Gig Review: Lewis Barfoot - Kitchen Garden, Kings Heath, Birmingham. Tuesday 12th November 2024

 

www.lewisbarfoot.com 

"Is Eileen in the room?"

A recurring theme of this gig was a chance meeting between Lewis Barfoot and Kings Heath resident Eileen in the hours before showtime. Their brief encounter stirred Emerald Isle emotions and a singing of 'The Galway Shawl'. The meeting had a sad twist of loneliness, yet its warmth set the tone for the welcome this singer-songwriter received from a first visit to play Birmingham. The upshot was Eileen hadn't taken up the offer of a guest ticket. Those who were present had an extensive exposure to a musician on a mission, a person rich in creative artistry and someone right on the point of audience engagement. 

Straight out of the gates, this London Irish-cum-current Cork resident exposed an identity via a vest plastered with the ironic motif - 'more dogs, more blacks, more Irish'. Politics with a small 'p'  thread through the songs, stories and ethos, though shades of beauty from an elegant voice enabled a variety of moods. However, impassioned justice was never far from the surface.

The crux of Lewis Barfoot's musical odyssey is a decision to seek her Irish heritage through relocation and a deep dive into its folk scene. This has been driven by years of imposed suppression and a growing desire to revel in one's roots. Understanding this mission is core to grasping the mettle of motivation and how you can draw the dots of where many of the songs come from. Innate talent and an enthusiastic drive help propel the impetus as well as drawing on an impulsive presentation persona from many years working in theatre. Lewis Barfoot - the entertainer - is certainly a take from a first impression.

A post-gig check into the back catalogue sparked memories of many significant songs heard. From the latest album HOME, impactful works such as 'Women of Ireland', 'Dublin City Bells' and 'Rock Me in the Ocean' were sprinkled among a couple of joyous sets. Other interesting setlist additions were show opener 'Blow the Wind Southerly' and its traditional counterpart 'Eileen McMahon' alongside the New Zealand-inspired original 'Taranaki'. 

Song mode constantly switched from seated to standing and acoustic guitar to unaccompanied. A couple of plays on the shruti box increased the folk vibes. The evening reached maximum poignancy in the final throes with thoughtful empathy for the Palestinian plight locked into an emotional song. 

Whether interpreting key songs of the past or conjuring original ones from a inquisitive mind, a mix of folk, blues and jazz styles gently brewed. Imagined bigger sounds from a more populous stage setting were invited, though growth will have to be organic from a solo base as the listening venues of the British Isles mainland are navigated. 

There was a lot to absorb from this first dip into Lewis Barfoot's musical world. There wasn't much left off the table. Piecing it together formed a simple jigsaw of one person revelling in  a road of discovery. Ample listening pleasure flowed from a dream morphing into the realm of live music reality. Feeling part of the process was a given with cathartic inspiration spontaneously filling the air. 

Eileen missed a good one. Maybe one version of 'The Galway Shawl' was sufficient for her on the evening. 

Gig Review: Luke Jackson - Kitchen Garden, Kings Heath, Birmingham. Wednesday 6th November 2024

 

www.lukepauljackson.com

Luke Jackson had a spring in his step this evening. The extra verve for this charismatic performer likely lay at the feet of an upcoming new album. From a pitch of old and fresh songs, this Kent-based musician played to his strengths utilising the dexterity of an impressive vocal range and a commendable knack of leaving a packed room reinvigorated and content. 

A sizeable crowd greeted Jackson’s return to the Kitchen Garden. His last two visits were on the brink, and in the aftermath, of the pandemic. Challenging times for touring musicians. Free of such constraints, the audience enjoyed a buoyant performance on an extended evening of entertainment. 

Prior to the main set, which ran almost to an hour and half, a talented opening artist in Philippa Zawe grasped a forty minute opportunity to show why she is a burgeoning performer. Having once lived in Birmingham, the surroundings of the Kitchen were well known. Folks also remember her from the time she opened for Rhiannon Giddens at Birmingham Town Hall. Zawe also has a new album in the works, though we are only at demo stage. A redeeming feature of a fine voice helps project a bunch of deeply felt songs. Bigger things are on the horizon once word gets around about Philippa Zawe, and her material is readily available.

