Gig Quest: Kacey Musgraves - Civic Hall, Wolverhampton. Monday 13th May 2024

 

Kacey Musgraves last toured the UK in 2018 when promoting the GOLDEN HOUR record. Much has happened in the intervening period including the release of two albums taking the quota up to six (including the Christmas effort!) since breaking into the big time with SAME TRAILER DIFFERENT PARK in 2013. Evolution defines the progression of an artist flickering on the border between country and pop. Each record sparks debate on the fringes, while shoring up a fanbase fully behind their hero's directional whims. 2024 sees Musgraves in a good place, comfortable with an album reflecting a clearer state of mind and strutting a stage with assured confidence and wit. 

New horizons on the touring landscape have emerged with Wolverhampton muscling in on nearby Birmingham's monopoly of mid-sized gigs over the last few years. Marketing calls this venue The Halls, enhanced local knowledge will always address it as the Civic Hall. Either way a lengthy yet impressive revamping means more near-sold out nights like this are required to recoup the investment. 

The run up to this penultimate venue of the UK leg of the DEEPER WELL World Tour proved interesting. Heavily discounted stalls tickets were easily available on reputable sites, yet there was barely a space to move on a packed floor. Without insight, it is difficult to say whether losses were incurred or a question mark against ticketing prices. The upside was £31.50 resale all in, a third down from booking the same ticket on release day. Food for thought, and ultimately more palatable. 

Madi Diaz was invited to open the UK shows and this fellow US singer-songwriter felt at ease sharing stories to fresh ears. The half hour set fell into two parts. The opening segment was delivered via an ineffective and overpowering electric guitar with lyrics suggesting a lack of maturity in getting the message over. When switching to acoustic for the final couple of numbers, the sound was richer accommodating songs with a greater credence and reach. A mixed bag from a performer with a lot to offer. 

This was the fifth time watching Kacey Musgraves play live. Manchester 2014 (Country and Western Revue), Royal Albert Hall 2015, Country to Country 2016 (super Sunday with Eric Church, Chris Stapleton and Andrew Combs) and Birmingham 2018. The first the most eye opening; the latter the most reassuring. Wolverhampton 2024 felt like a crossroads. 

A stripped down 'Follow Your Arrow', now an acoustic mid-set number, is the sole survivor from the first two studio albums. Fully expected from an artist's desire to reflect their current zone and sole retro shows can be stale without improvise. There has been a sea change in style over the decade and this was overtly reflected in the live experience between 2018 and 2024. 

Contentment replaced sparkle in the band. The current eight-piece line up was well stocked including Sarah Buxton on backing vocals. Guitars, banjo and keys plugged away. Pedal steel remains prevalent even as the country feel fades with lack a zip and distinctive twang. Sometimes on a big stage you want the band to spark the star. 

With 95% of the setlist coming from the three most recent records, hope more than expectation led the way. In contrast to the adorable SAME TRAILER DIFFERENT PARK (2013) and PAGEANT MATERIAL (2015), GOLDEN HOUR (2018) required diligent scanning to hive off the gems. The post-lockdown STAR-CROSSED (2021) flickered without sustenance leaving DEEPER WELL (2024) to shape the present. This latest record has found a cherished personal listening place, but evidence points to not yet making a significant move from studio to stage. 

Song highlights from the hour and three-quarter long set were 'The Architect', 'Deeper Well', 'Rainbow', 'Slow Burn' and 'Follow Your Arrow'. Covers were kept to a bare minimum. Zach Bryan's 'I Remember Everything' was a shoe-in given Musgrave's presence on the hit, while 'Three Little Birds' was a telegraphed formulaic closer. 

The abiding summary from this gig is an assessment to whether a hugely enjoyable and committed Kacey Musgraves gig quest has come to an end. Belief in the artist securely remains, but the present somewhat clouds the vibrancy and freshness of some truly memorable nights. Time will likely delay a decision if ever needed. Perhaps the live music heart lies in a place of greater connection. That certainly wasn't The Halls on this Monday night. Ultimately, it is healthy that being a fan is conditional.  

Album Review: Blue Rose Code - Bright Circumstance

 

www.bluerosecode.com

BRIGHT CIRCUMSTANCE is Blue Rose Code's fourth collection of new music in the last decade and an album fully equipped to elevate the band to fresh heights. From a tidy pile of ten tracks maximising every beat of a forty-three minute soundtrack, a cauldron of moods, styles and prime songwriting bubble within a structure targeting the listening sweet spot with precision and panache. Exiled Scot, Ross Wilson is renowned for imprinting a personal identity onto a band sculpted in a musical journey following the contours of life itself. Assembling a talented array of musicians tightens an emotive spin leaving a record stacked with many nuances and lavish moments of an expressive approach to nailing an accessible song. 

Although an astute songwriter, Wilson has opted to place an innovative version of 'Amazing Grace' at the heart of the running order. From one perspective it splits the album into near two halves enabling the listener to assess in smaller chunks, on a more forensic level perhaps the words possess a greater personal relevance. Outside of this curve ball, one frequently finding a home in roots music, the writing is almost in the solo domain of Wilson barring a co-effort with Donald Shaw on the arrangement to 'MacDonald's Lament' where the style deviates into the left field waters of adapting the spoken word. 

