Gig Review: Hillary Klug - Kitchen Garden, Kings Heath, Birmingham. Tuesday 18th July 2023

 

www.hillaryklug.com

It was one part of the jigsaw complete when the sold out sign went up for Hillary Klug's Birmingham debut. The capacity at the Kitchen Garden may be modest, but the first test for this UK tour was to send messages that a phenomenal digital presence can be converted into real bodies. Touring momentum is next on the agenda and there was an inkling that a band may be in tow the next time to add a different dynamic to the live presence of this dancing fiddle player from the state of Tennessee. In the meantime it was the single entity of a National Buck Dancing champion equipped with a pair of strategically tuned fiddles, a banjo, a platform to share the poise of her foot movement and a fistful of songs and tunes transplanting the essence of Appalachia to venues far and wide. 

Entertainment and connectivity are the two key take aways from sampling the wares and offerings of this Nashville-based musician. A no holds barred full on presentation ran over the two-hour mark as a volley of nuggets nestled amongst songs and tunes that were a decent slice of a songbook fusing old time, mountain music and shades of contemporary country. The pride, enthusiasm and unabated dedication to a calling flowed and flushed from the bubbly persona of a performer who grew more comfortable the longer she sank into her art. Whether you were a fully fledged online disciple or a curious bystander, willing on Hillary Klug was a gimme and the only game in town during a lively and informative show. 

Playing and dancing come to fore as this highly motivated and driven musician struts her stuff. Vocals and song selection trail a little with the latter being safe rather than inventive. Songwriting is in its embryonic stage. Not always essential in this type of act, but a self-penned effort was shared towards to the end to tilt the evening in a slightly different direction. 

Crucially you end up being wooed by dance styles, foot movements, fiddle tunings and an admirable desire to hook into the journey from rural Tennessee to Nashville, then into the wider world through content creation and having the gumption to get your talents in front of people thousands of miles from home. Throughout the live performance, an effervescent desire to share a beloved tradition shines brightly and fervently. The utmost respect to an enthusiastic audience is painstakingly adhered to ensuring no chat, signing or selfie opportunity goes missing. Many are keen to circle their online interaction and get something personal that can never be replicated in this modern age of glass gazing. To this extent Hillary Klug signs, seals and delivers. 

As the evening draws to a close, a lot more of Hillary Klug has been revealed without fully grasping the true connection between astronomical online numbers and a recording/touring career at a more grounded level. If the talents, desires and smart moves harness then the trajectory of this multi-facetted entertainer will assume a upward pattern. Regardless of trends, fads and undulating acceptance of old time music, Hillary Klug is already a winner for the way she goes about portraying the gifts bestowed to her. Two hours in her presence creates room only for a smile, an education and a mutual gratitude that music possesses the power to connect. 

Gig Review: The Sam Chase Trio - Thimblemill Library, Smethwick. Saturday 15th July 2023

www.thesamchase.com

The Maverick Festival without The Sam Chase Trio was an odd experience this year after the San Francisco outfit made the event the centrepiece of their trips in 2021 and 2022. The upside of not making it three appearances on the trot is an opportunity to widen their horizon with an extra series of dates around the UK during their two-week stay. The trio of Sam Chase (vocals/guitar), Chandra Johnson (violin) and Devon McClive (cello) called into the West Midlands last July in the tailwind of their festival stint for a rather intimate show in Birmingham. Twelve months later they made the short hop over the border into Sandwell to become the latest transatlantic act to grace the literary surroundings of Thimblemill Library. Books by day; performance art by night with the odd tipple offered to enhance the music venue experience is the essence of this community beacon in a metropolitan heartland. Many quality artists have passed through leaving a notable mark and to that list you can now add The Sam Chase Trio.

The band pitch their music at a crossroads where singer-songwriter folk entwines with classically-tinged stringed accompaniment. The vigorous approach of front man Chase creates a distinct air from the off and a powerful exterior juxtaposes against the sleek playing of his two partners. The gel cements an artistic credence and provides a textural backdrop for a series of exploratory songs exposing a depth in the tradition of the compatriots that influence him. Top of the pile is John Prine of which Chase penned a heartfelt tribute upon his passing; a song sitting pretty amongst the lofty offerings on the current album. The story behind the song, simply named 'John Prine', seemed to add a different dimension in this evening's show. Its prime spot opening the second set courted a long introduction referencing a lengthy cast of characters including Robert Earl Keen, Steve Earle, Lukas Nelson and right at the heart alongside the man himself, Chase's father. 

The two sets had a different feel to them this evening. The first was an artist feeling his way in a new environment where no more than three folks in the room had crossed his path before. To this extent Sam Chase appeared to give more scope for his playing partners to share the spotlight. The tonic to keep Chandra Johnson alert straight off the plane for this the trio's first tour show was to submerge into her divine violin playing and this came to the fore early on. It later settled into more of a groove as the dynamic of the show evolved. The presence of the cello is often understated, while quietly weaving its rhythmical magic. Space was also afforded to similarly bring it to the fore in the first half and Devon McClive's role was actively doubled when she assumed vocal lead on 'Lost Girl' taken from the 'spaghetti western folk opera etc etc' THE LAST RITES OF DALLS PISTOL.

After the break a more settled Sam Chase ignited his wit, musings and audience connective qualities. This was aided by three immensely popular songs springing out from artist repertoire to positive reception. 'Chasing Windmills' and 'Cherished Memory' represent the cream of the latest record impishly titled YOU CALL THIS AN ALBUM, while 'Rock Bottom Never Felt So Good' has been a Sam Chase staple for years and spreads its infectious tentacles to fresh ears with every play. 

