Album Review: Ninebarrow - The Colour of Night

www.ninebarrow.co.uk

From their Dorset base, Ninebarrow continue to evolve as one of the most evocative acts on the folk circuit. The duo of Jon Whitley and Jay LaBouchardiere are clearly at one with the natural environment on many levels and this astutely filters into a sound spilling over with a sensual beauty. THE COLOUR OF NIGHT evokes a spell of tranquil artistry as we are guided through the mist of eleven tracks sourced, created and exquisitely presented. 

Ninebarrow take their name from a Dorset landmark, but never refrain from prolifically sharing their music with folks in every corner of the land. Acclaim has tumbled their way across the first four album releases, countless shows and many innovative projects harnessing a passion. This fifth release continues the forward motion, and sinking into the delights of this enthralling piece of immersive art reaps a sense of unison and awareness. 

The album is a mixture of a trio of covers; a traditional arrangement; five original songs; an original tune and a poem re-working. Proof that Jon and Jay leave no stone unturned when pooling ideas for records. It is the work of an artist the pair have covered before that gets things underway. There is strong contemporary feel to 'House', a song by Patrick Wolf whose material appeared on the previous album. The inclusion of this song is a bequest of lockdown throwback and the ideal platform for the omnipresent gorgeous harmonies to kick in. 

The second cover crops up in the second half of a 45-minute running time when the Jimmy MacCarthy song 'Ride On' made famous by Christy Moore gets the blissful Ninebarrow makeover. This song goes back a long way in the duo's introduction to folk music and gets a version that extends its presence further down the road. The final straight up borrowed song is a brave effort to pay homage to Nick Drake by putting the Ninebarrow stamp on 'River Man'. It closes the album in a similar vein to the tempo that best drives this type of music - thoughtful and considered. 

Perhaps the slightly more upbeat moment on a record described more as a relaxing stroll than a frantic sprint is a loose musical adaption of a William Barnes poem. 'Among the Boughs' takes its inspiration from 'The Blackbird' and portrays the duo's influence from alternative art forms. Similarly in this sphere is the outlier track 'Kitty's Song', which is a short piano instrumental written for a dance piece with all the graceful poise of the physical art of movement. 

From a traditional standpoint, Jon and Jay in their own words have 'plucked up the courage' to do a version of 'The Snow They Melt the Soonest' made famous by Scottish folk luminary Dick Gaughan. Aficionados can compare; the rest can just enjoy. 

While folk music by its nature is rich in interpretation and uncovering, attention to storytelling through the original song is a vital cog. A possible standout track on this album is the telling of the Dorset tradition of offering floral tributes to the sea. 'Cast to the Waves' tunnels a similar path to much of the album, but possesses a distinct spark in the melody that resonates. The album title appears as a track in the penultimate spot with 'The Colour of Night' highlighting how darkness can be perceived with a different mindset. 

Another personal inclusion is the song 'Walk With Me' that pushes the importance of a rural stroll. An activity Ninebarrow have extended by promoting their own musical walk breaks. A significant part of this song is a writing structure filtering in the words - walk, talk and sing at opportune moments. One for those who look for patterns in lyrics. The final two original songs take their inspiration from contrasting influences. 'Names in the Sky' appears as the second track and draws from birdsong identified in the garden of children's hospice in South Wales. Another fascinating find from delving deep into Ninebarrow's work. The final offering takes us back to the Dorset roots and the limestone quarrymen of an area rich in geological relevance. 'Ten Miles By Two' opens in a different way to much of the album and is quite profound in telling a story. 

From a personal perspective, this is the second Ninebarrow album to get fully immersed in after 2021's A POCKET FULL OF ACORNS. Previously, it was taking a chance on an unknown artist at a folk club in the West Midlands. It is good to see a review of that night in 2018 nestled alongside other more esteemed press coverage on the band's website. Maybe another Ninebarrow show is long overdue in these quarters.