On a more conventional level, the opening four tracks show Blue Rose Code on top form chiseling evidence of longstanding tags such as Caledonian soul, folk and Americana. A big sound dominates the launch with the refreshing soulful vibes of the rousing 'Jericho' getting the hips shaking. A couple of tracks later, 'Never Know Why' reintroduces the faster tempo securing that aspect in fine fettle. The listening antenna is finely adjusted to garner the full lyrical effect from the other two early tracks with 'Sadie' eloquently putting Wilson's late mother into focus and the narrative of 'Thirteen Years' bringing a fervent political pursuit to the fore. Many memorable lines enable an alignment between Wilson and empathetic listeners. 

The highlight of the second half is the pensive 'Peace in Your Heart' where the tempo allows each sinew of sentiment to settle. Blue Rose Code is synonymous with Wilson's natural Scottish brogue, a trait that travels far, and as relevant here as anywhere. Sparkling moments of adorable pedal steel courtesy of Conor Smith liberally illuminate the album including the spine tingling latter stages of 'Easy As We Go'. For a delve into spiritual aspects 'Don't Be Afraid' lures the listener as things start to wind down. The final act serenely begins with a gentle dose of mandolin leading into 'Now the Big Man Has Gone', a track poignantly ending with a significant voice message. 

An active studio enacts a lush live sound in BRIGHT CIRCUMSTANCE with an uplifting tone and accentuated sensitivity. Vulnerability is exposed on the confessional canvas of this supremely strong Blue Rose Code album. Horns, strings and twang add flavour, yet the innate intimacy and honest traits of band leader Ross Wilson remain the dominant piece. 

Album Review: Jenny Colquitt - Staring at the Moon

 

www.jennycolquitt.co.uk

Some artists hit the buffers with the second album, while others use the experience to release a record surpassing the heights and promise of the debut. Jenny Colquitt falls into the latter category in the wake of sending out STARING AT THE MOON into a world ready to embrace a blossoming singer-songwriter. You sense in the midst of a seasoned veteran backing their own vocal and writing skills, aided by an optimum production. Ten cinematic tracks widely hit the mark. Colquitt's voice pitches its tone to perfection using a measured approach essential in bringing the best out of songs stacked with lyrical nuggets. 

The independent status of this singer-songwriter from the north-west of England means the songs have to be stern efforts to engineer a ripple in a crowded market. Colquitt immediately sets a high standard subsequently avoiding significant dips. Intermittent peaks pop up with several moments built for a big radio audience or swooning a live crowd in a multiple of staged settings. 

Colquitt has previously released a brace of EPs sandwiching the album SOMETHING BEAUTIFUL that boosted her career in 2021. Live appearances have bubbled away with  festival slots and an evolving road presence Expect this side to grow, now an enhanced canon of songs is in the locker exemplified by 'Fallen Angels', a potential live firecracker with its infectious chorus inducing repeated singalongs. Reaching out to your audience is a trait core to Colquitt's act.

As deduced from the album title and referenced in the notes, the concept of little things in a bigger picture drives the lyrics. Accessing these when listening is a useful aside to marvel at how well Colquitt flexes her literary muscle to furnish finely crafted songs. The theme is taken to its nth degree in the final piece where title track 'Staring at the Moon' lavishly closes in a symphonic wrap. 

Subsequent plays lift 'I Won't Let You Drive' as a mid-album gem to drool over. The tempo may be at its slowest, but the mood induces shivers with the odd vocal spill into the company of Dolly/Whitney. Inspiration for the stunning album opening 'The Bravest of the Brave' will likely be learned in the intimacy of live shows, though you do get a sense of how special 'Isla' is.

Strains of Sinead O'Connor flicker in the opening lines of 'Without You' as the now trademark power ballad evolves. Strings kick in during the song to somehow make the lyrics  more meaningful than on the surface.

The instrumental intro to 'No One Loves Me Like You' has Keane from the mid 2000s written all over it, returning midway to decorate one of the album's more tuneful numbers. The lyrics are a little sparser in 'Dear Me', a serene moment when time is made available to reflect. Piano frequently forms the sonic landscape featuring on the slightly haunting 'For a moment', where an ethereal vocal opening escalates in sync with the tempo. 

'I'm Fading' is a tender offering in the early stages where the vocals find the right pitch to supplement a song blessed with heartfelt pleas pouring from the lyrics. 'My Design' resides in the penultimate slot and rides the crest of a wave from a record in full flow. The song builds to a crescendo with 'this is my design' crying out to re-enforce the message. 

STARING AT THE MOON possesses the craft and vigour to navigate a tough world projecting the artistic qualities of Jenny Colquitt to new levels. The raw credentials and an ability to pierce the listener's inner sphere sow the seeds to make it an instant winner on a micro scale. Justice may not be easily forthcoming, but small wins can accumulate into something bold. Pride in creating a stimulating album is the starting point with horizons broadening as the reach widens.