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. 

Album Review: Show of Hands - Roots 2 The Best of Show of Hands

 

www.showofhands.co.uk

England's South-West may well be their roots, but the world has been the oyster for Show of Hands in the aftermath of emerging around thirty years ago. The cupboard has barely enough room for any more superlatives describing the lengthy stint of Steve Knightly and Phil Beer for the entirety and the dynamic addition of Miranda Sykes since 2004. Now the inevitable time is deemed right to wrap things up and gift fans a considerable compilation of what's been cooking over the last fifteen years. The reason for the halved timespan forming this compilation is that ROOTS 1 appeared in 2007 and what simpler title for its follow up focusing on the intervening period than ROOTS 2. Whatever the trio do in the future, whether solo or some sort of veiled reunion, the current phase is set to be closed with twin tours and this comprehensive addition to a rich and varied back catalogue. 

Any dip into the British folk scene in recent times (and further back) will have run into the work of Show of Hands in some format. Extensive live shows running into the hundreds, seemingly permanent fixtures at festivals and perennial invitees to awards shows, only the blinded folk eye would have missed out, whether you brushed the music lightly or were fully immersed. There is a similar effect from this final release in that deep rooted fans will lap up the decade and a half summary, while those from a distance can get a good feel of what made Show of Hands such a treasured act on the folk circuit.

ROOTS 2 is a twin-disc release featuring over thirty tracks lasting a two and a quarter hour duration.  Maybe heavy listening in a single sitting, but sectioning into smaller chunks will enable the full force of the band's compelling sound to take root. The content is a mixture of studio recordings and magically capturing select live versions often lifted from celestial settings like Exeter Cathedral. Show of Hands have regularly swayed between putting out studio efforts and framing the gig experience for recorded posterity. So it is representative that this farewell bow combines the two.

Within the timespan captured in ROOTS 2, the band went into the studio four times for new material and tracks from ARROGANCE, IGNORANCE AND GREED (2009), WAKE THE UNION (2012), THE LONG WAY HOME (2016) and BATTLEFIELD DANCE FLOOR (2019) form a large part of this release. Rich pickings are to be found segmented in originals such as 'Arrogance, Ignorance and Greed', covers of Steve Earle's 'The Devil's Right Hand', the Leonard Cohen-composed 'First We Take Manhattan' and 'Next Best Western' from Richard Shindell's catalogue or the occasions where Miranda Sykes tales lead in 'Sea Glass' and the utterly adorable 'The Lily and the Rose'. Also for a slice of spicy diversity, check out the collaborations with Madrid-based roots outfit Track Dogs where a touch of brass never harmed anything. 

The interweaving of Beer's mainly instrumental work, Knightly's forceful vocals with the majority of the writing and Sykes' majestic double bass playing around a diverse bag of songs ranging from anthem to poignant status was core to the Show of Hands success. They were right on the mark with delivery as fans of all persuasions jumped on board. Now is the time to disembark and present one final offering in ROOTS 2. A multi-dimensional retrospective open to all comers, both old and new

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Album Review: Afton Wolfe - Harvest

 

www.aftonwolfe.com

THE HARVEST is the latest record from Nashville roots artist Anton Wolfe and is straight out of the 'keep it in the family' playbook. The unique status of this 7-track effort is that all are compositions by Wolfe's father-in-law LJ Halliburton, who appears to be a prolific but largely undiscovered songwriter. It's probably appropriate to call this record a project such is the route of progression and is Wolfe's second record of the year on the back of a 5-track EP released in February. 

The standout song from this short sample of both artist's work is the melody driven 'Mississippi' that comes across wonderfully as a galactic collide of 60s lush pop and rough blues. Not your usual bedfellows but it works in this context. The feel of this lauded 3 minutes is in contrast to the understated closer 'Here to Stay' that appears rinsed in melancholy and is one for a pensive moment. This sound is not reflective of the record as exemplified by the uptempo rocking effort 'Til the River No Longer Flows' that holds court in full guitar-mode as the running order turns the corner. 

The pivotal song on the release is a curious offering. The partly spoken 'Hello, Mr Wolf' sets the mind pondering on the theme and inspiration. On an easier sound trajectory is the gently rolling starter 'Harvest' that proves a smooth passageway into the record and questions the life-starting properties of the gathering season. We get bluesier and slightly rougher in the self-explained 'New Orleans Going Down'. The collection is completed by the gently swaying memorable number 'Lost Prayers' that probably nestles just below the aforementioned standout as songs to draw on in the future.

Records like THE HARVEST by Afton Wolfe highlight how music can be curated from so many different starting points. For some it may just be a stopping place on a journey following an artist, for others it may be the impetus to explore further. There is sufficient pull from this sample to warrant a deeper dive. 

Gig Review: Hannah Aldridge - The Jericho Tavern, Oxford. Thursday 23rd November 2023

www.hannahaldridge.com

The story of Hannah Aldridge's overseas venture is approaching a decade old and continues to turn out blockbusting chapters. Periods of lull often simmer and set the scene before an eruption blasts the dynamics shedding new light on an artist. Solo is the de facto format when touring, frequently filtering into duo mode when opportunities rise. Collaboration, whether with homegrown musicians or fellow touring acts, is rife, all wrapping each show in its own individual blanket. You often sense the yearn to share the band format, especially with rock credentials, is always lurking. A few years ago, shows with Swedish outfit Jetbone briefly surfaced in the UK to turn the live agenda on its head. Promises were made of another foray into the band zone and fans have been stunningly blessed with a 2023 version of Hannah Aldridge submerging her stage aura in the heady waters of frontperson.