Two memorable Luke Jackson moments were revived this evening. First up, a mention of Amy Wadge contributing to a track on the new album. Back in 2015, an early Birmingham show was him co-headlining a gig with her at the Hare and Hounds. A year earlier at the Artrix in Bromsgrove, it was recalled him breaking a string and subsequently replacing it while playing the next song. An identical occurrence happened tonight as an enthusiastic playing of 'Eliza Holt' saw a string casualty. Never mind, an unaccompanied version of his increasingly popular 'Trouble Now' came to the rescue and hey presto, a new string.

From the existing Luke Jackson catalogue, top tunes like 'Honeycomb', 'Cherrypicker' and 'On the Road' were shared. The latter is a long established encore anthem. One inevitably luring a hearty communal singalong. A trio of new songs to catch the ear were 'Old Friends', 'Woman' and 'Beside You'. The latter probably contained the most moving story of the evening with its tribute to a late tour manager. 

It would be really good to hear Luke Jackson sing in one of the great large halls. Sadly opportunities for grass roots artists are quite narrow. This would have made it extra special to catch him opening for Jools Holland at the Royal Albert Hall. He has also opened for Richard Thompson and humbly once again took on the challenge of playing 'Vincent Black Lightening 1952'. 

One missing aspect of the Birmingham shows is the trio format. As good as Jackson is solo, there is an added zest when seeing the band performance at festivals. Adaptions are required to bring this to the Kitchen but plenty of outfits have risen to the challenge and delivered. Maybe a thought for the future especially on the back of this impressive turnout.

Over the last decade, Luke Jackson has been a constant fixture on a musical journey. It was always intriguing how he would evolve. Now at the ripe old age of thirty, he appears in a contented place ready to plough an independent route for a welcoming music scene. The folk and acoustic communities love his work, I always thought the Americana world would grasp him more. However, Luke Jackson has always been his own man and that is why many have followed him over the years, savouring his music and live performances. Much more is likely on the cards. 

Bloom - the new album from Luke Jackson is released on November 22nd.

 Pre-order

Gig Review: Hannah Scott - Kitchen Garden, Kings Heath, Birmingham. Tuesday 5th November 2024

 

www.hannahscott.co.uk 

Sometimes you instantly know a right choice has been made. Within the measured tone of Hannah Scott's opening song, a sense of being in a special place took root. Her cultured vocals succulently purveyed a piece of melodic bliss, all scented with a sound pitch perfect. This was a singer-songwriter at ease in new surroundings, and indeed a new town. The Birmingham debut for Hannah Scott has been a long time coming. The moment to impress wasn't wasted with the ultimate trump card of relatable themes waiting to be played. 

There is a wealth of experience behind this south-east based artist, equally at home in both folk and Americana-lite circles. The impetus for this inaugural Kitchen Garden visit - a venue heaven sent for her serenely listenable songs - was the release of ABSENCE OF DOUBT, her latest full length album. Early listens revealed a fuller more produced sound than what was heard tonight. Whatever the motivation and mode, a stripped back approach gave a raft of songs the space to simmer and flourish. Eighteen delectable tunes and an equal number of affable introductions seamlessly flowed either side of a short ten-minute break. No fireworks required in this quaint and blissful environment.

Hannah Scott is one of those artists who you have been aware of for years without diverted engagement. Racking the brain and checking the records unveiled a few words describing her performance opening for David Ramirez in Tingewick in 2016. A reference to the family inspiration behind her songs couldn't have been more pertinent eight years later. Hopefully there isn't the same lengthy interlude between shows attended.

There weren't many transfixed souls in the room who couldn't identify with at least a portion of the songs. Mother, father, siblings, step kids, love, grief, gratitude and isolation were all brought to musical light in the desirable medium of the well-constructed song. Leaving the room knowing a lot more about Hannah Scott the person was a given. Elegantly displayed alongside a deliberately succinct guitar and piano playing style enhancing every syllable of the poignant lyrics. The whole singer-songwriter package was on display.

As impressive as the new songs were including: show opener 'Bigger Than My Body', a personal favourite in 'San Francisco' and the tear-inducing 'Carry Me Out', the knockout moment of the gig was an absolutely stunning rendition of 'Skimming Stones' in the second set. A three minutes encapsulating the magic of live intimate music.  

From the periphery of a busy music horizon, the treasure of Hannah Scott wonderfully exhibiting her music artistry grasped the mantel of centre stage. No hyperbole, just a classy performer singing emotive songs in a calm and sincere manner. A concoction of traits that wonderfully blended in a room immaculately built for listening. If a truly satisfied and engrossed audience is an artist's aim, mission accomplished for one night.