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.