Gig Review: Mary Gauthier- Kitchen Garden, Kings Heath, Birmingham. Sunday 28th April 2024

www.marygauthier.com

A few eyebrows were raised when this show was announced and unsurprisingly the limited tickets were quickly snapped up. Maybe at this stage of her career, connectivity is driving Mary Gauthier, and there is no finer place to touch your audience’s hearts than the Kitchen Garden. Birmingham doesn’t always feature on the regular UK tour schedule for this esteemed Nashville songwriter but the small was made mighty in the love and affection offered to Mary and Jaimee Harris, the latter opening the show and playing accompanying guitar in the main set. 

Happy place is an increasingly used concept to find fulfilment in an ever crazy world. For some, it’s concrete like the surroundings of a favourite venue, for others it might just be a companionship or state of mind. You sense Mary Gauthier being in her bright zone with a specific focus being the relationship with Jaimee Harris. The spark is forthcoming and a duo status is just a couple of rungs down the billing ladder.The enthusiasm was plain to see and warm to feel as we savoured a pair of sets pushing close to the two hour mark. 

The music of Jaimee Harris has been gaining traction in the UK over the last couple of years to the extent of attracting new faces to a Mary Gauthier show. Instantly, her flamboyant attire drew a gasp and through an half hour opening set we learned a lot about the person- warts and all. Knowing their troubled backgrounds completes the jigsaw puzzle of how they are so good together. This evening we found out what an engaging and blossoming songwriter Harris is. Having an absolute legend close at hand helps, but she possesses so much innate class on her own. 

‘Love is Gonna Come Again’ was the pick of the opening set for its stunning low key effect. ‘The Fair and Dark Haired Lad’ followed one of several stories packed into an informative and enlightening support slot. Many want more Jaimee Harris, though for now she is an important cog of a cherished package.

Songwriting saved Mary Gauthier and she is not one to keep the ability under wraps. For instance, her set opened with ‘The Meadow’, a co-write with the incredibly talented Ben Glover, highlighting the collaborative skills. Gauthier does not limit her shared writing with industry friends as exemplified with the soldier songwriting project from a few years ago. If anything the driver these days is as much about sharing than striving for commercial gain. 

The set was classic Mary Gauthier. ‘Drag Queens In Limousines’, ‘I Drink’, ‘The Last Hobo King’, ‘Mercy Now’ and ‘Another Train’ have breathed life into so many live performances over the years and one more in Birmingham still upped their notch a touch. For me one key highlight was hearing a new song. ‘Some Time’ was written with Vince Gill and inspired by a photo of the iconic 50s train the Orange Blossom Special. The character in the picture yearned for their story to be told and one of the best in the business took up the challenge. 

There were so many interesting asides to the songs that referencing each one would be a mammoth feat. However savouring them first hand in person is the best place to be. We learned this evening of a 25th anniversary commemoration for the classic DRAG QUEENS IN LIMOUSINES album and I’m sure the book is closed on some UK dates celebrating the milestone.

There were advanced reports of book readings from earlier shows. The two shared this evening ran to barely five minutes and coming from her memoir were relevant adding a further literary gloss to a show where words matter.

Both Mary Gauthier and Jaimee Harris were grateful to everyone who bought a ticket, and appeared to thrive in the intimate surroundings of the Kitchen Garden. The performance  epitomised everything attracting you to exceptional songwriting especially which coalesces around Nashville Tennessee. The aurora exposed from such a melded relationship is like few others on the circuit. It was a happy place all round and more explicitly, a truly memorable night to house in the memory vault. 

Album Review: Pi Jacobs - Soldier On

 

www.pijacobs.com 

SOLDIER ON is the tenth release from Californian singer-songwriter Pi Jacobs and represents an artist at the peak of their powers. The eleven track-forty minute effort often checks in to the bluesier side of the American roots spectrum. This eases immediately into the listeners's lap with some nifty guitar work hailing further catchy credentials wrapped in album opener 'Hallelujah'. This slips seamlessly into an harmonica blowing start to 'Too High Too Low' with Jacobs' gutsy vocals refining an ear worm piece adorned with the relatable lyric sounding like 'we share a few laughs, three chords and the truth'. Sage words in the title chorus also suggests a balanced approach to life. Coincidentally, her last album in 2020 was ironically titled TWO CHORDS AND A LIE. 

