Gig Review: Dan Whitehouse - Justham Family Room and Jane How Room, Symphony Hall, Birmingham. Friday 26th May 2023

https://www.dan-whitehouse.com/live/

From sunrise in Japan to sundown in Birmingham, the creative exploration of singer-songwriter Dan Whitehouse has been quite a journey over the last three years. Those tuning in to the Green Note live streams during lockdown had the experience of a set being played with a spectacular backdrop of the sun rising from the window of a Japanese apartment. This evening the axis was tilted and a gig played in the unusual setting on the top floor of the Symphony Hall in Birmingham overlooking Centenary Square. A beautiful late spring/early summer evening played a blinder as a backdrop to supplement a wonderful expressive performance by three talented musicians. The abundance of glass in the twin-named Justham Family Room and Jane How Room was also heaven sent as this was billed: Dan Whitehouse: A Night of Glass. 

Glass has been core to Dan Whitehouse's creative focus in recent times. On one hand he curated, co-ordinated and drove the Voice of the Cones multi-art project that delved into the history of Stourbridge's glassmaking heritage before creating a stunning output of music, song and words. More in line with his conventional style of music making was the release of THE GLASS AGE,  a seven-strong collection of songs taking a core theme and bending it in style and content. Both these albums hit the stores in 2022 alongside many shows that hailed a return to live performance, which itself was further hindered by being marooned in Japan for eighteen months. Now he is back to being an astute player on the Midlands music scene with a national reach in tow. 

For this evening's gig, which was hot on the heels of a subsequent release titled REFLECTIONS ON THE GLASS AGE (basically acoustic versions of the 2022 record), the services of Elizabeth J Birch and Alex Lowe were secured to enable a fuller band sound to accompany the array of songs presented. Elizabeth brought keys and vocals to the table, while Alex majored on percussion in a variety of forms. Together with Dan's keys, guitars and warm vocals, they gelled immensely to impart a generous gift of majestically spun music to a healthy gathering of fans congregating from various sources. 

The first thirty-minutes of the show was devoted to the wonderful inventive musical world of Elizabeth J Birch. Her experimental take on using loops worked really well, supplemented with vocal parts that enriched the whole process within a lyrical scope exposing depth and perception. She admitted to using this approach for the first time live, while coming across as a seasoned veteran.

Having worked with Dan Whitehouse before, it was no surprise to see her return a couple of times in the main set. Fully understandable as she contributed 'Rouse Ye Women' to VOICES OF THE CONES. A song recalling Cradley's chain making women rising to industrial action. A plight often overlooked in the history books. This was one of four songs from the album making the journey across the divide from the Black Country to 'Brum' tonight; the others being 'Picking Up Sticks', 'The Old Savoy' and 'Free Beer'. In line with the desire to offer an impact-filled evening, the between-song presentation was informative, engaging and always succinctly adding value. This is a credit to Dan Whitehouse's pride and intense effort to convey meaning.

Where the music of Dan Whitehouse scores high is the connective channels it forms with the audience. Everything is achieved within arms length and ideas floated become ingrained in a sub-conscious interaction. You inhale, feel and probe the experience planted, leaving a show refreshed and furnished with valid food for thought. A striking audio and visual presence adds to the canvas always leaving room for outside interpretation. 

The songs from THE GLASS AGE are now bedded in, and nearly twelve months on from first surfacing it is hard to look past the adorable 'Rainbows Never End' and the uplifting 'New Love' as peaks from a lofty plateau. The latter closed the main set, bar a seemingly impromptu unplugged closing song that sealed connection as darkness settled on Centenary Square. 

On a couple of diversions from the glass theme in a main set that ran close to the hour and half mark, a couple of tracks from the DREAMLAND TOMORROW album enhanced the show in 'Dreamland' and 'Teach You How to Fly'. Taking things further back, the call for some physical response to 'Why Don't We Dance' was heeded with a couple of waltzes springing into life. 

This gig jigsaw was completed on so many fronts. Music, song, chat, performance and setting all played a part. Ultimately it is the meeting of minds that finds the elusive piece alongside a post-show bout of theme reflection and contemplation. In a world that tempts disposal, the art and work of Dan Whitehouse possesses a robust sustainable edge. When fate dictates nights like this, the springboard for progressive music takes effect. 

