Gig Review: Merry Hell - Katie Fitzgerald's, Stourbridge. Sunday 17th December 2023

www.merryhell.co.uk

From the cotton mills of Wigan to the glassworks of Stourbridge, Merry Hell cherish a distinguished English heritage wrapped in a progressive blanket of unity, while expunging differences at every opportune moment. Blending a fiery fervour with wry humour, this seven-piece band deliver an amenable basket of relatable folk-rock inviting people of all persuasions to join the affray. The key to the appeal is that no previous experience is required to bask in their crafted humility. Accessible lyrics are heartily sung from the floor with minimal instruction and being part of a crusade for justice is an immediate fix. All was in place as they closed a gig year in several quarters with a debut Stourbridge performance that raised the roof of Katie Fitzgerald's cellar venue.

For many years my hometown of Stourbridge has been been the departing point for a gig journey, but far too infrequently the destination. Shows that pierce the core of a musical odyssey crop up from time to time in a smattering of venues. Memory bank excavation of local gigs finds few to match the feeling evoked from Merry Hell being the chosen band to end the substantive run for this calendar year. A winter afternoon gig starting at 3:30 and finishing at 7:00 can be a touch discombobulating. While the band packed the van before tackling the M6 at the end of the tour, the decision to extend the night with an extra pint was a wise one.

Merry Hell have been an active outfit for over a dozen years and are a much loved feature on the folk circuit. Festivals, shows and multiple releases have kept them in the public eye as the core of the band remains staunchly intact, while the edges tinker a little. Up front you are confronted by a quartet of Kettles. No collective noun required just three brothers and the spirited presence of fourth named acquaintance at the vocal heart in the guise of Virginia Kettle, who has no doubt decided they ain't a bad bunch to keep in check. She is the wife of guitarist John from whom much of the musical output derives. Her sparring partner in the voice stakes is co-orator Andrew, while Bob quietly strums his bouzouki (I think!) amidst writing some quality stirring songs. The centre of the backfield for tonight's line up is Simon Swarbrick on fiddle, a nephew of the legendary Dave and more than adept with a little bow magic that ranged from frantic foot stomping to dips into psych. To his flanks were Nick Davies on bass and Lee Goulding on keyboards. Together fine music poured out with vocal renditions fleetingly incorporating the whole band joining an engaging twosome raising a toast to what can be right in the world from their industrious Lancashire brogue.

As fine a musical combo as there needs to be, the depth to a Merry Hell concert is in the content and the messages poetically conveyed. Politics with a small 'p' runs through the veins. 'We are Different, We are One', 'Sister Atlas' , 'Come on, England!' and 'We Need Each Other Now' would all make a Katie Fitzgerald's manifesto for the evening. For around an hour and half music, stories and humour flowed. 'Lean on Me Love' paid a tribute to the late Shane MacGowan, a friend of the band, and Virginia gave the guys a five minute rest to serenade us all with 'Violet'. The ever inclusive and stripped to the core content of 'Bury Me Naked' is close to the summit of a signature moment, and the band have nailed the finale in the very apt 'Let the Music Speak'. In these days of well-being programmes tumbling out of every media zone, why not the tonic of a Merry Hell show. Socially prescribing what they have to say is right up the street of those hooked in, but many outside would benefit from a dose of literary folk rock - Wigan style.

To enhance this afternoon/early evening of refreshing verve, two support acts took to the stage. You only have to dabble a little bit in the Katie Fitzgerald's scene to come across the powerful folk-punk presence of Jess Silk. On the stroke of 3:30 she took to the stage in a duo format this time and threw her heart into a wrath of solid songs, strongly delivered and right to the core of protest. In between this and the main set, the venues's proprietor and long time singer-songwriter Eddy Morton shared a couple of songs ranging from one of his highly familiar signature tunes to a thoughtful new offering. From a combination of passion and refinement, the scene was set for Merry Hell to  rouse the occasion.

A perfect end to the year and a little glimpse into what might be if the connective channels of the local scene truly reached the personal parts that drives a love of live music. Maybe the future will see a rejuvenated surge. Politically all is in place, just a few more acts in the shape of Merry Hell to forge the union. In the words of Skeryvore: 'paradise is wherever your people are'. Just maybe they congregated in a small venue in Stourbridge on a December afternoon. 

Gig Review: My Darling Clementine - Kitchen Garden, Kings Heath, Birmingham. Sunday 10th December 2023

www.mydarlingclementinemusic.co.uk

'Tis the season for indulgence, so why not slap on plenty of the self variety as another gig year winds down. In some guise or another, the work of Michael Weston King and My Darling Clementine has featured on these pages consistently for twelve years. In other words the entire existence of this blog. If December 10th is leaving it late for 2023, it was December 22nd in 2019. Now that night was one for the personal memory bank as it was tagged with the epitaph 'our race is run'. Borrowing a My Darling Clementine song title was a little presumptuous as six moths after closing the blog it was magically resuscitated into what has become a supercharged extended second life. What else were you supposed to do in the midst of a global pandemic with loads of good music lapping up onto your shore and plenty of time at hand. 

