Gig Review: Nigel Wearne - Thimblemill Library, Smethwick. Friday 26th January 2024

You should never underestimate the challenge and trepidation facing an artist taking their music thousands of miles to new destinations. The stakes are high with a strong and resilient sense of belief required. Success can have a range of measures from deeply personal to collectively communal. A positive outcome must be a proud accomplishment. In the early phase of a second significant visit to the UK, evidence is pointing towards an enhanced reputation for Nigel Wearne as he plots a way into the hearts and minds of a welcoming and open music scene. One key indicator is an audience returning to your shows. Having appeared at Thimblemill Library almost twelve months to the day, not only were returnees in the audience, but a whole host of curious observers eager to take a chance on a new name. On his previous visit, Wearne shared the bill with Lauren Housley. From a short window, enough positive seeds were planted, and now the opportunity arose for folks to learn a lot more about this culturally driven Australian.

On one hand, similarities with a string of US artists run deep, and Americana with all its ambiguous nuances feels a fit. Alternatively, there are so many influential strands tossed into the pot that trying to pin down a music identity is a tough task. Narrowing things a little from the floor of Thimblemill Library, vibes flowing from the stage were etched in folk and blues. With this in mind, the latest album has two versions floating around - one stripped back ala tonight and the other draped in every big sound you can imagine. The latter live is a fascinating prospect, but let's not get too far ahead.

There was a decent turnout at the library this evening. I'm even going to surmise it exceeded last year's show. Good news is popping up all the time for this vibrant cultural hub as its arts programme continues to widen aided by newly acquired funding. Live music retains an important part of the offering, whether promoting local talent or being a receptive haven for touring artists. This evening's support came from neighbouring Birmingham, and it was good to see Amit Dattani back playing live. His deftly touched country blues is fighting back  against numerous pitfalls and afflictions. 

  

There were many facets to the live persona of Nigel Wearne. The vocal style is not as deep and profound to what you instantly expect, but it strongly conveys the meaning of the songs. Top notch string picking brings life to an acoustic guitar and banjo. Maybe more from the latter would have enhanced things during the show especially as a track towards the end was dynamic. He is not afraid of playing an intrinsic instrumental and feels comfortable to test a few developing pieces on willing audiences. We're a kind lot in Thimblemill Library.

The banter was a neat blend of appreciation, essential storytelling and marked observation. If Lucinda Williams is going to champion you, shout it loud and clear. Social and political justice is at the heart of his music and wider beliefs. He will find many likeminded Brits on the path being navigated. It was interesting referring to his country's national day as Invasion Day- coincidentally January 26th. From afar we get it and fully understand the global nature of cultural divisions. It is always good to garner an insight to historical events of simmering relevance from different parts of the world and this evening we learned of the Eureka Uprising in 1850s Ballarat. 

The perception of Nigel Wearne evolves as an astute touring artist. Mindful of his surroundings, associates and forging relationships to ease the journey. It enormously helps possessing an impressive music package and having a key knack of a memorable delivery approach. 

The return to Thimblemill Library followed appearances at a couple of industry showcase gatherings. Those things can serve a purpose, but there is nothing like getting out there with the people especially causal onlookers seeking a music liaison rather than a posse of dedicated observers. 

The road from the English industrial Midlands is packed with connective opportunities over the next couple of weeks before Nigel Wearne returns Down Under. There is an optimistic outlook of things panning out quite well. Whatever the desired outcome from this second trip to the UK, increased interest, respect and admiration is forthcoming from audiences both finding and returning to his music. 

www.nigelwearne.com

Album Review: Malcolm MacWatt - Dark Harvest

 

www.malcolmmacwatt.com

From an Highland upbringing to wherever the hat was laid, Malcolm MacWatt has developed a broad and deep outlook featuring strong in his song writing. Traditions, stories, identity and justice pour from a curious mind finding an illustrative home in the music sculpted by a multi-instrumentalist background. The lure to borrow the term 'Transatlanticana' couldn't pass as it gets to the nub of what fires the passion in this Scot's approach to music especially melding a deep feeling of his homeland and all things Americana. On the back of a 2021 record joined by artists of the stature of Gretchen Peters and Laura Cantrell, MacWatt returns to the release cycle with an album full of countless nuggets, wise words and laudable appeal. DARK HARVEST is a full-bodied collection of almost entirely original pieces, politely requesting a return investment in listening intent. The deal is sealed when charmed by a sincere bunch of songs thoughtful in creation and richly coated in execution.