There appears two catalysts for the current touring phase. Firstly, an escalation of associations made with Australian musicians followed by releasing an album in the summer aching for an evocative full bodied presentation. Melbourne-based artist Lachlan Bryan is the lynchpin from Down Under and right at the heart of making the record as well as being core to the new band set up. For this evening's gig in Oxford, Bryan played keys alongside fellow Aussies Brad Bergen on drums and bassist Katie Bates. Succinctly laying the riffs in the background was Californian guitarist John Courage nailing the art of less is more. With this stellar line up it was Hannah Aldridge's to lose.

Not a chance of that happening as a relatively undiscovered side to her stage craft was honed and authentically effused to what can kindly be labelled a seasoned audience on the Hannah Aldridge appreciation scale. The themes and eloquent heartfelt interludes remained familiar to well-versed minds, but the vibes, movement and peer interaction took aspects of the show to fresh levels. 

DREAM OF AMERICA, the new album, was born for this delivery. The version of 'Psycho Killer' was withheld from the summer acoustic shows to make a sinister bow with full accompaniment. A darker adaption of Bryan's 'Portrait of the Artist as a Middle Aged Man' has become the show's pinnacle moment with its climactic role. 'Unbeliever' and 'The Great Divide' saw a writer rip the cover off their soul in the show's calmer moments. Away from the new record, arson is wryly endorsed in 'Burning Down Birmingham' (countless closing renditions leave a charred city), 'Lace' retains a spine tingling eerie allure, while 'Razor Wire' heads a record as vibrant as first heard when launching Hannah Aldridge in the UK nearly a decade ago. 

This current run of band shows has enlisted the services of a very special opening act. At the break of this Oxford gig, the audience were just coming to terms with an outstanding introduction to the seriously impressive wares of recently formed Australian act The Pleasures. A little spoiler is a trio of their quartet returned to the stage after the fifteen minute interval to become three-fifths of Hannah Aldridge's band. Resourcefulness is the name of the game at the coalface of independent music, just another charm of actively supporting this most connective level. The Pleasures are basically a trio outfit consisting of the ever-dexterous Lachlan Bryan, drummer Brad Bergen and decorated country artist Down Under Catherine Britt. Bates turned the outfit into a four-piece and for a delightful forty-five minutes we were taken on a wondrous journey of break-up solace spiced with an upbeat delivery. The word stagecraft was previously used to define the headline performance, but in a different way it bound the cultured presence of Catherine Britt as a vocalist and conveyor of a timeless style of music.

The Pleasures

In a parallel world the performance of the support may have upstaged the main act such was the credence spilling from the venue's stage. In crude but kind terms, the upshot was the monumental display from Hannah Aldridge buried what came before. The Pleasures will come again and they played a splendid part in what may prove a gig of the year candidate when objective reflection kicks in. However, it is right for the headline act to control the narrative, and in a friendly way, Hannah Aldridge owned the floor and ultimately the evening.

On a side note, this show was the final one under the Empty Rooms stewardship of Mike Trotman. The Oxford and surrounding areas promotion will carry on with a new leader in the future, but thanks were forthcoming from all quarters for the many years of service to a music community that needs all the advocates it can. Each 150 mile round trip made (and there have been plenty) to an Empty Rooms show in either Tingewick or Oxford has been a hugely enjoyable experience. From first attending a Dale Watson show in 2013 to this evening of  Hannah Aldridge at her best, the pleasure has been all mine, A farewell thanks for making these evenings a real treat. 

The (almost) final word is left for Hannah Aldridge and her enormous commitment to evolve as an artist on the doorsteps of fans thousands of miles from home. A feat that is reciprocated by many who support her music. In the tailwind of tonight's enthralling show is a certain Lachlan Bryan, doing likewise from a different corner of the world. 

Gig Review: Frankie Archer - Kitchen Garden, Kings Heath, Birmingham. Tuesday 21st November 2023

 

www.frankiearchermusic.com

Never underestimate how music can adapt and enrich perceptions. Nor ever undervalue the art of delivery. Preserving the past by moulding it for the future requires an innovative approach to breakthrough. When that natural ability exists in your artistic DNA, the ground is set for the hard yards to reap the just desserts. North-East based musician, vocalist and folk archivist Frankie Archer is at the outset of an exciting solo journey. An ability to lock in a new audience from the off is a useful trait when starting out and this compounds when the effect lingers long after the last plug has been pulled out. The term 'plug' is more relevant here than most folk acts plying their trade as samplers and synths join fiddle and vocals to embrace the art of traditional song, while propelling it into the future. 

It is unsurprising that venues hosting this inaugural tour take an eclectic approach to their bookings and are unafraid of re-aligning the folk music offering. The Kitchen Garden in Birmingham embraced the opportunity of giving Frankie Archer the platform to challenge convention, and an inquisitive audience were treated to an absorbing 90-minute show. 

