Gig Diary: Dan Whitehouse - The Glee Club, Birmingham. Wednesday 20th July 2022

 

www.dan-whitehouse.com

Dan Whitehouse commented about how we all have different gig journeys and thanked those checking him out during this hometown show. Gig journeys are a very personal pursuit and it is intriguing to see how they evolve especially the ports that they call at. There was something quite cyclical and evolutionary about making the decision to check in with an artist nestling on my periphery for almost a near decade. The vow made to follow up on a singer-songwriter who is more Black Country than Brummie for those of a local nature was made after an impressive set at Beardy Folk Festival in June and duly kept a month later as the heatwave slowly subsided.

Another in-joke quip about being on call to open Glee Club gigs links in to the evening when I was first acquainted with the music of Dan Whitehouse. It was this very venue ten years ago when from a hazy memory he opened for Canadian country superstar Terri Clark on her surprise visit to Birmingham. There would have been no real contest that evening, but a decade on it was an honour to delve first time into a headline show rather than the fleeting glimpses over the years mainly opening for others.

There was a switch in rooms from 2012 as the modest and more intimate studio proved the ideal space for the next phase of Dan Whitehouse's artistic unleashing. The Glass Age is born in several venues across the UK this summer and it is certainly panning out to be one of the year's more intriguing releases. While folk in some form will always be at the heart of Dan Whitehouse's music, this is very much folk for the digital world. 

His renaissance for me began during lockdown with a beguiling virtual performance on the twice weekly Green Note stream. At the time Dan was marooned in Japan and his set coincided with the most beautiful backdrop of the rising sun in its most literal state. It was during this enforced stay that nurtured the new record which finally saw the light of day on July 22nd. This brings us right up to date with the entirety of THE GLASS AGE being the centrepiece of this and other shows on the album launch tour.

At Beardy Folk, Dan teamed up with percussionist Jack Sadler. For this Glee Club show (and no doubt the others on the tour), the set up was enhanced to a trio with Rob Lindop on keys. He was introduced as injecting some soul in the digital art and this proved the case during the hour and a quarter on stage.

Dan further joked that The Glass Age was roughly the same length as Nashville Skyline. Thus leaving time for the show to amble into alternative territories of localised folk and 'the greatest hits'. Irony is alive and kicking at the grass roots. All three strands to the set came across exceedingly well. For the new material, Dan drew on the expressive side to his vocals (the electric guitar featured in the second part) leaving the pulsating beat of Jack and delicate keys of Rob to generate the soundtrack, one conducive to the album theme of exploring the thin line between digital and the emotional life. All seven tracks were meticulously introduced and presented. From first listen, the stories to 'The Tide' and 'Thin Blue Line' resonated the strongest, while the musical peaks were 'Rainbows Never End' closely followed by 'New Love'. Now the album is out on the supportive Bandcamp platform, 'try before you buy' has never been so accessible. 

Sandwiched between the intensity of The Glass Age and the frivolity of the singalong finale were a couple of songs to  surface from the Voices From the Cones project where Dan has collaborated with other strands of performing art to celebrate the glassmaking heritage of the Black Country. 'Free Beer' is a stunning folk song brought to extra life if you are of a certain vintage to have enjoyed pints in the Fish and Little Pig. Mind you free beer wasn't on the menu for us mortals from distinct memory. A live performance of Voices From the Cones is next up on the 2022 gig journey with a multi media show in Stourbridge later this summer. 

Dan Whitehouse is known as a champion of other developing artists. Recollection is of seeing him play with Danielle Cawdell in Birmingham a couple of years ago. Several artists have been invited to open shows on the current tour with Caitlin LM accepting the invitation to play the Birmingham gathering. She was certainly an absorbing performer digging deep into the canyons of her heart and soul to deliver an array of powerful songs. The electronic backdrop was a little different to the more organic sounds from the follow on trio, but on an evening of pushing boundaries, open minds were rewarded. 

Rewarding has definitely been the operative word during this 2022 connection with the music of Dan Whitehouse. Phase1: Beardy Folk, an enlightening experience; phase 2: The Glass Age live, an enthralling engagement; phase 3; The Glass Age record lined up for deep exploration; phase 4: set to be the intriguing Voices From the Cones. 

Gig journeys are weird and wonderful experiences. You never know where they lead. Who would have thought that the brash upfront country of Terri Clark would evolve into the folk digital expressions of deep inner pondering. This personal gig journey continues to meander and the 2022 port of call in the shape of Dan Whitehouse has been a fulfilling pit stop. 

Gig Diary: The Black Feathers - Thimblemill Library, Smethwick. Saturday 16th July 2022

 

www.theblackfeathers.com

Midway through the third song, Sian and Ray paused the harmonies to let the sound of a revving motor cycle fade away. Literally only a few seconds passed, but it summed up grassroots gigs and all their idiosyncrasies. Not that opening every single window in Thimblemill Library wasn't a requirement on a a hot summer's evening warming up for the record breaking onslaught. Warming up also wasn't necessary for The Black Feathers making a long welcome return to the Midlands as they hit the traps right from the off. 

