It started with the cliche before branching out where the music matters. A personal vanity project sharing a passion for country, folk and Americana through live and recorded music since 2012. Give or take the odd hiatus or barren period.
Rachel Sermanni was barely into her twenties when creating a ripple at Canada's legendary Calgary Folk Festival in 2013. That was my introduction to a talented singer-songwriter with much promise. Now over a decade on, and with many shows and a quartet of albums in the bag, a new venture begins as album number 5 joins a prestigious list of contemporary folk artists to release a record on Navigator Records. DREAMER AWAKE is an hypnotic and cathartic offering where warm vocals and tempting lyrics wash up on the shore of your listening island. Lightly spun and faintly textured instrumentation lays the groundwork for eleven tracks to induce an ethereal sense of contentment.
This is an album designed more to ferment and simmer rather than hit the decks in a blaze of glory. The quieter moments of life are more conducive for this set of similar songs to take hold and weave a magical web of artistry. A soothing detectable Scottish brogue adds a glossy coat of elegance to vocal parts that are wholly owned by Sermanni. Collaboration is left in the hands of a capable group of session players who lay the groundwork note by note and beat by beat.
The intimate merging of one track into another leaves little room for any one song to streak ahead in appreciation and adoration. From a curiosity perspective, the chorus part of 'Jacob' crawls into your mind like the proverbial ear worm, extending its depth of settlement with each listen. Outside of this, the draw of a single entity forms the pattern for extracting most when interacting with this album.
Looking at the list of Navigator Records alumni, the closest fit to what emanates here is the effect from the Katherine Priddy release a couple of years ago. An almost angelic exterior encases a substantive base that puts folk music firmly in a progressive state of mind. On DREAMER AWAKE Rachel Sermanni isn't afraid to toss some traditional instincts into an innovative pot. Rich components give the record a head start when beginning a journey in the midst of external ears. A release awash with success factors is a good indicator for commercial reward. Regardless of where the record ends up, turning attentive minds switched onto progressive folk sounds is a certain scenario.
Is a monster standout track a curse or a magnet? If Van Plating passed through your listening sphere in a fleeting moment, the absolute guarantee is that you would be left with a song succulent enough to make you drool. The wise decision would bite deep into this autobiographical gem and savour something dressed from head to toe in gut pouring Americana. Umpteen plays into ORANGE BLOSSOM CHILD sees ten sterling tracks forever playing catch up behind a song leaving a far marker potentially out of sight. Some may tail off in the chase, but those hanging in will fill a space with an octane-pumping album that captures the drive of an emotive singular pursuit.
This album is stamped in Florida from first beat to final lyric. The summit is scaled third track in when two Floridians team up to send listeners into a retro tailspin with the monumentally impressive 'The Heron'. The esteemed Elizabeth Cook joins Van Plating on a megaton of a track bequeathed with spirit, steel and a spine tingling chorus melody for the ages. We are awash with references to Seminole land, Suwannee River, bluegrass, banjo strings and heaps more evocative recollections of growing up in the land of oranges. We get a huge clue in the title to what Van Plating grew up as and this magnet of a song goes a long way to summing the whole record up.
This project redefines personal drive and intensity. All eleven tracks are written by Plating who decided the best route to get the songs out was to invite eight artists to collaborate with and thus invite the up front credit. Producing and engineering the album, as well, assumes total control which seems fit when its's your story being told. Of the three tracks without an up front credit, it is unsurprising that Plating kicks off solo with the title track. 'Orange Blossom Child' is an autobiographical blast off pulling stuff into the open including wise words from momma. We know the starting point and it does pan out as representative.
Eyebrows are raised at the second title 'They're Going to Kill You Anyway' which tempts you to dive into the lyrics. On the outside, the track hones in on the husky vocals and the subtle planting of fiddle in the driving seat of a rock set up in a hard hitting rip roaring sound. The collaborators are The Damn Quails, one of several choices that may be unknown to overseas audiences. In fairness, Van Plating is a likely a new name to many and there is a lengthy hiatus from recording when delving into her music career.
One recognisable name is Reckless Kelly who help out on 'The Hard Way'. Steel is detected in the background of this track that peddles 'hard' without really getting in touching distance of the impact generated from other servings. Things get quieter when Plating teams up with Kirby Brown for 'Hole in My Chest/Big Feelings' showcasing the huskier tones to the vocals and implication that things are deeper and more intense in the content. 'Big Time Small Shot' is an addictive story song that draws attention to comparisons with artists like the aforementioned Elizabeth Cook and in minor quarters some early Lucinda Williams. Here a band called Boys Club for Girls are featured.