Short changing is not in the DNA of Malcolm MacWatt. Fourteen songs spanning an hour is the prize for clearing the listening schedule. You can probably double the interest time when satisfying a curiosity aroused from a multitude of characters and stories unfolding. One trait not requiring a follow up is a desire for justice and a deep-rooted pride in Scottish identity spilling over into the current political landscape. 

While an independence stance, on the music front as well, and ploughing a solo highway is the path chosen or practically dealt, smart collaboration crops up in places. Highly acclaimed folk artist Angeline Morrison adds vocals to the relevant 'Empire in Me' continuing themes from her celebrated album. MacWatt couldn't envisage anyone else taking on this song. From across the pond, Nathan Bell lends a spoken vocal part to title track 'Dark Harvest' where uncovering the truth and seeking retribution sparks a true story from a Scottish island. You sense the values and leanings of this pair are aligned. The third credited assistance comes on the album's only non-original track. 'Out on the Western Plain' has its roots in the content spawned by the legendary Leadbelly, and for this version securing the services of Irish guitarist Pat McManus to provide a bluesy edge was a coup. 

The album is bookended by a pair of tracks fuelled by a Scottish heart. Opening with 'Strong is the North Wind' and closing with 'Semi Scotsman' leave you in no doubt of a proud heritage. A smart move to announce your arrival and parting with such passion. Another track rooted north of the border is 'Heather and Honey' where the drawbacks of a Highland life are mooted. 

One background nugget to resonate was the sentiment in 'The Nightjar's Fall From Grace' of quieter voices struggling to be heard. A travesty when theirs can be more meaningful than the opposite. MacWatt delicately makes his point in a delightful song. 

Four historical characters yield their voice in song via MacWatt's writing. Early political icon Watt Tyler is the inspiration for 'The Church & the Crown', while a blackspot in English history is dealt with in the explicitly titled 'Brave David Tyrie'. We cross the Atlantic to learn about the sad plight of an unnamed Canadian first national in 'Red River Woman' where the story slates misogyny, racism and violence. James 'Scotty' Philips is the subject of 'Buffalo Thunder' with a Scottish slant added. As an aside, this song was first heard just after watching the Ken Burns documentary The American Buffalo. 

The final trio of songs lodge in the second half of the album. 'Drowsy Maggie' opens with a Celtic-driven fiddle part, one of MacWatt's many musical talents, although he leaves the piano to others when the song kicks in dealing with the impact of drugs on society. This is preceded by 'The Last Bowman' influenced by a personal interest in archery, though the song soon hones in on other issues of preserving tradition. Preservation is the theme of the last song courting comment with environmental concerns brought to the fore in 'She Told Me Not to Go.

In some respect it is brave of Malcolm MacWatt to pack so much into DARK HARVEST. There are obviously so many ideas brewing and clamouring for space. Also, opportunity has to be grasped when you are an independent artist, and one has been afforded here via a second album link up with US based label Need to Know Music. The mantle has been grasped with relish and rich pickings run deep for likeminded music fans sharing the ideals of this singer-songwriter. Time and space are the keys to engagement. Also, no doubt floating on the horizon is this record hitting the road. It will come to greater life in a further explanatory format. Conclusively, DARK HARVEST is a record finely tuned to reach its audience and goals.

Gig Review: Tim O'Brien - Kitchen Garden, Kings Heath, Birmingham. Wednesday 24th January 2024

 

Over a distinguished career, Tim O'Brien has without doubt played contrasting venues in many cities especially possessing an ability to adapt between grand palatial settings and intimate places where the listening zone is unfiltered. The West Virgina native-longterm Nashville resident can now add Birmingham to the list with the Kitchen Garden joining the Symphony Hall as stages hosting the talents of this premium musician, lauded songwriter and authentic country vocalist. On the stroke of eight o'clock, O'Brien descended the wooden creaking staircase, weaved his way through the cramped dining chairs and positioned himself in the performing spotlight. He asked if there were any country, folk and bluegrass fans in the house and proceeded to entertain a packed venue with music as pure as a mountain stream. 