It is the harmonies that go a long way to define a duo now based in South Wales after many years branching out from a Gloucestershire home. There is a case to to be made for Ray's guitar expertism matching the divine vocals, even when a string breaks on the signature song. Anyhow that meant we had one and a half versions of 'Down By The River', so there was a winner after all.

The Black Feathers began to become wider known in the early months of 2014 with the core sound, style and poise still in tact over eight years on. Simplicity is a key to the duo's longevity and the way they have been able to adapt to the difficulties of the last two years. Prior to the enforced break, they were caught twice live at Maverick and Over The Hill festivals, and this was a time when they were ramping up the US tours to spread The Black Feathers name far and wide. The good news is the return to top form for Sian and Ray. The US tours are now back in full swing, both West and East coast, and they took up the invite to return to Maverick earlier this month. The icing on the cake is a new album released this month.

Now even The Black Feathers would admit they haven't exactly been prolific on the recording side over the last eight years. Although a couple of EPs and a live album kept things ticking over, the release of ANGEL DUST & CYANIDE is the true follow up to 2016's SOAKED TO THE BONE, a record bestowed with accolade and praise. It was quipped that the songs weren't road tested live enough, but tracks served on the evening such as 'Lighthouse on Fire', 'Strangers in the Dark', 'Silver Lining' and the Portishead cover 'Glory Box' sounded top notch and up to the pre-requisite Black Feathers quality. This quality standard is set by numbers like 'The Ghosts Have Eaten Well' and the aforementioned 'Down By The River'. 

On the covers front, it was a case of the old and the new featuring across the pair of sets played this evening. 'Spirit in the Sky' has been a staple of the duo's sets for many years and looks like no way of budging even accruing a new story. On the other hand opening the show with Willie's 'On the Road Again' is a fresh and poignant move. Not only showcasing a great song, but symbolising the relief of musicians acting out the sentiment of the title. 

On a slight downside, live music is yet free from the ravages of the last two years. Late withdrawals of the support act and sound person threw the organisers in a last minute state of panic. However a music community rallies to the cause and both were in place by the time The Black Feathers took to the stage. Additionally post-pandemic (or current, to be more precise) trepidation for a return to the previous numbers still features, although the healthy turnout at the library this evening gives heart. 

Either side of the pandemic you are more likely to catch The Black Feathers in West Virginia than the West Midlands or South Carolina than South Wales, but short home tours like the current ones does open the door to new fans. Thimblemill was a mixture tonight of seasoned watchers and those taking a punt on a new name passing through town. The monthly music shows of a roots persuasion continue to form a thread of live entertainment for the library. A venue that dips into the wider arts world for other community focussed presentations. The Black Feathers joined a lengthy line of artists from both sides of the pond to get a warm Thimblemill reception and like many before they serenaded the art decor venue with blissful music that defies the norm of what generally is on offer. 

PS A quick post gig blog check reveals this was the tenth Black Feathers feature since first venturing out to catch them live in 2014. Hopefully there will be ten more over the next few years. 

Album Review: Merle Jagger - Trash Talking Guitars

 

Surely the most provocative artist name you will ever come across. Thoughts turned to a deed poll visit by a music nut or parents conceiving in a haze of country rock. Attention had been grabbed before you press play and a little more searching reveals it is a trio act from Southern California playing music just as it says on the tin - hugely retro, plenty of axe wielding riffs and a twangy soundtrack to keep you shuffling on a hardwood floor for at least the thirty-four minutes of its duration. TRASH TALKING GUITARS emerged out of left field and announced its intention to hang around with a sound heavily likened to Dwight Yoakam.

Merle Jagger is the brainchild of band leader Mark Christian who teams up with drummer Johnny Ray and bassist Gabe Davis to spin you ten tracks comprising eight original songs, an original instrumental and a cover you will all know. Think barroom blues meets honky tonk meets uncomplicated rock 'n' roll to place a sound in your head. It is certainly more Merle than Jagger, but even Mick can rough it with the best in his roots. A tilt towards country frames the album and songs about drinkin', lovin', hurtin' and workin' fall in line as well. 

With the album racing to a climax after eight stonkin' original songs, Christian and the boys turn a hand to the Monroe standard 'Blue Moon of Kentucky' before deciding that a sizzling instrumental packed to the hilt with hot licks by the name of 'Ranch Rock Revivial' is the ideal way to sign off a record that is certainly talking guitars if not so much on the trashy side. From a July 15th release day you can sample for yourself on the streaming sites but alas a website, up-to-date Bandcamp page or You Tube sampler cannot be located. Maybe Merle Jagger is truly old school.

From the eight tracks that tell you most about Merle Jagger, 'Broken Home Yard Sale' is probably the one that advances most though only by a short neck. For your staple themes: 'Pour Me a Drink', 'Looking for Another Bar to Cry In' and 'Hurt By Love' match the ideals of any band with the name Merle in it. You won't be surprised to learn that 'Working for the Blues' is the song that leans the other way, and the riff that opens it is straight out of the blues playbook or closer to home one of the many pub rock blues bands that thrive around the land from the mid sixties to the present day. Stirling stuff anyhow. 