Photo Credit Roger Westwood

Gig Review: Gretchen Peters - Town Hall, Birmingham. Saturday 20th May 2023

 

It may have been a listing in the Robin 2 booklet or something in Maverick Magazine? It could have been seeking who wrote the Martina McBride smash hit 'Independence Day'? It definitely wasn't Terry Wogan, the ears were elsewhere. Whatever the trigger, the music of Gretchen Peters landed in my vicinity in 2006. Maybe a decade late, but it's where you finish not where you start. The association began live with a visit to the Robin 2 on Tuesday 18th July 2006. Seventeen years later a chapter closes as the curtain comes down on the Gretchen Peters touring years. Comebacks are notorious in this game and a little chink in the curtain has been left open on the overseas live front, but let's respect an artist's wish to end one phase of their professional life.

Bar one sentimental send off song with a duo version of the standard 'One for My Baby', it was business as usual stage-wise for Gretchen Peters. Barry Walsh was mesmerically glued to the Town Hall's grand piano (except for the essential accordion parts on 'Guadalupe and The Matador''). Conor McCreanor (bass) and Colm McClean (lead guitar) have become permanent fixtures in the last few years. There was even a familiar face opening in the guise of longterm friend Kim Richey. The grandeur of Birmingham's Town Hall has also become her go-to West Midlands haunt in recent times. An obvious upgrade on the sticky floor of the Robin, but roots in music should never be underplayed. 

The song selection for this final run of dates was as expected. An obvious leaning towards some of the newer material represents the prime evolution of Gretchen Peters' songwriting. A skill that fermented like the finest old world wine. Of course there was space for some absolute live standards. Has she ever left a stage without singing 'On a Bus to St. Cloud? The obligatory intro applause is another permanent fixture. 

One of the many legacies of Gretchen Peters touring was the introduction to the music of Ben Glover. In a defiant show that the creative music making is far from over, we were introduced to a new song co-written with her long time writing collaborator. If 'Judas Kiss' has the lasting effect of show opener 'Blackbirds' (another Peters/Glover co-write), then this race is far from run. 

This show has been postponed several times since the original planned staging in 2020. Gretchen Peters has used the intervening period to record a covers album of Mickey Newbury songs. One of those ('Why You Been Gone So Long') upped the tempo in the first encore slot before the stage ensemble kept the mood going with a regular cover of Rodney Crowell's 'I Ain't Living Long Like This'. Gretchen Peters may be inspired by the songs of others she sings, but they will never define her.

Many will vow that 'On a Bus to St. Cloud' does this. There is also an argument that 'Independence Day' opened many doors. Sadly this didn't make the final show cut, but what better way to celebrate the morning after than a twin playing of versions by Martina McBride and American Aquarium. For me the defining achievement of Gretchen Peters is writing a song in 2012 that gets better with each play and conveys the emotivity of sprinkling every second of a confined space with lyrical artistry. 'Five Minutes', the literal framework that nails an art and melts a heart.

Thanks for memories, and so long for this trusted format of continuously visiting the English Midlands. Not forgetting the Wine, Women and Song events as well. Shows at the Robin, the Atrix in Bromsgrove, the Assembly in Leamington Spa and now Birmingham Town Hall have been always attended and throughly enjoyed. I'll leave pre-2006 to others. You know who you are. 

Whatever happens next, the last seventeen years have been a blast. 

Gig Review: Jason Ringenberg, Kitchen Garden, Birmingham. Thursday 18th May 2023

www.jasonringenberg.com

Jason Ringenberg is a pioneer from the past that continues to light up the present. Endearing, charismatic and entertaining start the description rolling, but there is so much more when he fills a room with stories, music and a taste of blazing a trail. There surely can’t be a politer old punk around, one forever grateful that folks are still hanging in there. Merging the fizz of punk with a blast of rhinestone rock stamped Jason and the Scorchers’ mark on both sides of the pond in the 80s. However it was country music and the Nashville air that bound things together, mind you going against the grain was core to the Scorchers development. You could say they were country’s crazy cousin. All this was boldly put in front of a Birmingham audience once again. Jason Ringenberg loves the Kitchen Garden and the faithful from across the ages love him back. 

