Album Review: Hannah Sanders & Ben Savage - Ink of the Rosy Morning

 

www.hannahbenmusic.com

Among the plethora of female-male duo acts operating in the UK folk scene, Hannah Sanders and Ben Savage are in the group more than a little partial for mixing the sounds of the British Isles and the North American continent, most pertinently, Appalachia. 'But it all comes from the British Isles' is often mooted, though while largely correct from a traditional angle, arrangements, touches and versions tend to adopt a distinctive edge when travelling afar. The music of this acclaimed duo strands the fault line where homespun and Americana roots sounds diverge. This is hugely prominent on the brand new album where Sanders and Savage cast the magic wand of their musical artistry across an array of largely traditional songs. INK OF THE ROSY MORNING weighs in at a nice round number of ten tracks with the odd two out being the sole original from the pen of the duo and a contemporary cover designated to close the curtains on a serenely satisfying album. 

The choice material for what is a third Hannah Sanders and Ben Savage full length release is very much close to their hearts with some having a stateside influence either as learnt from Doc Watson or inspired from a Newport Folk Festival airing. These lodge perfectly alongside those absolutely born from the beautiful surroundings of the English countryside. An informative liner booklet shares many thoughts on the songs for individual perusal. 

An unsurprising feature of this album is its stripped back demeanour. No accomplices were required, just the contrasting blended voices and acres of prime string picking from gorgeous sounding guitars and dobros. There is a polished sheen to the finished product that makes this a smooth process of transmission. The listener is exposed to a tender and soothing experience as each song accumulates to conclude as an epitome of serenity. The vocals of Savage and Sanders start at different ends of the spectrum, filing an affirmative effect in solo mode before melting into a purple patch when colliding. Tones that rival any classically schooled English folk vocalist emanate from Hannah Sanders in full flow, while Ben Savage strides to own sparkling arrangements, most notably on 'When I First Come to Caledonia'. 

'A-Life-A-Lie' sits proudly at the heart of this 38-minute album as the solo Sanders-Savage co-write. The other non-traditional track doubles up as the finale with 'River Don't Run' being first heard by the duo when sung by Nick Hart at a folk club. It has a very traditional feel in its subject content - 19th century London - although the product of a contemporary writing duo. 

For a subtle touch on one of the album's promotional tracks, 'Polly O Polly' ends with a cheeky yee haw to sum up the homely simplicity of how this record has been put together. Never far away is the intrinsic playing that gives the album a solid structure for the arrangements to propel the credentials of this duo deeper and wider. 

Whether you prefer your folk 'n' roots music wholly embedded into the homeland or enjoy adaptions that spread its tentacles further afield, Hannah Sanders and Ben Savage have covered all bases majestically in INK OF THE ROSY MORNING. It blossoms in the power of simplicity and creates an aura befit of the talents of its two architects. Definitely one to fit the English and Americana bill. 

Album Review: Beau Jennings & the Tigers - Heavy Light

 

www.beaujennings.com

Some records race through the gears at a rapid pace, while others ease into cruise control at a more gentle rate. HEAVY LIGHT by Oklahoma outfit Beau Jennings & the Tigers is a candidate for the latter and you really feel the benefit of its luscious tones once you've road tested the tunes with a few preliminary spins. What exudes when fully bedded in is a wide scope of malleable rock structured by a mix of left field Americana and a dashing stab at synching the popular song. Jennings, an experienced rocker in a variety of guises, is the first to admit that the Tigers do a lot of the heavy lifting, but the bare bones he brings coupled with highly capable upfront skills mould a refreshing and portable release. Portable to the extent that it makes a valued travel accompaniment whether blasting out down the highway or plugged in for more insular consumption. 

Beau Jennings is the latest in a string of artists from the Black Mesa Records label to get some international exposure. Oklahoma has a strong reputation for outstanding songwriters and this record just adds to the pile. Across the nine tracks forming this laudable release, the tempo undulates to reflect the moods that emblematic rock can emanate. From the punchy strains of opener 'Sunflower' to the mellower 'Colorado' commanding the ear at the midpoint, tuneful numbers appear like a staging post in the distance, gradually coming closer until fully absorbed into your psyche. 

Potential standout track 'The Comeback' possesses all the hallmark of a retro rock hit when radio was king and would likely then become an in-motion flag bearer beating off all similar sounding rivals. Stirring stuff to lubricate those listening lobes. On the sound front, keys collide with guitar frequently, no more pertinent than in the enticing 'I'm Reaching Lord'. 

A little delving into the notes accompanying HEAVY LIGHT reveal Beau Jennings as sharing the limelight with many well-known operators in commercial and acclaimed spheres. This certainly shines through on a record perfectly framed for wider appreciation. 

Back to the tracks, and 'I Know These Guys' is a deep dive into an eery world and could easily end up on a film noir soundtrack where mystique is rife. The easy feeling title track leads you into the second half of a record that lasts just over the half hour mark. A timely trait meaning several back-to-back highly recommended spins can fit into a busy schedule. 

Of the final three offerings, 'Juniper' is another serving of low key mellow rock with a magnetic draw to the lyrics. 'Bring a Little Light' is probably the most melodic offering on show thus harking back to an earlier assertion of not being afraid to attach a popular strand. 'May This Song Be In Your Heart' is a swirling finale, once again positioning itself in the realm of the ear worm. Creating a memorable closer is not a bad send off, although once ingrained the whole record slides easily across a turntable or alternative listening device. 