Search Merle Jagger TRASH TALKING BLUES post-release date and find some music that is classic to the core yet fresh to the ears. They celebrate the iconic guitar and all its many heroes in full glory with a key ear to enamoured retro country rock. A record to smile to even if the acquaintance turns out to be brief. 

Album Review: Willi Carlisle - Peculiar, Missouri

 

www.willicarlisle.com

Catch Willi Carlisle in a small venue and the imposing stature combined with a rapid delivery will freeze the moment. In line with the presence of the man himself, bury yourself in his latest record and you will emerge a refreshed being, one a touch nearer stumbling upon the soul of Americana. We know this vaguish term is downright undefinable, but sample the breadth of PECULIAR. MISSOURI on a willing rookie convert and you will either hook them for life or have them running for the hills. Descriptive words for this twelve-track condensed epic will race off the page, but if you're after succinctness stick with poet, balladeer, storyteller and authentic purveyor of the truth (the latter with a small dose of three chords).

The experience of seeing Willi Carlisle share a bill with the far quainter Mama's Broke at the Kitchen Garden in Birmingham was bordering surreal. At that point he wasn't focussing too much on the new record, a situation likely to change when he decides to return buoyed by the anticipation of the reception it will get once out for all to enjoy. Mind you, several warnings must prevail before you dive deep into the music of this Midwest born and raised native. First, buckle up for the long haul. You ain't going to get this in the first sitting. Don't be put off - keep going back - small chunks help. Eventually the magnitude will overspill into your senses and you too will be schooled in the songbook that scrambles across the undertow of a land. 

No review will nail this album. Not the humble blogger or the seasoned scribe. The truth will only reveal from opening the freedom between your ears to let in the words, music and heartbeat of Willi Carlisle. However a few nuggets shared alongside the desired effect can ease the process. 

This album gets released on the esteemed roots label Free Dirt Records and is the second full length effort from Carlisle. Cajun legend Joel Savoy is the producer guiding it successfully down many diverse sonic routs from accordion based border style to hoedown frenzy and many folk ports in between The dozen tracks surface in a concoction of formats and origins. The poetic arteries of the architect are sourced for seven of the eleven songs alongside a twelfth track taking the form of a spoken piece. This is the title track where the backdrop of an inconspicuous small town plays out to a Walmart meltdown. Just listen to the engrossing six minutes of 'Peculiar, Missouri' for clarity.

Johnny Cash connotations to the ultimate road song 'Vanlife' are possibly cliched, but, hey, they are so real I'm sticking with them. Picking top songs is not advised, but a twisted arm would head in the direction of 'Tulsa's Last Magician' which ebbs and flows as the most perfect of story song prompting many nuances to emerge after each listen. Carlisle throws the curtain wide open on 'Life on the Fence' with some blistering lines bringing his own sexuality to the fore. In the same vein as the striking pink cover.

The other four Carlisle originals are headed by 'I Won't Be Afraid' which is as catchy as you are likely to get from the folk repertoire. 'Your Heart's A Big Tent' is a solid opener if maybe a prelude to bigger fish ahead. 'The Down and Back' sees the pace picked up with fiddle racing ahead to re-energise things in the second half. 'The Grand Design' is a tamer banjo-led effort with the vocals entering cowboy mode territory. 

Of the four borrowed songs, folk in its purest traditional form closes the album with 'Rainbow Mid Life's Willow'. This is as raw and evocative as the album gets with echoes of the sound exported from the British Isles centuries before. Closer to the album's soul is a version of Utah Phillips' Goodnight Loving Trail' nestled in the penultimate slot. The words of American poet EE Cummings are brought to musical life in 'Buffalo Bill' ably assisted by the rarely heard rhythm bones. Finally the diversity of styles come to a head with the traditional border ballad 'Este Mundo' which changes things markedly in midfield after the tumultuous paring of 'Tulsa..' and 'Vanlife'.

Exhausted, but totally won over is the state perpetual plays of PECULIAR, MISSOURI will leave you in. A state also of being schooled and educated in the wonderful mind of Willi Carlisle. This is one investment of time that runs sky high returns. Obviously a cocked ear, open mind and appetite for such an experience will soundly help. Choices are abound in music and art. Choosing Willi Carlisle is a wise one.

Album Review: Brett Wiscons - Late Bloomer

 

www.brettwiscons.com

There are so many facets to the backdrop of this album that defines a musician striving to flourish (or at least survive) in the cut and thrust of independent music in 2022. Crowd funded, socially distanced produced, chasing your dream and staying true to the ideals of your influences form the spine of a record that gives Indiana-based Brett Wiscons a fighting chance to land a blow with LATE BLOOMER. 

From a front cover tossing around imagery of tough blue collar heartland rock, lashings of upbeat guitar sensibilities provide the early impetus for Wiscons to air his thoughts, observations and experiences through a satisfying medium of the well-constructed song. Eventually the record finds its groove and moderating presence. Flair and innovation is kept to a minimum through the ten-track collection of songs that serve up an intent of an artist painted by the literal intent of the album title.

