Album Review: Lauren Morrow - People Talk

 

www.laurenmorrow.com

Lauren Morrow sings like a free spirit on an album hot footing it on numerous grounds with the intent to reflect influence and desire rather than court scenes. The 'lead not follow' mantra is adopted on PEOPLE TALK with the cumulative effect that it doesn't take too much digging to take something positive. Although tentative steps to detach from her Whiskey Gentry past have been taken since pre-pandemic days, this new full length release is a major leap. Morrow alongside her husband and musical partner Jason curate an accomplished band of songs, largely applied with a sophisticated polish that by design only touches the edges of conforming genre traits. However the traits Lauren Morrow purveys are multi-dimensional in a wider music sense from refined vocals, accomplished musicianship and songs that make an indent. 

A neatly rounded ten songs form the body of this album, duly weighing in at the optimum forty minutes. The archetype album configuration for some. Early arrivals on the Sunday morning at last year's Long Road festival got a taste of Lauren Morrow, hinting that this album could be the impetus for more trips. She did have an extended stay in Newcastle-Upon-Tyne in the distant past either side of the Atlanta-Nashville years. Therein lies some British influence both detected and informed.

Outside the wider influence, there is a likelihood for many ears drawn to this record to hone in on the fun-driven country pop ditty sitting pretty in the core of the album's second half. 'Hustle' nowhere near defines the record, but is a slice of earworm that refuses to depart at the end. Pairing this track with the more traditional leaning 'Family Tree' is a smart piece of planning. You are particularly drawn into the lyrics of this waltz-like tale delving deep into Scandinavian emigration. 'Leona' carries on this diverse run of tracks as we approach the finishing line and mixes tempos, eras and styles in a song echoing personal feeling. 'Birthday' brings the curtain down with Morrow's vocals shining from a minimalist accompaniment. A tender end to a record carrying more oomph in its early stages. 

The introduction to PEOPLE TALK appears very heartfelt in the opening verse of 'I'm Sorry' then launches into a lavish chorus befit of a grand stage and lofty platform. A big sound to let everybody know Lauren Morrow is here to mean business. 'Only Nice When I'm High' leaves little to the imagination with popular music sensibilities adorning a neatly presented album component aiming at a wide audience. The album track is packed to the hilt with 80s/90s pop star dust and is as daytime radio friendly as you get. 'People Talk' will get people talking. Things get a little more placid in 'It's You' where the vocals glisten to give the song a lift. An interesting first half to the album concludes in the message-fuelled mid tempo piece 'Looking for Trouble'. Safe territory is the base for 'Nobody But Me' to rise in crescendo and leave a greater mark once the chorus is reached. Eventually guitars are let loose and the vocals hit new heights. 

There are certainly many interesting parts to PEOPLE TALK, but then Lauren Morrow is bursting with ideas and wants to explore a wider landscape. This is certainly achieved. From whichever perspective is your starting point it has something to offer. Perhaps the best stance is to start with a blank canvas and let the multiple talents of Lauren Morrow and her team craft their undoubtedly ambitious and highly credible art.

 

Album Review: Angela Perley - Turn Me Loose

 

www.angelaperley.com

On her second outing as a solo-billed artist Angela Perley invites all-comers to join her on a rambling roam down a song-laden highway littered with used instruments, discarded lyric notebooks and scattered dreams. TURN ME LOOSE rummages through this debris, pieces it together and transforms it into an esteemed road companion. This ten-strong collection of original tunes dresses in garments picked from rock, country and Americana thrift stores before strutting proudly down a dusty catwalk with music shining from the head, heart and soul. 

From its Ohio base the music travels further than highways and interstates reaching the autobahns and motorways. From sharing stages with the likes of Willie Nelson and Lucinda Williams, Perley thrives in an ambassadorial role twisting her take of homeland inspired sounds into an international entity. Seasoned listeners will take their pick of associates, easily sourced from decades of bands plugging in and turning their music into a road weary feast. If you like your country spiced with pedal steel then parts will scratch the itch, alternatively a desire for more straightforward roots rock threads through the release. Amongst the worn imagery sparkles a gem of a vocalist and songs weaving right into likable territory. 

Of course, the proverbial cherry would be Angela Perley gracing the lanes, roads and motorways of the Motherland (the latter with assumed roots) bringing her sound and style into the midst of wannabe drifters, likely more of mind than body. The fit would be perfect and getting European releases puts the ball on the tee. 

Terminating at the aching stop of the gently strummed 'Wreck Me' brings a tumultuous journey to a close, one that speeds off to a flying start with the uber-melodious 'Plug Me In'. Immediately the crux of the title features in the lyrics. In a perfect adjective match, 'Star Dreamer' and ethereal elope into eternity awash with sixties vibes. A rockier beat escorts us through 'Here for You' with its kind sentiment. By now the band are in full flow with instrumental pieces taking root including a lengthy playout. 'Ripple' by name and nature as we head towards the album middle, which is reached with the spritely 'Get Enough' full of jangly guitars firing amidst notable breaks and turns.