Live shows apart, there is so much depth and wealth in the recorded content. THE COLOUR OF NIGHT is a compelling project to explore, experience and ultimately enjoy. The wanderings, discoveries and folk enlightenment of Ninebarrow continues to blossom with no doubt much more to build on with the all round strength of this latest record. 

www.ninebarrow.shop

Album Review: Christina Martin - Storm

 

www.christinamartin.net

Even when you have been in the game making records for over twenty years, there are still quirky occasions when you can hook up with new admirers. The name Christina Martin appeared on my hinterland a few years ago without the necessary impetus to move into serious consideration territory. Meaningful interaction started to appear when taking a chance on her duo set with Dale Murray in the intimate backwaters of the Moonshine stage at this year's Maverick Festival. Her roots-infused style coupled with an engaging character and relatable humour marked the card for further investigation when opportunity presents. Almost two months on from that July evening, we have the latest Christina Martin album that possessed a magnetic appeal when lured onto relative listening devices. The intricacies of that intimate set were blown apart in the powerful whirlwind of a record with the most appropriate title. It is definitely a case of STORM by name and storm by nature as this full-bodied symphonic album powerfully directs a personal story.

From her East Canadian base and roots, Martin draws on the malleable parts of folk, pop and rock to meld a sound that runs straight to the safe haven of Americana. Throughout a compendium of eleven tracks, emotions ebbs and flows from an artist fully immersed and adept at drawing the listener into their world. 

The energetic autobiographical opener 'Little Princess' sets the scene of a story itching to be told by taking us back to a childhood. The pace dips a little with the follow on track 'Stay With Me' that sweeps cinematically in heartfelt vocals and lyrics. The album is in secure surroundings by the time the third song sinks in with a thumping seductive opening to 'In Control' showing an assured demeanour in sound and sentiment. 

The album moves in a different soundscape when keys and strings collide in the poignant ballad 'Some Days', an effort that simmers with incremental effect. Right at the heart of the record is the title track 'Storm', full of haunting appeal while achingly sung and bristling at the album's core. 'Inside Mirror' is the balancing track at the midway mark where a piano intro harks slight echoes of mystique. 

A deep longing pours out of 'Meeting Place' with the second half advancing in the arms of a semi-powerful ballad. 'Austin' is the explicit standout song on the album where pop sensibilities and effective hooks embed the authenticity of trying to make it deep in the heart of Texas. The lyrics "... it was place I went to dream// ... all of those dreams became real' nail the moment. Stirring stuff that slips into the ripe rock ballad 'Meant to Get Us Through' emotively dripping in desperate optimism. 

As we head towards an apt finale, the theme deviates from the personal to a third person. A camera rolling effect opens 'Still in LA'. which evolves into a more thumping contribution. If you want proof that all's well ends well, then look no further than 'Healed' bossing the finishing line. This track drawing comparison with American artist Lissie is a closer adorned with climactic tinsel. 

Though taking all the music and lyric credit, Martin is more than blessed to share the producing role with sidekick Dale Murray, a key player on the record mainly on guitar but also piano and assorted instruments. It is likely that this duo format will return to the UK next spring for shows including a planned date at Thimblemill Library in the West Midlands. It will be interesting how they strip down the ultra produced entity to something more portable for the road. 

STORM is a lavish offering capable of re-invigorating a career that can prosper at home, over the border and across the seas to lands packed with receptive potential. Christina Martin shows her mettle, drive and lashings of personal intent to send a record into the world rich with lure and cinematic poise. 

Festival Review: The Long Road Festival - Leicestershire - Saturday 26th & Sunday 27th August 2023

 

Upon its arrival in 2018, The Long Road Festival instantly found the golden touch of curating a schedule right on the nose. The presentation of this event that appears to be moving from fledgling to established status champions many things past the music, but never loses sight that get the basics right and the rest will follow. Family may be an overused marketing term these days and it is ambitious to create ultimate unity between modern country music framed by Nashville’s main labels and left field roots artists fighting the corner of juxtaposition between progression and tradition. The level of success can be viewed through the slant of different lens but wholeheartedly in the agreement of positive experience. The breadth and wealth that surfaced in 2018 still shines brightly five years later as the Long Road cements its rehabilitation from enforced absences alongside a fortitude to conquer the knock back of last minute headline cancellations.

