachel Croft is definitely someone to check out, and follow a no doubt prosperous future. 

Gig Diary 6th February 2022: Martha Tilston - Kitchen Garden, Kings Heath, Birmingham

 

www.marthatilston.co.uk

Three pondering thoughts and phrases came to mind at the end of this gig: one door closes another opens, jumping on board the train and operating in parallel worlds. All very personal of course, but pertinent to seeing Martha Tilston play live for the first time. 

The Kitchen Garden in Birmingham has been a kind venue for Martha over the years. Largely because she repays such kindness with exemplary shows each time it is added to her tour itinerary. This one was no exception as the sold out notice went up a week or so before. The bond between audience and artist was as firm as any witnessed over many years attending shows here, and more importantly, it was easy for newbies to be swept up in the mutual attraction.

This event was a late addition to a decimated start to the gig year. With so many first choice touring artists pulling the plug on their travels, perusing the live music landscape for alternative options became a more determined task. For several years the name Martha Tilston has been been pitched to me, but despite full awareness and appreciation circumstances never aligned. Her dad, Steve Tilston, has crossed my path several times, mainly at festivals, but Martha remained elusive. 

So choosing to engage with her music for the first time was very much down to the circumstance of a door closing on several other events in the late January-early February window. Which in turn leads to the question of when is the right time to jump aboard the train. We are often guilty of proudly proclaiming a support for an established artist for many years without realising we are making minor personal choices from a ginormous pool. Sometimes you have to put your hands up and state 'I may be late to someone's party, but I'm going to make up for it and enjoy the experience'. February 2022 is when the Martha Tilston train stopped at my station. The fare was duly paid via We Got Tickets and although there is a near potential twenty years of catching up to do, the first task is complete.

I couldn't help linking the scenario of watching Martha Tilston to that of doing the same with Thea Gilmore three years ago. Even though the former is a lot folkier than the latter, there were a lot of similarities in my book. Mainly on the fact that for well over a decade they have been on my distant periphery. Known, respected but undiscovered. The Thea Gilmore journey powered on to the extent of becoming my gig of the year in 2021. No pressure there Martha. So in my book Thea Gilmore and Martha Tilston have operated in parallel worlds until now where lines have been crossed and bandwagons boarded.

To put a little more flesh on the bones of this show. Martha invited Dietrich Strausse to open the concert with a short thirty-minute set. The uncanny thing is that I actually saw him do the same for Josienne Clark and Ben Walker in 2016. Then he came across as heavily influenced by early 60s Greenwich Village. Now it was more early 70s LA. Either way both times seen have proved entertaining experiences.

It was the Martha Tilston trio format tonight with regular sidekick Matt Tweed on multiple guitars and stringed devices and Flora Curzon on fiddle. Together from just before 9:00 to the stroke of 10:30, they played the superlative supporting role to the hugely impressive songs of Martha Tilston. All but a few were heard for the first time on the evening, but sounding embedded into your mind for years. In a good way not a lazy copy. 

Maybe it was the personality, stage persona and grounded graciousness that took the quality songs to another level. Whether taking contemporary themes or dipping into the wonderful world of traditional folk, each song sounded gorgeous and never allowed your mind to wander. The pick of the evening came her latest project with a tribute to Leonard Cohen in the song 'Old Tom Cat'. Although a song from the back catalogue, it also features on the album THE TAPE which is the soundtrack to a film of the same name in 2021 directed and starred in by Martha.

There was a prediction once live music opened up in 2021that the emerging post-pandemic world might engineer a few more homegrown acquaintances. No more will Martha Tilston hover on the periphery. 

Gig Diary: 5th February 2022 - Aaron Catlow & Brooks Williams - Thimblemill Library, Smethwick

www.brookswilliams.com

If the blank gig canvas for January 2021 was enforced, the similar count for 2022 was heavily influenced by a waft of cancellations leaving an extremely limited choice. So when the doors of Thimblemill Library were flung open for their opening live event of the year, it also became the first page of this diary. It has been close to two months since Hannah Aldridge concluded the truncated gig year of 2021, but there is now a renewed vigour for the next eleven months to compensate. 