There is a methodical approach to her music that sits comfortably alongside the artistry. This memorable show was conveniently split into a lengthy opening segment of around an hour setting the scene of who Frankie Archer is and what drives her music. After the break it was full on promotion as she played her debut EP from start to finish. The songs and musical adaption share the moment with an enthusiastic and measured approach to how an artist conveys their thoughts and information through the inter song chat. Many talented artists passing through the wider scene could do with taking a leaf out of Frankie Archer's book in how to present your music to a new crowd in a certain type of setting.

It is not quite sure which came first - belief in the voice, a love of electronic music or a fascination with the traditional folk song. Frankly, the proof is all three shine through from stage to audience. The setlist was almost entirely made up of traditional song with her native North-East being a staple and recurring source. The one exception was a fiddle tune named 'Broken Bridge', which followed an extensive story of a damaged violin. Listening to this delicate tune written in the aftermath of a repair evoked care being taken for it not to happen again.

Picks from the first half included a different take on the much covered 'The Snow It Melts the Soonest', reflecting on songs close to her home in 'Water of Tyne' and finishing an excellent set with versions of 'Lovely Joan' and 'Elsie Marley'. The last two songs lead into a strong conviction portrayed of how the role of gender has been played out in traditional song and that the time is now right for contemporary artists to re-balance perceptions and themes. There was more to come after the break.

The debut release of Frankie Archer is now out for all to enjoy in download, CD and streaming formats. NEVER SO RED was introduced as a proud personal effort with the added touch of some involvement from folk luminary Jim Moray; an association set to develop. The five tracks wonderfully graced an engrossed venue with the eloquently expanded interludes forever adding value. 

Pushed to name a couple of moments that defined the show, few complaints would arise from the breathless emotion easing out of the performance of 'Alone Maids Do Stray' (complete with content warning) and the escalating uplifting presence of closing track 'O the Bonny Fisherlad'. There was no need for an encore as job done with the last song that you felt was heading into a fully immersive electro experience if not curtailed. A reminder of the delicate balance between folk and electronic music. The more you look back, the stronger the feel that the first of this pair was one of those moments during a gig year when you realise why you venture out for live music. 

There was so much to take from this show making it one of the surprise hits of the year as  the annual wind down begins. Humming crowd participation used for loops, the melding of a synth backtrack with delightful fiddle and a voice injecting vitality to well-worn songs all added to a captivating experience. Frankie Archer, first and foremost, is a hugely talented musician, but that can be diluted with a listless delivery. Nothing like that tonight. This solo adventure is well underway and it was a privilege to be there when it started to enlighten live music fans. 

Album Review: Jared Dustin Griffin - Battle Cry Mercy

 

www.jareddustingriffin.com

Jared Dustin Griffin is a Portland-based artist bursting at the seams with songs to share. Rather than drench new listeners with a style that needs some adjusting to, the chosen few for this debut album is a neatly packaged ten track selection requesting a brief half hour initial attention . BATTLE CRY MERCY rattles with emotion in the title and seeps through in a sound bristling with Americana vibes.

The unwrapping of Griffin's vocals sees erudite ears seeking similarities. A cross between Otis Gibbs and Ryan Bingham is a starting point where through the haze of gruffness simmering songs decorated in pleasing instrumentation emerge. 

The album kicks off with 'My Name is Cannonball',  a strong folk-like character song announcing the arrival of a distinctive sound. Now in the throes of being accustomed with the vocal tone, the rounder sounding 'Bleed You Away' ignites a greater uplifting appeal that belies some of the deeper issues. From its bitter sweet title 'Sweet Ol' Loneliness' comes across as a double edged sword where a milder tone conveys the focussing on mental challenges and how they can be addressed or hidden away from. Three songs in and both voice and impressive instrumental accompaniment are bedded in.

'Little Arrows' heralds a newly detected banjo inclusion as things lean in a more traditional sound direction. Things get almost as dark as you get without going the full distance in the mid-placed track 'Bottle on the Stove'. Survive this far and the rest is plain sailing. 

The two aforementioned associated voices are nailed in the trio of tracks leading deep into the album's second half. The unmistakable Otis Gibbs likeness fills the airwaves in 'Hold My Troubles' as harmonica accompanies one of the slower songs with things getting unimaginably deeper. The association is strengthened in the mournful violin opening to lowly sinking 'Howlin'. We are now in the thick stirring territory of highly emotive song creation. A slight detour occurs from the first bars of the more upbeat 'Black and Gold' where the Ryan Bingham similarity rushes to the fore in a ditty number enhanced by lighter harmony vocals. 

With the required mental stamina standing up, respite comes in the brighter outlook all round generated by penultimate number 'Outpost Blues'. The finishing post encompasses the essence of the album with 'Landmines' acting as a metaphor for life's problems, in this case falling in love in your late 30s. Wrapped around this closing song is an admirable soundtrack that powers proceedings well for the half hour.