The line 'social alligator' catches the ear early in 'Do it For You', another one of the album's toe-tapping beat-infused rollers. 'Praying for Daylight' drinks from a country fountain, and if you approach the record from such an angle this could be the moment the effect pops. 'Near You' bubbles in the stirring water of sleepy nostalgia as the album seemingly matures in a haze of wobbly pedal steel. 'Holding On' takes you almost to the finishing line, now fully versed in the impressive capabilities of Angela Perley to not only nail a style, but successfully transmit it to casual observers.

TURN ME LOOSE is a perfect example of supremely cultivated simplicity. The input is a collective amass of skill and guile. The output is effortless and comfortably reassuring. Now for Angela Perley to raise her prominence on this waiting international stage. Not exactly vacant but reserving a space for her. 

Album Review: Mighty Poplar - Mighty Poplar

 

A line up to get bluegrass fans salivating. On the other hand if you have yet to dip your toe into the deep well of this timeless artform, then the self-titled album from this 'jam for all seasons' could just be the entry point. Mighty Poplar live up to the name, at least in the first part. Noam Pikelny and Chris Eldridge hone their craft in the Punch Brothers. while Andrew Marlin does similar in Watchhouse. Alex Hargreaves plays fiddle with Billy Strings and to complete the line up bassist Greg Garrison enforces the rhythm with Leftover Salmon. Names and associations are one thing; tuning into the magical sounds emanating from this collaboration lay the wares on the table for all to savour.

Across a joyous forty-two minutes Mighty Poplar toy with, celebrate and fine tune works from well known names such as Bob Dylan, Carter Family, Leonard Cohen and Martha Scanlan, among bluegrass classics and standards. Ten songs and tunes get the utmost respect and are decorated with gorgeous spins of mandolin, guitar, banjo and  fiddle. Each instrument combines the role of allowing each other to flourish alongside joining together to fire a sound that pre-dates the bluegrass brand by at least a century. All while polishing it for future preservation. 

Resistance to tapping any parts of your extremities evaporates as you dive into the stringed riches that ring in superlatives starting with virtuoso and dance down the road of the immaculate pick. Vocals parts add to the narrative and politely step aside when highly crafted musicianship requests undivided attention. The rhythm sways and purports to a contrasting scene of moods generating from a range of tempo and pace. All this ensures the finished product glitters in bluegrass gold for tuned in ears. 

MIGHTY POLAR is a mighty fine album to fire up the acoustic passion of American roots fans and those of contemporary musicians in less generic fields who are influenced by strummed and picked music as pure as the mountain stream it evokes. These guys are likely to not hang around too long in such a spontaneous set up. With that in mind they have left a little flavour of what was conjured up from the mother of all bluegrass jams. It would be remiss not to give it a little nudge in the right direction. A few nudges will be all this album requires to gain traction down the far reaching Americana highway. 

Gig Review: Jarrod Dickenson - St. Mary's Church, Shrewsbury. Monday 27 March 2023

www.jarroddickenson.com

The most important part of this show was Jarrod Dickenson getting the opportunity to take songs from an elongated project out on the road for folks to enjoy in a unfiltered setting. These songs surfaced as a body of work earlier this year and a consensus soon emerged of this being an album moving the dial of this exiled Texan a lot further forward.  There were many bumps in the road hindering the process of getting BIG TALK out including a major record label conflict. So a bump in the UK tour preparation was just another hurdle to cross. On the eve of setting out on this run of dates, the  drummer was beset with multiple problems, hence a re-think on the rhythm front. Cue engaging the services of local multi musician David Ford and the utilisation of electric bass and kick drum. Innovative and practical in light of losing one of the key components of taking this new batch of songs on the road. 

Joining the usual pairing of husband and wife team Jarrod and Claire Dickenson, the latter on vocals and supplementary percussion, was long time guitar accomplice JP Ruggieri alongside the aforementioned late addition. The quartet took the atmospheric settings of St. Mary's Church in their stride, and in the main set framed the majestic nature of the songs to give them a glossy coating of warm instrumentation. These songs are Jarrod Dickenson's core craft. The launching pad to unite with a wider musicianship pool and project meaningful music into the ears of expectant listeners.

Both Jarrod Dickenson and JP Ruggieri were no strangers to playing Shrewsbury; often with the same promotion if not this extravagant venue. Ruggieri grasped the invitation to open proceedings and dealt songs split between older and 'straight off the press' album releases. It warmed up the chilly surroundings before things heated considerably once the full contingent was on stage.

The main set was split into three formats. The quartet, the marital duo and the solo. The latter was the evening's most emotive moment as 'Goodnight' serenaded a willing audience in a fitting tribute to Dickenson's grandparents. Both sadly now passed, but not before respectively reaching, and almost reaching, the landmark century. That was the cue for the band to return to roll out a slightly revamped version of 'The Ballad of John and Yoko' that came over well before sending everyone home into a cold Shropshire night with an excellent track from the new album 'Long Hard Look'.