The sold out signs soon followed the coup announcement of Tim O'Brien playing the Kitchen Garden Cafe in Kings Heath. Previous visits to Birmingham have seen him join the Transatlantic Sessions cast for their annual jamboree around the nation's plush concert halls. The crowd appeared to include many devotees alongside more curious observers. Maybe if a few chose to return to see the many up and coming homegrown roots artists playing the Kitchen, then the battle to promote such music at the grassroots would be easier. 

Celtic Connections is often the magnet for US musicians to tour the UK in January. Small venues around the country benefit from artists seeking to add a few extra dates around the Scottish centrepiece. For this trip, O'Brien was accompanied by wife Jan Fabricius playing mandola and adding backing, duet and, on one occasion, lead vocals to the format. With no support on the evening, the pair played a standard 45-minute opening set before returning with an hour long second half after the break. Although the quantity is always relevant when shelling out money, quality is the driver when Tim O'Brien hits the stage.

Acoustic guitar was the main instrument choice for the evening with occasional hops onto mandolin and fiddle. Whatever the mode, virtuoso charm filled the room. Effortless playing is the order of the day and being held in a mesmeric trance is one of the joys of witnessing top class playing in a tight kinit space.

The banter swayed from dry humour to informative nuggets. Nashville neighbourhoods, lamenting home politics and honouring his peers were just a few of the themes. Of the names mentioned, we learned of a recent recording session with Tom Paxton, alongside a Tim O'Brien slant on the work of Bob Dylan and the Carter Family. There was one tetchy moment when an intricate fiddle version of 'Working on a Building' drew unwelcome audience participation. Eventually this bluegrass version navigated its way to a rousing conclusion with O'Brien conducting a mass unaccompanied singalong.

On a night where the audience was spoiled to have so much high calibre music close at hand, it is a credit that Tim O'Brien and Jan Fabricius still find the magic to share their music in intimate settings. This timeless display of traditionally focussed country, folk and bluegrass music was a joy to behold. It should never be taken for granted when a legend passes through town. A sold out Kitchen Garden gave love in exchange for a super show.

Album Review: Jack Cade - Bewilderland

www.jackcade.com

Jack Cade cuts a fuller sound on his latest album carving a deeper niche in the UK independent music scene. A thoughtful stare from the sketched portrait on the cover coupled with a title leading down a route of curiosity sets the scene before the evocative baritone vocals and overarching sound creates a foothold. A smart rule for despatching a record into a crowded listening space is to fire the first barrage with your strongest hand. As appealing as the summative listen to BEWILDERLAND is, lead track 'Change Your Condition' reigns supreme over its counterparts to the  extent of potentially becoming a signature song for both artist and any realm infiltrated. A strong structure yields a sincere message delivered in the vein of Johnny Cash wandering into a Spaghetti Western set.

Heavy twang tightens further when the pedal eases on second track 'Roll Them Dice'. By now the die is cast and Cade's voice has either wooed disciples or shaken off limp ears. We then enter a faster paced indie-gothic phase in 'The Faster You Run' where additional lighter backing vocals add a deft touch to the powerful aura. You could envisage swirling dry ice smothering the protagonist in 'Little Secret', an intended, or not, themed association primed for sparking the imagination. 'The Glitter Around the Eyes' slows things down at the midpoint with Cade widening the soundscape with vibes aligned more in an Americana direction, albeit in the darker corners where hope battles hard. 

BEWILDERLAND is the fourth record from this south coast-based singer-songwriter-musician and significantly builds on the impact of its predecessor THE DEATH THROES OF A JADED EMPIRE, which opened new doors for Cade. The theme grapples with life's afflictions proving once again fertile song writing rises to the surface in murky pools of pontificated reflection.