Caleb Caudle

Being an ever-present at the Long Road is without doubt in the locker of many attendees. Circumstances dictated the removal of that status for me this year as I elected to give the Friday a miss thus the focus on any reflection is confined to the Saturday and Sunday. Unlike similar festivals of this standing, the Friday offering is a streamlined affair, and when other factors are put into the mix, risks are lower in making it expendable. Reports this year indicated that the impression of Friday is growing, so it may make a re-appearance next year.

Caylee Hammock

Over the lifespan of a deep interest into the wide spectrum of country, Americana and roots music my identity has tilted away from the mainstream without ties ever being totally broken. Dips into the Rhinestone Stage arena have been strategic over the first three Long Road’s, but the likes of Sunny Sweeney, Sara Evans, Marty Stuart and Suzy Boggus made those choices smart and unconditional. This year the pre-scrutinised schedule inked in one visit on Saturday and pencilled in one for Sunday. Having followed Margo Price’s career since she made her ThIrd Man Records splash, and loving her early UK shows in Bristol and Oxford, it was a no-brainer catching her incarnation several years later now the sound and band is bigger alongside a glitzy persona that struts and commands a main stage. A slight delay to the set was a minor irritation swiftly blown away when her crack band hit the traps and launched a rocked up sound that dwarfs the country roots that heralded her introduction over here. She may not be ‘saving country music’ anymore but she knows how to smash a tribute to Robbie Robertson.

Hannah White

Twenty-four hours later my next jaunt to the Rhinestone was more out of curiosity with an element of intrigue in Caylee Hammock. Her writing journey had a pitstop on Ashley McBryde’s concept album Lindeville last year, which is good for opening alternative doors. While it is accepted that tethered to a major label tends to alienate my tastes these days, there was evidence in her vocals, demeanour and attitude to suggest some synergy. She purveyed the spirit of early Reba to a certain extent. On the downside her band sound leaned too heavily towards bass and drums. Country and Americana music works best where rhythm does its background job allowing strings and keys to come to the fore.

Margo Price

One gripe about Long Road in the hope that it possesses the ears to evolve was the overlapping of sets from Margo Price and Nickel Creek on Saturday night. These were two marquee acts from the Americana side and the scheduling committed a monumental crime. The result of selecting Margo from a personal preference restricted my Nickel Creek exposure to thirty minutes of an hour and a quarter set. Still enough time to marvel at the incredible mandolin picking of Chris Thile flanked by the immense fiddle and guitar work of the Watkins siblings - Sara and Sean. Over to the Long Road to reflect and see what more could have been done to prevent the crossover of two acts who have prolonged absences from playing these shores. 

Nickel Creek

One positive change for this year was to schedule music as an alternative to Rhinestone headliners Blackberry Smoke and Cam. Next on the list is to ditch the plastic beer glasses that litter the site. Us Brits need not heed to US standards.

Sierra Ferrell

On the other hand, the incredibly high standard of US music is never in doubt. Sunday afternoon was a triumph in scheduling. Jill Andrews built upon the solo shows she brought to the UK last year by introducing a band that added an extra dimension to a cultured vocal and songwriting prowess. She was the first of a quartet of acts to send shivers down those sensing riches in the Interstate. The polished sound of Jill Andrews contrasted a revved up Will Hoge ready to rock the socks off those seeking the spirit of ‘Springsteen of the South’. He came with a stellar reputation and the intent to punch a little harder. After nailing his set, he joined Eli Young on the Rhinestone to repeat their joint million seller ‘Even If It Breaks MyHeart’ and felt perfectly at home making a contribution to the John Prine tribute on the Front Porch. If Will Hoge got within a whisker of blowing the roof off the Interstate, The War and Treaty finished the job. A soulful take of the country sound was dripping in Muscle Shoals influence as this larger than life duo inflated a reputation that has many in the American roots community drooling. Brash gospel mingled with schmaltzy country as audience connection was the only game in town. Bringing the rear up on this sumptuous foursome, was the re-incarnation of Kitty Wells in the guise of generation-binding fledgling superstar Sierra Ferrell. The youngsters wrapped in the likes of this feisty trad purveyor and other acts pressing the youth button such as Billy Strings and Tyler Childers get a nod of good taste. Forty-five minutes of an adoring Sierra Ferrell and a band containing the familiar name of Oliver Craven of the now departed Stray Birds was sufficient to buy an annual pass for this handbrake-off bandwagon.