The new songs were the cornerstone of the set. 'Home Again' got things underway at 9pm, with the eagerly awaited 'Born to Wander' and 'Buckle Under Pressure' featuring in the early stages. The first is among the best tracks heard in 2023, but seemed to miss something without the full drum backing. The second we learned was written in response to the acrimonious parting between artist and record label. A fiery anthem of defiance, and ultimately the freedom to proceed. 

Notable other picks from the new material were 'Bamboozled' with its ire turned on Donald Trump and the solid rocker 'Without Any Luck'. Older songs that resonated were 'California', 'Come What May' and 'Your Heart Belongs to Me'. All utilising the dual vocals of the upfront duo. 

A respectful crowd circa a hundred-strong packed the available pews and made Monday the cool night to go out in Shrewsbury. It helped that a popular guy was in town, one not afraid of tossing around the wit, while unequivocally appreciative to those supporting his music. Jarrod Dickenson is at home almost as much in the UK as his native States. A Northern Irish wife likely helps. It has supported him through shows in many formats and opportunities, even when releases were patchy. The new album, the UK tour and an intent to fulfil the bigger sound aimed to reward the loyalty. St. Mary's Church in Shrewsbury was the scene of mutual gratitude, and a setting befitting of an astute and much loved songwriter operating in the spacious realm of modern Americana. 

Review of Big Talk

Album Review: Steve Dawson - Eyes Closed, Dreaming

 www.stevedawson.ca

Nashville-based Canadian Steve Dawson serves up a real heady mixture of American roots music in his latest record that caps an extremely busy period of committing his bubbling projects to commercial status. Hot on the heels of a brace of 2022 releases, Dawson steps onto a higher plateau with a new album spinning the plates of many ideas, influences and ports of call. Drawing on exceptional talent from within and probably more perceptively from a wide contact resource bank, we are served an eleven-track mix that possesses many coats without diluting standards. EYES CLOSED DREAMING is an album to ferment over time and become a valued reference point. 

Co-written originals mingle with choice covers wedged in between a couple of instrumentals to keep the album in perpetual motion. There is a level of intellectual grandeur when delving into the work of Steve Dawson. Not only do the songs and tunes measure up well, but you get the extra gift of learning more about where he draws his influence. From his perch of songwriter, musician, vocalist, producer and arranger, Dawson explores many facets of country, blues, folk and old time then spins them into a pivotal space of contemporary work.

All four original songs are co-written with Matt Patershuk, who has recorded several albums on Dawson's Black Hen Music label. The launching pad for this record. The first of these titled 'A Gift' unravels as an intriguing story song in the folk tradition with a sprinkling of twang in its midst. 'Hemingway' follows and a self explanatory title containing dialogue with a fiction icon likely to be the subject of further art for eternity. Dawson and Patershuk moved into the feathered kingdom with their next subject delivering 'The Owl' as one of the album's quieter moments, albeit a break into slide towards the end, with the lyrics being the focal point. The final selection from this pile is 'Polaroid'. Retro is both name and theme. 

The pair of instrumental are split between a Dawson composition and an interpretation of a traditional tune. The former, 'Waikki Stonewall Rag" mixes multiple strings, keys and percussion in a rhythmic stroll. The same quartet headed by Dawson proceed a little more lazily in 'Singing the Blues'. Both core sounds implying past roots influences. 

Before we turn to the four covers, a brief mention of the blues interpretation to the traditional number 'House Carpenter'. A track awash with fine picking and solid vocals adding to a credible version.

The album kicks off with a version of fellow Canadian Ian Tyson's 'Long Time to Get Old'. A good choice to win listeners over from the start with a breezy catchy song. Detected backing vocals didn't take long to trace back to Allison Russell, a long term co-worker with Dawson going back to the Birds of Chicago days. The largest accumulation of musicians appear on the Bobby Charles song 'Small Town  Talk' with brass featuring for the first time and most prominently. The Jack Clement-penned Johnny Cash-famed piece 'Guess Things Happen That Way' excels when the album is fully ingrained into the listening experience and keeps things rolling along. Dawson's Weissenborn lap slide guitar features throughout the album and is the sole accomplice with its owner's voice on John Hartford's 'Let Him Go On Mama' to close things.

There are so many facets to EYES CLOSED DREAMING that each play takes you down a different route. Steve Dawson has one of the keenest ears in the business and expertly transmits this into records that secure a legacy both of his sources and increasingly himself. 