An intro with a sombre beat joined by an increased cello presence heralds the second half with the duet vocals of Helen Muggeridge adding a folk music tinge to the stratospheric leaning 'Where the Sun Meets the Moon'. We are in deep excavation territory now. Suddenly the switch is flicked and a new bout of energy bursts through with the bellowing tones of the electric-fuelled 'Love Will Burn All Down' reigniting procedures. 'Heal Me (Everything Ain't Alright)' is another delve into the subterranean world of indie-goth and Americana misfits. Addictive qualities spill into the listening sphere to add impact to a record not short of pulsating lure. 'Rocking Horse Blues' seeps into your senses as one of the more memorable compositions while heading towards the end with acres of melodic high octane twang. A optimistic conclusion holds out an olive branch to the next Jack Cade outing. 'Keep Believing' echoes the wise words of a song writing sage brushed down and ready to maintain the fight. The vocals finally temper at the fade out leaving a bold calling card. 

Jack Cade tosses a potent record into the mix for willing takers. BEWILDERLAND broods in places while never losing sight that owning the moment with a powerful swirling sound can be a winning formula. From a spectacularly launched opener, momentum takes hold and delivers a substantive, sonically graphic album. 

Gig Review: Ashley McBryde - O2 Institute, Birmingham. Sunday 21st January 2024

Six years ago, Ashley McBryde graced the stage at the O2 Institute for a Birmingham debut opening for Luke Combs. She may even have expressed a desire to return one day to headline with her own band. If so, fulfilment on one front is now achieved having wooed a near sold out venue with an assured display exuding all the craft and confidence making her one of the most important artists strutting out from the clutches of the major label Nashville country scene. Three albums have followed on from her 2018 breakthrough release, each one projecting the stature of this Arkansas native. An overriding feature of her music has been the triumph of substance over style and a knack of writing melody driven songs constantly refreshing a trusted template. 

On record, McBryde cuts a mean operator; on stage, she channels the part of acute entertainer. A fired up backing band added all the rudimentary requirements to lavishly perform a bunch of songs wholly representative of what we have heard on record. It did cross the mind why so many backing bands are male dominated. The ceiling is being breached upfront, but seemingly not so in those key roles that help illuminate a live performance. The ease at which she flourished from her band's input enabled the show to effortlessly roll along. Whether joining the guitar contingent on acoustic and electric or occasionally freeing herself up for sole vocals, everything about McBryde's performance was primed to package her music on the terms of the artist, while retaining a popularity from an inclusive audience. The present set up is serving Ashley McBryde well, but you feel there is much to offer if the urge to breakout and head down an independent path proved a lure or necessity. On the instrument side, keys, guitars and drums were briefly joined by fiddle, mandolin and bouzouki. There is not really a roots side to the music of Ashley McBryde, but the live show would benefit enormously by the presence of pedal steel.

There was a cautious start to the set when the band entered the stage at 9:20. The scene of all electric guitars and drums powering through 'Blackout Betty' heeded an unwarranted warning that a rock fuelled sound may become the defining landscape of the evening. Quickly, one guitarist settled on the keyboards and what unravelled was a near-perfect accompaniment as they adapted to the intended mood of each song. Three numbers in, McBryde echoed the phrase country music in her intro and duly delivered with 'Brenda Put Your Bra On' from the enigmatically curated concept album WELCOME TO LINDEVILLE. Sadly that was the only song from the record to make the setlist this evening. 'Bonfire at Tina's' featured at earlier shows but not tonight.

Ashley McBryde is not at the forefront of re-designing the country genre for the modern age. Her music tends to rattle in three chambers; a distinctive traditional vault with ballads and jaunty singalongs, a conventional rock infiltration brought by slick solo guitarists and a heartland driving beat not unlike many bands plying the Americana and alt-country highways. The stamp she puts on each approach is dressed with a slice of sass and a vocal sound holding its own in bigger arenas.

An asset this evening for Ashley McBryde and her band was the impeccable acoustics of the Institute, a traditional ornate venue in Birmingham's Digbeth area long before its current corporate incarnation. A sweet sound is an audience dream and something cherished by the main act and the two supports on the evening Harper O'Neill and Corey Kent. Both introduced themselves as from Texas, and set out in a brief outing to showcase a personal-tinged approach to country music. The backstory appeared prominent and both found allied minds in an audience packed in well before proceedings began at eight o'clock. 