A worn and weary sound has provided a sonic cloak around tough real world music for years. It embraces the narrative and plants the listener right at the heart of the artist's intentions. The intent of Jared Dustin Griffin appears to seek redemption and comfort in music. BATTLE CRY MERCY is full of stern content, yet retains a hint that some light will be forthwith. Niche to some but right on the mark for others. 

Gig Review: Billy Strings - O2 Academy, Birmingham. Sunday 19th November 2023

 

The phenomena that is Billy Strings rode into Birmingham for the last date of his latest European venture. There is a lot more to come from this prodigious talent, so expect him to grace some pretty big events this side of the pond as he courts parts few of his contemporaries can reach. All the ingredients are in place for a seismic show. Authenticity drips out of this premium picker, whether flaying the frets or exposing a deep rural drawl. Lining up your band with top exponents of mandolin, stand up bass, banjo and fiddle is a bluegrass dream. Allowing each one to systematically own their space is a credit to adept band leadership. If you love the sound of these four instruments plus virtuoso lead guitar, then absorbing a Billy Strings show is a heaven sent opportunity to bring your musical desires to life. Therein lies the big but.

It doesn't take long in a Billy Strings show for the newly fangled terms 'psyche grass' and 'blue jazz' to take hold. You sense something different evolving sparking a wider reaction from alternative planes. The music enters a slightly psychedelic state with prolonged instrumentals condemning the 'less is more' mantra to the bin. You look round and witness engrossed converts, or disciples, mesmerised in an intoxicated way. Then it clicks, you are immersed in a roots rave. 

Billy Strings' shows easily sail past the two hours. We were approaching the 70-minute mark when proceedings were halted. I'm not quite sure who needed the break most - the audience or overworked band. Although the online posted setlist cited the opposite, it felt like no more than half a dozen tunes filling a time that was a touch overwhelming from an initially preferred close proximity. Vocal interludes seemed rare in the first half, but when appearing they induced widespread whoops and the odd relief. 

To gain perspective the second set was observed from further back and proceeded in slightly more song-based territory before the trance-like channels were dived into again. At this point the mind races through all the glorious moments of mandolin, banjo and fiddle defining a love for country, bluegrass and Americana music with a traditional sheen. The key is delivery. All the talent in the world can tot up, but there needs a prescribed mechanism for connection. To a large degree the connection is working as evidenced by the huge following. Evolution throws up many questions, and this evening more than most.

Apart from feeling detached on many fronts, some sense was made by concluding that the music was more from the head and the hand than the heart and the soul. The dynamics of the presentation were quite clinical where the more enjoyable shows have a warmer presence. 

Perhaps the parameters of Billy Strings interaction need re-drawing. You can only imagine how invigorating a headline set at a festival would be when placed amongst a host of vaguely similar contemporary styles. On another hand, the festivals he plays might be in a different realm. Maybe the sole extensive investment in a single show proved a step too far, although an important step to make in a lengthy passion exploring American roots music in its many forms.

The soaring pace of Billy Strings growth is set to continue. A rich seam is tapped into ensuring the ride taking old time music into the future is aligned to modern trends. 

Let's finish by hailing the talent and the prominence of instruments kind to the soul. An evening with an unexpected twist in reflection and an insightful learning curve.

Onto the next show.

Album Review: Jim Mitchell - Repeat Offender

 

www.jimmitchellmusic.com

REPEAT OFFENDER by Mid-Atlantic country rocker Jim Mitchell is an album right on the mark meeting a range of listeners on shared terms. It varies in style balancing on a narrow beam while relatively straightforward to define. The back story to this artist in published bios is rich adding spice and an outlaw mystique when tuning in. The vocals are lived in and the overarching sensation is a road tested approach to making music with a sense of purpose and vibrancy. 

Ten tracks quantify the record with an added nuance of the styles rolling out in a near-cyclical sequence.  We start off with a couple of robust straight up rockers occasionally described as the heartland fraternity. First to grace your ears is the brash anthem 'Why You Rockin' On Me', a beaut at the heart of promoting the record with its crafted video presence. The landscape created sits perfectly for follow on number 'Running the Gauntlet' before a subtle shift begins. 

Over the course of three songs, the country effect gradually intensifies. 'Don't Come Crying to Me' breaks the rocking rhythm before we start getting into implicit territory with the self explanatory 'Just Like Old Hank'. The crowning country moment comes in the duet 'No Part of Nothing Good'. A song lingering in the pool of the timeless and traditional is a worthy standout with the country specs on. 

Rather than remain static in the country zone, Mitchell switches into rock 'n' roll mode with the ripping and riotous 'Hillbilly (with a R 'n' R Heart)'. Shades of punk emerge and we know too well how that can gel with roots music of a certain ilk. We then hear brakes screeching as the timely breather track 'Honky Tonk Angels (and Sad Old Songs)' quells the frantic pace to refuel. 

Title song 'Repeat Offender' is probably the neutral track on the album paving the way for the finishing line to rock almost as much as the opening. 'Hell and High Water' is an evocative title to signal a return to the rocking vibes that frame the start. We are still in similar territory at the end, but this time Mitchell leans on the work of others, namely a cover of Bob Dylan's 'Seven Years'. 