Album Review: Tapestri - Tell Me World

 

www.tapestrimusic.com

Crisp and accomplished; delicate and resourceful, the hushed vocals and lush harmonies shine a bright light on Welsh duo act Tapestri who unveil their wider talents on the music community with the release of a debut album. TELL ME WORLD harnesses the attributes of experienced performers Lowri Evans and Sarah Zyborska and you have a record capable of making a significant impression in an ever competitive market. Ten tracks combining bi-lingual titles form this record and represent the proud status of the two players representing the north and south of their heritage. Outside of the Tapestri project, Sarah Zyborska recorded under the name Sera and was the architect of a very good 2016 album titled LITTLE GIRL, while Lowri Evans is a widely experienced solo singer-songwriter. For those who missed their previous work, the new record is a good starting point. 

Most of the tracks are co-written with the odd two out being 'She's a Lover', the sole creation of Evans, and 'Genes', a very personal offering from Zyborska. The former is also family influenced and hugely personal as well. The latter celebrates a birth occurring during the making of the album, so impossible not to reflect this momentous occasion in song. 

Two songs get their Welsh language translations in the titles and were both singles in the run up to the album getting its full release. 'Y Fflam' translates to open flame, while 'Atgofin' means sweet memories. The lyrics are sung in Welsh and carry a mystical elegance to non-speakers just the same as Scots Gaelic can do. 

The pair refer to being influenced by the US Highwomen collaboration and this is clearly detected in 'Waiting in the Background'. The spirit of Carlile/Hemby/Morris/Shires is evoked in Evans/Zyborska and the result is well received. The album title doubles up as the opening track and launches you straight into a model sound blessed with a fetching melody and instrumentation that underpins the entirety. Guitars, keys and notable pedal steel feature widely and assist placing it in the folk-American sphere though with a Celtic edge. 'Tell Me World' was one of the quartet of single releases alongside the two aforementioned songs and the pedal steel laced 'Save Your Love' that weaves its magic in the early stages of an album lasting an optimum forty minutes. 

'Crazy, Crazy Times' is a clever lyrical ploy and reflects that this record took a long time to make with the obvious barrier being the pandemic. This slips into 'Workshop' implying that havens can come in all shapes and sizes. 'Come Alive' completes the nice round ten and like so many of its co-tracks is representative of the overall album sound. Namely, a record that responds to open ears and those partial to gently spun harmonies within a soft twang filled environment delving deep into the sweet sound of folk, country and Americana music.

Giving a little space to TELL ME WORLD and the delights of Tapestri won't disappoint. It's a classy collaboration weaving two voices projecting sensitive gender and language poignancies. 

Gig Review: Rachel Baiman - Kitchen Garden, Kings Heath, Birmingham. Tuesday 14th March 2023

www.rachelbaiman.com

We can't be far off the end of re-staged postponed shows arising from the pandemic. A major one in Birmingham is Gretchen Peters' upcoming Town Hall date. On a smaller scale, Rachel Baiman finally made it to the city with a headline show to offer folks another glimpse of her innate talent. Things have moved on rapidly since this event was first announced. Not only has there been a new album in the shape of 2021's CYCLES but these eventual run of dates are the prelude to another new release due out at the end of March. Other factors have likely contributed to the delay. Since the return of touring, Rachel has played over here with Kris Drever and recently opened for Sierra Hull. This demonstrates a commitment to the UK market, which began when her previous band 10 String Symphony had their music pitched over here.

Rachel Baiman is no stranger to the West Midlands. She has twice played Thimblemill Library in neighbouring Sandwell. The first was a packed 2018 spring Sunday evening in a breathtaking double bill with Molly Tuttle. The following January she brought her trio format for a headline show offering a further insight in what has evolved from a prodigious to blossoming talent. Tonight she performed as a duo with bassist Steve Haan, introduced as her touring partner and a new face from previous shows.

To enhance the evening, and other shows on the tour, Misty River has been invited to open and grasp the opportunity to take her music around the country from her North London base. She played in a duo format with guitarist Adam Morley, who further excelled when turning to Dobra. Misty River is a name being banded around, so it was useful to get an extended listen. Confidence increased during her 40-minute set and by the end you had a good feel for who she is. The hushed vocals were reminiscent of Caroline Spence, seemingly channelled from a place of softened beauty. Songs from her seven-number set started to take hold, so it will be useful to get some recorded material to match the promise.

We had the occasional Kitchen Garden practise of a break after the opener and then a second one splicing the main set. Different views are held on this with various factors coming into place. The artist was cool and it didn't impact upon them delivering an exceptional performance. If anything the second half came across better, but any change was minimal and from a high plateau. 

There are so many facets to the music of Rachel Baiman. Instruments settled at three for this show: acoustic guitar for those songs with the general singer-songwriter feel, fiddle for those trips down bluegrass way and a resonator-less banjo to tap into a real traditional old time feel. This sums up the versatility and paves the way to sit right at the heart of the new-wave Americana movement; whole heartedly contemporary but intrinsically influenced by country, folk and acoustic roots music. 