Let's continue this self indulgent run before turning to the Kitchen Garden Cafe 2023. A quick scan over the blog's history reveals 18 posts featuring either the duo, band, collaborative or solo format. It began at the Maverick Festival in 2012 when a curious act starring the known Michael Weston King and unknown at the time Lou Dalgleish created a stir. Their debut album HOW DO YOU PLEAD? was hurriedly acquired. An instant classic born and the scene set for what has proved a lengthy appreciation. Another twist occurred in 2017 when preparing a review for the third album STILL TESTIFYING. A new favourite song clicked when visiting Cradley Heath High Street for the first time in years and thus the renaming of 'Two Lane Texaco' to 'Two Lane Tesco'. If you know, you know. If you don't, listen to the song and put two and two together. 

Bringing things right up to date, this exceptionally fine song was the centrepiece of a smashing night in Birmingham. One informal in feel yet structurally compartmentalising the work on offer. Clementine, Christmas, Costello and King was the theme. Spot the odd word out and there's more to that than the simple letter. The order of the three c's is deliberate as the original work of Lou and Michael stands head and shoulders above anything else My Darling Clementine turn their talent to. While the ability to expertly reinterpret the work of Elvis Costello is absolutely appreciated and admired, it still lands in a different field to the plethora of songs from the three other albums. Maybe ownership trumps borrowing in my book.

My Darling Clementine formats have marginally swayed over the years between duo and band. Tonight we had the third dimension option of Preben Raunsbjerg joining on guitar that proved a valuable asset in adding depth to the vast array of songs on offer. Any impish thoughts of the nearby Santa hat enticing the words 'when the snowman brings the snow' could not possibly arise! 

For a gig partly tagged 'Christmas Light Show', we had a raft of seasonal delights. All nearly as left field as you would expect from the studious Michael Weston King. Willie Nelson's 'Pretty Paper', 'Rise Up Shepherd' off Nick Lowe's Christmas album QUALITY STREET and 'Winter Song' by Alan Hull of Lindesfarne fame honoured the time of year. Lou shared 'Silver Bells' from her piano to lighten proceedings, a place she appeared to frequent a lot more this evening than usual. 

This was influenced largely by dipping into the Costello segment where songs from the 2020 COUNTRY DARKNESS album had their charmed airing. The memory played tricks in the aftermath as four were counted but only three recalled. If the addition to 'Either Side of the Same Town', 'I Felt the Chill Before the Winter Came' and 'I'll Wear it Proudly' comes to light, a footnote will be added. From a personal preference, the latter of this trio was the pick. It was also bliss to return to this record in the run up to the gig. 

In 2022 the My Darling Clementine spot was taken by Michael's solo return with THE STRUGGLE album and accompanying shows. This evening three of the songs were shared to shine a light on what is a profound and durable record. 'Weight of this World' with its Trump theme (Oh, please don't you dare 2024) was the highlight joined by 'The Hardest Thing of All' and the nod to Jackie Leven in 'Theory of Truthmakers'. 

The next links are too juicy to miss. Back in 2015 Michael teamed with Michael Cosgrove to play a Kitchen Garden show split into two halves celebrating the songs of Jackie Leven and Townes Van Zandt. If you want further confirmation of the Townes link turn to page 246 of the Robert Earl Hardy biography A DEEPER BLUE. Covering a Townes Van Zandt song is not unusual territory and the second half of tonight's show opened with a solo version of 'A song for..'. With authority we learned the three dots replaced the name Shane MacGowan. A poignant and different tribute.

So with Christmas, Costello and King covered. we are left with the cream. I'm fairly confident that ten songs from the three original albums were featured and am 100% certain 'Unhappily Ever After' greeted the near sold out venue at eight and 'Miracle Mabel' bade everyone a Merry Christmas close on half ten. The importance of the latter never diminishes and is up there with 'Ashes, Flowers and Dust' (not played this evening) as Lou and Michael's most emotive songs. 

In between, we had two treats from the now legendary inaugural My Darling Clementine album HOW DO YOU PLEAD? 'Going Back to Memphis' is very much a nod to Tom T, Hall and has evolved into a classic, while '100,000 Words' was one of the first instances of a sublime melody drafted to carry a meaningful song. 

Two songs from THE RECONCILIATION have already been mentioned as bookending the show, and they were joined by the Tex Mex feel to 'King of the Carnival' and the eternal favourite 'No Matter What Tammy Said' The latter sparkles with part spoof-part serious message and has attracted many uninvited mumbled singalongs over the years. 