You sense being in the capable hands of a smart cookie who knows the ropes. Three corners of the roots emporium are nailed - country, rock 'n' roll, roots rock - and the image of these songs flooding a smallish venue come to light. REPEAT OFFENDER brings songs from the heart, head and trusted guitar. Throw in some pedal steel adding flavour and verve and you are left with an optimal space between delivering artist and receiving listener. Jim Mitchell surfs the vibrant seas of emotive roots music, pricking emotion along the way and planting a very fine album for folks to tap into. 

Album Review: Paul Lush - Six Ways From Sunday

It was a late arrival to the year's album stack and straight out of left field. For those used to Paul Lush playing his trademark lead guitar in numerous collaborations (most notably in Danny and the Champions of the World), a little re-adjustment is needed as right up front is the place he frequents for this debut solo release in name. From a usual position of not participating in any vocal role, this London-based Aussie sings lead, plays lead and is the architect of a dozen carefully curated absorbing songs. SIX WAYS FROM SUNDAY toys, teases and invites before capturing the inquisitive and astute ear. 

As you would expect from a record with Paul Lush at the centre, guitar instrumental interludes are rife with plenty of pedal steel found courtesy of fellow Champion of the World player Henry Senior. Also enhancing the familiar profile is a certain Danny George Wilson, this time faintly heard on backing vocals leaving his long term collaborator to own the show. There are plenty of rock and country influences in the content and from a distant perspective this is another valued addition to the canon of alt-country music that has emanated from the capital over the decades. 

The content is packed with a host of tempting and fruitful numbers. Lengthy titles jump up from the page before dipping in and in someway they reflect the lyrical compositions that are fairly extensive in places, although a nifty guitar solo is usually just around the corner. The vocals possess an element of dryness and come from a unique channel. They require a few plays to get used to, while a neutral accent stance leaves any expected London or Aussie lilt in the locker. 

Digging deeper into the record reveals plenty of noted selling points. Many lauded albums have a memorable closing sequence. Here the penultimate piece 'For What it is Worth' possesses a finale feel with the volume turned up on a song sang with intent and deep felt honesty. Almost like a pre-encore moment at a gig. This leaves space for a cracking closer as proceedings drip in pure country gold for the emotive 'Trail of My Tears'. A theme reflecting on being parted from a family at a young age is pretty strong terrain. Pedal steel plays the role it was born for and only a Paul Lush song could be anointed 'Many Chords and Truth'. 

Associated sounds sometime come to the fore when listening to a new record. Jangly vibes and familiar backing vocals liken 'As It Stands' to The Dreaming Spires and Bennett Wilson Poole. Elsewhere the atmospheric charm to 'Soft Peddling' harks a similarity to Lachlan Bryan. This spoken-like style comes into play with 'Someone That You Used to Know'. Other tracks creating a stir in the second half include a lulled tone to 'You Just Know When You Know' and a delicate frailty seeping out of 'No One Comes Out of This Looking Good' 

A decent melody and scintillating guitars get things underway in 'Don't Tell Me That Now'. Sincerity reigns supreme in the second track 'Ever at a Loss' with the introduction of steel and extended mandolin filtering in a country sound. Riffs tumble out of 'You Could've At Least Said Something', while the final two pieces in the first half jigsaw contrast to a degree. A lengthy outro jumps from 'Phillip, You Need to Hear This' where your judgement swings between cold and warm comfort. A mellow lullaby is one way to describe the pensive yearning love theme to 'In a Heartbeat'.

Paul Lush branching out does have previous in some respect as being behind the Araluen release a couple of years back. However this record is a lot bolder and steps right out into the limelight. You feel there is merit to bringing these songs to a live setting. Practically, trialling them in select festival slots would test the water. 

A touch of patience and created space enabling the project to grow is a tested way to let this album crack the code. Paul Lush has emerged from the quiet zone with a bag of poignant songs to prove a hit. SIX WAYS FROM SUNDAY is a record with a refined allure to it. Where it leads remains steadfast for another day. The present has a deft record to shine on its horizon. 

Gig Review: Sunny Sweeney - Kitchen Garden, Kings Heath, Birmingham. Monday 13th November 2023

 

www.sunnysweeney.com

You sense a full circle turning with Texas country singer Sunny Sweeney re-focussing her touring horizon on the UK. It was at the back end of this century's first decade when small venues around the country last greeted an artist winning new admirers with a debut album smart at giving a traditional sound a modern uplift. Although some may view HEARTBREAKER'S HALL OF FAME as Sweeney's finest body of work to date, its independent status proved a springboard to wider acclaim outside her own state. Now with a further four studio albums in the bank and established as one of Texas' finest modern purveyors of country music, attention has turned to giving an overseas fanbase what they crave - live shows. On the back of a successful comeback slot at 2022's Long Road Festival, an association with an active booking agent has secured a decent number of UK gigs including a Birmingham debut at the Kitchen Garden. 

Demand was high for this small venue show. Yet the move was astute to host a duo format and create an intimacy with loyal fans that is the heartbeat of independent musicians' appeal. From a start just after eight to close on eleven when the final autographs and farewells took place, it was apparent that a buzzing Sweeney was lapping up this authentic adulation thousands of miles from her Austin home. Within this timeframe, she opened up her heart with an accomplished songbook to deliver a full bodied duo show with long term guitarist Harley Husbands. Maybe an inexperience of hushed venues this side of the pond led to the vocal drawl raising the decibels a little more than usual at the Kitchen Garden, but it isn't everyday that the spirit of a honky tonk surfaces in this corner of Kings Heath.

