Festival Review in 500 Words: The Long Road - Stanford Hall, Leicestershire. Friday 23rd August to Sunday 25th August 2024

“You Brits are a weird bunch.”

Whether the American social media commenter had a point when viewing the Long Road line up is irrelevant. It’s just the way we do things over here. The market is smaller. An innovative approach is required to match inclusivity and viability on a scale above boutique. Since its inception in 2018, The Long Road has achieved that, fighting off the challenge of two blank pandemic-stricken summers. Even over here opinions on the line up will spark conflict: not enough Nashville ‘A’ listers, too many hat and sparkle acts, who’s that Americana no-name who we’ve never heard of attracting only a dozen to their set. 

It is tough to take an holistic view of a festival. Multi artist and activity events are different for each attendee. If you can reflect in the aftermath that Long Road worked for you, then an impossible job for the lofty ambitions of the organisers has worked. 

The polar opposites of Long Road attendees are music nerds savouring every lyric, note and quip from up front to a more casual stance of embracing the lifestyle elements in a sociable environment. Both mingle on a sizeable site and occasionally cross paths. Memories are built across the board fermenting into inking in the next staging. 

To put the music presentation into context, four main performing areas host acts periodically across the weekend. The Rhinestone, Interstate, Buddy’s and Front Porch have all established an identity. Genre lines on each stage fluctuate between faint and decisive depending on the time of day. It doesn’t take long to get a feel of what you want to get from a weekend or day visit. 

The defining legacy is the list of names the event has attracted from America and Canada over five stagings, blending in with homegrown talent. Not just with Country Radio credentials but lesser known acts sourced from Americanafest  or lifted from the pages of No Depression and Americana UK. It is the latter that has increasingly piqued interest from corners of a music community where acts are meticulously sourced. Just scour the Long Road alumni (reviews of each found on the blog will suffice) and the image of what has evolved with emerge. Others festivals create a niche, but there has always been something different in the pool sought here, frequently meeting the ideals of certain fans. 

A barrage of views, expectations and experiences will surface post-festival. The ultimate one here is The Long Road has become a valued treasure on the UK Americana scene, bringing artists that wouldn’t necessarily appear elsewhere. The compromise is a shared platform as effective now as in 2018 when eyes lit up at the inaugural line up. 

The Long Road Festival deserves to succeed due its smart and brave curation. It works for me and hopefully others of a similar ilk. 

Yes, we may be weird but we listen intently and cherish our little window onto the world of country, Americana and roots music. 

My Long Road

Robert Vincent

Campbell Jensen

American Aquarium

Julian Taylor 

Adeem the Artist 

Katie Pruitt 

Wyatt Flores 

Pearl Charles 

Andrew Combs 

Red Clay Strays 

My Darling Clementine 

Jess Williamson 

Pokey LaFarge 

Vincent Neil Emerson

Kaitlin Butts 

Drew Holcomb 

Georgia Van Etten 

Flatland Cavalry 

Jake Vaadaland 

Visit www.instagram.com/threechordsandthetruthuk for pics and artist comment

Gig Review: The Pleasures - Kitchen Garden, Kings Heath, Birmingham. Thursday 22nd August 2024

 

www.thepleasuresmusic.com

The Pleasures are a three-piece band from Australia comprising of a trio of talented musicians in their own right. For nights like this a bassist extends the line up to four as opening act Riley Catherall expanded his repertoire to the rhythm section. Lachlan Bryan (widely known in the UK as the front person of his Wildes band) and Catherine Britt (lesser known in the UK but an esteemed international country artist for several years) front this recently formed combo with all round musician Brad Bergen adding the drums. Following a debut album release in 2023, the band have made a couple of visits to the UK this summer (no mean feat from Down Under) to promote their music culminating with a prestigious slot at Shrewsbury Folk Festival over the Bank Holiday weekend.

This Kitchen Garden date was a handy insertion on the eve of the festival appearance in nearby Shropshire, and a venue supportive of Lachlan Bryan's music in the past. A freshened approach led to a healthy turnout as the gig essentially kickstarted a late summer/autumn surge for many after a few passive high summer weeks on the local circuit. A mix of folks previously acquainted with the work of Lachlan and Catherine alongside others taking a punt on a piqued interest were treated to a comprehensive evening circumnavigating the roots cycle of music best described as country, folk, Americana and rock. 

As earlier mentioned, Riley Catherall opened the show and from a decent allotted slot pushing the forty-five minute mark showed the breadth of his development as a blossoming solo performer on the international touring circuit. He has spent almost the entire Northern Hemisphere summer in Europe playing an extensive assortment of shows promoting the wares from a recently released album. Each set has marginally evolved to the extent that a significant development can be noted. Time is approaching to head back to Australia and concentrate on his homeland. The promise of the return of Riley Catherall as a talented singer-songwriter, exceptional lead guitar player for the Wildes and pop-up bassist for The Pleasures is one to look forward to.