From a twenty-plus long setlist, countless highlights surfaced. The iconic moment came towards the end in the guise of signature song 'A Little Dive Bar in Dahlonega'. A lengthy background intro set the scene with an addendum fitted in before the finale when fans vociferously filled an invited chorus gap. Two upbeat numbers heralding the sound at its thumping best were the Springsteen-esque 'El Dorado' and a surprise addition from previous tracked shows of the rousing 'Martha Divine' in the sole encore slot. 'Whiskey and Country Music' and 'Women Ain't Whiskey' both wear the essence of their title in strikingly good songs, while multi-sided emotion runs deep in 'The First Thing I Reach For'. The career propelling evocative personalised ballad 'Girl Going Nowhere' had an interesting airing when its required silence was breached by an altercation in the crowd. Two men were quickly berated by dozens of women. In a flash, order was restored and the song rang true in its desired environment.

The stormy weather blighted gig arrival and departure times, but nothing could dampen the stellar show given by the hugely impressive Ashley McBryde. Her music has been massively enjoyed since getting the big break, and if you delve back an album further, the mini effort JALOPIES & EXPENSIVE GUITARS is a riveting listen. By nailing the present, the future is there to be grabbed on an artist's own terms. Hopefully, it won't be another six years before a Birmingham return. This show was an outstanding success and it surely can only be replicated or even built on with slanted improvements over time.

Album Review: Brown Horse - Reservoir

 

If you have tracked the output from artists attached to Loose Music over, at least, the last decade or so, you will know the centre ground is rarely the trodden path. For their latest venture into the recording world of all things pre-fixed 'alt', the London-based label have delved into deepest Norfolk (or at least urban Norwich) to uncover a band spinning a sound not the usual fare you hear on the homegrown wires these days. Brown Horse have been creating a stir with each track unveiled culminating in the release of their debut album. RESERVOIR instantly draws comparisons with a world where 70s folk-rock meets 90s alt-country. A crude overview maybe for an album dictating its own presence and falling into the laps of active listeners schooled in the Americana psyche. 

Since their formation in 2018, Brown Horse have evolved from a folk quartet into a six-piece combo fuelled by an escalating electric guitar presence and the assorted instrumental back ups. A rock-influenced double blanket of amplified strings and cracked vocals warms the ten tracks forming this inaugural release, yet beneath the layers stunningly good songs reside aching for discovery. Another Loose alumni, Dawes once said at a festival 'strip away all the guitars and you're just left with a folk song'. Simple but true and extensively evident in Brown Horse. If a more recent Loose Music artist likeness is sought, try Treetop Flyers especially in some of the vocal parts. 

RESERVOIR is not an album to fully grasp even after the first few listens. Patience is a useful accompaniment. The pre-released tracks hinted at a robust undercurrent without strong hooks to lock in a song from the off. Even after buying into what the band have created, there isn't a particular track gnawing at your ear demanding constant repeat plays. Where the album scores highly is the deep rooted appeal from losing yourself into its evocative vibes from a dedicated listen.

The country channel chosen by Brown Horse is primed for the open eared and not the faint hearted. Opening track 'Stealing Horses' references Jimmie Rodgers and evokes a narrow band of country music in a track glowing in ragged delights. As the album flips over into the second half, 'Paul Gilley' sends you down a rabbit hole of curious discovery. A relatively undiscovered, yet apparently acclaimed country songwriter is heralded. We learn he is credited with the Hank classic 'Cold Cold Heart' and succumbed to tragic circumstances. The perfect ingredient for a country leaning song. 

Brown Horse have also received the message of the role melancholy plays in making a record like this and rinse their songs in the muddy waters of dark matter. As you would expect from the rock overcoat, guitars, often of the heavier variety, frequently dominate the soundscape leaving your ears to strain a touch in tracing the fiddle, steel and accordion. 

The unveiling of RESERVOIR highlights Brown Horse's position of making music at the edge. They have the ideal opportunity to create a niche in the UK Americana market wooing fans looking for something different in these homogenised times. A busy year lies ahead for the band with gigs and festivals lined up. A few overseas trips shouldn't be ruled out alongside recognition in those end of year awards. All that is for the future. January is the moment for folks to get their teeth into an intoxicating album. 