The Hanging Stars

The Long Road ethos doesn’t stop in the departure lounge of Nashville International Airport as exemplified by plenty of UK talent given an opportunity to curate a small part of this Leicestershire field for a framed moment. Four acts caught the ear from different pitstops of my homegrown Americana journey. Danny and the Champions of the World have been there since day 1 and still play every show as a fitting finale. Their English charm is matched by the cosmic chimes of The Hanging Stars rapidly earning the stripes of a premium rock band fuelled by panache and pedal steel. Hannah White stands on the cusp of parading the assured stature of the ‘show ‘em-don’t tell ‘em’ brigade of homegrown heartfelt country music with a stellar all-star band in tow. The Steady Habits, led by Connecticut native Sean Duggan, are a super amalgam of over there and over here. They closed my Long Road on Sunday evening with the emotive passion of ‘Deviate’ lingering poignantly. All these four fabulous sets took place on the Buddy’s Bar Stage, proving that magical things happen in the woods. 

The Steady Habits

Buddy’s was also the location for one of my early sets on Saturday when the music of Caleb Caudle was finally heard live. This excellent singer-songwriter has pressed the right button with a wrath of fine albums over the years and his stock will only grow more with exposure in the right quarters. The Buddy’s throng cut an erudite cloth. Before we leave this treasure in the woods a solid nod to two other sets witnessed in Buddy’s from Tommy Prine and Angelica Rockne. Long Road’s honky tonk is a distant memory. Buddy’s Bar seems set to stay.

The War and Treaty

The Front Porch can be the festival’s passing stage with the occasional resting point to take in a full set from this ambient construction. A performance from Kentuckian, and long term personal favourite, Kelsey Waldon was not going to be missed and her spot on brand of authentic traditional country music resonated strongly. From a totally different perspective, Ontario-based artist Cat Clyne applies an alternative and distinctive edge to her roots infused music. Opening for Lissie earlier this year was the introduction that Long Road extended pleasingly. Bridging the intense viewing and the causal glances on the Front Porch were early weekend sets by Scottish singer-songwriter Hamish Hawk, a cross between Blue Rose Code and Dean Owens, and the fresh sound of Charlotte Clarke, while The Often Herd proved the ideal late night act for compelling the dancers. Covid scuppered the intimate Birmingham debut of Joshua Ray Walker a few years ago, though it is suspected from his Long Road reaction the eventual debut won’t be so intimate.

Will Hoge

Festival reviews can be all-encompassing acts of wide sweeping generalisation. However festivals are really an act of personal indulgence. The Long Road 2023 is defined by the sauntering journey of the individual. This reflection is content, humble and at one with a discerning selection of the many treasures offered. The Long Road has the finger on the pulse and is destined to warm the hearts of many persuasions for as long as its flame flickers.

Album Review: Stylusboy - Back in the Day EP

 

www.stylusboy.co.uk

Innovative, resourceful and resolute are three traits that underpin the work of Coventry-based indie-folk singer-songwriter Stylusboy. From this substantive base, music and song freely flow demonstrating a wealth of talent that bubbles away in the lowlights of the independent scene. Driving his latest project is a tie up with Good Neighbours, a local charity focusing on the issue of loneliness in elderly people. Many folks from this situation have a story and half to tell, so how could a songwriter resist committing half a dozen of these to tunes drawing sounds from an instrumental spectrum. BACK IN THE DAY is a simple explicit title housing a diverse parade of stories itching to find an outlet.