Each time Rachel Baiman has been seen, a striking vocal similarity to Maya de Vitry (Of Stray Birds and now solo fame) appears. You can also throw Gillian Welch into the mix alongside many others who chisel an inherent twang into a mountain aura. Tonight was no different as she dealt us a batch of originals with a couple of choice recorded covers neatly placed. The take on John Hartford's 'Madison Tennessee', now her home town, and Andy Irvine's Woody Guthrie tribute 'Never Tire of the Road' showed the breadth of her influences. Bringing things right up to date, 'Annie' from her upcoming album COMMON NATION OF SORROW features Nashville compatriot Erin Rae. Likely to be one of many from her Music City community that recommended playing the Kitchen Garden when next in town. 

Not surprisingly several of the new songs were previewed. 'Self Made Man' and 'Lovers and Leavers' were both out of the block early online, with the former encapsulating the theme of the new record, namely the ills of the capitalist system. One of the more striking numbers from the new record heard for the first time this evening was 'Old Flame'. This poignant piece was written for the late Luke Bell. Another highlight from this performance was 'When You Bloom (Colorado)' taken from the CYCLES album and about her sister embarking on new adventures. 

There was one final break, albeit less than 30 seconds before the encore call. A request came for 'Thanksgiving Day', a song remembered from her previous show over 4 years ago. Rachel duly complied. Throughout the performance the bond with Steve Haan was noticeable. He played electric bass in contrast to the upright version brought over by Shelby Means in 2019. Probably more practical for hopping around the UK from Shetland in the north to London in the south. 

The parting memory from this Rachel Baiman show was how well she blended with the vibes of the Kitchen Garden. Obviously bigger places and turnouts are more lucrative, but something special emanates from evenings like. I'm sure artists concur, those in the prime seats certainly do.

Gig Review: Danni Nicholls - Kitchen Garden, Kings Heath, Birmingham. Sunday 12th March 2023

 

www.dannienicholls.com

From one angle nothing changes; from another angle a lot changes. Danni Nicholls played her first Kitchen Garden show back in 2015. Over the next 8 years several visits have built a decent following to the point where she gets inked in for many to catch up with what she is doing. There was plenty to catch up with from tonight's show alongside many timely reminders to why she has been a firm favourite in many quarters for the last decade. 

One significant development has been engaging the services of Bedford-based guitarist Sam Barrett for UK shows whose versatility extended to acoustic and electric guitars, and fiddle. Danni has played in duo and full band formats, but there was something extra special in her latest highly talented and hugely complementary accomplice. 

We are now in the midst of Danni literally living the dream as her American status has shifted from tourist to extended temporary resident. Much of her music has been recorded in Nashville and she has regularly tapped into Music City talent on the writing and playing front. Being fully immersed into the culture of Nashville will feed into her music, likely to take it to another level. This from a high plateau of being one of the UK's finest exponent of country-tinged/American-fuelled singer-songwriter music. 

It may have been four years since the release of the widely acclaimed THE MELTING MORNING album. Obvious barriers to its successor are gradually receding and plans are afoot to get it into motion. Alongside the recently released single 'Little Fictions', further new songs were previewed in the shape of 'Hide', The Wreckage' and 'Four Frames'. All sounding up to, and exceeding the precedent set. 

Across her two sets this evening we had the full breadth of her catalogue. 'Between the River and the Railway', with its old time country sound, represents the distant pre-full album Danni Nicholls. More up-to-date material off the latest record continues to grow as live staples. 'Texas' and 'Hear Your Voice' still blend in the styles of respective co-writers Ben Glover and Kyshona Armstrong, while 'Wild as the Water' acted as the warm up show opener.

Old favourites breed a re-assuring act of fond appreciation. 'Travellin'' Man' and 'Back to Memphis' nail the quintessential American sound. 'A Little Redemption' and 'Where the Blue Train Goes' never lose their live shine. Regular go-to covers 'Guilty' and 'Goodnight Moon' get the Danni Nicholls makeover and from their esteemed position highlight that the original compositions aren't far behind. 

Danni Nicholls may be going through career and life defining changes on many fronts, but from alternative perspectives she is still the same shining star accruing many fans from her hardworking endeavours on the UK circuit all these years. Wherever her future lies there will always be a place at the Kitchen Garden and those who frequent its intimate surroundings. Evolution is important, but roots aren't far behind. 

Album Review: Brigid O'Neill - Truth & Other Stories

 

www.brigidoneill.com

Irish singer-songwriter Brigid O'Neill gets to the core of her craft in an album sailing the contours of melodic bliss. THE TRUTH & OTHER STORIES is a lyrical sparkler brushed up into a complete package on the back of a team that hones the art of polishing willing gems while maintaining an organic demeanour. Not a second is wasted in this supreme act of optimal music-making as eleven classy tracks merge into a prime listening experience. This Nashville-influenced Ulster-born artist is the latest songwriter to get the Neilson Hubbard makeover and fall into the laps of actively acute ears. 