Album Review: Grey DeLisle - She’s An Angel

www.greydelislegriffin.com

On the back of last year's covers album, Grey DeLisle further cements her return to the fold of recording artist with a commendably listenable album bubbling with original material indisputably labelled 'country'. With Deke Dickerson in one of the production driving seats and Ray Benson chipping in on a tongue-in-cheek vocal duet, the slant of country is nailed to a pedal steel pulsating rhythm and a vocal sound gloriously channelling some inner Dolly. Voice is right at the heart of DeLisle's identity with respect to a lengthy career as American animation's most prolific voice artist. From a creative base of interpretative art, the transition back to music blossoms in how an iconic style is conquered and swiftly translated to a modern page. SHE'S AN ANGEL smoothly glides through the listening channels making you smile and dance, not forgetting the essential bout of heartbreak. 

All but one of the album's fourteen tracks are original songs with DeLisle locked into the writing mix. There is irony that the odd one out a Billy Vera composition - 'I Really Got The Feeling' - was written for Dolly Parton, a name that frequently flashes across your mind as the vocal sound unravels. The other big name association is the aforementioned Benson who duets on 'The Dog', a number draped in a humorous cloak in the tradition of many light hearted country predecessors. 

The forty-two minute running time rattles along in a flash duly helped by standout tracks in the opening and closing slots. Before you slip on 'I'll Go Back to Denver (and You Can Go to Hell)' you know from the title what to expect and reality duly plays to form. By the time 'Quit Pickin' on Me' hails the end, you're totally sold with DeLisle's vocal adeptness to inject feeling and colour into each song thus sealing the deal.

Several delves into the record eventually ease out 'Who Bought the Boots Beside You' as a flagged up track. All the traditional country credentials are in place to illuminate the song. 'She's an Angel' is one of the more curious tracks with a sudden jolt towards the end bringing all the ties of a sentimental heartbreaker together. This track neatly segues into the contrasting uplifting vibes of 'I Like The Way You Think I Think', with a toe tapping upbeat appeal and a dip into a jazzy-Western Swing world. 

A brief spurt of glorious steel heralds 'Wasted' in the record's early stages as the you start to get the feel of what DeLisle and her team are about. More steel in the latter part will float the boat of those smitten by some twang. Fiddle doesn't appear to play a large part on the record but is right at the core of 'Shake That Thing'. Melodies are prevalent throughout probably peaking in the delightful vibes flowing out of 'Everybody's Baby'. 

Back to the early stages lead you to 'Stick and Poke', the first inkling of the Dolly-effect, though the track struggles to make an impact against its big hitting counterparts. Making a greater imprint a couple of tracks down the line is the rhythmically jaunty 'I Missed You' blessed with an infectious beat. 

The two remaining tracks bringing this fine collection up to a full complement are the interestingly constructed western story song 'Cowboy Joe' with the lyrical content shining brightly and 'Big Sister' where things veer in a country blues direction. All the songs chosen for this album are up to scratch, smoothing the ride as the charm weaves it way into your country heart. 

SHE'S AN ANGEL is one of those dual propelled albums with separate release dates across the pond. Europe officially gets to savour what the Americans have enjoyed for a while on January 19th. Regardless of strategy, the move to jump onto Grey DeLisle's country re-birth is advisable at anytime. She really possesses the knack of making a good record, whether funnelling her own talents or engaging with wise accomplices. 

Album Review: Pawn Shop Saints - 45 American Lies

 

www.jebbarry.com

No rush, plenty of time, listening to music is a leisurely pleasure. Three thoughts that come to mind when facing the prospect of diving into the new record from New England-based Americana outfit Pawn Shop Saints. Releasing a 45 song album with a running time close to two and a half hours may have Jeb Barry scratching his head in years to come. Yet it felt the right thing to do in the summer months of 2023 where instinct and intuition no doubt played as big a part in the recording process as strategic planning. 45 AMERICAN LIES is definitely an album with a difference and its idiosyncrasies may well open doors to an artist well-tuned in delivering a highly crafted song. 