In between the previous UK tour and last year's long awaited return, life and career has been a turbulent episode for Sunny Sweeney. A brief flirt with Nashville's major labels and a couple of divorces are staple in the rollercoaster existence of your archetype country singer. Influences for many of her songs are ripe and close to home. A candid nature meant the chatty interludes between a battery of songs were high on the revelation scale. Some were your usual touring fare with a few dealt to stay within the four walls. They added to a vibrant evening that showed a wider side to Sunny Sweeney - the entertainer.

Two extended sets sat either side a lengthy interval that accrued much meet and greet and merch sales. The sets featured songs spanning a whole career including one song introduced as a new one. This was titled 'My Own Lane' and like so much on offer was autobiographical. All five studio albums were featured in the setlist alongside a couple of tracks from a 2020 live record. One of those tracks, 'Poet's Prayer' made a post-gig highlight summary. 

From a personal standpoint, the whole of the debut album would be a dream set list. In compensation, 'Please Be San Antone' and 'Lavender Blue' were the two offered. The first came early in the show and paid tribute to writer Jim Lauderdale, while the other was a very special request for a future show dedicated to a late fan but shared this evening as well. 

From the CONCRETE album, which was the main label debut, we had 'Staying is Worse Than Leaving' to open the evening and in the latter stages another of the show's highlights 'From a Table Away'. A couple of years later, fans across the world were served its follow up PROVOKED and lifted off that record included the cover 'Can't Let Go' and the wry humour in 'Backhanded Compliment'. While the former is widely known from Lucinda Williams' version, a story attached tonight referred to its writer Randy Weeks. 

Famed associates were a constant theme of the evening. You only have to gaze at the credits of a Sunny Sweeney record to see how much has been written with Lori McKenna. Throw in working with Natalie Hemby, fellow Texan Brennan Leigh and Gary Nicholson plus stories surrounding Loretta Lynn and Rosanne Cash creates an almost who's who. The Cash reference came in the closing stages as we had the pleasure of a Johnny Cash cover with a difference, 'Tennessee Flat Top Box'. 

Back to the Sunny Sweeney originals and the 2017 album TROPHY. 'Pils', 'Grow Old With Me' and 'Bottle By My Bed' shone a light on this record with the latter being both a request and certainly the most poignant song on the night. You detected a mood change during its singing with a sensitive issue being at the heart of the theme. 

It was of little surprise to see 2022's MARRIED ALONE being the biggest contributor to the evening. A record that brings the recording career of Sunny Sweeney up to date. 'Easy as Hello' and 'Still Me' resonated most from the pickings with the last one a late addition after learning that Bob Harris had played it on his show. 

A recurring aside throughout the show was the mantra 'write what you know'. Many years in the tough business of professional music has taught Sunny Sweeney to focus inwards, hone in on your own talents and follow that sage advice in the songwriting you pursue. A performer at ease with who they are floods from a stage persona that melds sincerity, gratitude and a brash exterior. The time is obviously right to widen horizons on the touring front and there were few complaints from a sold out Kitchen Garden.

Odds are shortening that the next Sunny Sweeney tour will see a full band feature. This will add a different dynamic to her act and in some places may need a venue revision. For now the small steps of the duo format are making great strides in meeting the desire of a fanbase. This gig was all about connection and making the music of Sunny Sweeney a real experience. Whether you were a fan at the beginning or one joining mid journey, there was plenty on offer to enjoy. 

Footnote: There are many Sunny Sweeney videos online but I couldn't resist sharing this old scratchy live one of my favourite song. Maybe in the setlist next time! 

Gig Review: Campbell / Jensen - Kitchen Garden, Kings Heath, Birmingham. Sunday 12th November 2023

 

www.campbelljensenmusic.com

Any perceptive imbalance of audience awareness gets swept away in the presence of a duo creating a significant spark. The first sign sending many in the direction of Campbell / Jensen is Ashley Campbell, a musician adept at preserving family heritage, while cutting an independent path. Twists and turns have been played out as much in the UK music scene as back home in the States with a firm foothold being sought especially since 2015 when high profile individual appearances emanated. The current situ sees two become one as the partnership with fellow American musician Thor Jensen taps into an artistry bent on blending innate and evolving talent. 

Hot on the heels of releasing their debut record, Campbell / Jensen traded the palatial surroundings of Birmingham Town Hall for the quaint intimacy of the Kitchen Garden. Opening for the iconic Jimmy Webb in 2022 is one thing, baring the raw bones of your musical panache to fifty pairs of attentive ears literally feet away requires a stern mettle. Everything Ashley Campbell and Thor Jensen did on their Kitchen debut was on the mark. Display the talent you own, play the whole record that just came out and leave a mark that imprints the essence of your music. 