For me this was the third time catching The Pleasures live. Late last year their music was briefly introduced via a support slot for Hannah Aldridge. On the band's first UK stint this year they played a storming headline set at the Maverick Festival that perfected the art of showcasing a band through a concise performance. This debut appearance in Birmingham had a greater scope for chat, and when Lachlan Bryan is on top form with his witty anecdotes, you get a lot more than just great music.

From a set quickly propelling to an hour and a quarter, the entirety of the debut album was played alongside a familiar rocking cover of 'Shakin' All Over', which has become a staple of 'The Pleasures Live'. The entertainment value of the songs is enhanced by the banter often falling into the category of 'best left in the venue' - the beauty and uniqueness of the live experience. 

The songs of The Pleasures have sprung from a joint place. The chemistry between Lachlan and Catherine has obviously transcended from the writing process to the stage delivery. The themes are right to the bones of country music, without the cliches or restraints. While elements of The Band and My Darling Clementine are detected, originality is a decisive factor. A marker is set to what the band can achieve when all parties find time in their busy schedules to re-engage in something that has proved engaging for fans keen to buy in. 

Finches, Wildes, Willows, Pleasures, Prawnstars. It's been an Aussie summer! 

Album Review: Karen Jonas - The Rise and Fall of the Great American Kitsch

 

www.karenjonasmusic.com

On The Rise and Fall of The Great American Kitsch Karen Jonas demonstrates a writing dexterity to unveil the latest piece of a complex album jigsaw puzzle. Simplicity flows from a sound rinsed in retro calling at all points country, rock ’n’ roll and dreamboat pop, yet dig deep and the themes explored deploy nous and a cutting rhetoric. Rampant consumerism and overstated flamboyance accrue an ironic indulgence as eleven songs and a twelfth piece of narrated prose keep the listener on their toes to where the narrative twists next. 

Distinctive vocals melt into the ideals of a time honoured craft and mouthwatering musicianship expands the sonic zone. We travel to Vegas, Bristol and Hawaii with the real jewell being the perceptive and sardonic lyrics. Pink flamingoes are collected alongside quick fixes bringing things up to date with unabated satire commenting on modern trends. Conclusive summits pause for individual interpretation on a record packed full of entertaining appeal. 

The work of Karen Jonas has flourished in recent years. Albums regularly appear, each turning up the dial on lauded appeal. Up front things get raucous and rocky contrasting to the end where the wrap gets wordy and reflective. Both complement to show an album profound in message and buoyant in reception. 

The Rise and Fall of the Great American Kitsch is a record to believe in. It blends optimism with a rueful demeanour. Mostly it ruffles calm water, resonating high with likeminded souls sold on significant songwriting and a rhythmic delight. 

Album Review: Amanda Anne Platt and the Honeycutters - The Ones That Stay

 www.honeycutters.com

Asheville North Carolina was memorably described by Austin Lucas as a blue oasis in a sea of red during a gig in 2016 at The Moth. It is also the home of Amanda Anne Platt who makes music beautiful in appeal while independent by nature. On The Ones That Stay she uses a raft of experience derived from seven previous feast-laden albums to reflect her current situation in a celebrated eighth. 

A dozen seemingly effortlessly delivered songs gently roll along instantly finding a groove. Within the content exists serenely cultured songwriting, lushly sung and genuinely wrapped reflecting the perceptive poise of the lyrics. Alongside her band the Honeycutters, always credited in the title, Platt’s time in the studio reflects a traditional way of recording with occasional reminders of minimal takes left in to add an air of authenticity. 

Eleven of the select dozen are originals with the odd one out being a curve ball. The band lift ‘On the Street Where You Live’ straight out of the movies and give it a wonderful country makeover. ‘The Lesson’ is the album high with a great melody within lavish verses. ‘The Muse of Time’ runs it close alongside the excellent scene setting ‘Mirage’ and the poignant ‘Forever’. 

The Ones That Stay is a record soaked in the aromatic senses of sounds drawn from a deep well of sweet folk, country & Americana music. Amanda Anne Platt and the Honneycutters continue to serve tasty gems from that fertile hotbed in the Deep South. 

Gig Review: Fanny Lumsden - Hare and Hounds, Birmingham. Wednesday 7th August 2024

Exuberance 

Enthusiasm 

Engaging 

Hey Dawn, a new dawn

A Great Divide bridged to 

a posse of music Millionaires

Bar dancing 

Line dancing

Troupe dancing 

Ugly Flowers turned beautiful.

Serenaded in communal cross legged 

harmony. 

Mountains 

Outback

Medleys 

The art of performing meets the art of lending 

your eyes and ears. Being there, 

the only place to be

From a land Down Under 

a scarlet clad ensemble

New faces, new land

A knife through the heart of pretentious reflection, 

inspiring a poetic response. A difference

laced with an energetic smile.

A night to remember 

A night shared 

A night unique