Throughout the show, inner thoughts; multiple perils; active highs and inspirational stimulants brewed and seeped into a receptive air. The candidness peaked with a recent health scare that has probably put a more profound emphasis and appreciation on taking your art to people who listen and appreciate. The pandemic fired the first shots with recent events seemingly provoking deeper gratitude.

Sam Chase ultimately comes across as somebody you want to cheer on. He delivers an optimum twist of frivolity and discerning song sharing. The entertainment switch is permanently on and his touring band set-up adds a sumptuous layered approach. Thimblemill Library on nights like this and the Sam Chase cultural crusade share a bond of discovery. They absorb something inimitable and tap into the mystique and joy of live music. 

Album Review: Lukas Nelson + POTR - Sticks and Stones

 

www.lukasnelson.com

Collaboration and project work has frequently featured in the lengthening career of Lukas Nelson. However, family, films and enhancing the work of others is slightly put in the shade on STICKS AND STONES. This self-prodcued album delivered to market with a lift from the influential Thirty Tigers operation unashamedly clicks into artist DNA. Across a dozen- strong collection Nelson guides his Promise of the Real outfit into a bubbling well of country music embracing several phases of time and motion. Trusted themes and iconic sounds froth to the top of this accessible take that brims with assured quality. Smooth and sweet to the core, the record acts as a simple timely reminder to how country music glitters in the right hands. 

Head scratching moments are aplenty establishing similarities, influences and interpretations. For starters, scribing "fighting side of me" into the lyrics of title track and most recent single 'Sticks and Stones' echoed the ghost of Merle. If that is implicit, the total opposite exists when the Hank and Cash number is dialled to conjure up  'Ladder of Love' - an amalgam of pure country silver and gold. 

The twists and turns continue around the midway point of this album that enacts as a 35-minute spin of jukebox joy. Sizzling guitar in 'Wrong House' is straight out of the 50s rock 'n' roll playbook curated by Holly and Didley. The subsequent track 'Icarus' echoes a decade earlier when country music flourished in juke joints as the world emerged from its major war. Projecting the time capsule 40 years forward, the duet with Lainey Wilson flirts with an age where country mingled with the classic pop of the day to zoom into the homes of everyday folk. Think something Parton, Gibb and Rogers could have turned their hand to and you enter the sphere of 'More Than Friends'. 

You can't make a country album without a nod to the odd tipple. It is spirits puns galore in 'Alchohallelujah', while 'Every Time I Drink' leaves very little to the imagination. This pair of tracks follow in the tailwind of the opener and ensure the album sets its stall out in a marked way. 

Ballads shuffle into place in the closing stages. 'The View' is a raw and sensitive finale stripping the content down to basics exposing the voice of Nelson to its skeletal credential. There is a soulful lilt to the vocals and from a personal perspective there is much similarity to UK roots maestro Danny Wilson. In fact the ballads start a couple of tracks earlier with 'Lying' before a blast of harmonica opens the penultimate track 'All Four Winds'. Not surprising in the context of the work the Promise of the Real have done with Neil Young. 

A slice of spicy twang leads you into 'If I Didn't Love You'; another head scratching track to what it reminds you of. A few tinkled ivories add to the simplicity of this short ditty. 'Overpass' follows and is a little longer throwing a softly weaved laid back blanket around the sound. 

STICKS AND STONES doesn't require any pre-determined knowledge to who Lukas Nelson is and what the Promise of the Real have done. It just smartly stands alone as an accomplished listen and polished take on what constitutes an acutely spun record reflecting the past on a modern pedestal. 

Gig Review: Sara Petite - Kitchen Garden, Kings Heath, Birmingham. Thursday 13th July 2023

 

www.sarapetite.com

The signs are looking good that Sara Petite's intermittent love affair with taking her music overseas will transcend into something more regular. This San Diego-based artist has many recording years behind her and flirted with fans in the UK for close on a decade. Now we are entering a phase where there has been two tours in just over eighteen months and plans afoot to return to our shores within the next year. This is good news to those well acquainted with her music and for the heaps of dormant fans who will no doubt be smitten once the stars of connection align. Previous solo trips now seem consigned to the past as evidenced by hooking up with three established, adaptable and rather excellent musicians who added an essential dynamic to the Sara Petite Band. The prime conduit for re-acquainting herself with the UK in recent times has been multiple bookings at the Maverick Festival where her several sets went down a storm. There is even an adage here that the Friday night Peacock performance at this year's staging was the best set witnessed in thirteen straight visits to the event. However let's bring things up to date with a reflection on her return to the Kitchen Garden in Birmingham.

Sara Petite will always be hailed as one of the pioneering American touring artists who bravely stepped into the post-pandemic gig world in the Autumn of 2021. This was not just home shows but ones thousands of miles from her Californian base. That gratitude will never be forgotten at a time when we wondered whether the live music community would even survive. On that short September tour, Sara made her Birmingham debut in a trio format with Joe Coombs on lead guitar and Scott Warman playing bass. These two fine musicians are well known figures on the British country and Americana scene backing many artists both home-grown and touring. This time the band added a missing piece in drummer Jamie Dawson and the rocking festival set up was in place.