Thor Jensen hails from New York and is an exceptionally talented guitar player with a diverse background from rock to jazz. Words on pages click the ignition, but the purring engine is savouring the effect close up. Whatever profile he had in the UK is set to multiply now that shows in the Campbell / Jensen format are growing and flourishing. The chemistry with Campbell's trademark banjo playing simmers and stirs alongside a compact vocal alliance plus songwriting skills nailing down a presence.

The show tentatively began by mirroring the new album with  'P&P' and 'At Long Last' the opening tracks of TURTLE COTTAGE. You had a sense of these songs being in the 'bedding-in' stage. The set suddenly sprang into life when deviating from the record by playing an older Campbell song 'La Bete'. Jensen joked he was playing a cover, although that part of the show was soon to come. 

Slowly the songs from the new record started to take hold. 'A Song By Vampires, For Vampires' upped the content with real highs coming after the break with 'Goodbye Cowboy' getting things re-underway to be soon joined by the growing 'Perfectly Alright' and the already flowering 'Tank and Babe'. 

When you are blessed with extraordinary stringed talents, why not shine on the instrumental? Campbell / Jensen did that on 'Edge of the World' and 'Exit Zero', both from the new record, before ending the show in a similar vein with another tune. Campbell occasionally switched her pair of banjos for an acoustic guitar. With an array of instruments in play, tuning was the order of the day. Nothing less expected. 

The covers given the Campbell / Jensen treatment were an interesting bunch. Inevitably, country, a trait lingering in the distance, had a nod in a version of Willie Nelson's 'Bloody Mary Morning', while closer to home saw 'Careless Weed' by Jimmy Webb played, likely in honour of supporting the great man last year. A new take on 'Eleanor Rigby' showed how fine strings can reboot a song. The pair seemed really at home dipping into the jazz blues standard 'Trouble in Mind'. Although the country and Americana genes of Campbell's vocals and banjo playing filter in, the overarching sound comes from the infusion of the jazz-blues playing creating a unique style that works exceedingly well.

There has been a lengthy break since seeing Ashley Campbell play live in three different settings between 2016 and 2018. The re-incarnation circling in 2023 is a refreshed culturally uplifting operation that appeals to her crafted approach. Whatever brought Thor Jensen and Ashley Campbell together, and they have been active since 2021, is a slice of fortune and fate. Stretching your repertoire can reap rewards and all was laid bare in the Kitchen Garden. The judgement appeared kind and the stage is set for this collaboration to court fans old and new. 

Gig Review: Boo Hewardine and Heidi Talbot - Midlands Arts Centre, Birmingham. Saturday 11th November 2023

 

www.boohewardine.com

www.heiditalbot.com

A few take aways from this show, the second of three folk-tinged presentations at the MAC this side of Christmas (Martin Carthy appeared last week and the Furrow Collective play in December). Boo Hewardine and Heidi Talbot are well established and accomplished performers with the scope for further advancement and appreciation. The MAC continues to offer a flicker of hope that it can break out to be a more prominent music venue with subtle adaptions. Perhaps the best gigs are where a defined narrative is attached to the performance.

Both artists have tended to be names on pages rather than artists on the personal listening agenda for many years. Therefore two familiar acts appearing on a single shared bill was the perfect opportunity to add some context to the latter omission. Throughout their time on stage, a gifted and crafted aura wholly capable of owning the song journey shone through. The stage was shared for the entirety with a tested formula of largely rotating performances featuring minor bouts of collaboration shaping the show. The plan was for two sets with a break filling a time span of an hour and three quarters. It was a pity the break overran a little as we were probably a couple of songs short from a complete offering. This doesn't detract from the quality on offer, but lauding the appeal of a couple more.

The exact reason for moving this from the main theatre to the venue's Foyle studio is unknown, but smaller adaptable spaces can enhance the experience from limited ticket sales. The MAC continues a pricing policy of nearby seats in some cases amounting to a doubling in value. Whether the lower end is too cheap or the upper too dear is open to debate, the upshot is there really shouldn't be such a disparity for what is on offer at this level. 

Although Boo Hewardine and Heidi Talbot have known each other for around twenty years, it was a surprise to see them hooking up for a nineteen-date tour. No precedence is aware either in performing or recording. Both artists were keen to promote recent records. Hewardine is always on the go and is set to visit the region next year for a show with a new outfit called The Outliers, where recordings are starting to materialise. Releases from Talbot have been sparser over the last decade probably for numerous reasons, although she is firmly back on track with a Dirk Powell-produced album arriving last year. There was an informal cosy feel to the evening with maybe the lack of a real story to be told. Hence a strong narrative and rich context can lead to shows resonating with a touch more than mere plush performances. 

A flavour of the solo music of Boo Hewardine and Heidi Talbot was the immediate legacy of the evening. There is a strong case for seeing either own the space for an entire evening in an alternative setting. Then a sense of their true appeal would be savoured. One for the future that in hindsight doesn't really detract from the simple pleasure of enjoying two singer-songwriters on top of their game. 

Album Review: The Deadly Winters - ever onwards

 

www.thedeadlywinters.com

The Deadly Winters are an Edinburgh-based band comfortable whether veering in a folk or rock direction. Like many bands they are trying to make sense of what has happened the last few years and have found the perfect tonic in the release of a new record. A six-track effort is the elected mode to get back on the recording cycle and EVER ONWARDS is a fine addition to three other releases that have kept the band active over the last decade.