Any short compilation benefits from a soaring track that leaps out to transcend the moment. 'Lift Your Voice' does the job here in a song built for the stage and those cohesive instances of ultimate artist - audience bonding. It would take a cold hearted soul not be warmed and roused by repeated renditions of 'Come on Joan, come on Joan, give us a song'. Faith believes many will rise to the challenge. 

The jaunty standout follows a punchy opening where war tales of bravery and trepidation find a vocal home in 'Fourteen Days'. You are tempted to hold your breath in the lyrics that eventually spill over into survival. A stirring story behind enemy lines packed to the hilt with songwriting inspiration. 

'Morning Light' commands the album centre ground in a serenading mood where the addition of violin bolsters the soundscape. Hope and belief unravel in the lyrics of a song that possesses the charm of a folk-waltz. 

'Waiting to Say Hello' gets right to the heart of this project that benefited from some National Lottery funding to highlight its growing importance and recognition. The inclusion of the lyric 'good neighbours' is more than a nod to the accomplices and nails the crucial benefits derived from lifelong interaction. 

'Days are Made for Living' opens with some subtle electrification joining the folk melee and possesses a strong message dripping in positivity. No doubt the source of this song benefitted as much as anyone from the project. 

'Take a Little More Time' brings the collection to a close with a narrative-based song recounting a trip to have tea with the late Queen. A touch of synth injects a dose of modernity in what could be viewed as a traditional point of view and experience. More importantly, it is yet another song capturing the spirit of intent that makes this EP a worthy exercise and interesting delve into. 

BACK IN THE DAY encompasses much of what Stylusboy sets out to achieve with his music. Unchained by convention yet fuelled by everyday emotion alongside the joyous and therapeutic art of song. 

Album Review: Beth Bombara - It All Goes Up

 

www.bethbombara.com

It was a night at Tingewick Village Hall in 2018 that catapulted my interest in the music of Beth Bombara, thus highlighting how live performance can shed new light on an artist. On that Buckinghamshire evening, she was playing a show with Jaime Wyatt and in effect they were sharing the bill. Up to that point, there was a casual acquaintance via the 2017 MAP & NO DIRECTION album, but the deluge of new music and bands can be an unforgiving scene. In the wake of being mightily impressed by her set, there was a double whammy within the year of a new album that soared up the appreciation scale from the off. With EVERGREEN, the music of Beth Bombara had landed in its recorded status. The course of events between 2019 and 2023 inevitably infringed a majority of musicians. Patience for new music though has finally paid off with the release of IT ALL GOES UP, an album of distinguished guile and craft.

A new venture for Beth Bombara in 2023 has been a tie up with Black Mesa Records; a label with an international focus that can rejuvenate attention in this area. The impact of label collaboration is highlighted in the closing track where fellow Black Mesa musician John Calvin Abney popped into her St. Louis studio to lay down some instrumental tracks on the crowning closing track 'Fade'. This sumptuous lower key finale rotates the mood on an album that mixes ramped up rock and melodic bliss across its ten-track collection. 

Away from the two pre-released promoted tracks that have their qualities widely showcased in the accompanying videos, the song that really sunk deep into my psyche was 'Electricity'. This hypnotic gem kicks into mesmeric gear half a minute in to induce a breath holding moment. A powerful chorus part supplemented by sublime guitar work levitates this song onto a higher plane. The lyrics also house the album title, which goes a long way to define the lyrical content of the record. 

If you only dabbled with the singles, an element of partial worth would at least be accrued. 'Moment' sets the scene in the opening slot and tosses out a complement of matching up well against classic 70s rock west of the Mississippi. 'Everything I Wanted' drools with an amalgamation of smart input and adorable output. For the full worth of what Beth Bombara has achieved kick back and let the 37-minute exhibition take hold. Tags like folk-rock, indie-rock, singer-songwriter rock, Americana-rock play a part in one sense. In another good music suffices. 

There is a soulful tinge to the midway track 'Carry the Weight' showing that vocals can play their part on a bunch of songs driven by prime production that captures the succinct instrumental playbook. The follow on track 'Curious and Free', which opens in a more stripped back fashion, widens the stringed input. You feel this track would benefit by a sound explosion that never comes. However that treat comes in the opening bars of the next number. 'Give Me a Reason' is a meatier effort, almost a little grungy. 