'Late Bloomer', the track, predates the album by at least three years, although unforeseen circumstances played a major part in delaying procedures. The song brings the album more on an even keel sound wise as Wiscons edges into auto biographical territory in raising a glass after turning a hand to full time art following earning a crust in the real world. The supporting cast to this pivotal number solidly fills a canvas that when rolled out in full brightens up thirty-five minutes of your listening time. This cast is led off by one of the album's other defining tracks with the pace and intensity of 'Vertical City' ramping up the scale. Taking inspiration in a scene of New York City in lockdown, this is a number ripe for airplay. The contrast between this and low key closer 'October' offers a balance that guides you through the listening journey. 

Another notable track at the point the record enters its second half is the progressive orientated 'When You Can't Breathe' which is based on the George Floyd atrocity. Attitudes and leanings are nailed to the mask in a song filtering in sample recordings to ram home a message that resonates strongly in Americana audiences. 

Not all the influences are wholly rock focussed and elements of soul filter in to form 'Let's Do It Again' featuring a brief exposure of brass within a funky feel. Venturing down a more pop oriented rabbit hole is the ear catching 'Any Other Kind of Way'. That is pop that folks of Wiscons vintage grew up on and thus resonates with the target audience of LATE BLOOMER.

In a crowded market, albums like this do benefit from being given a space to gel. The more you listen the more you realise that the upfront rock element is confined to the surface rather than the deeper content. What does substantiate this album is the smart match up of Wiscons and his songwriting partner Thom Daugherty, who in fact is the chief collaborating all round contributor to this second solo Brett Wiscons album, a follow up to 2016's THE HEINEKEN SESSIONS. 

LATE BLOOMER ultimately plays the underdog nap hand to uplift the work of Brett Wiscons. Music in its many digital guises around the world can find a place for this in their content. Closer to home, and more likely the heart, it is perfectly formed for the road to keep the roots of the curator in tact. 

Album Review: Stacy Antonel - Always the Outsider

www.stacyantonel.com

Retro to the core and nailing a sound to a tee. Stacy Antonel delivers big time in her new album. ALWAYS THE OUTSIDER as an entity is a sharp set of songs; 'Always the Outsider' as a song is a mean opening track ripe for announcing the arrival for newbies checking in for the first time. A change from the recording moniker Ginger Cowgirl to a more straight forward name is part of a re-design. There is a valid point to the moniker being a bit genre straightjacketed when there is so much more to the music of Stacy Antonel. A motive of seeking other influences is understandable, but this album never loses that regal country sound. 

Pedal steel is the thread that holds the album together and a little delving reveals Doug Pettibone hired for that input in places. A musician here recognised for his work with Lucinda Williams among others. 'Heartbroken Tomorrow' right at the heart of the record with its rapid strumming and sizzling solo outro makes a strong case for the album's peak even though it wasn't one of the pre-release singles. Those accolades went understandably to the opener which can also be described as a piece of crisp country alongside the grand twangy swirly sound to 'Kicking and Screaming' and the old time starry theatrical jazzy vibes adorning 'Planetary Heartache'. One lyric picked up early on was "it's been a rough two years". Unsure of the actual context, but I'm sure plenty of artists would adhere to the literal sentiment. 

After a mid-album breather in 'Absent Captain', the sound goes traditional all over with the fabulous 'Texas Lasts Forever'. A strong candidate for the album's premier moment. Pushing it is the lovely gentle feel to 'I Talk When I'm Nervous'. We have a little clash of styles in the last pairing. 'Not Looking For Love' represents a stab at being a little different, while 'Better Late Than Never' is back to the country roots. 

Stacy Antonel comes across as an artist branching off without losing the knack. This San Diego-raised now Nashville-based artist did have some element of international presence with UK dates in 2020. Ok that got curtailed, but I'm sure the strength of ALWAYS THE OUTSIDER can help reclaim that mission if so desired. In the meantime an assured record guided by smoking' hot steel and some inventive twists and turns will keep fans both old and new happy. 

Album Review: The Barlow - New Year, Old Me

 

www.thebarlowband.com

The 3rd album in three years by Denver-based band The Barlow hit the airwaves a couple of weeks ago, but we all know records are for life not just release day. It popped up out of left field a while back and is too good to let drift away without giving it a helping hand albeit thousands of the miles from their Rockies hinterland. What gives NEW YEAR, OLD ME an enormous boost is a stellar opening gambit in the irresistible 'Mile Marker Blues'. What better song title could there be for music acting as a calling card for the highways of Americana. Maybe a little daydreaming from the suburbs of industrial Britain, but that's what great music does.

The Barlow are a four-piece outfit choosing the original song route with all tracks credited to Shea Boynton and The Barlow. This new record is hot on the heals of a 2021 release titled HORSESHOE LOUNGE; another top name in the Americana mould ala Slaid Cleaves. Of course you can check out all The Barlow records on their Bandcamp page linked below. If the practicalities of shipping worldwide may deter some on cost grounds, you can always download (or even... stream). 