Of course the Kitchen Garden is far from a rocking place, but quality musicians know how to play the acoustics to a tee and the trio backing Sara this evening polished the task into a smooth operation to give the songs an optimal sheen. Those songs spanned the entire length of her recording career with the fabulous title track from the 2006 album TIGER MOUNTAIN getting a regular airing on the current tour. This song hones in on her roots and is one of many songs getting a brief background introduction. The inter song chat is a mix between innate wit and a desire to expose what drives the music of Sara Petite. With that in mind if you strip away the instrumental layers, a succinctly gifted songwriter appears who isn't afraid of tackling wider issues. Alongside raucous family get togethers we were also left to contemplate the balance of masculine and feminine energy, more so re-addressing the imbalance.

The title track from her latest album THE EMPRESS is the song mode for this writing dive and one of eight tracks shared from a record still fresh off the block. The barnstorming instantly hitting prime number from the new pile is the rousing 'Bringin' Down the Neighbourhood'. Three live listens so far have a steep upwards trajectory of appreciation. An old Sara Petite track from 2000s has been resurrected to bring the new album to a close. 'Lead the Parade' was one of the early songs played in a single set that spanned an hour and a half. This new incarnation of a previous album title track makes a welcome return. Now all we need is 'Doghouse Rose' to re-appear on the next tour to complete the album titles from the embryonic days of Sara Petite.

The bar for this Birmingham show was placed exceedingly high from the start with the exceptional 'Feeling Like an Angel' kicking things off in sumptuous style. This track sends shivers especially in the chorus melody which melts upon every listen. This song opened 2021's RARE BIRD, an album sending several other numbers into the Birmingham air this evening. 'Scars' is raw and candid, 'Working on a Soul' never fails to get everybody singing or at least muttering its chorus, and 'The Misfits' embodies a fiery independent spirit. The latter closed the show in the encore spot preceded by the middle of this trio shining a bright light on an album's riches.

Setlist songs start to thin out as we go further back. 'Good 2 B Me' represented ROAD LESS TRAVELED with its Tom Petty references. The title track appeared in the second Maverick set, but sadly was omitted this evening. So many songs, so little time. There was time for some more vintage Sara Petite as 'Little House' showed its longevity in surviving many years and fighting off hoards of other fine tracks to make the cut. 

It is recommended that you delve into her back catalogue. There are seven full length albums to check out. I discovered her music in 2010 with DOGHOUSE ROSE and immediately tracked back to LEAD THE PARADE and TIGER MOUNTAIN. 2013's CIRCUS CAME TO TOWN actually had some UK press and a review was posted in the early days of this site. There has been some evolution leading to the present, but a trademark sound retains including a voice that soaks rich into the entity of her music.

Labels hover around the music of Sara Petite without overwhelming her. She is country to the core minus the definition. Widening the touring band to include some pedal steel would shift more in that direction. She is wholeheartedly rock 'n' roll in moments of exaltation and a brash thrashing of honky tonk femininity in other quarters. Streaking through her veins is a songwriting passion. Americana embraces her. Ultimately she hits all the right spots for many.

A surprise addition to this show was the invitation for Savannah Gardner to open things on the stroke of eight. This half hour set coupled with the 90-minute main fare rewarded a modest outlay with a ridiculous amount of return, especially for those with many years investment. She is also an American swallowed up in the country-Americana calling, but has lived in the UK for five years. An appearance at this year's Ramblin' Roots festival introduced her to me as a live act, although others recall her from Long Road. There is certainly plenty of raw talent to play the long game that would benefit from packaging some of the streamed singles into a longer record. More exposure on the live circuit and continuing to hook up with others will help. Sometimes you can get lost in festivals, so playing more intimate sets can work wonders. I look forward to checking more of her music in the future.

Sara Petite rightly hails and praises the work of Joe Coombs, Scott Warman and Jamie Dawson in the role of re-inventing her UK presence. They are a band home-from-home and hopefully will remain close at hand as this love affair grows. These are now halcyon times for following the music of Sara Petite from afar. Good things comes to those who patiently wait. Sets like this in Birmingham both nail the here and now and frame a little part of the past when you found new artists by any means available. 

Gig Review: Rachel Croft - Kitchen Garden, Kings Heath, Birmingham. Thursday 6th July 2023

www.rachelcroftmusic.com

Around eighteen months ago when gigs weren't as plentiful as now, a chance was taken on a relatively unknown singer-songwriter that didn't appear to fit any definable moulds. That is not to say this is a necessary precursor but it sometimes helps an artist find an audience. The person in question is Rachel Croft who was making her Kitchen Garden debut after previously securing a minor slot at an earlier staging of the Moseley Folk Festival. She shared the bill that evening, but left an enormous impression to linger as one of the year's more memorable gig outings. The key was a diverse allure that hit many right notes while retaining a appealable mystique. Since February 2022, her career has been loosely tracked via mailing list communication and social media activity. Sufficient on one level but lacking the intensity of sitting in the unfiltered midst of an artist revealing their artistic identity through live chat and song. The return of Rachel Croft to Kings Heath's premium intimate roots outlet was inked in upon announcement and this time in solo mode to own the night across two content-laden sets. 

Although active as a musician for around ten years, recorded material is a little scare highlighting the difficulty independent artists face in getting round to making and issuing albums. Even though acquainting myself with what is out there during the intervening period between gigs, there is so much more to Rachel Croft when guitars are in hand on stage. Her independent status, and its prevalent role in today's music landscape, is often the pre-determiner to a fashionable genre-less presence, perhaps a sign of less label pressure to conform to defined scenes. Having now seen Rachel Croft twice, a compelling complexity surrounds her style that is wholeheartedly defined by her innate talent to write and propel an enriched song. 