The last album of sole My Darling Clementine songs was STILL TESTIFYING in 2017. It would be wonderful if a new one emerges, likewise a legacy is intact if the innings was closed on originals at three. Joining the now worshipped 'Two Lane Texaco' was the ever personal 'Eugene', another bout of satire in 'Jolene's Story' and the ultra catchy 'The Embers and the Flame'.

Yes, the image, the humour, commitment to the road and status of never being adrift from your audience remain core to the My Darling Clementine identity. The musical background and varied talent of Lou and Michael will always transmit their output with polish and panache. However, there is one underlying aspect that fires the arrow of personal appeal. Song after song resonates and meets an ideal. Sometimes that is all you seek as a music fan.

Thankfully no epitaph this year as the race still has some legs to run. So cheers for a dozen years of writing inspiration and here's to a continued annual renewal in some format. 

Gig Review: The Furrow Collective - Midlands Arts Centre (MAC), Birmingham. Thursday 7th December 2023

 

www.thefurrowcollective.co.uk

Cosy, warm and affectionate. A simplistic take on listening to live music, then sometimes the basics just hit the spot. Of course, there are a multiple layers to The Furrow Collectives's approach drawing on a sophisticated skill base that emanates in an ease of style and craft. Three was the optimum number soothing the path as the Collective slimmed down to a trio while honing the triple effect of sing, song and sound. This third folk presentation by the MAC in little over a month raised the bar in terms of contextual appeal as The Furrow Collective showed why they are one of their genre's most durable 'part-time' collaborations. 

Emily Portman, Alasdair Roberts and Lucy Farrell took the helm this evening. The cello and assorted presence of the maternity-occupied Rachel Newton was confined to the imagination on an evening where what was on offer erased a void. The combined talents of this Anglo-Scottish ensemble explored a theme, shared past riches and gave a seasonal nod, while straying into visual pastures via a strategically positioned crankie depicting original images adding a different dimension to the new record.

It was 'folk in the Foyle' again for the MAC, as the enforced move from the main theatre to a studio performing space continued. A few songs into The Furrow Collective's first set and the setting was irrelevant as the music wholly owned the moment. The show started and played out in conventional rotation beginning with Portman as lead vocal seamlessly interchanged. The crowing moment was an hour and three quarters later where one of those off-mic moments closed the evening in a privilege haze of being there. 

There has been, and continues to be, many guises where you see the musical talent of Emily Portman, Alasdair Roberts and Lucy Farrell from solo to other multi-musician formats. One constant over the last decade has been their involvement in The Furrow Collective where they have just released their fourth full length album on the influential Hudson Records label. WE KNOW THE MOON was the centrepiece of the show and indeed the tour the trio are now on. Although as previously mentioned absent on the tour, Rachel Newton is a key collaborator on the record including a Gaelic vocal rendition. While most of the album featured, this one was left in the studio. Accompanying a record heavily influenced by the moon and the stars was a series of illustrations by Lucy's mum May Farrell displayed through the crankie manually turned before each song. This drew memories of American folk duo Anna and Elizabeth doing likewise in Birmingham a few years ago.

Instrumentally, we had Portman on concertina, mini keys and banjo, with the latter coming across the best. Roberts switched between acoustic and electric guitar equally played with deft qualities. Farrell also eased between a trio of tenor guitar, violin and bog standard saw delicately played with a bow. Together they play a beautiful sound that added a luscious wrapping around the jewels of the crown- two aqua pristine crystal voices and a Scottish brogue that slipped neatly in between especially in the harmonies. 

The Furrow Collective forensically scan the traditional songbook for material alongside breathing new life into the work of others No borders or seas prove a barrier. Accolades, credits and stories provide a rich seam to the show. Probably too many for the layperson to recall, yet intrinsically relevant at the time adding so much immediate value. 

Song highlights in this two-set performance from the new record were 'The Moon Shines Bright', 'Apprenticed in London', 'The Wild Wild Berry' and 'O Watch the Stars'. 'The Wexford Lullaby' and 'The Cherry Tree Carol' proved seasonal delights from last year's EP. When veering in an American folk direction 'Wild Hog in the Woods' does the job, while from the band's debut album 'I'd Rather Be Tending My Sheep' is the ideal audience participation number. Another song about the wren being the king of the birds caught the imagination especially in the story. This is in the same vein to Karine Polwart who tells the same story in her song 'King of the Birds'. 

What The Furrow Collective do best is capture the occasion and help cast aside other thoughts. While artists always strive for the perfect show, it is tough to see what more Emily Portman, Alasdair Roberts and Lucy Farrell could have done during their time in the spotlight. It's one thing possessing talent. The key is sharing it.