Back to the overview of the new record that is ten-track strong and won't keep you too long with a playing time just exceeding half an hour. Albums are having a tough time in the digital age, but keeping them tight in the 30-40 minute slot is a wise move in my opinion. A good descriptive strap line is Colorado country meets American rock welded with plenty of twang. It's rough around the edges with a raw dusty sound that won't trouble the tastemakers, but it has the name of a discerning audience stamped all over it. Vocally there is a likeness to Tyler Childers, but where he goes down a roots rabbit hole musically, The Barlow rarely steer off the trusted road of heavy guitar and frequent steel.

There is an air of familiarity across the ten tracks. The band find a successful formula early on and cling dearly until the rousing closer 'Shut It Down' brings the curtain down. Lyrically, the line "I'm banking on this bottle, it's a fool's reward" caught the ear in the track 'All My Days' and definitely has potential to be borrowed by many a heartfelt country songwriter. 

It has already been mooted that guitar and steel rule the sound with top licks in 'Josephine' and a stirring solo in title track 'New Year, Old Me'. The tempo takes a breather in 'Tarred', but soon picks up in the follow on rocker 'Obsessions'. Although those outside their gigging sphere will have to suffice with the record, it is envisaged that the band are red hot live with venues having to force them off the stage. 

Ultimately, NEW YEAR, OLD ME is an album to kick back to and let your western imagination roam free. It is a consistent and groove-laden piece of outlaw Americana with the potential to lure many fans of the genre outside the confines of Colorado via a diminishing digital world. Check out the music of The Barlow in the usual places.

Gig Diary: The Weeping Willows - Kitchen Garden, Kings Heath, Birmingham. Thursday 7th July 2022

                                              www.theweepingwillows.com.au

Festivals can be great samplers, but it is the stand alone show that exposes the true spirit of an artist. Perhaps it is all about owning the space or maybe the attention of those choosing to spend an evening of sole focus. The Weeping Willows are now firmly in the process of building upon their festival base. However much kudos is derived from wooing audiences in this format, peel away the cover and an act of immense depth and enhanced quality emerges. 

The wait to attend a show totally owned by The Weeping Willows had been regretfully extended to four years. Not one to dwell too much on the extenuating circumstances, this Melbourne-based duo of Andy Wrigglesworth and Laura Coates are grasping the opportunity to put flesh on the bones of a glowing blurb. 

The Kitchen Garden is heaven sent for a band like The Weeping Willows who thrive on the intimacy, connectivity and friendliness of a small venue. Being without pretence and thousands of miles from home, a warm welcome means a lot, and a mutual air of appreciation is something never undervalued. 

If the sample of Andy’s guitar playing is impressive, the extended version is jaw dropping. Multiple styles are applied and you can fully grasp why peers rate him so highly. Likewise the contrasting blend of two voices bring a raft of sumptuous songs to life, whether the duo wander down the lanes of southern gothic, Texas country, interpretative blues or just good old plain Americana folk. By their own admission they don’t drink from a single well of influence and this adds to the show's dynamism.

For this evening’s Birmingham debut, the two sets were roughly spread across defined lines with newer material leading off before the older closing out. Sprinkled within the majority of originals were a few choice covers which help define who The Weeping Willows are. They tend to wrap their influence around songs rather than artists, and numbers like ‘CC Rider’, ‘Long Black Veil’, ‘Hangman (Gallows Tree)’ and ‘One Kind Favour’ formed not only part of this show, but also a lockdown EP titled SOUTHERN GOTHIC. A couple of songs that fell more in the contemporary cover category were ‘I Can’t Wait’ off the Fats Caplan, Kevin Welch, Kieran Kane album and ‘Ain’t No Ash Will Burn’ by Walt Aldridge. A further link to the latter is the duo’s association with Walt’s daughter Hannah. 

Part of tonight’s show was billed as an album launch for YOU REAP WHAT YOU SOW, which saw the light of day in March. Songs from a record with the most striking of artistic covers settled in an almost entirely new crowd really well. In fact, apart from the instrumental prelude, the whole album was played. ‘Singin’ the Blues’, ‘Wheels Won’t Roll’ and ‘Fall Out of Time’ were personal highlights. Andy and Laura were particularly pleased to bring ‘Bells are Ringing in the Churchyard’ to the stage as it doesn't feature much due to trying to replicate four-part harmonies.

After the break, 2016’s BEFORE DARKNESS COMES A - CALIN' supplied a couple of tracks including ‘River of Gold’, ‘Pale Rider’ and ‘Travellin' Man’. We went back even further to The Weeping Willows debut album with another track in addition to ‘North Wind’ appearing on both this and the new record. In fact this last song was sung immaculately a-Capella style. 

Throughout the show the enthusiasm, gratitude and radiant vibes lift The Weeping Willows on the same lofty plateau as their recorded material. A refreshing persona coupled with exceptional musicianship and finely crafted vocals made this evening a resounding success. A handful of Maverick Festival sets spread across four years was merely the aperitif. The lavish main course of The Weeping Willows from the plate of their own show was truly splendid. Hopefully this is a renewal set on repeat.