Two songs that stand out after perpetual plays are a value added re-working of a folk standard and a rousing closer bringing strands of all the band's derived sounds together. The deep folk dive is putting a stamp on the much recorded traditional song 'The Cuckoo'. While the structure remains intact, the version here ups the pace with fiddle driving the beat. Varying verdicts will always head the way of this song and The Deadly Winters will  proudly stand by theirs. 'Fully Grown' closes the record and meets the perfect ideal of leaving your listener in fine spirit wanting more. The buoyant rhythm infuses an air of positivity as a theme of onwards and upwards prevails. Then again it emboldens the title of the record. A fully warranted standout song. 

Promotion of the release is focussed on a video made for the mid-placed track 'Twenty Years'. We are in vibrant folk rock territory with the Scottish brogue of the vocals embedded into the listening radar. The folk frame is right upfront when we are introduced to what The Deadly Winters have to offer in opening track  'I'll Be Fine'. You sense straight away being in capable hands with a song bold in structure and smoothly executed. This slips into the more relaxed strains of 'Fox a Hunting' where strings make an impact in the background as we venture into the natural world to inspire the songwriting. The six is completed by the dual make up of 'We Don't Know' where a gently spun verse bursts into a lively chorus before returning to calmer waters. A song style that refreshes the listening palate. 

EVER ONWARDS is laudable proof that independent music can pack a punch. The Deadly Winters put their sound on the line and deliver a freshly resolute and entertaining packed package. A trusted style underpins the record, while the band add a polish that meets with approval. 

Album Review: Lee Gallagher and the Hallelujah - The Falcon Ate the Flower

 

www.leegallaghermusic.com

Lee Gallagher is a Mid-West raised - Nashville-based musician heavily influenced by the West Coast appeal of his musical schooling. This was noted in the title of a previous release which the once San Francisco resident chose to name L.A. YESTERYEAR. That album rose to prominence in 2020 and its successor builds on the traction with a carefully curated rock sound breathing a rousing beat and subtly constructed moments. THE FALCON ATE THE FLOWER possesses energy, polished brashness and nuanced inclusions that shine a light on the varying dimensions of a musician's artistry. Ten tracks power the effect of this third release with the extended Hallelujah band and its components combining to reveal a solid scope of modern rock in an Americana veil. 

Opening track 'Planes' kicks into gear packing a sense of wizardry in motion. 'Peregrine Fly' follows adding substance to the album title from initial thought before drifting over as one of the record's mellower moments with a string accompaniment applying a shine to some refined rock. The tone is raised in 'Something Better' as a haze of guitar-fuelled frenzy pushes hard in the second of a trio of 6-minute tracks on the album. 'Half Lit (The Future's Ours)' is a punchy blues rock effort infiltrated by harmonica at the end, born in the pandemic and inspired by literally a half lit Coca Cola sign in San Francisco. 'Haymaker' brings the first half to a close with once again Gallagher toning it down a touch to draw you into the vocals and the lyrics they wrap round. 

Lee Gallagher likes to portray himself as a songwriter fronting a rock 'n' roll band. On the evidence of 'The Mission', which opens the second half, he is right on the mark in ways that touch listeners partial to good songs wrapped in a heavy sonic cloak. 'Every Little Sound' with its live recording is another of the 6-minute epics and is full of credentials to pinpoint it as one of the album's standout moments. The inclusion of Hammond organ and a twangy guitar solo helps pilot the impact. Strings, possibly violin, infuse a slower symphonic sound in 'Can Anyone', a restful successor to its predecessor in places, give or take a ramped up finale. 'Baby I'm Here' picks up the pace in the penultimate spot on a collection packed neatly in a 46-minute listen and leaves a notable mark with its infectious qualities. The live recording is felt in the count-in to closer 'Remember When' as the sentiment thermometer is raised for a track heavy on poignant recollection. 

THE FALCON ATE THE FLOWE is a heart and soul release sharing the craft of where cultured rock 'n' roll can take you. While often the rollicking sound to Lee Gallagher and Hallelujah harks bark to pioneering times, there is always a mantle for carrying a spirit forward. It has been well and truly claimed here with evidence running right through the music out there to absorb and enjoy. 

Album Review: Wayne Brereton - The Robin's Call

 

THE ROBIN'S CALL is the debut album from Irish folk balladeer Wayne Brereton. The release consists of seven personally sourced songs from an Irish, Scottish and Australian background and has succeeded amongst turbulent times. The backstory of multiple health issues, additional impact of the pandemic and a lifelong passion for such a pursuit to come to fruition adds an extra dimension to fully support the blooming impact of absorbing a sensitive and endearing take on compositions cherished with care. 

A sensitive and polished fervour to the vocals breathes fresh life into songs seasoned and no doubt well road tested. The versions here make an impact given sufficient space and will prove a good fit if you fancy a quick dip into a Celtic pool. There is a vibrancy to the instrumental offering putting a modern day mark on timeless music. A refreshing listen for a diverse palate with an artist creating a little place in a busy landscape to make a mark.