There were several pinch points during the show that gave an insight to what drives the music. A faint folk past possesses a touch of contempt, but that cloak has many guises today which can unchain the indie from the traditional. Keeping her acoustic guitar close by can preserve some essence and many contemporary folk festivals these days promote a wealth of Rachel Crofts. In fact, grabbing the acoustic for half a dozen songs during this show added a sense of depth to the musicianship. Solo electric can provide a beautiful sound, but across a longer span it can merge into one and a yearning for bass and drums can emerge. On the basis of fully fledged electric, there is a likeable rock streak to Rachel Croft's current musical leaning. Although a band was referenced many times, that side remains relatively hidden as live shows tend to be largely solo and the records haven't really rocked out to date in great number.

At the time of the previous show, she was just embarking on a major career decision to move to London. The experience accrued seems have paid off in level of assuredness. Increased contacts have led to numerous overseas adventures including extensive dates in Europe and a trip to the States. The latter was reflected upon during this evening's show including mentioning her time in Nashville. While on the surface the symmetry between abrasive country and Rachel Croft is near non-existent, Music City does have an infrastructure and deep rooted feel for the sincere song within many communities in its suburbs and niches encompassing songwriters and musicians akin to Rachel Croft. This leads to the wider Americana scene with its homeless refuge and magnet for the astute song being one fit to explore. 

Her live performance comes to life when pouring the heart into a song sprouting from a negative human interaction. Some artists thrive on love; others have a fixation for life's ires and travails. Take your pick, but the latter can foam with increased intensity. The songs of others were succinctly threaded into this show. The audience were given a choice of The Cure or Chris Isaak. Having just released a video of a version of 'Wicked Game', she seized on a mention of the latter, but in true innovation had a plump at sampling some the latter. Later she sunk her engaging vocals into 'Tennessee Whiskey' suggesting a more American influence and closed the show on an entirely different footing with an invited singalong to 'Can't Help Falling in Love'. 

The crowd at the Kitchen Garden was close to doubling the turnout last year with many returnees enhanced by a significant number of newbies. A common bond was an audience listening intently and knowing deep rooted talent, while splitting it from shallow offerings. There was an understanding that Rachel Croft's music journey may not be a smooth laden path to pots of gold and she herself is often wracked with contemplative thoughts. Yet a creative explosive ray emanates from an endearing persona alongside a display of songwriting, musical delivery and vocals that know where the sweet spot is. I'm going to plant one similarity from the independent roots circuit. Put Rachel Croft in Alabama and she would be Hannah Aldridge. Likewise, put Hannah Aldridge in the UK shires and she would be Rachel Croft. Identity leanings, a cinematic and rock passion, songs of conflict and a thoroughly independent streak make the case.

Let's turn the lens on some of Rachel Croft's songs shared to shine a light on her fundamental appeal. She opened the first set with an enticingly electric spun lo-fi keeper in 'Only Dreams' that first appeared on the wires half a dozen years ago. A few songs later the delights of 'Hurricane' were dealt. This single surfaced with full band complement in the middle of 2022 and retains all its spark when stripped down to solo mode. Another song to drip out in the last year is 'Weaver Bird', a more sedate affair and perfectly formed for the solo delivery. Splendid stuff as we approached the break. 

Numerous songs confined to the non-digital live album LIVE AT CROOKED ROOM STUDIO were shared across the sets including 'How Does It Feel?', 'I'll See You' and 'Youth is Wasted on the Young'. The last one was made for acoustic guitar and fires a volley at her uneasy relationship with the folk world. 'Reap What You Sow' the title track from 2021's EP represents Rachel Croft's songwriting at its current pinnacle and had the honour of welcoming folks back from the break this evening. 

The inter song chat ranged from nuggets concerning her cinematic experience and a growing fascination for vibes from 70s West Coast rock, She was humbled by an appreciative gathering and signalled an exciting future with snippets of upcoming engagements. Most of all she connects with her audience and despite obvious doubts creeping in, a committed resolve remains to make the most of the gift of music.

The decision to take a punt on an unknown in February 2022 was unabatedly re-affirmed in July 2023. It may have taken ten years to lay the groundwork but there is much more to come. Whether moving the band thing forward or evolving the solo side, Rachel Croft has the wherewithal to flourish. The future is unknown for the fans and likely Rachel herself to some degree. Mind you the journey is fun and we're all on board.  

Album Review: Ags Connolly - Siempre

 

www.agsconnolly.com

When the hot sun beats down and a dormant landscape fires up the imagination taking your time is the best way forward. There is a twist of Spanish longevity in the title as the brand new album by Ags Connolly settles down for a lengthy journey pondering life and love to its core. The lure of Texas country permeates deep into the musical calling, but on this his fourth LP outing he takes it right to the edge with an inhibited leap into a world where two cultures collide. SIEMPRE (the translation reveals all whether poetic or realistic) is a triple headed homage to the border inducing meticulously blended accordion, fiddle and guitar. The border may be more Tex-Mex than Oxon-Glos but it has been long stated that the music of this lonesome troubadour carries no national identities. 