Try before you buy the new album on this Bandcamp link

Gig Diary: The Sam Chase Trio - Kitchen Garden, Kings Heath, Birmingham. Tuesday 5th July 2022

 

www.thesamchase.com

Since jumping off the plane right onto the Moonshine stage at the Maverick Festival in September 2021, the trajectory of Sam Chase in the UK has only gone one way. With two Mavericks now under the belt, and half a dozen sets, this San Franciscan has undertaken a second jaunt around the country with new places and venues to explore. Exquisitely supported by Chandra Johnson on violin and Devon McClive on cello, the now established touring format of The Sam Chase Trio offers a powerful exhibition of orchestral roots underpinned by a wealth of Americana songwriting. Whether projecting to a wider festival audience or inspiring a small room of dedicated and inquisitive punters, the act modifies in a minimal way relying on the core juices of music, chat and charisma to engage an audience open to the unifying experience of live music.

The Kitchen Garden has long been a Midlands pit stop for overseas Maverick artists driving north. The appreciation has always been warm and likewise any opportunity to spread their music is a positive outcome for the artists. The Sam Chase Trio was intent on rewarding those who ventured out with a single set running past the hour twenty mark packing in a load of songs from a growing back catalogue. This has grew a little larger in the last couple of months with the release of YOU CALL THIS AN ALBUM. The irony sinks in when you see Sam Chase live. Without that experience, it is still a damn good listen heralding a lavish production quality that can never transmit in a stripped down trio.

However the trio format works to a tee on the road. Expect to feel part of the show from the off. Pleasantries and courtesy reigns supreme. Adjusting your inner tuning to the gravelly gruff vocals that echo with the toughness of elite Americana pays dividends. The location's acoustics will be challenged but not breached, and there is always the finely crafted musicianship to effortlessly juxtapose. 

Roots anthems can solidify any live experience and Sam Chase owns a pair as good as anyone on the circuit. The Kitchen Garden joined a likely extensive list of places to bellow out the sentiment 'Rock Bottom Never Felt So Good' and the infectious chorus to the slightly more intentionally complex 'Chasing Windmills'. A call for any requests early on was foolishly answered with these two as they were always going to feature. However he joyfully picked up one for 'John Prine' and prefaced it with a more extensive back story to what afforded the festival sets. This is a prime bonus of the stand alone gig.

Story and inspiration are a key part of any Sam Chase show. One particular one picked up was the origin of 'I Sold My Soul to the City' which told of how you finally become wedded to the city of San Fransisco. This can be found on the 2013 album WILL NEVER DIE, a record that also supplied the impressive song 'Perfect World' in a set list that evolved to say the least. 

Perhaps the highlight away from the obvious finale was 'Cherished Memory'; a hugely personal take on the world we live in today. Going back to the recorded version of this song that can be found on the new album triggered a resemblance to Ryan Bingham in the vocals. A winner for me. 

A couple of other songs with famous name checks lodged in the memory. 'Don't Let Me Die Middle Aged' will be forever linked to the age and weight of Elvis. Sometimes you need to be there. 'Dear Don' had been mothballed for the obvious reasons, but a request for a repeat after hearing it the weekend was obliged. The sentiment of the song could do with exporting to our shores.

The minor details play second fiddle to the experience of seeing The Sam Chase Trio live. An addictive lure emanates a glorious journey from stage to audience. This Birmingham show was certainly one with a difference. A show etched in the memory planting the line "I hear there's Kool Aid' firmly in the mind's forefront and re-affirming "rock bottom" ain't a bad place to be. 

 

Gig Diary: Karen Jonas - Kitchen Garden, Kings Heath, Birmingham. Sunday 3rd July 2022

www.karenjonasmusic.com

Karen Jonas wears, lives and bleeds her songs. Sometimes that is all you want from an artist. Flank yourself with two fine musicians and you are fully armed to take your music on the road. That roads starts in Fredericksburg Virginia and tonight called in Kings Heath Birmingham. Country music can split right down the middle to an intuitive mind. Opportunistic pretence can project some, while realistic reluctance can define others. Karen Jonas never intended her music to land in country or Americana circles, but they were destined to hook up with her.

Two key components of Karen Jonas music had to be left at home. Drums can often stretch the travelling band, while the big stand up bass falls to practicalities. To the left of her on stage tonight, Seth Morrissey kept impeccable time on diminutive bass. To the right the best guitarist in Virginia Tim Bray made us temporarily forget how the missing drums would enhance. If Bray was a permanent fixture on the UK music scene, accolades would overload him. 

Hard yards in digital and long distance promotion has got the music of Karen Jonas known overseas. A long way from the four kids and hectic life at home. Like all true to their soul artists, she has followed the albums, singles, EPs and videos up and got herself here. Now watch the pieces prosper.

The two sets delivered this evening were split with songs on origin lines. Karen Jonas is partial to a cover especially one that brings the best out of her influences and band. Cash, Springsteen, Lucinda, Isaak, Shaver and Henley ain’t popping down left field, but the fairly standard choices felt right in the moment. Bray lapped up all the licks from rock to country while Jonas melted splendidly in the adaptive vocals on 'I’m on Fire'. 