The songwriting side of Beth Bombara illuminates on her ode to the pandemic, 'Lonely Walls'. Only in due time will the effect of 2020-21 resonate in the singer-songwriter community. I suspect a surge around now as release lead times optimise. 

Laid back vibes echo from 'Get On', likewise a relaxed demeanour resurfaces in the penultimate track when 'What You Wanna Hear' further cements what makes this record one to lavishly devour, whether in travelling or chilling mode. 

Since that evening in Tingewick Village Hall, Jaime Wyatt has seized a number of opportunities to further develop into an international touring artist. While no two situations for different artists are the same, Beth Bombara has a potentially willing fanbase and an increasingly valuable cannon of music in her locker to fulfil an overseas calling. Regardless of what the future holds, the unveiling of IT ALL GOES UP owns the present and enriches anybody who seeks out this classy release.

Album Review: Fanny Lumsden - Hey Dawn

 www.fannylumsden.net

Sample a slice of contemporary country from the last 20 years; mix in an alt edge; sprinkle a pinch of indie pop and the result: a rivetingly bright album that blossoms from whichever angle you take in its charms. Fanny Lumsden is an accumulator of tangible and verbal praise in a recording career that appeared to hit a high with the 2020 release FALLOW. That plateau may need to be revised when the traction of HEY DAWN motors on to listeners old and new. The latter is most pertinent as this Australian musician has Europe in her sights backed by a summer visit and seeking fresh ears via promotion. This brand new ten-track album will only need a minimal push as it bristles with a sound designed to court inquisitive souls seeking music that matters. 

Alluring songs backed by a stellar soundtrack and a voice born to sing roll into a pleasurable single listen sitting where a varied tempo sweeps you up in an imaginative haze. Highs spring up on a daily basis until you just accept that a special recording is in your midst bridging the gap between artistic creation and receptive consumption. 

The three singles released ahead of the formal album launch reflect the raw credentials of the record's ingredients. The jangly joyful twang to 'When I Die' reverberates around its staging post, while nostalgia literally drips out of  'Ugly Flowers'. 'Millionaire' is a melange of killer indie country pop awash with a catchy melody and carefree theme. If these were the sole riches, you wouldn't be shortchanged, but the sub quota continues to crowd the top shelf. 

Leading the way and breaking from the newbie pack is 'Great Divide'. This gives the album a burst of life in the number two slot courtesy of a memorable chorus that echoes like rock 'n' roll royalty. This energetic uplift comes off the back of the evocative opener 'Hey Dawn' when simple piano accompanies a scene setting slow number adorned with harmonies and a slightly ascending beat at the end when a touch of brass appears. 

Just over thirty minutes later, the curtain is brought down by a sensitive finale that gets to the crux of what has been set out on this record. 'Stories' is an apt title for an album brimming full of them. The sound strips back leaving the emotive vocals of the album's architect to depart on a tender cloud. 

Lumsden's vocals find a new range on the mid-placed track 'Lucky', a song that wanders into folk territory and is heralded by the roots-infused vibes of mandolin. This leads into the familiar terrain of twangy alt-country in the escalating charm of 'Soar'. Another rich offering of feel-good fare. 

The twin tracks that bring up the full complement of HEY DAWN reside at different ends of the running order. 'Enjoy the Ride' is a coming down piece in the penultimate slot in a similar roots frame as one or two earlier moments. A neat jigsaw part that is slightly distant from being in the engine room of an album in full flow. In contrast, the lively and vibrant 'You'll Be Fine' is core to the album's early lift and is synonymous to the feel of country and indie pop colliding. 

Fanny Lumsden and her merry band of accomplices have conjured up a resonating gem in HEY DAWN. New ears will be refreshed by its breezy splendour and malleable effort of entwining significant songwriting in an assortment of styles that prove complementary. No doubt the live reception will ramp up Down Under upon release and maybe get a a European renewal sometime in the future. For now the accessible riches are well worth diving into.