HEAVY LIGHT is a succinct album brimming with capabilities to proudly hang prominently in an astute collection. Beau Jennings & the Tigers have projected what they do best in new directions, where a warm welcome will duly await. 

Album Review: The Remittance Men - Scoundrels, Dreamers & Second Sons

 

www.theremittencemen.com

In these days where genre classification gets a bad press, some records are as pure as you can get and totally dismiss any thoughts of blurring styles. The Remittance Men toss around the term 'northern country', but spinning the delights of their debut album will raise the bar of Americana and challenge any other release to knock it off a perch of genre flagship. A striking title of SCOUNDRELS, DREAMERS & SECOND SONS is the launch pad for ten tunes to ram home the significance of a nation's ground dirt music and the prosperous songs that somehow flourish from the backyards, back roads and both side of the tracks. 

The northern link in the 'official' suggested moniker displays the Massachussets base of a band literally jumbled together to hook up the vocals and songwriting of Tom Robertson and the producing/guitar playing skills of Andy Santospago. Ten original tracks either proved a step too far for this debut album or there was a compelling urge to include something by Tom Petty and local Boston artist Tim Gearan. The first of these in 'Gone South' needed little introduction, but the latter's 'Nobody' proved a new discovery and played a key role in closing an album that sowed its fertile seeds so productively from the off. 

The key successes to this album resonating so clearly were its soul searching element, smart song writing and an earthy delivery underpinned by a sophisticated soundtrack. The songs had such a refined maturity about them that they came across as seasoned standards. The lyrics had you diving into the ether to find the origins to songs such as 'A Room in Birmingham, England 1919' and subtle references to places mentioned elsewhere. When the urge to delve deep into the words receded, you could just sit back and enjoy the story telling element and the rampant bouts of imaginary conveyed. 

Any of the eight Robertson originals could randomly peak in subsequent listens. The piano, rousing waltz-like chorus and enticing harmonies of 'Widow's Walk' probably made it the most common pinnacle, although the draw of the lyrics and rough 'n' ready vocals made 'Lonely and Silent' another regular pick. 

What makes any quality album a riveting listen is a top notch opening salvo and The Remittence Men struck gold with a meaningful straight out the traps delivery of the poignant story song '1973 (Life on the High Seas'). For a minor element of genre shuffle, a northern overcoat is exchanged for something a little warmer and southerly for 'Hacienda Santa Rosa'. 

'Sweet Thunder' and 'Avery Hill' drive forward the record in its latter stages, whilst gliding on a higher plane elevated by the earlier tracks. Things get a little more expansive in the penultimate track, 'Lila Page 8', where Robertson temporarily steps aside for a co-vocalist to raise the tempo. A number of familiar names from the Massachusetts area were mentioned as contributors on the album such as Eilen Jewel, Kris Delmhorst and Mark Erelli. Yet it is the lesser known (at least here) Danielle Miraglia that makes her presence felt in this last but one track. 

Everything about SCOUNDREL, DREAMERS & SECOND SONS makes this a sound to savour. From a magnetic and therapeutic feel to the gently rolling rhythm of seriously good musicians playing their nap hands, The Remittance Men have sprung up from nowhere as an entity to plant an x-factor release right at the heart of an Americana moment. Northern country is the starting point; reflecting a whole country is its destination.

Gig Diary: Blair Dunlop - Kitchen Garden, Kings Heath, Birmingham. Thursday 24th March 2022

 

www.blairdunlop.com

Over the last nine years of catching Blair Dunlop live, he has shared the bill with a string of similar artists across the spectrum. Names like Larkin Poe, Carrivick Sisters, Emma Stevens and Kat Gilmour come to mind as starters. Most of these were casual acquaintances with only the latter gravitating closely to his work as part of one of the band set ups. This year the theme continued, albeit with an intensity not seen before from an artist that has tended to plough the solo route while forging a career away from his family ties as son of folk legend Ashley Hutchings. Warwickshire-based folk singer Ellie Gowers was added to the current tour as the opening artist, but the distance travelled in a short time has been far further than playing a few tunes to warm an audience up. A near sold out Kitchen Garden show upon a return to Birmingham left those in attendance with three things to ponder: the breadth of Blair Dunlop's live credentials, the potential of Ellie Gowers and the future of the duet. 

This night had all the hallmark of an artist playing to a known gallery. No set list, a smattering of requests, bags of impish wit, a sly preview to the future and a titanic display of what an accomplished singer-songwriter-guitarist Blair Dunlop is. The latest release doing brisk business at the merch table was the live album recorded in Australia. The commercial aspect to the gig benefited from two breaks across three sets, but few would argue to the entertainment on show from a meagre investment for what proved a lengthy evening. 

The changes alluded to earlier were the several songs at the end of the night where Ellie Gowers accepted the invite back to the stage to engage in what proved a raft of impressive duets. A natural chemistry evolved cumulating in an unplugged cover of the Gillian Welch classic 'Dark Turn of Mind' to provide a fitting finale. Prior to this, the pair appeared to drift back to Laurel Canyon circa 1972 slipping into a retro folk-rock duet style like something that would have graced the stage of The Troubadour on any given night. Interesting indeed and a little different to the individual style of both especially Ellie's traditional folk feel.