Ultimately it is the original song that defines a touring artist in the wider world of country and Americana. (Yes she has landed right in the heart of those scenes in the UK). On that front there were plenty of Karen Jonas penned pieces that came from the heart, head, imagination and right in front of her. They stretched her catalogue from the title track of her 2014 debut 'Oklahoma Lottery' to 'The Last Cowboy (At the Bowling Alley)' which opened her most recent full length release, THE SOUTH WEST SKY AND OTHER DREAMS. That last album had most traction over here and cemented her potential. 

Admittedly the music of Karen Jonas can occasionally work the listener. However that notion is binned when she brings it right to your doorstep. Songs like 'Butter', 'Country Song', 'Out in Palm Paradise' and 'The Garden' all seamlessly transmitted from studio to stage. Perhaps the pick of the set list was 'Tuesday.' A tough choice from a heady pile.

This Kitchen Garden show was only the 3rd UK gig for Karen Jonas. Flying in on Thursday meant straight off the plane to play a set at the Maverick Festival on Friday. Logistically it was smart to split the Biddulph- London journey with a fuel stop in Birmingham. Dedicated fans appreciated this move and were handsomely rewarded with a top notch show. 

The more you listen, watch and take in the musical experience of Karen Jonas, the more you piece together the influences, intent and reluctance. There was never any chance that the smart side of country and Americana was not going to buy into the music of this unscripted Virginian who is just likely following the destined path of her dreams. A small part of Birmingham wholeheartedly did just that tonight. 

Gig Diary: Maverick Festival - Easton Farm Park, Suffolk. Friday 1st July to Sunday 3rd July 2022

Mickelson in the Moonshine or Forbert in the Barn. Jangly West Coast rock in the sunshine or folk roots in the shade. Terra Lightfoot blasting out or Riley Catherall faintly fighting back an earshot away. Maverick is full of choices & not one is wrong as soon as you cross the threshold of Easton Farm Park. It is a weekend when the colonies collide armed in most cases with no more than a machine that kills fascists. Canadians roll in on their national weekend, likewise their southern cousins forgo the unabated patriotism of July 4th to celebrate the power of communal music in the rural fields of Suffolk. Also with the world re-awakening, the world’s most locked down city namely Melbourne sent its strongest contingent yet. This festival proudly proclaims reaching the age of 15. Maybe shave a year year off in actual staging, but we all still avidly switched on our laptops on the first Saturday of July 2020 to get a brief distant fix. If 2021 was back in the saddle, 2022 saw things in full gallop. 

Lachlan Bryan & The Wildes

It’s Maverick by name & maverick by nature when The Hanging Stars & Lachlan Bryan’s Drunken Piano Bar tear down the Moonshine late on Saturday night. Additionally rocking out to an extraordinary 6-piece Texas cow punk outfit in Vandoliers pulls your emotion in one direction, while the absolutely divine harmonies of Charm of Finches glide you into a polar opposite sphere. Maverick in both senses defies convention. Every act living their dream follows a solo path of destiny. Some for leisure, but all for pleasure. Niche can be the best place to be. Perception keeps most Maverick artists hidden from the masses when exposure to the wealth of talent would lead to an explosion. Then again our little festival would have to start again. 

The Weeping Willows

The ultra resourced review will meticulously dissect a stream of simultaneous sets from 4 locations or 5 if you add in the impromptu Travelling Medicine stage Here you get a comprehensive ramble taking in snippets of artists deserving a lot more attention alongside those that locked you in from first song to last. 

Vandoliers

Let’s just randomly reflect & dispose the structural notion of linear, location or national cliques. There is no vacancy for king or queen in the egalitarian society of Maverick, but in a twisted scenario Lachlan Bryan would wear the crown of 2022. From opening Friday to closing Sunday morning, assisting his good friend Hannah Aldridge, who was a welcome last minute addition to the line up, and steering the Gram Parsons tribute to a rousing finale, this now etched Maverick Aussie veteran was an omnipresent phenomena. Mind you there is a new Lachlan Bryan emerging in the shape of Sam Chase. Two festivals and countless sets in, the foothold is getting deeper for an artist who epitomises the spirit of the occasion. “Rock Bottom never felt so good” echoed as the closing shot on the Moonshine in the dying embers of the festival and such irony resonates well where pretence is nowhere to be found.

The Blue Highways

I’m going to namecheck all of the artists personally seen. Apologies to those not mentioned. They are just victims of the old Austin strap line - so much music; so little time. One name already mentioned deserves expanding upon. Riley Catherall took a major step out of the shadows as a Lachlan Bryan and the Wildes band member to show his considerable talents as a singer-songwriter. Previously we have seen the odd song at shows, but here we had a full solo set and numerous pop ups including one going head-to-head with the booming sound of the ever powerful Terra Lightfoot. His songs are beautifully constructed and immaculately delivered. The recent album deserves checking out and it is being mooted that a return to these shores is on cards with a lot more focus on his solo material. Mind you the guitar playing is pretty exceptional too. 

Evangeline Gentle

If Riley Catherall was the find of the festival then Evangeline Gentle won hands down as the most stylish performer on show. This Canadian had brief exposure in the UK with the pre-lockdown release of her latest album and was an unfortunate casualty of the binned 2020 event. All is well now and her beguiling set in the Barn on Saturday afternoon built on the solid groundwork to establish herself as an overseas recording artist. 