The sound generated by O'Neill bubbles at the tipping point between fresh and sultry. It soaks up many influences in the early stages before finding explicit homes with a slinky jazz feel in 'Midnight Magic Club' and cracking the country code in the adorable 'Messy Path'. The latter echoes the spirit of Patsy and the breathing vibes of Dolly to make a statement that great country music often comes from those with little pretence. All this is in the wake of stunningly catchy opener  'Live a Little Lie Oh', a piece re-defining the boundaries of ear candy. 

The title draws on the writer's fascination with how the pandemic tried to frame the truth with stories throwing up conflicting versions adding to a confusing pot. Yet the truth ultimately stands resolute. Immersing into the words of O'Neill brings these thoughts to life alongside many other wonderful traits that serve a rightful legacy. Always in the background is Hubbard's magic dust; unobtrusive yet distinct with the effect of injecting life and space into an artist's raw tools. 

The vocals of Brigid O'Neill cast such a spell over the listener that when we end in the safe arms of the folky vibes and faint brass-infused 'Pilot's Weather', a smug sense of satisfaction settles that artists like this can find compatible ears. Just prior to the ending we step into character mode via 'Amelia' to enter a different facet of O'Neill's writing. 

The seamless easing between tracks flourishes from the off with the startling opener slipping into the burgeoning 'Easy'; a song from the classic singer-songwriter mould that improves with each listen. Another skilful aspect of this record is how it meanders into punchier soundscapes such as when 'Take a Day' threads into the spiky 'You're Not Gonna Leave Me Honey'.

From its lofty opening twosome that go a long way to framing the definition, the album finds rotating rhythms in the next trio of tracks. 'Ask Me in a Year' keeps things trim in the lowlights of 70s-styled easy listening; the cultured not cheesy variety. 'Prayers' contains a roots feel with fiddle and mandolin driving up the beat and the vocals moving into a duet, or at least active backing direction. Soft piano leads us into the quainter 'Leaving' creating an open space for the lyrics to pack a punch. The running order instinctively moves the tempo to chisel a varied listening experience. 

The invitation to open the door and let in TRUTH & OTHER STORIES allows you to wallow in the mind-tingling world of Brigid O'Neill. Accolades and praise have emanated from her previous work, but the potential for more to spring up in new places is strengthened. Aural delight is the apt conclusion as a glint of emerald sparkles in another esteemed release curated in the bustling metropolis of Nashville's crowded music landscape. 

Gig Review: Katy Rose Bennett + Ben & Dom - Thimblemill Library, Smethwick. Saturday 4th March 2023

The art of song was splendidly celebrated in this co-headlined gig blessed with many differences and similarities. Away from the day job, Thimblemill Library challenges its community to engage with music, theatre and forays into spoken word. This evening it mixed and matched with a captivating display of unaccompanied song and a multi-facetted performer choosing to juxtapose the presentation with their solo take on musical song. The dovetailed sets of South London vocal duo Ben and Dom and Birmingham's very own champion of music diversity and inclusivity Katy Rose Bennett sparkled as entities and twice came together to share the wonder of collaborative song.

It was back to the good old days of a packed library turnout. Whatever the motives, memories are laid and habits formed. From the first vocal harmony on the stroke of 7:30 to the final simple chord strummed just shy of 10, a packed show of mutual engagement illuminated the art decor environment and reminded us of the magic of live performance.

Both acts are linked through choir leadership, though the domains are a distance apart. Ben and Dom was the act on tour and this stop off in the borough of Sandwell came hot on the heals of an album release. They were soon in innovative mode relying on effortless harmonies, slick functioning individual vocals and adopted minor instrumentation that lent towards everyday practicalities. A million miles away from convention. 

This pair are instinctively tuned into the folk tradition, while unafraid of seeking inspiration from the wider more contemporary world. They also practise the art of songwriting to give their material a sense of personal ownership and in some cases a humorous slant on the world. Wherever Ben and Dom took you on their vocal journey, you couldn't fail to be more than one step behind. They were at ease with a receptive audience and thrived on a sixth sense of quiet engagement. 

Katy Rose Bennett has long had a significant presence on the Midlands independent music scene. Whether through communal engagement, multiple record releases or tapping into other spheres, she brings an air of distinctive performance through her music. The direction can fluctuate across a wide spectrum, most recently demonstrated in a commissioned experimental digital release that sought new avenues and receptive ears. Perhaps the most common style to her repertoire is crafting the thoughtful singer-songwriter song that emanates in folk, and more recently Americana quarters. Additionally, her a cappella vocal work, schooled and honed in choir environments, advanced into more commercial waters prior to the pandemic with live shows and a record. Despite this having most synergy with Ben & Dom, she chose the staple live route this evening of sharing guitar accompanied songs through a trusty acoustic, and more enterprisingly via a fetching Gretsch. 

Both sets had an air of the past, present and future. Katy in particular was keen to share new songs including one destined for Disney stardom. Inevitably there were opportune moments for collaboration. The invite to add a third vocal dimension to Ben & Dom was eagerly grasped for a single song. Likewise when Katy required vocal assistance on one of her signature songs 'Growing Peas' there were two willing and rather handy vocalists waiting in the wings. All rather cordial and refreshing for an audience embracing intuitive arrangements.