First up was an Anglo-American duo with a difference. Brooks Williams was the Stateside representative, but those familiar with his work will be aware of his longstanding English residency alongside an impressive array of roots-influenced music knowledge and skills. Teaming up with Brooks for this show was English fiddle player Aaron Catlow, an established figure on the folk scene through collaborations and the band Sheelanagig. The pair have been working together for a couple of years dating back to the last solo Brooks Williams album. Obviously live performances have been at a premium over this period; a circumstance both look to rectify on the evidence of their gratitude to open the year for the library.

The pair have been most productive recently in releasing the album GHOST OWL. This is an instrumental record inspired by being sent a spectacularly shot wildlife film of barn owls in the lowland pastures of Eastern England. To offer a flavour of the album and the film to which they gladly accepted the request to compose some kind of score, three tracks were played accompanied by a snippet of the film shown on a projected screen. Not quite the fully immersive show presented by Jenny Sturgeon at the back end of last year. Nevertheless an eye-catching sample of how music and film can interact. 

The majority of the two-set show was songs sung and guitar picked by Brooks interwoven with some sparkling fiddle work from Aaron. These songs were mainly borrowed from others notably out of the vast traditional American song vault. Whether drawing influence from old time fiddle, bluegrass, blues, country or contemporary singer-songwriter folk, the songs were right on the tee of what drives Brooks Williams - the artist - and perfectly compatible with where Aaron Catlow can divert his extraordinary fiddle work.

By the end of the evening a solid opening night Thimblemill turnout had brought into the wares and ideals of the two invited guests. Of course both musicians have been doing this to new crowds for many years and this evening was a pointer to how much mileage there is left in seeking new audiences to what is niche music. The good news is that Brooks Williams and Aaron Catlow seem set to renew their working relationship into the near future. A new album is on the horizon alongside plenty of live opportunities. Having seen Brooks play mainly solo several times over the last decade, it was positive to see how the addition of exemplary fiddle enhanced his overall sound. Aaron had only been seen live once before - in a duo format with Kit Hawes -, but you are left with the feeling that his skills are compatible in a multitude of situations spanning folk music's wide environment. 

Overall this was a therapeutic and re-affirming start to the gig year. We know good music is just around the corner and maybe the delayed start whetted the appetite a little further. Thinblemill Library is set to be a regular feature on the West Midlands roots gig circuit in 2022 with some enticing shows already lined up. Let's get this live show on the road. 

Album Review: Kate MacLeod - Uranium Maiden

 

www.katemacleod.com

Create some space, get yourself comfy and be prepared dig a little deeper to accrue the true wealth of Kate Macleod's latest album. URANIUM MAIDEN is no short term project. It has been years in the making and weighing in at a hefty 17 tracks across 69 minutes means it is no short term fix. Macleod has had an acquaintance with the state of Utah for over 40 years and now the time is right to celebrate her association with this often undiscovered part of America's vast West. She dips into all her folk and Americana sensibilities to craft a diverse array of songs, mixing a quartet of instrumentals with lyrical efforts attempting to capture the people and the environment of this largely desolate slice of land. Of course the title is drawn from the natural resources found here and the front cover lays out a conceptual emptiness to set the scene.

There is a strong thread of fiddle throughout the album and this features heavily in the instrumentals. Apart from the omnipresent acoustic guitar that you would expect from such a mash of genres, energising additions include a a slice of roots harmonica in 'Lightning Man Dreaming' and accordion in the Tex-Mex flavoured 'Compeneros on the Rio'. Vocally, Macleod controls the button, but once again a welcome addition on this front is exposed in the duet 'Angels on My Mind'. 

From a thematic perspective, there are obvious links between the title and its nuclear form in 'U-235', while tracks such as 'Apology to the Native Rock', 'Storm on the Desert', and 'Sand in Breeze' have natural connotations. The key historical reference is a self-explained song titled 'Butch Cassidy Was Here'. 

A traditional campfire ballad feel to most of the songs reveals a strong link to American folk tales of the West. Impressive diversions are a stray into a more country direction with 'Pick Pick Apples' and a prime serving of Americana in 'Time Zone'. The gently rolling rhythm, inkling of twang and appealing chorus to the last one makes it the album's standout track. The only possible downside to this assertion is the early peak as it appears at number 2 in the running order. This follows the opening track 'Now is the Time To Be Alive' that attempts to launch the album but is trumped by its successor. 