There was no complaint here at the inclusion of Ellie Gowers for the show. She was a mid-pandemic discovery from the smartly staged Beardy Folk Festival in September 2020. This was followed up by a debut solo Kitchen Garden gig as things started to open up last summer. 2022 is shaping up to be a special year with a debut album on the way, a slot at Moseley Folk Festival secured and a further headline show back at the Kitchen in November. Busy times for an artist really starting to develop as a fine songwriter blessed with a beautiful voice.

There are so many facets to a Blair Dunlop live performance that don't do justice to any post-show write up. Needless to say he was on top form and firing on all the cylinders of his repertoire. The back catalogue is growing and a carefree approach can be a breath of fresh air when compared to cynical orchestration. A streak of familiarity and excellence underlines a performance that you never know where it's going to veer. All part of the charm and appeal of an artist that can pop up anywhere on the circuit without you ever feeling he is truly chained to a scene.

Leaving a show with a smile on your face is something to be treasured. Letting Blair Dunlop loose with his natural talent and random demeanour goes a long way to such an experience. Teaming up with Ellie Gowers proved an ideal match, and a front row seat is booked to see where Blair Dunlop heads next as he begins a second decade of being a truly independent and free spirited artist. 

Album Review: Iona Lane - Hallival

 

www.ionalane.com

My first visit to the now sadly closed Big Comfy Bookshop in Coventry was primarily to see a new recently discovered artist at the time in Katie Spencer. Like many music presentations at this versatile venue over the years, a trio of artists formed the bill and this occasion had the infrequent occurrence of two performers with the first name Iona. Headlining that show was Iona Fyfe, a wonderful traditional vocalist embedded as much in the Scottish landscape as the name itself. Opening the evening was Iona Lane, an English folk singer-songwriter still at university very much finding her way in the acoustic roots scene. Fast forward from that December night in 2017 and the time has arrived for Iona Lane to make a strident leap with the release of her debut album.

The north of England, and more specifically her current base of Leeds, has largely been the domain to date, but a significant eye has always been cast north of the border especially its rugged backdrop as an inspiration for folk music. To this extent the title of HALLIVAL is borrowed from the name of a Scottish mountain, and many facets wrapped in a Caledonian sheen pop up all over the album. There is a long list  of accomplices joined by familiar names of Jenny Sturgeon, Rachel Newton and Lauren MacColl. Also an early champion of Iona Lane was Karine Polwart. Bringing a lot of these and other names together is Andy Bell, a folk producer of much acclaim, who has steered the album to its release and smoothed the way for the talents of Iona Lane to sparkle right from the off.

Blessed by such a prestigious support network affirms the talent of this rising star to such an extent that you feel in the presence of a seasoned performer. Any detections of inexperience are largely a pre-conscious state of knowing the background. Of course, all the activity leading up to release day may be the hard yards in one sense, but the big test is now to share its riches; a task made easier by the quality of the fare on offer.

All eleven songs are originals shared between solo and co-write status. The theme of natural beauty and magnitude threads evenly through content and context. The sparse connotation from the cover mingles with a similar feel as the vibes of the songs sail into the mind of the listener. Instrumentally, the soundscape laps up the folk convention of multiple strings alongside the strains of the shruti box that firmly plants the music right at the heart of a genre governed by tradition with an open ear to contemporary innovation. Joining all the dots is the archetypal vocal style, a blend of natural talent and suspected influential schooling.

Key songs that come to the fore in the early stages of listening to the album include an evocative title track titled 'Western Tidal Swell' that sets the agenda perfectly and its follow up number 'Mary Anning', a story told many times in different media yet never one to tire especially when delivered as engagingly as here. As the album progresses, melodies and tunes remain constrained. This encourages a vigilant listen and proves the best way to get the most out of an album subject to immense depth. 

Magical artistry is evident in the album's midriff when the wealth of 'Schiehallion' permeates the airwaves complete with some fine fiddle. By the time 'Humankind' closes this first episode in what may prove a lengthy and fruitful recording career, listeners are throughly baptised in the mesmerising music of Iona Lane. HALLIVAL is a folk debut with a difference. No novice nerves and a clear vindication of what has proved a patient wait. All bets are off regarding potential. That was the name of the game back in 2017. 2022 has seen Iona Lane arrive. 

 

Album Review: Track Dogs - Where to Now?

www.trackdogs.com

Track Dogs and me have been operating in parallel universes for a long time. The name was there on the horizon with the music getting close to landing a couple of times. There was even a couple of near misses on the live front with festival withdrawals leaving a disconnect that was destined to remain until an opportune moment intervened. Now shifting plates have bridged the gap and some time has been afforded to take in the wares offered from their latest album. WHERE TO NOW? is as eclectic as you would expect from a band swinging to the rhythm of a pan-European existence and a make up even spanning the continents. 

The base sound swivels between Latino, Celtic and English folk. All with a strident positive beat that strikes a chord with listeners happy to hook up with a band on a carousel ride. A sleuth of quieter tracks do apply the brakes occasionally, but it is the accessible anthems that pitch the record. You don't require much imagination to project this sound onto a stage, although meeting up with the dozen or so guests invited to play on the album would present a logistical challenge. 