'Coyote' picks the beat up a tad and comes across as an affable listen pitching itself to be savoured by many without ditching a roots undercurrent. This possesses one of many memorable melodies on the record. 'Something To Lose' brings a sedater presence to the proceedings with a voice, simple guitar and a bunch of heartfelt lyrics all that's needed to move the album along. The classy credentials of Pi Jacobs come to the fore in the poignant track 'Smoke Signals', dealt with a punchy beat while elaborately sung. 'Shoo Fly' represents the funky pivotal mark of the record with all the hallmarks of grammy producer Eric Corne being in charge of twiddling the knobs to bring the best out of Jacobs and her band. 

Pi Jacobs has had a much travelled career criss crossing her homeland acquiring an amalgam of sounds and styles that embed a core of Americana. You sense being in the company of a distinguished musician highly capable of finding the listener's sweet spot. 

'Mermaid' kicks off the album's second phase (or track #7 for the digital listening experience) and builds on the serene qualities displayed in the first half. Once again a mild dose of twang enhances the roots-tinge. For the first time, a slight edge in a contemporary country direction appears in the opening bars of 'My Last Day' and remains as the track rolls out to further develop a resolute album. Jacobs' dips into character writing for 'Charlene', which comes across as a personal song, almost in a lullaby style with added strings detected. The album title track appears in the penultimate slot with perhaps a kind of straightforward message emanating from the mid tempo 'Soldier On'. Maybe something all artists have to so at some stage of a lengthy career. The curtain comes down in the secure hands of 'I Don't Feel Lonely', a tribute to music itself and a fitting finale to an album stacked with sounds forming a pleasurable dive into the music of a consummate professional. 

The undeniable class of Pi Jacobs consistently stands out throughout the duration of SOLDIER ON. While longstanding admirers will savour this effort, an open door is there for new arrivals. Good musicians don't dwell and reaching new parts can stimulate a career to greater heights. 

Album Review: Ben Glover - And The Sun Breaks Through The Sky

 

www.benglover.co.uk 

Share the words anonymously with the poetry-inclined and approval is forthcoming. Share the musical nuances detached from the lyrics and sound geeks offer a nod. Combine these two essential elements and the result is Ben Glover back at the peak of the singer-songwriter mantle. A past canon of carefully curated songs left this Nashville-based Northern Irishman heavily stocked in the credit bank and at ease to decide whether a resume would further furnish the pile. Major winners in this return to form include those with the forensic demeanour to extract multiple nuggets from the past work, whether on solo records, co-writing with the  acclaimed or joining forces in the Orphan Brigade. Without glossing over 2020s short EP, it's been six long years since diving deep into a full length solo Ben Glover album. Roads may have branched off elsewhere in the intervening years, but AND THE SUN BREAKS THROUGH THE SKY brings things right back into focus with a compelling collection of nine finely crafted songs.

A quick scan down the credits reveals familiarity in abundance. Co-writing has been a fruitful path for Ben Glover and all but one materialise from that route. It's fitting that 'Make My Way Own' opens the album as the sole solo write due to the personal flavour pouring from the lyrics. Being greeted by the lines: 'Life can be a sweet conversation/between the dark and light' heralds a constant thread of poignant phrases spun like a poet web. A familiar name in Jaimee Harris lends her vocals to a track elaborately decorated. This links sleekly into a a couple of songs co-written with Harris' associate Mary Gauthier. This powerful partnership of pedigree prospers again with 'The Meadow' laced with southern sentiment and 'Till We Meet Again' proving the set piece closer awash with a lyrical structure synonymous of Danny Schmidt at his best. Both these songs appeared on Gauthier's DARK ENOUGH TO SEE THE STARS album, a continuing trait of co-written songs have multiple lives. 