Lonesome is Ags on his usual stage pedestal and a staunchly independent approach to curating a niche place in multiple scenes. However he knows the value of collaboration whether assembling a group of crack players to smash the studio content or periodically hitting the road in another format. Ultimately all points lead to a calling that thrived before the bump in the road and is now back powering forward towards a South-West sunset ahead of another cloudless day dawning. 

The music of Ags Connolly unashamedly draws inspiration from a wide southern template. Texas seems a natural stopping place for a new immersion into an obvious Lone Star passion. The ten tracks of this 34-minute wondrous stroll undulate between the pacy stomping effort of 'Señora (Whatever Comes First)' to contemplating life through the lens of the ultimate sad slow vibes of 'Half Forgotten Tunes'. 

The album kicks off the artist's new phase with a couple of catchy and distinct tracks that are wholly recognisable. Clues to its destination aren't hard to detect in the prime opener 'Headed South for a While'. This is instantly followed by another of the record's upbeat moments with the new sound embedded firmly into 'Change My Mind' primarily fired by the ubiquitous and scene setting accordion. 

You never know the extent of the writing being in-character or driven by something closer to home. That mystery lies within the writer and it is a great skill to write with shrouded emotion and an air of candid intrigue. Life and love are insularly dissected in songs like 'I Trust My Heart These Days', which aches like an old country song seeking a timely solution to an age old problem. The follow-on track 'In Love At All' tugs at the heart strings like true country music should and is a clear example of Ags Connolly finding a pot of gold.

The concluding moments raise the stakes first with the penultimate heartbreaker 'Turns Out' finding a place for fiddle and twangy strings to shine alongside the established accordion. We exit the barroom door on a more optimistic note in 'I'd Be Good For You' with a sealed and delivered signature set of songs handed over to the listener to savour. Willie Nelson once said that a song is yours once it's out there. It may or may not be the Ags Connolly mantra but I think there is merit in this creative exchange for deep listening. 

If you're seeking a definitive 3-minutes, honing in on 'Tell Me What You Were Gonna Tell Me' packages the sound, intent and ethos of a musical stab at something a little different. The song narrates with meaning, passion and believable honesty. This leaves us with one more vignette to announce. 'I'd Be Good For You' is an absolute treasure if you have a thing for a barroom-fuelled beer glass-gazing country waltzer. Once again fiddle finds it way to the top; a place where the inimitable vocals of Ags Connolly reside and settle.

SIEMPRE sees the flame of Ags Connolly flickering brightly. In a shimmering haze of country, cowboy and amigo, he has sauntered authentically down a distant highway and used all the musical acumen of his assembled team to prosper. Another dye of this maverick's cast is set, and enriched minds are fulfilled from a skirt with a legendary border sound.

Festival Review: Maverick Festival - Easton Farm Park, Suffolk. Friday 30th June to Sunday 2nd July 2023

Maverick 16 was plastered all over Easton Farm Park this weekend. To translate, this was the 16th festival planned for what so far has become 15 annual gatherings in Suffolk and a solitary sad log onto our computer screens for some videos on the first Saturday of July 2020. I have a postcard from Nashville of a bluebird saying 'I don't come from the South but I got here as fast as I could'. On this side of the pond 'I don't come from Suffolk but I got to Maverick as fast as I could'. So from a Maverick debut in 2010, it's an unbroken streak of 13 festivals and a clear signal of unfinished business. So enough of the personal indulgence, let's take a look back at what crossed my path in 2023, which while not being an entirety was still a pretty healthy haul of fine acts and great music. 

First of all a couple of minor differences to the site. A different entrance to surprise new arrivals on Friday afternoon and a re-location of the Travelling Medicine pop-up stage These apart there were very few things on the surface to separate the festival's logistical dynamics in recent years. It still starts on the stroke of 5 on Friday and closes at 2:30 on Sunday. Handy this year as I had an evening date with The Chicks in Birmingham. 

Carter Sampson

A festival is a great place for balancing your diet of new and known artists. On Friday the balance was perfectly struck with a personal schedule flagging three newbies from the off then a trio of known acts including a couple of long term favourites. Banjo Jen had the honour of kicking off this year's personal bill. This Sheffield-based banjo player, no clue there, had a name that rung a bell from the boards last year, but this was her first billed appearance. Operating as a trio, she proved an astute find mixing a host of country-Americana fuelled songs with some fine picking and an entertaining step dance that sadly has to be cut back these days. Apparently she has been active for over a decade, but a performance like this shows that new admirers can be lured at any time. She opened the Peacock stage which operates on Friday and Saturday evenings as well as during the whole of Sunday's brief exposure. In essence, it dovetails the outside stage on the Green. Following the introduction to Banjo Jen, it was likewise for Michael James Wheeler in the Barn, the stage that hosts acts for the festival's entirety. You can never get enough ultra interesting and heart warming singer-songwriters at Maverick framing the archetypal country-Americana style. Vermont was the original location for this artist returning to the festival since a duo performance in 2014, but his songs took you anywhere on the vast American continent. The final new act on Friday absolutely set a high bar for festival discovery. The Lone Hollow are a male-female duo from Nashville. Yes, I know there are many, but these cut the mustard and knew the songwriting ropes throughout. I detected a slice of Angeleena Presley in the style of vocalist-guitar player Rylie Bourne, while the Don Gallardo styled-look was a precursor to similar talents displayed by guitarist Damon Atkins. 