Miriam Jones

Maverick usually serves up its fair share of old timers, or at least acts known to me for several years. In Rod Picott’s case it is many more and he showed all the usual fire in the belly of serving a volley of interesting and absorbing observational and story songs. May the juices flow for many more. TreeTop Flyers have delivered a couple of impressive festival sets/shows over the years in my presence and their slot on The Green towards the end of Saturday afternoon confirmed the standing of a top band. They formed a trilogy of home grown full band operations to demand my full attention on a generally sunny yet not too hot Maverick middle day. In contrast to the Flyers, it was the first time catching The Blue Highways and The Hanging Stars. The former packed a powerful punch all decked in rock artistry, while the swagger of the latter matched a forceful attitude with a full throttled dose of West Coast jangle rock. 

The Hanging Stars

The Barn on Sunday morning is a good place to catch acts missed on Friday and Saturday. These are often unknown quantities certified as left till last. All three caught were US based and currently on extensive UK/Ireland tours. Luke Callen and Humbird are touring as solo artists together and seamlessly followed each other after a collaboration. They are definitely on the folk-roots side of the Americana spectrum and spin their music in an enchanting way. Similarly, Fellow Pynins showed that the fertile song grounds of the far north west are richly harvested for songs and tunes that travel far. 

Rod Picott

It is always good to catch a few Maverick artists out and about during their stay in this country. Karen Jonas brought her stylish brand of Virginian country-Americana mash up to our shores for the first time and her Friday set was a debut performance straight off the plane. While only 20 minutes of her set was seen, a quick post-Maverick dash back home enabled a full Karen Jonas band show to be enjoyed that was an absolute blast. Festivals can sometimes be a sampler for gigs to really showcase a band’s credentials. The Kitchen Garden had a bit of a Maverick theme over the week. Steve Forbert played a sold out show on the eve of his festival appearance and Sam Chase is due to pay a first visit to Birmingham’s premium boutique venue this week. 

Riley Catherall

Which brings us nicely onto The Weeping Willows, who play Birmingham on Thursday 7th July. This Aussie duo of Andy and Laura were the third Melbourne act to join the fun after the Wildes and the Finches. They were making a return to the festival after a successful debut in 2018 and embraced the event with three slots covering each of the covered stages across the weekend. Their style of slightly dark folk ’n’ roots blends in a hint of twangy country and embosses the whole spirit of Maverick. It’s a long way from Down Under, but The Weeping Willows are slowly extending their worth to snare many willing listeners, just like they have done Stateside. 

The Sam Chase Trio

Josh O’Keefe, Peter Bruntnell and Miriam Jones are a random combination. No relevance other than I’ve seen them before and to a mild extent all three had their sets checked out for fleeting moments. This was part of a desire to have a more floating Maverick than before. O’Keefe was seen in more detail when appearing in one of the first post-lockdown gigs  and his unmistakeable influenced style sets him apart. Bruntnell needs no introduction and if you miss him once there is always likely something else round the corner. On the other hand, Miriam Jones has been quite quiet for a couple of years when her shows included opening for Roddy Frame in Birmingham. She is currently on the comeback trail with a new album and beautiful electric guitar to illuminate her stage presence. 

The Redhill Valleys

A new name to grace the outside stage this year was Canadian band The Redhill Valleys. This accomplished roots rock outfit held court for their allotted forty minutes and were as distinguished in their sound as much as their look. Substance will always win over style at Maverick and US act Scott Mickelson possesses both. He was referred to by anecdote as a cross between Michael McDermott and Billy Joel. Interesting comparison that gains traction for an artist happy to drop the first name. He won the eventual dual of who to see at 9 o’clock on Saturday night, partly because there wasn’t an urge to track back and see Steve Forbert, who for many was likely to be the highlight of the festival. Each to their own and no opinion in music is strictly right or wrong. Well, not most of the time! 

TreeTop Flyers

A quick check through the programme and I think we are nearly there with the shout outs. There were pics and glimpses of Ryan Hamilton as well as Jake AD & the Ragtone Revival, but the brain only has so much capacity. Without going too deep into the acts missed, Baskery, Forty Elephant Gang and The Black Feathers have had their days in the sun with me and will come again. The rest I’ll have to leave. 

Mickelson

So Maverick 15 resumed its early July slot and welcomed back the warmer weather after temporarily floating to September last year. There were a few tweaks, mainly in the guise of a live stream from The Barn on Saturday. This had minimal impact on those treading the trusted rural route to Easton Farm Park, other than small twin screens showing the action to folk outside the Peacock. Yes, the famous peacock backdrop is still there. One final thought was a returning memory of 'Wild Horses' beaming from the stage. In 2012 Gretchen Peters and Otis Gibbs duetted on this classic number. Ten years on Lachlan Bryan orchestrated a group singalong from the same spot to close the Parsons tribute. Did Gram really write it? Who knows? Who cares? However the flame of 2012 is still burning brightly in 2022.