The recovery from a frenetic three minutes may take longer, but moves, fire and an accentuated style still remain.. A rhinestone shirt change mid-gig is a slice of subtle theatre and a second half of obscure requests spices up a show. If the latter seems a touch odd, a finale of the ‘hits’ including ‘Broken Whiskey Glass’, ‘Shop it Around’, ‘Harvest Moon’ and ‘Absolutely Sweet Marie’ send you off home humming.

Jason Ringenberg got to the South as soon as he could and has now spent 43 years in Nashville. He represents the social conscience side of the city and is heavily storied in Tennessee’s ills and the wider Civil Rights Movement. He mixes the curiosity of a modern historian with the bones of an old rocker to serve up an individual take on a musical melange. 

From anecdotal pasts (‘God Bless the Ramones’) to Farmer Jason classics (‘The Tractor Goes Chug Chug Chug’ and ‘Dyson the Bison’), the set tonight at a bated Kitchen Garden was diverse and revealing. Songs like ‘The Freedom Riders Weren’t Free’ and ‘I’m Walking Home’ followed lengthy but engaging stories. Associations in the industry were rife as exemplified by writing ‘Bible and a Gun’ with Steve Earle and linking up with crack Nashville writers like Bob DiPiero. 

The highly flung label-signed days of the Scorchers was celebrated alongside more solo and satisfying recent achievements generating from the Artist-in-Residence stint in California that led to 2019s memorable STAND TALL album. All the recollections ooze with gratitude, a trait that runs right through the Jason Ringenberg persona. 

Two sets and over an hour and three-quarters of interaction heralded a Birmingham return to a venue that has served him well in the past. The exchange for a committed support is the unveiling of one stylish cool cat. If you fused the essence of punk and the panache of the Nashville Sound to spearhead alt-country in its heyday, you have every right to stand tall. Jason Ringenberg does that at every gig. Although, always in reach of his audience who hang on every song, word and movement.

Gig Review: Rhiannon Giddens - Town Hall, Birmingham. Saturday 13th May 2023

Experience tells you that there are no half measures when Rhiannon Giddens gets in full flow. The debate may be out there, but a starting gambit that she is the most prominent contemporary advocate of American roots music from a colour perspective has solid foundation. The stage package overflows with stories, passion and a spirited audience connection interspersed with technical brilliance and a fluid musical presentation style. The uplift from a team up with Italian musician Francesco Turrisi has been notable. He mentioned on stage that today was the 5th anniversary of their first show together. Rhiannon Giddens pre-2018 was immense. Now their duo performance ranges between faultless and absolute inspirational. 

A quick glance around the Birmingham Town Hall this evening suggested a healthy near two-thirds capacity which is respectable for a genre that requires the audience to meet the performer half way. It wasn't quite at that level for the opening 30 minute set from Philippa Zawe that began promptly at 7:30. This Birmingham-based artist has been increasingly well known on the local folk and roots circuit, and the experience of a brief flirtation with a big stage will aid the development. She chose a trio format comprising of cello and flute to supplement her acoustic guitar and vocals. Many credentials are in place for a career to prosper including a beautiful voice and nous to create a musical identity. There were clear lines showing how artists like Rhiannon Giddens can influence her and the word to catch up with her music was enhanced as we headed into the intermission. 

The first time I saw Rhiannon Giddens live she responded to the Scottish setting by singing a song in Gaelic. That was at the Southern Fried Festival in Perth in 2015. This evening the extra language offering doubled to two as she wrapped her vocal prowess around an Italian song brought to the table no doubt from her now partner Francesco with whom she still resides in Ireland. The other language offering was from the influential Buena Vista Social Club, so some Spanish filled the Birmingham air on an evening where many ears elsewhere were focussed on the continent. 

Instrumentally, Rhiannon Giddens majors on the banjo and fiddle. Two instruments core to her North Carolina roots representing a heritage spiced by a double pronged immigration. A mission to tell  the story of her ancestors' enslaved journey from Africa to the Americas is right at the heart of Rhiannon Giddens' creative artistry. To this extent, the moving song 'At the Purchaser's Option' is rapidly becoming her signature piece. It stood loud and proud in the realm of raising awareness at the core of this set that extended past the expected hour and a half mark.