At the end of the show Ben & Dom packed their bags and headed for the next date on a lengthy tour. Katy Rose Bennett likely went back to one of her many musical endeavours. What we saw from her tonight is like to feature in the Ramblin Roots Revue performance next month with plenty of willing candidates there to join in on the vocals! On an evening when performers, organisers and audience all had that winning feeling, perhaps it is the latter with their smart choices with whom the legacy could lie.

Check out the Bandcamp page of Katy Rose Bennett for many diverse releases

Gig Review: Courtney Marie Andrews - Trinity, Bristol. Thursday 2nd March 2023

www.courtneymarieandrews.com

A guitarist in a diamond tank top. A drummer/vocalist with a beard and mop of hefty hair. A bassist equipped with mullet and baseball cap. A front person steeped in Laurel Canyon mind and glamour. It was like a fictional episode of the Old Grey Whistle Test circa 1973. Folk rock ebbing between quaint singer-songwriter fare and more voluminous servings scaling the decibels. This was no fiction; this was real. Courtney Marie Andrews and band 2023-style portraying a beguiling awe while blending new songs with old to take a contemporary seminal artist onto a higher plane. The feel seemed different to 2021 as well as 2018 and the other times a band led by this Arizona-raised wandering artist has set sail for European shores. Our mind sometimes plays tricks and lauds the present as greater than the past. It's all conjecture though, but there is no harm in hailing this Courtney Marie Andrews band performance in the Trinity Centre in Bristol as the best yet. Mind you I am sectioning the solo stints that are a whole different ballgame for showcasing her musical artistry. The Oxford church shows in 2018 paraded this gem.

The look and the attire vary, but the steely gaze and mesmeric immersion into the vaults of deep song remain intact. Courtney Marie in band mode is one of interaction and intuitive leadership. They know their role and she probes longingly whether armed with acoustic or electric guitar, or the inevitable gravitation to the piano from where she comfortably looks reluctant to move. Tonight there was a significant twist. In the song 'Took You Up' (more on this later), the line 'karaoke on a Monday night' sets the scene. At the end of the show it was 'karaoke on a Thursday night' as her association with opener Robert Ellis uncorked some fizz, and the duo serenaded to the Bee Gees 'To Love Somebody' with lyrics in hand. No guitar or piano required (Ellis commandeered that) just mic and a wandering dancer released from the intensity of mining songs from the heart. 

By the way, we all love the latter trait as it defines who she is as an artist. Minus the concluding fun cover, we had nineteen songs spanning the evolving timeline of Courtney Marie Andrews. Over two thirds of the evening was given over to songs from LOOSE FUTURE (the understandable tour centrepiece) and OLD FLOWERS getting some of its best bits scrubbed up. But where else can song reflection start than a slice of Courtney Marie at her very best.  It only takes the opening line of 'Took You Up' to stop the car. "Is it the journey or the destination?" says it all about music and following an artist. Strangely she mentioned that this song only seems to get requested over here and therefore a lyric sheet lies by her feet. A few fans would give her a help on that front. 

While not underplaying the opening part of the headline set, which was largely new songs getting a fresh premiere at each show on the tour, the light switch moment came during the adorable 'Burlap Strings' extending to 'Break the Spell'. They say sometimes it can take the passing of time for some songs to become firm live favourites and these glided into that category this evening. On the theme of definitive tracks, the airing of 'Table For One' in the encore was utterly divine. It demonstrated an artist totally in the zone and could have drifted on for ever.

One new song has become an instant hit. 'Me and Jerry' claimed the pre-encore closing spot this evening and looked so settled that shifting it will be an impossible task. This song rocks out at the end of the new album and it releases the band big time on stage to let rip. This felt like a Delines song on  record; an association strengthened standing yards from it being dealt. 

A quick rewind, and the surprising link up with Robert Ellis to open the shows on the UK tour. As evidenced by the shout out requests, many knew his past work which runs into numerous albums. His live presence over here has flitted in an out. Many recalled him opening for Richard Thompson; I saw him play a set at the High and Lonesome Festival. In some ways this current move is a re-set and trying to re-engage with an audience after an enforced break. He brings a certain style that tests and teases a listener. Beneath an impish demeanour is a seriously good songwriter and somebody way above your opener level in the world Courtney Marie Andrews frequents. 

The world Courtney Marie Andrews frequents is sprinkled with stardust and alluring charisma. The voice bestows elegance, the lyrics probe and the music expands to breed inclusivity. She inadvertently courts adoration and takes it modestly back. She is an artist nowhere near her peak and continually searching for the songwriting utopia. We had one new song in the middle of this evening's set. We are likely to have many more in the near future. Like the lyrics of her classic song - this is a journey not a destination. 