The twelve tracks selected for this, the 8th Track Dogs album include eleven originals with the odd one out being a cover of James Taylor's 'Carolina in My Mind'. Approved by the great man himself and perhaps one of the deviant moments across the forty-minute action packed listening time. Two of the album's songs accrue an extra 'featuring' credit. Cathy Jordan of Dervish fame takes over on lead vocals for 'Donna Lola' and several plays lift this track as one of the album's key moments. Fellow Madrid-based act The Potato Monsters oblige with a headline invitation to collaborate of 'Empty Tracks', one of the more left field inclusions. 

Elsewhere brass and banjo come to the fore on the opening duo of 'Every Dog's Day' and 'My Love Feels Real'. The real deal trip into Latino territory exists in 'Rivers of Gold' and several temperate moments ease the pace a little, no more so than in the closing pair of 'At a Time Like This' and 'Last Lick of Life'. 

This melting pot of international sounds is a classic case of folk 'n' roots meets accessible organic pop. Track Dogs have a lot of instrumental ammunition and artistic licence at their disposal. WHERE TO NOW? is a vibrant and holistic sum of using every nuance of their experience to create a slice of music oven ready for appreciation by old fans and new. Eventually, Track Dogs and me now cruise down the same highway to eradicate any remnants of a parallel universe. 

Album Review: Jesper Lindell - Twilights

 

www.jesperlindell.com

The link between Scandinavia and all things Americana is historically a strong one, no more so than in a music context. That link is about to be considerably strengthened with the release of the brand new Jesper Lindell album. By just spinning the first couple of tracks associations run riot in the mind, a notion duly confirmed when you start to scan across the first layer of content. All roads head west to a certain iconic and ironically named band, and by the fourth song stars align further when we learn that title track-ish 'Twilight' is lifted from The Band's catalogue with Amy Helm, daughter of Levon, joining Lindell to the extent of getting the 'featuring' credit. At this point an intoxicating soulful rock sound has sealed an enticing deal between artist and listener.

TWILIGHTS is a rousing package of ten exceptionally curated tracks soaked in the evocative vocals of Lindell and a solid band sound excelling in all the right moments. We get the one aforementioned collaboration joined by another with the lesser known Theo Lawrence featuring on 'Dance'. Additionally we learn that Klara Soderberg, one half of fellow Swedish supergroup First Aid Kit, also joins the fray, although wholeheartedly you rarely lose sense of Jesper Lindell not being in total control.

From the spine tingling ballad 'Christmas Card' adding a touch of serenity in the second half to the utterly compelling scene setting classic 'West Coast Rain', visions and echoes of prime road tested bands wooing demanding audiences night after night come to the fore. Whether tossing in some horns or plenty of keys, the sonic landscape shimmers with the complete sound that brings so many organic flavours to Americana music. Lindell forever sows his vocals deep into the essence of each song and you cannot fail to grasp what is accomplished in this view from afar. 

The highest compliment you can pay Jesper Lindell is once the initial association sinks in you feel in the presence of someone framing a sound in their own image. At the end of TWILIGHT, apart from the urge of repeating the experience, well-tuned listeners are liable to feel in awe of what Jesper Lindell has curated. He conducts a fully fledged Americana symphony with all the undulating moods and tempos. This is an album bursting with poise, passion and little pretence. Let's cross out pretence as it's the real deal. 

Album Review: Steve Dawson - Gone, Long Gone

 

www.stevedawson.ca

It is certainly going to be a busy year for Steve Dawson. Nothing unusual there if you know the tiniest bit about this music maestro's multi dimensional role as musician, producer, songwriter and overall shaker. The difference this year is the schedule of three solo album releases. Maybe, or probably likely, a result of a creative outpouring of material during a period where much of the industry had to realign. The two subsequent releases are boxed up for later unveiling leaving the floor clear for GONE, LONG GONE to showcase what a fine performer this Canadian native - US based artist is.

This move up front sees Dawson cut ten tracks all neatly corralled in a laid back blues blend. A pair of strategically placed instrumentals join a cover of The Faces' 'Ooh La La' and seven additional tracks possessing a clear vocal presence alongside countless instrumental interludes. Most of the songs have been co-written with fellow Canadian Matt Pateshuck, one of many recording artists in their own right to pass through Dawson's own stable, Black Hen Music. 

Collaboration also features strongly on the record and it was no surprise to hear the vocals of Allison Russell on the opening track. 'Dimes' is one of the album's premium moments and understandably it had a pre-album lease of life as one of the early singles. The link between Allison Russell and Steve Dawson goes back a long way with him featuring prominently on Birds of Chicago albums and live shows. Following the opener leading things off splendidly, the mood slips into old school jazz blues mode for 'King Bennie Had His Shit Together'. Liner notes reveal that this track is also heavily influenced by a Hawaiian sound. 

'Bad Omen', the title track and 'I Just Get Lost' form a trio of Dawson/Patershuck co-writes as the record reaches the half way mark. The latter is the pick of this threesome, barring some serious soulful organ on the former, and has its origin pinpointed to a pre-pandemic time when working with the Wood Brothers. More name dropping by association and a track blessed with an ultra catchy chorus plus more Allison Russell backing vocals. A useful trait if you want the record to stick out in a crowded market. 

The first of the instrumentals, 'Kulaniapia Waltz', opens the second half and is the subject of one of the promotional videos showing the musical prowess of Dawson. The other track sans vocals holds court in the penultimate spot with this time 'Circada Sanctuary' spinning solo from an acoustic guitar giving a back porch feel.