We are accustomed to albums of this nature being produced by Neilson Hubbard. Not on this occasion though as Glover and Dylan Alldredge (another familiar names behind the controls) share the production duties. Hubbard does appear as the writing collaborator on title track 'And the Sun Breaks Though the Sky'. Keeping the East Nashville theme ticking is the usual link with Kim Richey. The two have been a touring combo in the past and team up with a pair of tracks on the record. 'One Fine Day' emerged as an early pick and the poetic intent in the writing marks the card whether wrapping your ears around the song or taking time to read the lyrics. 'Break For You' blossoms in the closing stages of the record with the mood for savouring excellence bedded in. 

Two names not recognised in the writing stakes take their place suggesting a move to keep the process fresh. 'There's a River' written with Eliot Bronson adopts a wealth of imagery that once again met with approval in poetic circles. Kent Agee assisted in the creation of 'Lifetimes Apart', a piece with a slight sound deviation courtesy of some faint strains of flugelhorn enhancing a lighter produced number. 

Trading songs with the greats has long been a Ben Glover forte. 'Arguing with Ghosts' did have a second life in 2020s low key EP release, but it's 2024 re-surfacing will further elevate the traction that is one of the integral reasons Gretchen Peters is a giant among song writing peers. It is interesting to note Matraca Berg made this a triple co-write in the day, a name we don't hear much of these days but is sorely missed. Together an absolute gem was created that lavishly opened Peters' masterclass project DANCING WITH THE BEAST. A sketchy memory somewhere in the distant past links the song to Peters' mother. Either way pouring over the majestic writing and six-year update on the production is a fine pursuit. It is also interesting to assess how a different version can be vocally owned. Ben Glover is adept at this as exemplified elsewhere on the release.

With such a strong record marking a celebrated return to the present array of astutely delivered song writing albums, the next stage is to re-establish some live presence. Always the part of the game with the most logistical challenges, yet when overcome unfiltered sharing becomes the icing. However you can separate the live from the studio, and the songs meticulously wrapped in the various formats of AND THE SUN BREAKS THROUGH THE SKY penetrate willing ears in the record form. Poetically dreamt, creatively produced - it is good to welcome the music of Ben Glover back. 

Album Review: Giulia Millanta - Only Luna Knows

 

www.giuliamillanta.com

Back in 2021 these pages hailed an introduction to Giulia Millanta's music: 'an imaginative and stimulating album'. Forward three years and this Austin-based artist has built upon a lofty assertion by spinning their wares in a parallel world. Millanta has chosen a bi-lingual route for the first time unveiling a sumptuous take on purring vocally through her Italian first language. The native tongue intermingles with English along a celestial landscape brimming with evocative sounds. ONLY LUNA KNOWS is roughly equal split on the linguistic front with the moon providing a constant thread alongside supremely crafted musicianship chiselling an emotive hollow for sultry vocals to blossom. 

While a narrow preceptive language horizon is often the case for English speakers, there can be an exotic glint when other tongues come to the fore leaving ample space for the imagination to spark into life. Four tracks are entirely in Italian and you get a sense of the theme in their titles: 'Luna, la Follia', 'Chiar di Luna', 'Luna lo Sa' and 'Mi Chiamava Lulu'. The bi-lingual feature permeates the opening track, where a slowed down spaghetti western feel leads the listener into the world of 'Fatale'. This track beds in after a few plays with layers of different instrumentation accompanying Millanta warming up her musical chops. 

The album title track commandeers the middle ground with 'Only Luna Knows' courting smart ears with a deftly delivered song. The writing credits link this solely to Millanta among a few co-writes and alongside a borrowed and re-interpreted piece. The name Gabriel Rhodes jumps out on the credits, known for his work with another Austin legend - his mother Kimmie. One of the tracks used to promote the album is the strongly messaged 'I Dance My Way' leaving a memorable lilt as it fades out. Another pick from the collection is 'Stormy Night in Paradise' with all the trappings cultivated in the production hotbed of Austin, although this particular album was recorded in Tuscany and blends two worlds through its participants and location. 

Sources list this as Giulia Millanta's ninth album. The reach began to widen on release number's seven and eight - TOMORROW IS A BIRD (2020) and WOMAN ON THE MOON (2022) - creating a momentum for ONLY LUNA KNOWS to launch from a name becoming increasingly familiar. The direction may be slightly different, but the impact is boosted by a warm cloak of diversity. 