Album Review: New Earth Farmers - The Good Ones Got Away

 

www.newearthfarmers.net

The New Earth Farmers is a duo into a third name change, but for all purposes are a new act to fresh ears who can now enjoy a debut release under the current moniker. THE GOOD ONES GOT AWAY doesn't hang around long, yet leaves a strident mark that stakes a claim to resonate. 7 tracks joined by a 30-second interlude present a 25-minute album that lands as a part-cosmic - part-quirky escalating rocker. 

The duo of Paul Knowles and Nicole Storto take the route of warming the listener up rather than diving head deep into the full intensity of their powerful repertoire. Three opening tracks curiously set the scene before launching the rocket that dominates the presence. 'Oh Mary' treads a slightly psychadelic path as album opener before ebbing into the curiously received and gently strummed 'My Dog God'. Things start to get twangy and a smite scratchy in 'The Universe is Hiding'. Seatbelts need securely fixing for the impending lift off. 

'Judgment Day' races up the gears with a sturdy beat and good time rocking feel akin to bands ranging from new wave to garage tags. This track certainly has the legs to reach far from the close hinterland. We now enter a full on rocking environment in the jet stream of 'Waiting Such a Long, Long Time' where a blistering start keeps up the tempo. This is a slice of power pop and echoes of The Who's 'The Kids Are Alright' filters through the speakers.

The final two tracks split by the interlude have different complexions. 'The Garden' is a track recorded live in concert and its rousing rocking feel opens the curtains to what it is like to see the New Earth Farmers live. Probably more likely if you're California bound. The cosmic association emanates here. We end almost back where we started in the quieter temperate arms of 'Temporary Road' probably working better in the midst of what just heard. 

THE GOOD ONES GOT AWAY could be construed as hard hitting Americana music spun in a tumble drier while sprinkled with cosmic powder and powered by frequent unleashed guitar playing. New Earth Farmers are enigmatic and set to arouse the interest of those within listening range. 

Album Review: Karen Jonas - The Restless

 

www.karenjonasmusic.com

Karen Jonas never disappoints when making music that turns heads and invites listeners to will her to greater heights. Past albums have teased and tantalised those trying to work out who Karen Jonas is as an artist aside from the all-important accolade that she writes and presents music that duly entertains. Comparisons with past work inevitably comes into play when a new release emerges. From a high bar this Virginia-native makes a giant leap forward and forcefully demonstrates that positive evolution is the only game in town. THE RESTLESS is a supremely crafted album showcasing an artist seemingly at ease with their musical calling. The big clue is the uncut spoken ending "Ok I'm happy now". A feeling concurred from repeated deep dives into an album full of fascinating allure.

The trio that eventually brought their music to Europe last summer significantly moved the marker of Karen Jonas forward. Tim Bray, who particularly excelled when witnessing his playing close up at shows, and Seth Morrissey are right at the heart of a new album as ten new tracks emerge boosted by one doubling up at the end in an acoustic format. The repetition of the pre-release promoted  'Lay Me Down' in stripped down mode as the finale is far from a filler and ensures that not a second of the 42-minute running time is wasted.

Although Karen Jonas propels her music from a base knee deep in country and Americana influence, there is a classical European twist suggesting she is all ears to a wider world around her. Two tracks that help form this view are opener 'Paris Breeze', which is far more cosmopolitan than a mere title, and the punchy 'That's Not My Dream Couch' with shades of Reinhardt picked up. 

While these two key tracks help form the crust, there are a further formidable quartet that inch ahead in any objective desire to find the album peak. Resolutely lodged at the summit is a high quality near 4-minute masterpiece to hold your breath. 'Elegantly Wasted' is a gorgeous piece of slow moving finesse. Song of the year candidates can spring up even in February. 

Evocative joins gorgeous in the adjective queue describing 'Forever'. Outstanding can be added to 'Throw Me to the Wolves' that seals the deal just before we close out in the aforementioned stripped down mode. 'Drunken Dreamer' is an adorable slinky number serenaded by piano and awash with intriguing lyrical content. There is an ethereal thread to the overall sound propped up with the secure foundations of staple country rock. 

There has always been a quirky side to Jonas's vocals and general music demeanour. This surfaces early on in 'The Breakdown', a track where the feel gets a little funky. Innovation in the opening alongside a developing guitar input and a climactic ending frame the other pre-release promoted track 'Rock My Boat'. 'We Could Be Lovers' possesses a distinct interesting opening and unashamedly adds to a jazzy blues laid back feel that pulls the mood away from a traditional roots stance that may have defined her music in the past. This is definitely an album with night time vibes. 

The legacy of THE RESTLESS is a desire to hear these songs on European soil. Obviously many factors need to come into play for this happen, but the surfeit of fabulous music is aplenty. Karen Jonas's work is sparked by sharp writing, and is constantly resourceful. Underpinned by exquisite musicianship, she brings an album to the party that shines a brand new light on a talent. One with plenty of credit in the bank for fans with an articulate take on music rich in heritage