Friday's conclusion began with the return of Evangeline Gentle bringing her beautiful vocals and stylish act to the Moonshine stage for a set this time solo as opposed to last year's duo format. There is a crusading LGTBQ theme to this Canadian's music as she proudly proclaims her community. The song 'Gay Bar' with its important message resonates and lingers in the memory bank. This performance proved a stylish set up for one of Maverick Festivals most enjoyed twin back-to-back pairings.

Christina Martin

Tom Russell was effectively the Friday headliner in the Barn, although that term is a loose attachment for Maverick with its sense of communal cordiality. It was a pleasure to catch the songs of this esteemed writer who is one of the greatest advocates of the American South West and its diverse rich land, history and people. He is such a distinguished performer and the architect of many great songs. You feel his legacy is intact and destined to grow stronger in the future. It was a treat to hear the song 'Guadalupe' twice in a month by two different artists who seemingly co-own it. Gretchen Peters' take was immense in Birmingham recently, while Tom - the writer - stunningly turned on its hypnotic taps. This set has inspired me to dedicate a day to the great man's music and stories from records such as HOT WALKER, THE ROSE OF ROSCRAE and OCTOBER IN THE RAILROAD EARTH. 

I discovered the music of Tom Russell and Sara Petite around the same time circa 2007. Here the similarity ends unless you hone in on the great song. Sara has seemingly got the bug back to touring the UK and has put together a new tour after visiting the festival in September 2021 where she also strung a few dates around the country. On Friday she closed the Peacock stage with a barnstorming display of high octane San Diego driven honky tonk rock 'n' roll. Helped by a trio of handily adept English musicians in guitarist Joe Coombs, bassist Scott Warman and drummer Jamie Dawson, she teased, enthused and sung her guts out for gone past an hour. Pure sassy class and a side to Sara Petite that we knew existed, but hadn't quite seen yet. The songs from her new album THE EMPRESS have hit the tracks running and should be on the to-get list for any fan of her style of country music. 

Laura Cantrell

From the highs of Friday night this year, you would have thought the Saturday start would be more sedate. Absolutely not as from the early pre-noon hour of 11, full band music starts on the Green and straight off we were served two bands spinning their take on homegrown alt-country rock. Palomino Kings had detectable southern roots in their accents, while The Bondurants announced their Leeds base alongside travel travails of the A1. Both got a memorable day underway with some ramped up fare to set the tone in one direction. 

Maverick Festival is good for tip offs especially as many artists have multiple slots across the weekend. One such recommendation sent me to the Moonshine on lunchtime to catch a set from Kentucky-based singer-songwriter Grayson Jenkins. He is nothing more-nothing less than your rambling folk troubadour inspired enough by John Prine to add a cover to each set. My lucky pick was 'Angel From Montgomery', standard but always welcome. I was more than happy to pass the recommendation on. That's how it works, isn't it?

Michele Stodart

Back to the Green outside stage and three familiar faces in Joe Coombes, Scott Warman and Jamie Dawson once more This time the adept trio were backing Karl Bray, an artist hailing from the creative hub of Brighton. Erasure covers may not be widely heard around Maverick or shouted from the rooftops, but the one here was re-worked with innovation and nestled alongside a series of other well-received songs. If you call yourself Maverick, expect a little off-piste stuff. Joe, Scott and Jamie may well have stayed on stage, for the next time time I visited the Green it was time for Sara Petite round 2. Still a full-on show, but slightly tamer than the previous evening's raucous rodeo. A handful of new additions from her back catalogue infilled this set including 'Tiger Mountain', which comes from her record of the same name in the mid 2000s. The heights of the previous evening were not quite scaled due to circumstance, but the appreciation for this long-term artist has ratcheted up. Look out Birmingham when Sara Petite returns on July 13th. Not sure there's room for drums in the Kitchen Garden, but the stringed accomplices and great songs will be there. 

In between Karl Bray and Sara Petite, I headed over to the Barn for the first time on Saturday to catch the set by Doug Levitt. This all-encompassing troubadour from Washington DC famed for his Greyhound travels and tales has a prestigious UK tour lined up. Black Deer had already been played and Cambridge Folk is on the horizon. In the meantime he is opening for Laura Cantrell and had recently played the Union Chapel in London, as we were humorously reminded several times. On each occasion, I thought - and yes, you're playing the Kitchen Garden on Monday. His set was intense and engrossing. Clearly an artist with the ear and skills for an inspired song, not afraid to tackle dark subjects as well.

Robert Vincent

The final band caught on the Green this year was Canadian outfit Hello Darlins. It was apparent that they were the most accomplished musicians playing in Suffolk on Saturday. Front person Candace Lacina enthusiastically introduced the latest line up of this fluid entity that houses past and present some of Canada's finest session musicians. The class of their virtuoso style shone brighter than the intermittent sunshine and prized effortless musicianship was there for all to see as the day's activities gathered pace. 

My appreciation and fandom for the music of Carter Sampson is well entrenched. Despite seeing her the week before in Birmingham, the Maverick set in the Barn was inked in and she truly delivered with a faultless performance that raised the bar even further than previous shows. The sound was immaculate with a distinctive vocal style marrying perfect songs mined deep and wide. This festival appearance was part of her combined tour with Amelia White who also appeared at the festival but was one of many fine artists suffering from the inability of fans to be in three places at the same time. Hopefully Amelia and Carter have a wonderful and fruitful tour to inspire them to return.