Album Review: Heather Little - By Now

The association immediately to jump out when exploring the musical world of Heather Little is Lori McKenna. A few more miles down the track and the names may be placed together in the songwriting pantheon. Without jumping too far ahead, the first task is to wrap your ears around a rare and beautifully cultured album putting a marker down to what this native Texas can do as a recording artist. BY NOW navigates a path into the open world via the Need to Know Music label and presents thirteen preceptive tracks wrapped in the poignant honesty accustomed with the serious songwriting underpinning country music in its finest robes. 

A quick scan down the track listing reveals a song from the vaults launched to stardom via the rise of Miranda Lambert. Heather Little was the co-write of the mid 2000s hit 'Gunpowder and Lead'. A decade and a half later, a dusted down version containing an extra verse gets a reboot courtesy of the capable hands of violinist and vocalist Van Plating, who joins a host of other players helping Little bring her talents to the fore. 

Possibly the most notable artist lending their vocal talent is Patty Griffin. The legendary singer-songwriter helps out on two numbers with 'Hands Like Mine' and  'This Life Without You' being highly personally themed akin to much of the inspiration driver for Little. The album wastes little time adopting a raw stance with opening track 'Five Deer County' being amongst the standout candidates from a viewpoint of pouring scorn on missing loved ones. 

With a Miranda Lambert smash hit in the mix, it has taken an extremely strong song to prove the pick of the record with that honour going to the sublime melody-powered track 'Better By Now'. If this song portrayed self-doubt, this is some misplacement as the result is hugely listenable. Lyrics are an essential part of Heather Little's creative crusade and some of the album's most astute ones reside in 'Transistor Radio' where the digital age is lamented in the context of things that really matter. 

There is an awful lot to digest in this hour-long album, probably due to there being so much to say. There is an element of fate for Heather Little to step out of the shadows and push a fine bunch of songs so personally delivered. You sense integrity, sentiment and brunt honesty running through each track with compelling evidence that sometimes the source is the best conveyor of a truly touching song. BY NOW is a collection yearning the listener to return to time and again. An activity to relish for all junkies of a sincerely spun country song.  

Gig Review: Ramblin' Roots Revue - Bucks Student Union, High Wycombe. Friday 5th April to Sunday 7th April 2024

www.ramblinrootsrevue.co.uk

Ramblin' and maverick are sister words in our vocabulary. They conjure up what is indescribable about a music community roaming around the fringes, punching above its weight in quality and comradeship. Sometimes it tags onto the big beasts adding a touch of class to established genres and the semi mainstream. On the other hand, there is something special when it coalesces on its own terms, albeit small in stature yet big in heart. Ramblin' Roots Revue doesn't stand alone when carving a niche. But what it has nurtured over the last seven years is an identity and sense of belonging. While resolute at its core in terms of operation and support, artists and  audience will drift in and out creating a legacy that lingers. The date may be movable due to outside academic forces; the impact and importance to legions of active followers remains solid. 

The aftermath of another High Wycombe gathering is a time to reflect on what makes this event tick. Many will concur that anything north of the capital is an accessibility win. Okay maybe not in the realm of the sadly demised northern outposts of SummerTyne or Southern Fried, but a couple of miles from the M40 will suffice. Offering thirty different sets without a clash across an evening and two full days is as comprehensive as practical with the only debate when to rest aching legs from standing on an unforgiving hard floor for thirty hours. Space is apportioned in the Bucks Student Union to watch/listen to the music seated. However the best experience is on your feet strategically positioned to absorb the stunning folk vibes from Katherine Priddy or dance to the honky tonk tunes offered by Dom Glynn and His Sunday Best. 

David Banks & the Loose Change

Balancing a budget with a music menu to entice folks from around the country and further afield is a challenge met with credence by the organisers. Familiar names mingle with new discoveries to keep an event fresh and welcoming. Ags Connolly and Michele Stodart fired the opening and closing shots with a distinctive sheen. Ags turns subtle evolution into an art form, while Michele is on a glittering streak of output awash with tears, laughter and belonging. Wedged in between these long standing treasures is whatever the Clubhouse contingent turn to their hand to. The rocking delights of Luke Tuchscherer and David Banks are on an active upward curve, and both on top form. Meanwhile, the late night Clubhouse All Star jamboree welcomed back several old faces this year to celebrate the music of The Band. 