'Jesus Saved Me on the Radio' featuring Crystal Bowesox is the most curious track on the record. It almost doubles up as the younger sibling of 'The Heron' in sound and borrowed melody albeit on a different plane. An experimental sense comes across as once again the listener is tossed carefree into the back story of an artist ceding to the yearn of telling their story.
Ultimately, leading the pursuit of the runaway track is upbeat blues rocker 'The Sugar Palm Club'. The vibes from this number seemingly complete the jigsaw of the roots input as we have already sampled country, folk, bluegrass and straight up rock 'n' roll. Shelby Lee Lowe lends the vocals in duet mode and creates a different feel by leading off solo. A somewhat unexpected move when first listening to what is perceived to be a personally driven album.
Collaborations fizzle out as we head into the final throes of an album that shimmies with depth. 'Zion is a Woman' reverts to Plating alone in the credits and is one of the more left field offerings with a slightly swirling vocal style being circled by violin parts. All this instrument's parts are played by Plating who also adds guitars, piano and percussion to unveil a multi-instrumental bow to an armoury that begins with songwriting and singing the fruits of the pen. 'Joel Called the Ravens' is joined on the credits by Ottoman Turks and creates a wave in the penultimate slot. As per the theme, Florida references crop up as another story bounces from memory bank to record many years later.
We end as we begin. Van Plating deciding against collaboration and bringing violin to the fore to tell the tale. 'Joshua' in one of the album's tenderer moments. Like so much preceding it, the voice aches with gut wrenching qualities and being drawn into the web of an immersive story is no bad place to be when Americana music is fuelled by the soul of the song.
ORANGE BLOSSOM CHILD bristles with uniqueness. The multitude of named collaborators juxtaposes against the reality that one person owns the show. Van Plating is unafraid of digging deep and personal, cushioned by the fact that all the faculties of making a pulsating album are intact. Mindy you, many listens just edges the standout track further into the distance. Eventually it does define the record. That may not be a bad a thing and each ear lured may wander down Florida's tracks to take in what else Van Plating has to say.
On their latest album, roots duo Vivian Leva and Riley Calcagno create a sweeping amalgam from the Pacific North West to Appalachia fusing an abundance of traditional and contemporary vibes. Marked narrative purveyed in majestic musicianship pours out of talent to drool over as we grapple with the notion that nostalgia can have no age barrier - old or young. IMAGINARY PEOPLE is the second album released on Free Dirt Records under the shortened moniker Viv & Riley. Prior to that it was Vivian Leva's 2018 self titled album that aroused awareness to the extent where she toured overseas with Riley including a stop off at Thimblemill Library in the West Midlands. Five years later there has to be renewed optimism of a resumption to these travels especially with a boosted canon of extra material.
Ten tracks provide the content for the new album driven by eight new songs, a new tune and a re-interpreted traditional number to wrap up the collection. Proceedings are kicked off with a pair of songs inspired by the childhood roots of both parties. Twangy guitar, a breezy melody and impulsive beat come to the fore in 'Kygers Hill', an ode to the Virginia upbringing of Leva. She leads the vocals on the opener, a general trend across the record pitched against a smattering of exceptions. The following track veers thousands of miles west to the Pacific area where Calcagno grew up. Although Leva is prominent on the vocals of 'Sauvie Island', embedded harmonies are detected more and we become wholly settled in with the stellar string picking. The lyrics 'I'm coming for you' sketch a sense of dreamy longing. This track comes across as another ode and is rinsed with classic country routes.
If the album gets off on the right footing, the same can be said to the end. A similar country feel appears in the opening of the penultimate track 'The Long Way', which is another song featuring Leva on lead vocals. It is safe to say that the essence of the album is felt in this song. The duo leave their writing skills on the table for the finale and turn a hand to re-interpreting the traditional song 'The Blackest Crow'. The view that this song portrays the vocal harmonies at their best prevails and a subtle instrumental part towards the end resonates. A ballad with a simple accompaniment sums up this ideal timeless closer proving that five minutes for a good song is never wasted.
On the topic of album variants, a sizzling fiddle-led tune appears in the second half, Buoyant, light and accomplished come across from a fun offering titled 'Chance Creek' springing some fun-sized hoedown into the mix. Calcogno bring fiddle, banjo and other assorted strings into the mix, while Leva focusses mainly on acoustic guitar. Together with a merry band of other players they bring a sweet sound to the party.
Vocal variance can be found in a pair of tracks spaced out across a running time spanning 37 minutes. Calcogno lends some airy vocal to 'Is It All Over', which further reading implies its take on the billionaire space race. For a more general reception, the union of vocals and lyrics floating around the room conjure up a distinct voice enhancing a cute balance. This vocal approach can also be found on the gently strummed number 'How to Lose'. A song that does refer to substance use in the context of how to live and how to lose.