Outside the Faces' cover which requires no introduction, the album line up is completed by '6 Skeletons in a Car' and closing number 'Time Has Made a Fool Out of Me'. The latter is the perfect finale slowing things down to a restful yet bluesy conclusion. Oh and a final dose of Allison Russell. 

GONE, LONG GONE is a timely reminder that Steve Dawson can excel as much in the limelight as being a vital cog in the output of others. This first offering of 2022 serves up a highly palatable dish of supremely crafted music. Not too deep into any one particular sound and barely an inch of a timely template wasted. An ideal album to let the creative whims ooze out into something others will enjoy. 

Gig Diary - Samantha Whates and Ida Wenoe - Thimblemill Library, Smethwick. Saturday 19th March 2022

 

www.samanthawhates.me

www.idawenoe.com

Collaboration of an international nature is the order of the day when Samantha Whates and Ida Wenoe team up to share and speculate their music. Both artists have accrued praise from a solo standpoint alongside miscellaneous ventures they have undertaken, but it is the duo format providing the greater focus as the industry readjusts to the changes thrust upon it. Whates - a London based Scot and Wenoe - a much travelled Dane - had played a successful Midlands show just before live music shut down and without hesitation they were rebooked, albeit at a different venue, when time came for the duo to hit the road once again. This show at Thimblemill Library was one of the final dates of a short tour that took the pair of singer-songwriters across both homelands leaving a stream of content punters to marvel at talents best exemplified by vocal prowess.

For this show it was Whates taking the lead for the first set; an agreement nightly rotated we learnt. Each artist also ably supports the other, whether in an instrumental or vocal capacity with the latter a mix of backing and harmony. Subtle synergies and compelling contrasts were aplenty as those present were gently guided through a pair of sets bathed in song serenity.

Samantha Whates is a cosier and softer listen. Acoustic guitar and occasional flute were her chosen accompaniments, although both pave the way for crystal vocals to leave the finer mark. Ida Wenoe brings the most delicate of atmospheric electric guitar to the party aided by a vocal style that edges into a more explorative direction. Additional instrumental inclusion saw the triangle briefly added to a single track and a mini organ support a closing number.

The pair were eager to promote a recent EP that saw a quartet of existing songs reworked. One of these is entirely in Danish and for this evening's version, Whates politely gave her continental friend the sole spotlight. Throughout the show the pair shared plenty of experiences, inspirations and warm chat emotionally grateful of being blessed by a friendship extending into a performing capacity. The audience had a small but sufficient exposure to what makes the two artists tick and it wasn't difficult to slip into a contentment zone for a sound that softly echoed around a room decked out for life's quieter moments. 

Samantha Whates and Ida Wenoe gorgeously curated the art of collaboration. Their live performance was cathartic and framed the sensuality of the simple song. Musical nights can take many forms and sometimes a reassuring bout of gentle song can hit the spot. This was one of those nights.

Gig Diary: Miranda Lambert - Country to Country Festival, O2 Arena, London. Friday 11th March 2022

 

There was something different about seeing Miranda Lambert live for a third time, albeit in a positive way. It could be that the first two performance were seen from the floor, while this one was way up in the top tier of an arena looking down on the stage. Additionally the artist herself is a little more seasoned in playing overseas shows, although the one year gap between the first two UK visits was enhanced to five for the third. However it might just be the adjustment of knowing what to expect and viewing things from a different perspective. 

For the record (no pun intended re; the back catalogue), this was her second visit to the Country to Country Festival alongside being afforded a repeat of headlining the Friday night for the London leg. Since her last visit to our shores for a run of own gigs in 2017, there has been a new album, the rather liberating WILDCARD following up its intense predecessor, and literally days before landing here again the release date of 2022's PALOMINO had been announced.This will be her eighth solo record since breaking through in 2006. The breadth of Miranda Lambert albums played an important part in this latest show as she managed to draw from each one in parading a 22 song setlist in front of a packed - if not entirely sold out - O2 Arena.

The first observation was the smoothness of the set with so much being packed into a timeframe running just five minutes under the hour and half mark. Obviously an artist of her calibre with a crack band in tow can effortlessly shift through the gears. Chat was optimal rather than minimal with an eye very much on giving her fans what they ultimately want - a shed full of songs on a rare visit. The pace of the action undulated in line with what is delivered on her records, namely an acute mix of upbeat anthems and deeper country cuts to align with a cross section of an industry increasingly splintered between commercial and convention. 

With such an extensive song catalogue, you could almost filter a series of set lists for different moods and contexts. What I felt went right in this show was that it absolutely reflected who Miranda Lambert is as a performer. Arena shows demand some high octane moments that songs like 'Kerosene', 'Gunpowder and Lead' and 'Mamas Broken Heart' deliver. Alternatively in the calmer moments, ballads like the old classic 'The House That Built Me' and evolving classic 'Dark Bars' hold an audience in their lyrical grip. 

The latter was one of the newer songs brought to a UK audience for the first time, joining on the evening with numbers like 'Tequila Does' that went down a storm and 'Bluebird' - the signature sound from the last album. With one eye on the future we were treated to 'If I was a Cowboy' - the first single off the upcoming album - and the unreleased 'Actin' Up', which was introduced without the title but deduced post-show from a couple of sources. 