For practical purposes, a digital release is the only realistic mode to offer listeners. A sensible approach from a band operating at the grass roots and one where you still get a good feel to a varied style of largely acoustic tunes spun on the folk, country and Americana axis. The digital format enables you to curate your preferences from the bundle, a case of DIY with a difference.The recording process is organic and 'on the hop' giving the songs a stripped and honest airing. The latter is not an intended pun on the title, I promise. Once you give the songs some listening oxygen they swiftly flow down the lanes, backroads and highways of your mind. 

If you've been following the recent output of Jeb Barry and Pawn Shop Saints (both names have been applied to releases), you won't find any duplicates on 45 AMERICAN LIES. We learn that the record draws from a mixed pile: a few from a couple of decades ago, others surfacing in the last few years and now finding a home, while some were born out of the recording process. The theme leans heavily towards independent fictional visions with imaginary characters drawn from the fringes as you would expect in an Americana billing.

Tables are turned on how a listener can approach 45 AMERICAN LIES with it entirely being open minded. One adage could be a desire to explore the more conventional back catalogue where you get similar intent within alternative coatings. This project of brave ingenuity does create a stir and raise the eyebrows before ultimately settling as an interesting and fulfilling body of work. A final recommendation is to give it at least one complete listen. It will prick the imagination and a take you on pleasurable journey. 

Gig Review: Kaia Kater - Kitchen Garden, Kings Heath, Birmingham. Tuesday 16th January 2024

 

The appeal of Kaia Kater in the UK showed its strength with a near sold out show at the Kitchen Garden in Birmingham on the opening night of her three-week tour. This year is set to be a special one for the New York-based Canadian with the spring release of a new album to follow up the highly acclaimed 2019 record GRENADES. A tie up with US label Free Dirt Records is a good fit as they continually champion roots artists of the highest calibre. She was returning to a venue last played in 2018 which itself was a follow on from appearing at the previous year's Moseley Folk Festival. Back then the format was a duo show with bassist Andrew Ryan, and the same line up was in place for the renewal. 

Across two sets, a wide mixture of songs were played including a selection from her previous album and its predecessor NINE PINS, joining a handful of covers, in addition to several new tracks set to feature on the new album. Leading the way with the new material was the first single 'The Internet' accompanied by its lockdown origin story inspired by an aborted online show. Throughout the evening, Kater was appreciative and informative in her inter-song chat showing an acute knack of bonding with an audience patient for her live return especially as there was a cancelled lockdown gig. 

The trademark banjo featured on a bulk of the songs interspersed with the odd use of acoustic guitar and a couple of occasions where sharing only her vocals was deemed necessary. All along the impeccable timing of Ryan on stand up double bass created a layered backdrop for the music to flourish. 

For those attending their first gig of the year, a high bar was set as Kaia Kater is sure to woo many an audience on the roots circuit across both sides of the Atlantic this coming year. 

Album Review: Hannah Ellis - That Girl

 

www.hannahellismusic.com

Within the first four tracks of this debut album from Hannah Ellis, a striking resemblance to Maren Morris, Ashley Monroe and Miranda Lambert illuminates the landscape, and that is just for associated starters. Maybe it's just tried and tested ears that relate to the fare dialled up from the latest artist transitioning out of the co-writing set to being fully upfront and possessing full belief that a talent can travel far. Nashville label Curb Records have afforded THAT GIRL the optimum space for Ellis to show her worth and a bright and breezy totemic country pop album is the outcome. Challenges come thick and fast for records like this. Formulaic radio often preserves its own templates, while alternative visions of a genre's soul may need microscopic assistance here to fuel an ideal. Evidence mounts that a third way triumphs in a lush textured release primed for the soft ear while retaining organic intent and an eye on channelling modern trends. 

Kentucky-raised Ellis has a hand in the writing credit on all thirteen tracks and is astute enough to avoid song wastage. From whichever angle is approached, merit is aplenty with the art of not funnelling the content down a narrow channel successfully achieved. Gender plays a major part (no more significant than title track 'That Girl') without any alienating tendencies. Perhaps in contrast to more defined material spilling out of mainstream Nashville. 