However endeavour and persistence does pay off and even if you chunk the digital playing time into smaller components, there is much to enjoy in URANIUM MAIDEN. Kate Macleod is obviously a talented and dedicated singer-songwriter-musican. He devotion to this project is admirable and the depth of her work presents a record that has enough panache to interest willing listeners. 

Album Review: Sofie Livebrant - Weep the Time Away: Emily Bronte

 

www.sofielivebrant.com

Swedish folk artist Sofie Livebrant had a spark of inspiration of how to harness her cultural energy as the world entered its enforced lockdown. As a fan of the poems of Emily Bronte, why not select eight and convert them into songs awash with her own invention and musicianship. The result is WEEP THE TIME AWAY: EMILY BRONTE, an album with a difference as you are never quite sure where Livebrant turns next with her acts of interpretation. She evokes the deep rooted spirit of folk-rock and names like Denny and Drake are likely to spring up when trying to place the lineage of where the record draws it sonic template from.

Sofie Livebrant is an established and experienced musician active both in her homeland and the wider continent. This brave excursion is her sixth album release and comes with the adage that you do not need to be acquainted with the poetic strand to the works of one of England's most celebrated authors. Indeed a quick search on her works suggest that the ones chosen for this album are not necessarily among the most well-known. Essentially, this does not matter as beauty and awe exists in the way the songs have been crafted. The words also stand on their own two feet as you would expect from their source.

WEEP THE TIME AWAY: EMILY BRONTE may be an act of indulgence, but it's an act done well and certainly enhanced the name of a Scandinavian folk artist likely not to be not so well known in all countries. Sofie Livebrant has likely followed a path into UK homes previously trod by fellow Swede Sofia Talvik. Although similarities and differences exist, the ultimate effect of landing a record engaging, interesting and curiously addictive has done no harm in forwarding the credentials of a fresh artist acute at framing a traditionally blended sound. 

Album Review: Heal & Harrow - Heal & Harrow: The Music of Rachel Newton and Lauren MacColl

 

www.healandharrow.com

A powerful message and laudable re-addressing of historical balance is made that much more profound when two of Scotland's leading folk lights are in the driving seat. With an element of understatement, Heal & Harrow the duo reveal HEAL & HARROW the album as their debut release in a subtle wrapping of crystal vocals and artisan musicianship. In a parallel world Heal & Harrow are widely known as Rachel Newton and Lauren MacColl. Fans of folk music will know the work of this renowned harpist/vocalist and lauded violinist respectively through their solo majesty and pioneering projects. Now they have circled around an unjust past and blended their own skills with some stellar storytelling and insertions of the spoken word. As a sum, an album surfaces to meet the ideals of what folk purists crave.

The cause and plight core to the heart of Heal & Harrow is the persecution of Scottish witches in the 16th Century, and the countless deaths. Indeed the practice didn't end in the eyes of the law until a final act in 1727. By then a gruesome period of a nation's history has been laid, initially lost for centuries but now resurrected in an act of remembrance and recognition through the power of prose and music. 

Each of the ten cuts on the record form their own memorial to an act, fact and fiction, uncovered and guided in the direction of recognised justice. Through Newton's magical vocals and intrinsic harp playing aligned with the exquisite fiddle work of MacColl, who in turn adds the emotive spoken parts, a beguiling and absorbing body of work sparks a curiosity. The work also draws inspiration from the writing of Mairi Kidd. Words play a key part in the essence of the record, and you can also toss Newton's Gaelic interventions in the mix. 

Instrumental segments form a large part of the album's 41-minute running time, although most tracks do contain a small element of vocal contribution. The album does pivot around the axis of fiddle and harp, though this is merely the starting point. Of course any album of this context warrants further delving into the accompanying notes to help bring the project alive. 

The extent you buy into the message of Newton and MacColl, and its wider relevance in today's battle for gender injustice, is down to the listener. However you are eased into the process by a sound delicately atmospheric and fully immersive. The endings can be gruesome, yet there is beauty in the remembrance centuries later. HEAL & HARROW sinks the majestic prowess of its architects into a fascinating project like only folk music can, and deals up predictably an award-drenched winner.