The two real treats for me were the live debuts of 'Famous in a Small Town' - the song that first introduced me to Miranda Lambert many years ago (I had to backtrack to KEROSENE!) - and 'That's the Way the World Goes Round' to UK audiences. Her version of this John Prine classic is a raucous live event and it is fitting for it to appear in light of losing the great man at the start of the pandemic. 

Other notable moments during the set were tossing in the excellent 'Only Prettier' and finding the ultimate finale number in 'Drunk'. This collaboration with Elle King gets a Gwen Sebastian twist on stage (Miranda's long term backing singer and a very good artist in her right) and ensured a memorable set ended on a fiery, fun and fabulous note. An additional summation from sitting high up in the bleachers, although 90 degrees to the stage, was the zone of contentment she appeared to be in. Most pertinently witnessed during 'Little Red Wagon' in the penultimate song slot. 

No Miranda Lambert show is complete without her top band, and no review can be filed without a nod to English pedal steel player Spencer Cullum. His prime talent obviously comes to the fore on the slower numbers, and it was absolute bliss hearing some twang after sitting through an undercard that appeared to forget what country music was about. 

While the joy of seeing Miranda Lambert for the first time in 2016 can never be repeated, and the shock of her playing my nearest big city in Birmingham twelve month later, it has to be said that London 2022 was unequivocally the best yet. Logistics suggest that live performances of an artist who continually hooks me line and sinker will always be a premium, and that acquaintance by record will have to suffice. That is why those rare shows need to be special. Any investment on Friday 11th March 2022 was handsomely repaid . Miranda Lambert had one job and executed it perfectly. 

Album Review: Ali Sperry - in Front of Us

 

www.alisperry.com

The name Ali Sperry sparked a little flicker of recognition in my mind when first coming across this album. This was likely from the name appearing on an album credit somewhere, mainly due to the widespread interaction and collaboration occurring in the tight knit Nashville music scene outside the confines of Music Row. Collaboration has indeed played a significant part in this album and just from a casual outsider at least half a dozen names mentioned in the credits resonate with folks following the scene from afar. The upside is IN FRONT OF US revealing itself as a highly accomplished album finding a lofty plateau early on and purring with a smooth glide of consistency. 

The ten tracks forming a record with more than a touch of classy demeanour abut it are either of solo or co-write status laying out Ali Sperry's credentials as a lauded singer-songwriter and effective vocalist. The production creates a textured listener experience with the moving parts etching echoes of orchestral and twangy moments while guitar, piano and horns play prime roles. There is an overall contemporary and mature feel to the sound with the rough edges being smoothed out in a similar vein to the works of Beth Neilson Chapman and Mary Chapin Carpenter. 

Some of the names chipping in but never stealing the show from Ali Sperry include Birds of Chicago husband and wife team Allison Russell and JT Nero, Sadler Vaden (long time Jason Isbell and the 400 Unit key component), Kai Welch, Ruth Moody and Andrew Combs. Further delving reveals Nero and Combs as co-writers on a couple of the tracks. 

While there are no major peaks and troughs across a running time just shy of forty minutes, there are significant moments of note. The orchestral lead in to opener 'Climber' adds a touch of sophistication, while the delicious pedal steel parts in 'Hope' give the release a bout of twang. The piano-inspired ballad 'I Know You're Scared' throws the album sound right into the mainstream with an element of class. 'Excuses' is a classic example of all the parts working together to effect a vibe fully agreeable with the ears. 'Cool Under Pressure' sees the pace lift considerably and was understandably one of the tracks picked to promote the album in the release run up. Leaving the listener on a high is always a winner and the excellent Combs co-write title track does that perfectly. 

You do get the impression of Sperry existing in an exploratory mode for much of this album resulting in a release that never quite rests on its laurels. IN FRONT OF US is the type of record that will draw as much acclaim from within a peer group as forging a new market. It has though moved Ali Sperry right into full focus and she has duly obliged with a highly controlled and distinctively impressive body of work. Of course it emanates from a circle rich in talent and low on gamble, but there must always be some trepidation when releasing music to the wider world. In this case fears are allayed and prosperity in some form looms. 

www. alisperry.bandcamp.com

Album Review: Sam Outlaw - Popular Mechanics

 

www.samoutlaw.com

To apply some context to this release it first surfaced towards the back end of 2021 in a digital format. Therefore whether you are a streamer or Bandcamp purchaser it has been freely and readily available to explore. The word 'explore' is certainly pertinent considering the direction Sam Outlaw has headed in this, his third release since committing to life as a full time recording artist. To supplement its digital status POPULAR MECHANICS is now available on CD from March 4th and a vinyl version will follow in April. This is convenient as our original LA native is due to embark on an extensive run of European dates, a side of the pond that has served him well over the years.

Sam Outlaw has a large amount of credit in the bank on the back of his two previous albums. ANGELENO launched him as a serious operator on the country-Americana borderline in 2015 and TENDERHEART moved it up a notch a couple of years later. On those albums were a number of tracks of what is referred to these days as 'bangers status', and these were ably supported by countless trips to the UK to not only play venue shows but frequent stages at senior festivals like SummerTyne, Maverick and Cambridge Folk. Just before the world closed in, he played a successful Friday night headline slot at Long Road. 