The other three tracks all take their cue from Leva's vocal lead. A punchy opening helped by percussion kicking in starts to form 'The General' where neat breaks in the melody help the song move along. The album title track digs in at the centre point and leans heavily in the direction that Viv & Riley are not just another retro act. An electric presence is felt more in 'Imaginary People' than elsewhere on the record alongside a powerful context with fiddle blossoming within a contemporary spirit. 'Flashing Lights' sees the foot slightly lifted off the pedal. A faint sense of steel eases into a reflective, tender and poignant number where a dreamy delves evolves into a slow dancer and relaxed swayer.
Melting vocals; an instrumental delight and a feel that you are riding a progressive wave of roots music. Viv & Riley have the potential to move into the major league of duo acts. IMAGINARY PEOPLE captures the present state of a quest sublimely. For the listener it sates a brief moment of pensive solitude.
The first debate is whether to headline this gig as Annie Keating or the Annie Keating Band. Trivial matter on one scale, but more pertinent when one musician from Brooklyn USA flies in on their own and hooks up with a temporary band drawn from the cream of UK Americana. Fluidity and improvisation are key criteria for sustainable grassroots overseas tours. Adding a touch of vibrancy and flair to an intimate show expands the appeal and those attending the Kitchen Garden felt privileged to be in the presence of four musicians exuding euphoric emotion from nailing the art of confined collaboration.
Witnessing this soul refreshing performance from close up inhaled the explicit gratitude of an artist forever adept at forging a receptive liaison with audiences afar. Annie Keating continues to heed to her creative whims turning them into hard edged projects that have garnered support here since the distant echoes of the BELMONT album in the late 2000s. 2023 brings things right up to date and an artist flowing with ideas, while committed to the buzz of touring since the naval gazing days of confinement. For this September run of UK dates, activity on the merch table leans towards the latest album HARD FROST that had a lower key route to market than some of the earlier releases. Like true professionals with a hearty back catalogue, Keating shared the breadth of her work opening with 'Belmont' before closing with a rip roaring version of 'Goodbye' from her triumphant post-pandemic album BRISTOL COUNTY TIDES.
No apologies were offered or needed when revealing the opportunity to play with this band for the third time in eighteen months was too good to turn down. The faces of lead guitarist Joe Coombs, drummer Jamie Dawson and bassist Marky Lewis are familiar to audiences on the UK Americana scene. To name the artists, both homegrown and American, who they have worked with would be exhaustive. For this Kitchen gig Coombs and Dawson have mastered the art of perfecting the tools of their trade in this small setting, both sonically and logistically, after previous visits this summer. Lewis ditched the electric version to focus on the stand up bass for the evening with no noticeable effect other than impeccable timing. It was co-winners all round: a band having fun; a singer-songwriter blessed with their songs sounding so rich and an audience dazzled with all the elements of a successful evening of live music.
This was the third time seeing Annie Keating play live. A set at the Maverick Festival and a show in this very room was taken in during the 2017 tour. Sadly other dates were missed, but there has always been a regular supply of new music down the channels. It was an honour to hear two favourite songs in the first set. 'Coney Island' was written for her son and will resonate strongly with anyone who has visited this iconic New York landmark. 'Hank's Saloon' came out of the lockdown retreat and broadens the influences that filter into the sound. Basically anything from traditional country to heartland rock.
The band effect became more expansive in the second set with perhaps the peak performance coming from 'On the Loose'. The trademark licks from Coombs are becoming legendary in an expanding circle, while the versatility of Dawson drives the beat. For those seeking a sample of the new record, 'Looking for Trouble', 'Witness' and 'Lovesick Blues' filled the template to tempt the sale. We are now living in a thriving world of John Prine appreciation. This evening was not going to miss the trick and the band had the extra vocals of Demi Marriner stepping in to help out on 'Angel From Montgomery'. A standard in the vein of 'Folsom Prison Blues' and 'Jolene' in the live cover sphere.
Keatings' vocals reflect the depth and poignancy of many of the songs. Not over stated, just neatly nestled in the foreground, while allowing the backing sound to form the framework. The chat was likewise, enough to engage and seal a sense of gracious camaraderie. You feel being in the presence of someone to believe in and want to champion. There are no hiding places in the grassroots, and only those with the required connective and adaptive talent succeed for the long haul.