Every single festival with a 'ramblin', 'maverick', 'roots' moniker will uncover a new gem. Look no further than the sheer impact made by French singer-songwriter Bobbie who made you feel like a quest to crack the country code had ended. Time will tell, but for forty minutes on Saturday afternoon you felt like closing the book. She was that good. A festival can also be the ideal place to bring music from your periphery into focus. James Hodder has been known in various guises for a few years. His set proved it is never too late to hook into music matching every ideal you look for.

If you wanted a blueprint for a higher plane eclectic offering, late Sunday afternoon sprung from left field. Dallas Burrow brought a slice of 'Texicana' to Bucks with a a demeanour in the mould of Justin Townes Earle at his most expressive. Keiron Marshall uncovered an innate talent to front a stunning blues trio meaning there's no going back now with endless badgering to show more alongside the day duties. More stateside invitees graced the main stage prior to the finale in the shape of Kevin Montgomery's thoughtful songwriting and the powerful alt-country Canadian rock from long time practitioners Elliot Brood. 

Bobbie

The upward trajectory of the music from Kirsten Adamson, Sara Petite and Steady Habits continues to gather pace and they are locked into my musical world for the long term. At the other end of the scale, this was the first opportunity to catch the evolving experience of Brown Horse in a concentrated live setting. The band were just hitting their stride when the Friday curfew came.

Ramblin' Roots Revue 2023 closed with Bennett Wilson (minus Poole). Only brief unscripted cameos from Bennett and Wilson this year, leaving the path clear for Tony Poole to return with a 2024 incarnation of his legendary 70s outfit Starry Eyed and Laughing. You can't go wrong enlisting the services of Emma Holbrook on drums and Jim Maving on guitar, likewise a twelve string Rickenbacker and closing a set with 'Mr Tambourine Man'. Covers are generally rare at this festival, though making an impact when delivered.

The announcement of Ed Harcourt turned a few heads when the line up was revealed. However curve ball bookings aren't unusual, and they rise to the challenge of entertaining fresh ears with sounds from a different sphere. Horns, strings and up front keys did the job here as well as a pin drop floor finale. 

Kieron Marshall

From the buoyant and thriving AMA UK pool, early spots on each day were afforded to: Aayushi from Birmingham with her stunning folk-inspired trio; country influenced Scottish act The Niche Family and the unfortunately afflicted East of Reno, who had the triple misfortune of missing their drummer, a guitarist and breaking a bass. They stoically powered on in true spirit. 

Leading off Saturday and Sunday respectively, albeit on different stages, were Demi Marriner in full band mode and My Girl the River in a slimmed down duo format. There is an added depth to Demi's presence when surrounded by a band that brings the best out of her, while Kris drew plaudits for sharing her extremely important song 'Helpless'. 

Familiar faces popped up in a couple of other acts. Jim Davies, formerly of The Goat Roper Rodeo Band, is now one-third of the lively indie trio Bau Cat. Del Day resurrected his old band, MT. Caburn, for a set ably assisted by a guest appearance from his buddy Danny Wilson on lead guitar. The Vagaband are the veteran of so many Maverick Festival appearances that they also fell into the familiar category. This was in contrast to the final pair of new artists making this Ramblin' Roots reflection in the shape of the exuberant Majorcan rock band The Ripples and forceful singer-songwriter My Crooked Teeth.

Michele Stodart

Stamina was the order of the day to catch every act at Ramblin' Roots this year. Admittedly, a very small handful were a twenty minute sample and a few were listened to from the pews, not the ideal location but needs must. The economics of the event are a delight in this day and age. Inexpensive tickets and a pint for under a fiver, just like your student days, although for many 50p would be more accurate. An ease on your pocket not to be sniffed at, alongside a breakfast that undercuts Wetherspoons. Long may the value for money package remain as kind as the great music on display. 

April 2025 is like wishing your life away, and great ramblin', maverick, roots music is available 365 days a year if you search hard enough. But we all need markers. Maybe Ramblin' Roots Revue will continue to provide one. Cheers for setting the festival scene for 2024.