When you're playing a venue with a grand piano handily in the corner why not use it. This was the domain of Francesco Turrisi for many songs alongside a dabble with the banjo and numerous percussion items that provided a rich beat. The duo gel is obvious, and as clear and bright as the majestic vocal offering we get from an artist who herself confessed to being increasingly spurred on by the sounds of the 20s and 30s. 

The extensive information share keeps the brain cells lubricated. You leave a Rhiannon Giddens show well-versed and intellectually refreshed. Interaction is not overlooked and the response to the forever spine tingling 'I Shall Not Be Moved' was hearty and forthcoming. We were reminded several times of music's mutual necessity and how time lost from the last couple of years is being steadily recouped. 

Projects remain a core aspect of Rhiannon Giddens drive to fulfil a musical destiny. Tonight forays into ballet and Shakespeare were celebrated alongside announcing a new record that will take her music into fresh territory. Whatever emerges is bound to be compelling and rinsed with virtuoso sparkle. 

A transatlantic status helps fuel the direction of Rhiannon Giddens and keeps her music prominent in many arenas. This musical gallery of marvel, talent and an impulsive presence makes attending any of her shows a resounding experience. Tonight in Birmingham confirmed this.

Album Review: Angelica Rockne - The Rose Society

 www.angelicarockne.com

Loose Music has an exceptional track record of unearthing talent across the roots spectrum and gift wrapping it to new audiences. From the fiery merging of punk into alt-country to the heavenly tones of gorgeous singer-songwriter folk, artists jump on and off the vehicle of promotion always significantly well served with new listeners in tow. California singer-songwriter Angelica Rockne absolutely falls into the latter camp perpetually coaxing listeners into a spirited bloom of reverie. THE ROSE SOCIETY is rinsed in cinematic sensation as ten meticulously self-written songs spiral upwards into the cloud-laced mind of an artist hooked into the zone. It is all too easy to be caught in a trickle of drip fed splendour and open your own senses to music blessed with a spiritual presence.

If you seek a couple of contemporary associations, the surefire starting point is being serenaded by shades of Courtney Marie Andrews in the achingly elegant opener 'Age of the Voyeur'. This striking start to a record wonderfully sets the tone and creates a template that won't be veered much from. Midway through the 42-minute playing time, there are strains of Emily Barker in the collectively titled 'Protection, Prayers and Vigilance'. We are well and truly in the midst of the vocals owning the space with the first faint hints of shimmering organ adding to the ambience. Imagination inducing qualities also come to the fore.

Keys and strings dominate what is a subtle soundtrack to the songs. This paring herald the title track with added violin cementing the grandeur of 'The Rose Society'. Here a memorable chorus waltzes into prominence as the vocals slip into an effortless channel. Keys also lead you into 'White Cadillac' that lands on your ears like a late night soul cleansing haze of words and spirit. 

While the tempo balances on a narrow beam, the pace is upped a smidgeon in 'Crystalline' without losing the essence of tranquility that defines the album. You sometimes get the impression of being served music behind a veil and the enticing vibes from 'The Undoing' invite you to delve further into a melting pot of coaxingly majestic wares. 'Path of the Rose' sits right at the heart of the record's second half and succeeds in casting the spell of Angelica Rockne's music. 

A throwback to Californian songwriting heritage from the last half a century is never too far from the mind and the sultry seventies sense of longing derived from 'The Distance is High' conjures this link. However it is the constant drift into the evocative world of screen music that pieces the feel together. The final pairing of the penultimate credit rolling prober 'Ripe and Ruin' and sign off number 'The Night Dreams of You' seal the deal. The latter takes a bow drenched in the trappings of an emotional move farewell. 

From its thought provoking cover depicting a dreamy gaze into a distant world akin to the sound emanating from the content, THE ROSE SOCIETY is one of those albums that you want to savour and cherish. It inspires the imagination and guides you on a journey of blissful discovery. A visual soundtrack from a sharpened singer-songwriter. Nevada City to the ears of those in faraway lands is one saunter shaping up for the music of Angelica Rockne.