Annie Keating remains the headline, but the band are ingrained in the memory. This Brooklyn-based singer-songwriter remains true to the ideals of the music etched into her blood. The fact that it comes out in this package we call 'Americana' embraces the view that smart folks seek sincere tunes where the song matters and the lyrics probe the shades of truth. Put all the elements of a top intimate yet pulsating show in the mixer and out comes - Annie Keating at the Kitchen Garden in Birmingham 2023.
Moseley Folk Festival has been an enigmatic fit since landing into my live music domain in 2011. While other festivals have become ingrained fixtures in the gig calendar, the one closest to home is frequently subjected to competing demands and music channels that are often misaligned. Its aesthetic virtues have been championed since day one and the glorious setting in Moseley Park has been the backdrop to some unforgettable sets over the years. There is a strong chance that this relationship will continue into the future, though nothing would please me more to be in a position where the schedule is clear and the draw is strong to park myself in this suburban treasure land from Friday lunchtime to Sunday evening (give or take the 12 mile commute home).
2023 eventually become the third year where circumstance and choice settled on attending the Sunday only. Up until the eleventh hour, a dilemma surrounded the other days, while the final day was set in stone early on. During previous visits to Moseley, Billy Bragg had been a highlight, while The Proclaimers were a disappointment. There is little more to add to the latter pulling out late on to be replaced by the 'Barking Bard'. The scheduling for the main stage on Sunday evening was spiced up by Billy Bragg being afforded the penultimate slot before American super giants Wilco closed the whole event. A little bit of collaborative history there that posed a question.
Wilco and Billy Bragg
No festival day is the same, but a different feel permeated the short hop to the site this year. First of all summer arrived. Sunny spells are not uncommon on the first weekend of September in Birmingham, but cloudless skies, the temperature gauge pushing the mid 20's and shirtsleeves at the end most certainly are. Good vibes that something special was on the horizon.
The artists booked by the organisers for this day were a mixed bag from what usually fills my gig and listening sphere. Billy Bragg goes back a lifetime, while Wilco have flickered in the background without be given the chance to get any closer. Kirsten Adamson was my most recent delve with an album and gig review this year. Amelia Coburn was close to getting some coverage last year, so the perfect opportunity to check her out. The rest ranged from sampling awareness to no idea. However, aren't festivals all about exploring? You can't fault Moseley Folk for not exploiting that notion.
Amelia Coburn
The first acts on the neighbouring main and Janice Long stages added more of a backdrop in their experimental nature. Ambience rather than studious pull. The act lined up to start my favoured festival pursuit of intently listening to sets close up was Sophie Jamieson on the Kitchen Garden stage. This fairly recent addition to the site has become a firm and favourable fixture. Heralded as 'folk on the slope', it acts as the third stage and is home to the more intimate offerings on show. All curated by the local live venue that lends its name.
Sophie Jamieson's Moseley Folk experience started off on the wrong foot with a lost luggage incident leaving her guitar-less ahead of being grateful for a loaned instrument. Airlines are regularly the curse of musicians. Wand in hand, she soldiered on with a dark and intense performance that may have been more conducive to a different environment than a lunchtime festival set. Merit could be found in her music especially the songs she played from her recorded content. Perhaps a little more confidence in this material may have helped, but sometimes there may just be better days ahead. Introducing your music from a 'tangled mind' can narrow the transmission at a festival where casual attenders may have yearned for a little more connection.
Kirsten Adamson and Band
Rather than bob around the festival site in some chronological order I'll stick with the three other sets seen on the Kitchen Garden stage. Middlesborough-based folk singer Amelia Coburn has been on my horizon for some time now. Gladly she had recovered from an illness that lead to a couple of festival cancellations the previous weekend. Firstly, her set brought a sense of buoyant vibrancy to the stage. She came with the intent to entertain a festival crowd and possessed enough craft in her songs, voice and effervescent demeanour to draw a positive reaction. It is always useful to announce a future gig at a venue hosting a festival stage. Amelia will play the Kitchen Garden Cafe again in May. Her performance at Moseley Folk won't have harmed the chances of pulling a few more in.
When the dust settled on this eventual eventful day at Moseley Folk, the set by Kirsten Adamson solidly nestled on the podium of those performances most enjoyed. The scheduling of her set on the Kitchen Garden stage invoked the one real clash of the day. The choice was the safe haven of Kirsten Adamson or check out in-person the furore around Angelina Morrison's acclaimed folk album shedding a new light on British history. The regret of not following through on the latter as experienced by my partner was tempered by the satisfaction of seeing Kirsten play for the first time with a full band.