Sara Petite Band

The Peacock stage opened with a difference on Saturday evening. Canadian artist Tara Maclean is also an author and began her set with a reading from her new music-inspired novel. Upon concluding the scene setting excerpt, this talented vocalist and songwriter from the Canadian Maritimes set about showing how she has mastered the music side as well. She was very much from the folk side of Americana and one of several artists celebrating their nation's most important day in rural Suffolk. 

There was no need to leave the Peacock after Tara Maclean as the inimitable Age Connolly took to the stage to continue his re-emerging journey since, like most artists, getting de-railed by the pandemic. You don't need more than one song to re-kindle the essence of this country artist who understands the genre a million times more than your average hat 'n' cap act. For his current delve into the archives, he has just released an album heavily influenced by the Tex-Mex border sound. Many of these songs are work-in-progress on the live front, but there is a healthy back catalogue of road tested country originals to call upon that expose the niche of an artist that isn't American or Oxfordshire - just country. A timely reminder to conjure up some kind comments for the new record. 

The Hangover Club

Laura Cantrell has an extensive UK fanbase for whom she realises need more tours and visits. The Peel legend plays on one side, while on the other she is quintessentially a highly acclaimed and wholly authentic country artist. She brought a four-piece band of three Americans and a drummer from Yorkshire for her Barn, and Maverick debut. You could tell these guys were crack performers and they guided Laura through a fifty-minute display of elegant purity when it comes to sourcing or writing genre tight songs. A broken string was a mere interruption that led her to just strum through her famous Kitty Wells tribute while a replacement guitar was sourced. That was eventually borrowed from Rich Hall, who was due up next. She opened the floor for the final song and was flooded with requests for 'The Whiskey Makes You Sweeter'. The Barn choir duly obliged the co-singalong. 

There are usually many pop-up sets on the Travelling Medicine stage by artists booked and those who just turn up (obviously of a decent standard) or maybe band members fancying a solo slot. There was no mention of Our Man in the Field in the line up this year, but they commandeered this space on Saturday evening for an impromptu band set with the inclusion of fiddle by Chris Murphy. These events conjure up the spirit of a festival. Alex and his bandmates - existing and temporary- held court to enable a moment for some to chill to a band that have that feeling in their repertoire. 

Tom Russell

The Moonshine was the next call and a chance to catch up with the music of Christina Martin for the first time. Live shows and recorded music from this Canadian - yes a theme is developing - have been on my periphery without breaking through, Often not the fault of the artist just an overcrowded existence. However a dedicated listening spot at a festival can act as the breakthrough. She came across quite roots-infused in her singer-songwriter style and added a touch of character and humour to her performance. Her guitarist was no mean player as well, adding a wealth of panache to the mix. The next time new music or a Midlands show crosses my path, harking back to Maverick 2023 should get it over the line and into the schedule. 

So a long day arrives at the point of the final artist to effectively headline or at least close the Barn. This year the honour went to Robert Vincent who is firing on all cylinders as a rocking out festival act this year. Ramblin Roots were blessed with his talents earlier this year and if truth be said he excelled that excellent show with a totally dominant performance at Maverick. The Scouse wit prevalent since first discovering him in 2013 is still there and likely always has been. The songs old and new bed down and grow like blossoming trees. When you have Joe Coombs, yes him again, and Matt Owens either side you just have to let them rip, duel and play their hearts out. Whether in the background or the foreground, Robert Vincent controls the show and is now adept at controlling the audience. On one hand you feel greater riches may be around the corner, on the another there is a sense that he knows where his people are. At Maverick 2023 the people spoke with their attention, adulation and sense of belonging.

Banjo Jen

In the words of Kriss Kristofferson, the 3rd day of Maverick is often 'Sunday morning coming down'. It was a shortened day this year hampered by an off-site issue for me, but still time for three hours music before the long drive home to that date with Natalie, Emily and Martie. Thumping drums, white attire and a sound wholly maverick, there was a lot to admire when drifting into the Peacock set from the appropriately named The Hangover Club. No cobwebs could be seen when this trio of drifters formed in Bristol took to the stage. So maybe it wasn't so 'Sunday morning coming down' this year. 

Michele Stodart knows how to rock. In her other guise as a flourishing singer-songwriter we are beginning to see something special appear - a more sedate and quietly accomplished performer. This side briefly flourished a while back and another expedition away from the Magic Numbers is brewing towards an album release in September and a growing list of live dates around the country. Although some confidence and assurance is invited from the stage, there is no need for any concerns as the output is impressive and fetching. Ramblin Roots and Maverick have set the scene. Moseley Folk should do likewise. Then it's all systems go for an autumn to remember. Also there is a little thing like the Magic Numbers to keep active with. Although appearing solo, you can't take the collaborator out of the performer and fellow festival players Baucat accepted the invite to join in. 

Doug Levitt

As Maverick Festival 2023 wound down the honour of closing things was split between two artists clashing on the Moonshine and the Barn. What better way for the Weeping Willows to leave a parting gift of two songs before they head back Down Under. 'House of Sin' is their regular show opener and 'Singing the Blues' is their best - pure Plant 'n' Krauss. The car was almost revving up before a final listen to the ever distinctive vocals of Suzie Ungerleider. Forever a 'girl in teen city' for me and sadly a casualty of Maverick adopting the Austin Texas motto - so much music, so little time.

The date is set July 5th, 6th and 7th 2024. Hopefully see you there. 