However you always felt that some sort of change was on the cards. This was not to discredit his adopted style, and he could really nail a traditional country sound in full band flow. Maybe there was a hope that those who enjoyed his music would remain loyal to a new direction and believe in the artistic license to evolve. To this extent even in the deep throes of the new album where the production has veered in an old school pop-rock direction you never lose sight of this being a Sam Outlaw album. Perhaps the trademark vocals made a deeper mark than realised and patches of the new record can still edge into the outer reaches of Americana. 

From a progression perspective, there has to be some ambition of courting a new band of followers and this may occur with some astute marketing. More likely the initial journey will commence in the realm of an existing fanbase with a commercial desire that enough will buy into this facet of a career. 

Having been an advocate of his work from the early days of seeing him open solo for Aaron Watson in Birmingham to playing that storming set at Long Road in 2019, an open mind as kept the balance in credit. Admittedly a casual glance on a brief listen last November from a low key opening didn't penetrate the sphere of new releases, but giving it a lot more time in the run up to the re-launch has yielded enough merit to understand what has been done and to gain something from the experience. Topping the previous two albums is probably not on the table. Creating a new template is a more likely agenda, and with such an objective POPULAR MECHANICS has successfully accomplished that for Sam Outlaw. 

Album Review: Andy Irvine & Paul Brady - Andy Irvine / Paul Brady

 

www.propermusic.com

There has been so many extended lives of the seminal Irish folk self titled album ANDY IRVINE PAUL BRADY that you would think an appetite might run dry. Forty six years after it was first released may seam like an unusual anniversary, but 2022 sees another surfacing with a couple of new facets set to rejuvenate its standing in the folk world of a country inherently proud of it archive revivalists. 

Aided by a raft of technical adjustments to the sound quality, this album now gets a timely vinyl release and for those preferring a slightly more economical copy, a CD version is available. The good news is that a 12,000 word essay commissioned for the re-release has been included in both versions. This thick booklet written by Gareth Dunlop takes a deep dive into the life an album that still looms large in the extensive careers of its two main architects. 

The essay begins with the background to the album's recording in the record breaking summer of 1976 (at least in the temperature and sunshine stakes) and follows through to the legacy. It transpires that the album received a lukewarm reception from the music press at the time. One then the sole domain of the print media from a written perspective. This new incarnation enters a different world with digital exchanges at the forefront, thus giving the release extra legs to power on as a must have-must hear collection for any seasoned fans of the folk genre, especially those of the Emerald Isle. 

Brady and Irvine mainly traded in the currency of traditional song for this record, although an Irvine original did get an airing. What appears to have powered this record forward over the years is consensual analysis of the skill the pair and the team around them applied to the re-working and interpreting of songs seeking a tweak to keep their flame flickering. 

Folk music is essentially a bridge between the past and the future. Every inch of this record aches of the past, yet there is so much to extract from the approach of Brady and Irvine that is has become a template as to how future generations can adopt a similar method for song renewal. It is a purpose like this that gives relevance and vitality to another timely re-issue. 

Album Review: Erinn Peet Lukes - EPL

www.erinnpeetlukes.com

The aftermath of the pandemic for Erinn Peet Lukes is one of striking out in a new direction while chewing on all the influences and talents that have informed the first phase of her musical life and career. Working behind a band format can be something of a comfort zone even if you are the key member of the outfit. The move to putting your name on the cover and simply naming your record EPL is a precursor to the content which unequivocally puts Erinn Peet Lukes in the spotlight. Across the seven self-written tracks forming the EP a fair sample is revealed detailing an artist heavily schooled in the diverse worlds of bluegrass, indie and pop. 

Background information for this record sheds a light of a shared passion for Taylor Swift and Earl Scruggs alongside songs dedicated to Britney Spears and a mixed relationship with country music. We also learn that Rachel Baiman was hired for production duties and a seriously fine array of Nashville players were engaged. It has indeed been a long and winding journey to end up in Music City for Erinn Peet Lukes. Key activity up until now has been at the helm of Thunder and Rain, a band that has had a fair amount of exposure especially via a trio of albums culminating in 2020's acclaimed release PASSING IN THE NIGHT. 

Bringing things up to date Erinn Peet Lukes has decided to give it a stab of going alone. Confidence in the success of this project will rise once the word gets around and folk devote an economical twenty-four minutes to grasp what a capable artist we are in the hands of. The two key tracks have rolled out as the second and third songs in the running order. 'Country Music Breaks My Heart' is a clever little number spanning three and half minutes. Baiman doubles up her role with a fiddle opening as Lukes sinks her chops into a wry ode to a genre where her music has generally skirted. The other standout number also utilises plenty of fiddle alongside inevitable pedal steel leaving the 'Dime a Dozen' as a song rich in a sound that has been core to a career to date. 

Outside the top two, 'Loneliness or Solitude' brings an Irish feel to the equation with fiddle and banjo featuring prominently. Things get lyrically savvy with 'Queen', a fully paid up homage to the aforementioned icon of early 21st century pop. 'Catalyst' has a domesday implication though the feel of Lukes approach keeps an overall darkness at bay. This was also the first single released, and is snugly nestled in the playing order as the follow up track to album opener 'Stung'. This is where the woes of love at least conjure up a song.