From its blockbusting opener 'Country Can', where inspiration is surely derived from Maren Morris's 'My Church', to the sincere gentle swaying closer 'Too Much and Not Enough' which echoes a style finale framed by Kasey Musgraves over the years, the peaks generally smooth out to leave a constant high. These two tracks are among half a dozen to surface ahead of the full album release, an increasing trend in these digitalised days. 

Joining them from the opening quartet are the impishly joyful 'Wine Country' - the type of fun song that could be a Miranda Lambert deep cut- and the refreshingly catchy 'Us' that from one angle resembles Ashley Monroe buoyantly blasting out 'Onto Something Good'. The other two early offerings come next in track order succession with the emotive ballad 'Someone Else's Heartbreak' and the wryly slanted 'Karma on the Rocks'. 

'Still' sits pretty at the numerical core of the album allowing for some soul searching before reverting to type with the conclusion, while 'Replaceable' is another that wouldn't sound out of place in the lower reaches of a recent Miranda Lambert album. 'Somebody Else' serenades at a generally lower tempo leading into the dream-laden 'Plans' with its idealistic nature. 

The pick of the new tracks getting their unveiling on album release day is the proudly sung and keen spirited 'Home and Hometown', a semi-anthem delivered with personal fervour. Completing the baker's dozen set in the penultimate slot is the ultra modern sounding  'One of These Days' inviting active audience interaction via its enticing manner. 

All the associated names jumping out to form the early perception of THAT GIRL eventually subside. There is only one name that matters. Hannah Ellis has announced an arrival in glowing colours and laid the groundwork to a prosperous future with a emboldened debut release best defined by the appealing reception that awaits. More importantly this is a record for the present. Slow burners have a place but equally do those accelerating quickly from the blocks as a new year begins. This album wastes little time in making its mark.

Album Review: Jake Ian - Lawrence

 

www.jakeian.com

Almost three years on from his most recent album outing, Jake Ian returns to the LP realm to serve another portion of road crafted material capturing the essence of the meaningful song. From the substance of its nine-song content, LAWRENCE quietly proceeds to navigate a rugged terrain never swaying from an articulate listening zone. The contrasting darkish shades from the cover infiltrate the sound in places as once again music soaked in connective quality succinctly translates from the northern Alberta back roads to switched-on ears in far off lands. 

The album kicks off with Ian in whispering mode to deliver a song draped in seemingly personal trappings poignantly titled 'Past My Prime'. A warm and gentle start promises rich pickings to follow. A gilt edged gem to lift the record into the sphere of the empathetically tuned-in resides in the number two slot where 'Engine 44' shimmers with solid hooks and a driving rhythm. An early playlist candidate jumps out to folk and Americana minds piqued by such offerings, especially one with some aspect of road trip connotation. The opening trio is completed by 'Such a Sight to See' where the tempo slackens to a waltz-like motion with a touch of mournful violin toning the veneer. 

Proceedings get a little darker with the vibes easing out of 'The Sounds of the Wind' as Ian keep things ticking with powerful tidy sub-four minute packages. Another defining moment of impact comes in the opening bars to 'The Bloodshot Sun'. You feel in the presence of a well-trodden genre-sound that seamlessly transcends a deluge of songs. The track roles out to meet approval incorporating a delightful coupling of harmonica and piano. Ian's vocals and gritty identity are embedded by the time we reach the twang-laced 'It's About Time'.

The peaks on this album are strategically planted in every other track with 'Big Jack' carrying an increase in tenacity and a memorable chorus willing on the unlikely subject. Like the methods of effective songwriters, active listeners are invited to dissect the meaning as Ian sharpens his writing style. 'Thief River Falls' sees sweeping imagery come across in a moderately spun story song with a bout of steel detected as a new introduction to the instrumental line up. A successful trait sees the song bind the vision of the writer and the listener's mind. We end deep in a Canadian winter with 'Lawrence' using violin delicately to paint a picture of a slow way of life. Implied cold lyrics heat up with an artist's warm and affable delivery style.

LAWRENCE is a carefully curated gift. Nothing appears rushed as Jake Ian implicitly ties his personal approach to song writing in an accessible bundle labelled - 'rambling musings of a Canadian troubadour'. A lightly polished diamond never losing sight of what makes the listening experience tick.