Gig Diary: Jill Andrews - Hare and Hounds, Kings Heath, Birmingham. Monday 14th November 2022

 

www.jillandrews.com

Success for artists striking out in new territories as live acts requires organic growth or instant impact. The former can only occur over time, but if the latter is in place from day one then the chances of succeeding are looking good. The best assessment of seeing Jill Andrews for the first time is to liken her traits to those of three fellow Nashville- based artists adept at ensuring their music travels with acclaim. The poise of Erin Rae, the song craft of Caroline Spence and the vocal air of Gretchen Peters all came to mind as the latest US singer-songwriter export parading on the fault lines between country, folk and Americana took to the stage for a mesmerising hour and a quarter during the Birmingham date of an inaugural UK tour. It doesn't require too much research to uncover the pedigree of Jill Andrews back home with a recording catalogue stretching over eighteen years in numerous formats and guises. The degree that pedigree was channelled into a polished performance is a testament to a seasoned operator equipped with all the attributes to court overseas audiences of various persuasions. 

The turnout at the Hare and Hounds was compact yet immensely knowledgable. Consensus was only of a vague awareness, but one that warranted checking out on a November Monday evening. The end result was resoundingly in the affirmative to kick start the required organic growth. Instinctively composed songs wrapped in eminently comforting vocals chaperoned by a radiant personality gives Jill Andrews a head start in front of any new crowd. Her appeal stretches from writing a fully signed up tear jerker taken up by the TV series Nashville to gliding through a cover of Neil Young's 'Only Love Can Break Your Heart' in all the haze of an early 70s singer-songwriter. Dipping back into her recording emporium reveals multi orchestral offerings and cuts sunk into indie-folk psyche. It's a little more simplistic here with a solitary guitar acting as the guiding light on a seismic stroll culminating in the immortal unplugged song to finish. This up close and personal ending casts away the shackles of the past couple of years. 

The set list for this show in the Hare and Hounds small room stretched back to an impromptu version of 'The Red Rose' from an album released in 2005 by a band co-fronted by Andrews known as The Everybody Fields. To bring things right up to date a number of songs were shared from this year's THE PARTHENON SESSIONS EP including set opener 'Sorry Now', the Nashville TV bound 'Sanctuary', the ethereal 'Cloud Chaser' and 'Rust and Gold'. This EP recorded live in Nashville's attempt at re-constructing Ancient Greece was one of a number of interim recordings keeping fans happy in between the three full length albums that have accompanied Andrews since going solo in 2011. 

The most recent album is THIRTIES possessing an unfortunate release date of March 2020. The accompanying book was shared and promoted during this show alongside a number of tracks including 'The Party', 'Back Together' and 'Call It Even'. This last song was one of the personal highlights from the set. Another favourite was 'I'm So In Love With You' recorded as a duet with Seth Avett of the famed Avett Brothers, and originally found on 2016's excellent album THE WAR INSIDE. 

While Jill Andrews feasts on the sad song syndrome, and has clothing merchandise to celebrate it just like Caroline Spence and Gretchen Peters, there is room for a little bit of deviation such as the requested 'Tell That Devil'. Another composition transitioning to TV as the theme song to Wynonna Earp. Whatever was turned to this evening came up trumps, all gloriously bestowed in singer-songwriter gold and fully cemented our guest as an artist of cultivated panache. 

Katie O'Malley

Contacts bringing Jill Andrews to the UK for the first time have lined her up with fledgling homegrown artists who will no doubt sharpen up their own practices in the midst of a supreme artisan. Emilia Quinn opened an extensive evening at 7:30 with a vibrant brand of acoustic original material drawing on influence from country, pop and Americana. Katie O'Malley subsequently delivered a more rock oriented acoustic set in tune with a refined bruised vocal style akin to complementing greater electrification. Both artists will find their niche in the UK scene and played a supportive role in a wholly rounded inspiring night of music. 

Emilia Quinn

Jill Andrews certainly made the right impact to prosper in the UK in whatever direction her advocates pull her in. An extensive array of dates the full length of these Isles enhances the spotlight as well. Primarily who ever turns up to listen to her play live will boost their gig going repertoire and in turn help a deserved artist grow. Everything is in place. We just need fate to play its rightful hand.