Diving into this neatly packaged extended play brings the solo intentions of Erin Peet Lukes clearly into view for a frozen moment in time. A succinct approach to blending in a wave of influences into a shortish timescale is aided by some finely crafted musicianship. EPL might well just enact as a signpost to a successful direction. One where a prosperous future cradles the exquisite talent of an artist smart on choices and effective in execution. 

www.erinnpeetlukes.bandcamp.com

Album Review: The Weeping Willows - You Reap What You Sow

www.theweepingwillows.com.au

The Weeping Willows are an Australian folk and roots duo who specialise in capturing a sound embedded in the deepest parts of Americana. Their latest album weaves through the dimness of a gothic landscape illuminating the way with subtle harmonies and an exquisite acoustically driven soundtrack. YOU REAP WHAT YOU SOW eerily seduces the listener and possesses all the hallmarks of a small scale indie cinematic score. It's engaging, timeless and safely in the hands of the core pieces - namely the all round musical wizardry of Andrew Wrigglesworth and the melting vocals of Laura Coates. Together they skilfully deliver sumptuous harmonies and pay due homage to the traditional sound of bluegrass and old time roots.

This album will play a major part in hopefully Andrew and Laura getting the show back on the road. They have a busy schedule with many homeland dates planned and a return to the UK to play the Maverick Festival again. They form part of another high class Aussie contingent to get an invite for the country's longest established Americana festival and a chance to build on some acclaim that greeted their previous visit in 2018.  Presently there doesn't appear to be any European dates around the festival, but still time to rectify.

It goes without saying that the new album will be the centrepiece of their travels in 2022. In the meantime its concise half hour presentation is ripe for anybody keen to delve into the underworld of Americana shade. From the dark undertones of album opener 'House of Sin' through to the glorious unaccompanied closer 'North Wind', two high class exponents and their assembled team take you on a journey awash with fine music and more than a touch of noir. The latter of these two songs will surely take on an extra spine tingling dimension live. 

The songs pack a lot into what seems like an extended half hour. Associations do pop up from time to time, no more so than a likeness to Plant and Krauss in 'Singin' the Blues'. From a distant perspective the whole project sounds something like the Orphan Brigade would get their teeth into. There are certain moments when a small element of deviation creeps in. 'Wheels Won't Roll' has a retro country feel to it and is probably the most ear friendly track. The vocal duet format is at its most clear on 'Lonesome Now I've Gone' and Laura comes more to the fore on the accordion and fiddle laced 'Fall Out of Time'. 

To aid the film score credentials a short musical prelude effectively slims the content, just before the haunting 'Bells Are Ringing in the Churchyard' enters the fray via a short unaccompanied start. A little delving reveals that Andrew and Laura are joined by their good friend Lachlan Bryan in the writing credits. No doubt there will be more collaboration at Maverick in the summer.  Of the two remaining tracks 'Black Crow' is a highly crafted effort in the album's early stages, while 'Turning to Stone' adorned with some sombre string arrangements ushers us towards a fitting finale. 

The Weeping Willows have definitely built on the wealth of their predisposed talents to curate another set of creatively astute songs. YOU REAP WHAT YOU SOW heads in a direction where you know interesting music will surface. Andrew and Laura have framed a sound and delivered a folk/Americana album as strong as you are likely to hear all year.

www.theweepingwillowsduo.bandcamp.com

Album Review: Ivy Ryyan - A Nonaggressive Extreme Violation of Boundaries

 

www.ivyryann.com

Two features that jump out first: the most striking of sunlit covers yielding so many connotations and a convoluting album title sparking a host of mysterious threads. Complexities surrounding this Ivy Ryan release are abound to the extent that you have to weave around a lot of nuances before eventually seeing an underdog triumph. Through a haze of vulnerability this Virginia-based artist eases from basking in tranquility to soaring sirens to ultimately winning over a curious listener forever willing her on. A NON AGGRESSIVE EXTREME VIOLATION OF BOUNDARIES is a culmination of a journey from covers to proudly strutting originals without losing sight of the past.

Two associates were name checked in the press release. The soft indie vibes of Phoebe Bridgers definitely linger in the level headed tranquil strains to 'The Show', while the worn country rock chops of Brandi Carlile , minus the infectious warble, flicker in the voluminous areas of the big sounding lavish operatic rock piece 'The Weight'.  Additionally the key ballad 'Eternity' echoes with resemblance. The latter also draws comparisons in 'The Best I Can' where the listener finally locks their belief in the music of Ivy Ryann.

This album born from an artist schooled in the influences of commercial rock and country is interestingly book ended by contrasting tracks. A five-minute long moody opener titled 'The Losing' sets the scene lovely before we are shepherded out the door forty minutes later with an accompaniment of running water and solo piano. This finale going by the name 'In Wanting' crowns the complexity, but soothes like an effective remedy.

To slim down this ten-track effort a touch, Ryann re-works 'The Weight' as an orchestral version and tosses in a subtle cover of 'Walk the Line'. An all-encompassing rendition that would surely be saluted by the Man in Black for its wide-reaching qualities. Two songs to complete the track list nestle in the album's midriff with 'Take it All Back' diving deep into the heart's pit and 'Driveway Prayers' extending the breadth of the writing. 

Throughout the span of A NON AGGRESSIVE EXTREME VIOLATION OF BOUNDARIES the songs simmer and controlled guitars generally stay on the leash. The impact is of one acutely curated pondering amidst a strong and forceful pride. The press release concludes with no tours planned yet. However the spotlight looms large for Ivy Ryann on the basis of this cracking effort that stands astride a fault line where immersive vocals and song sensibilities bubble up.