Gig Review: The Chicks - Utilita Arena, Birmingham. Sunday 2nd July 2023

Are The Chicks a retro band with a progressive streak or a progressive band with a retro streak? The intent and identity strive is definitely with the latter. From a different perspective the former strikes a chord when surveying the surroundings of a show smack bang in the middle of 2023. The band’s colourful history is as luminous as the rainbow ethos that filters through their musical stability of recent times. The trajectory though has been framed by a 14 year recording hiatus. The chasm between Taking the Long Way in 2006 and 2020s GASLIGHTER is a massive leap when committing your sound to the studio then taking it out on the road full on. 

The shadow looming over the new songs is a legendary 8 year stint starting from the country explosion of WIDE OPEN SPACES in 1998 and a string of connective anthems with enormous far reaching appeal. The reaction to timeless classics such as ‘Travelin’ Soldier’, ‘Cowboy Take Me Away’, ‘Wide Open Spaces’, ‘Not Ready to Make Nice’ and ‘Goodbye Earl’ was spine tingling, hugely personal and straight to the core of a passion. The Chicks openly condemn gun violence, but you can’t beat a bit of revenge poisoning in a folk song! With the exception of the new album’s title track, which opened tonight’s show to a rapturous reception, the classics tended to dwarf proceedings as interpreted by the ‘energy generated’ in Birmingham’s National Indoor Arena (currently under Utilita sponsorship). *excuse the corporate pun* Evolve they may have, but The Chicks expose their artistic desire and cultural relevance in the most alluring way for fans old and new.

During the recording hiatus, and once the Natalie Maines solo venture and Court Yard Hounds project had fizzled out, The Chicks periodically kept the flame alive through live shows. The UK had the pleasure of twice being the host - Country to Country in 2014 and more extensively in various arenas during the 2016 world tour. We got an inkling to the development with an inventive cover of Beyonce’s ‘Daddy Lessons’ securing a set slot aided by the clever intermingling with parts of ‘Long Time Gone. Joining that song this evening was an invited singalong to the Miley Cyrus/Dolly Parton number ‘Rainbowland’ that has gained further impetus in recent months in the face of a culture war fuelling. Sharing the lyrics on the back screen worked well except for those of us seated where you couldn’t see it. I’ll bite my tongue on arena shows with the adage that only the very select few entice me these days. It may even be down to two artists. 

The other fresh cover shared was a version of Patty Griffin’s ‘Don’t Let Me Die in Florida’ that was one of many occasions where the crack backing band stepped to the fore to shine. The Chicks owe a lot to this esteemed American songwriter for being the source of many fine songs in the day. On a far more commercial platform, first borrowing and then totally transforming Bruce Robison’s ‘Travellin’ Soldier was a masterstroke and a dose of keeping it in the family as he’s Emily’s brother-in law from a previous marriage. Likewise the Stevie Nicks classic ‘Landslide’ took on another dimension when The Chicks recorded it and saw it fly to the chart summit. 

The unit of Natalie and the Erwin sisters (Martie and Emily) remains as strong as ever. On stage they purposefully play their parts, no more so than Natalie’s charismatic leadership. Fiddle, dobro, and banjo from the sisters increasingly shine through given the sound constraints of this venue. Once those in control twiddled the knobs, the clarity improved and occasional snippets of mandolin from the back was sublime. ‘Sin Wagon’ would have come across better later in the set as it didn’t quite sound right in the number 2 slot after the ‘Gaslighter’ introduction. Things were a lot better when the other pacy roots stomper ‘White  Trash Wedding’ twanged its brief passage into a Birmingham night.

From the band’s perspective, 2023 is all about sharing the wealth from GASLIGHTER to fans around the world. This highly personally inspired album, inadvertently or by design, re-invented The Chicks alongside the inevitable name change and brought a host of younger new fans into the fray. The view that some of the new material hasn’t quite bedded into the Chicks repertoire could be upheld. As earlier intimated, a less seismic creative recording journey would have smoothed the path with a more gradual switch easing folks through the evolution. Time can never be altered and Chicks fans were already primed for an equally significant change when Rick Rubin stripped the country out of TAKING THE LONG WAY. Without going over old ground, in those days we were dealt the incredible emotive intensity of ‘Not Ready To Make Nice’; the definitive Chicks song when the dust settles. The wryly sung lyric ‘but I kinda like it’ says it all about how we got from 1998 to 2006 via Shepherd’s Bush 2003. Natalie referred to her past State comments during this show when introducing the Patty Griffin song. So it was more Florida than Texas this time, and a more appealing President. 

For this leg of the tour at least, The Chicks have invited contemporary country star Maren Morris to open with a lengthy 45-minute set. To put credit in her bank last year’s album was a decent listen, the ‘My Church’ anthem has a distinct appeal and being one of the Highwomen accrues kudos. Yet listening to her live in an arena was a muffled, bland and a cold experience. The powerhouse vocals are probably at home, but there was little from the band and any subtle tweaking to make an impact. Her day may come again, but it was destined to pale into insignificance once the main dish was served. 

The Chicks are a seminal act to me. They opened the door and continue to press all the right buttons twenty years on with songs reverberating around the soul. Phases of the attraction are unconditional, but I wouldn’t be true to myself without some aspect of rational conditionality. I desperately want the band to be a progressive act with a retro streak. 2023 may not quite be that place, though confidence is eternal that this entity will power on to new heights. Wherever they go, I’ll be there in spirit at least; ‘checking the oil’, ‘on a pillow of blue bonnets’ and avoiding the ‘black eyed peas’. He deserved it though.