The slogan that sums it up
The four piece set-up from Edinburgh were taking in Moseley Folk Festival alongside a Saturday slot at a British Country Music event in Blackpool. Needless to say the band enjoyed the alternative night offerings of the seaside Mecca to leave them a little tender for the Birmingham jaunt. By mid-afternoon the drums, bass and lead were in fine fettle backing the delightful songs and voice of Kirsten. The highlights of this set were similar to the gig she played at the Kitchen earlier this year. The sublime 'Let Me Live', the emotive 'My Father's Songs' and a wonderful deeply felt and individual take on her father's anthem 'In a Big Country'. Similar to Amelia Coburn, a return to the Kitchen Garden is planned for next spring with the added delight of this band being in tow.
Jon Wilkes was the final call on the Kitchen Garden stage. Bringing folk songs from the Midlands is always going to go down well with a folk crowd in Moseley, albeit the artist is open about making a return to the area's heritage after many years away. A healthy gathering on the slope greeted an artist who has been accruing celebrated acclaim recently. From a personal angle, there is still some connection work to fully feel in touch. There is an opportunity later in the year when Jon hosts a show with Martin Carthy at the MAC in Birmingham. Perhaps the connection will become a little stronger than what occurs in a festival field.
Billy Bragg x 2
At this point I'm going to gloss over what was seen and heard on the main stages until the evening truly warmed up. Generally the sauntering across a lovely condensed site was genteel and without my usual set intensity. This is a different perspective to the tried and tested festival experience but the ambience and uniqueness of Moseley Folk plays it part to create a sense of warmth and contentment. Fun is so obviously abound; sets by artists not really on my horizon were lapped up and the positive feel to the site fuels a sense of music and art doing its job. All is well at Moseley Folk crowned by the the procession, hay bail fight and spirited all inclusive ceilidh.
Time to switch back into the way festivals work for me. The phrase 'tired voice' has been banding around my brain recently. You could substitute with the word 'familiar' to describe Billy Bragg alongside the ultra positive addendum of 'renewed'. There is still a distinctive tone, theme and aura when he stands in front of a festival crowd. Those aligned stand in awe, get revved up and depart suitably refreshed to continue the fight in whichever way they see fit. It might as well have been 2011 again when he stood on the very same stage spilling his rhetoric, calling to arms and conducting the timeless singalongs. A dozen years on flanked by the on-off stage presence of CJ Hillman on guitars/pedal steel and a keyboard player whose name escapes me is one change, while the theme for solidarity is now right behind the trans and gender identity community. As per usual, the fervent unravelling and simplified advocation rang true. A few new songs with a familiar sheen were also thrown into the set. Practise has perfected the art of extensive banter and precision allowance to enable the communal yell of 'I don't want to change the world' before curtain call. The echo chamber of a folk festival is fine, but the hard yards of the issues are done elsewhere.
Jeff Tweedy of Wilco
Yes we did see Billy Bragg later in the evening. The pull to re-unite with Wilco and sign Moseley off with a rendition of 'California Stars' was too tempting to ignore. That was 10:25 with the curfew fast approaching. A cut off in this suburban setting that wouldn't heed even to a a momentous collaboration. Talking of time (easy as the stage clock was readily in view), it was 9:15 when all three bars of luck matched and realisation dawned that I was in the midst of probably the finest full band performance of alt-country/Americana rock to cross my path.
Pride should always be attached to the musical journey taken and choices made. On the other hand, the opening of new channels is the spirit of revitalisation. Wilco have always been largely dormant on my radar. No shame just a discovery in waiting. From 9:00 to 10:30 (with a sweet spot explosion at 9:15), they put on a monstrous demonstrative show that blew me away. Guitar craft - solo and in unison - interacting keys, clear songs built on a firm substance and a band delivery that aced all the key components of selling your music to fans old and new. Clearly a Moseley highlight from my time spent in the park and up there with the spine tingling performance delivered by Alabama Shakes at a festival in Louisville Kentucky in the wake of Ali's death. The Wilco radar lies dormant no more. Just 30 years of catching up, starting with the 13th studio release due out later this month.
So there, a rather top heavy festival day. Fairly unique in reception and how it was approached. Away from the personal input, Moseley Folk Festival appears in radiant health. Mild expansion, wide praise, seemingly good numbers and an ambient experience that is like no other on the scene. Moseley Folk may just be a festival for the folk of Moseley, although openly extended to Birmingham, the Midlands and any place where folks want to travel from. The same challenges and dilemmas will not doubt still be present for me in 2024. Nothing would be more pleasing for the festival to beat them all off and lay on a three-day extravaganza with my name tagged onto it. Let's not depart in the future but the present, and the moment the radar of Wilco pointed finally in my direction.
