Gig Review: Bonny Light Horseman - XOYO Club, Birmingham. Thursday 21st November 2024

 

"I played a folk club at the Hare and Hounds in Birmingham. Is it still there?"

Yes it is, Anais. Not quite a folk club, but we get the drift. That Birmingham appearance can't be recalled as opposed to the Glee Club in 2014 and Moseley Folk Festival in 2022. There may be others, but clearly we don't see enough Anais Mitchell in the West Midlands.

"It's the Birmingham debut for these songs tonight."

Eric D Johnson didn't really need to remind an eagerly awaited gathering at the XOYO Club that Bonny Light Horseman were playing Birmingham for the first time. Connections making it happen deserve to take a bow and these debut songs purred with blissful elegance from start to finish.

"I've got a different setlist to everybody else."

Josh Kauffman hurriedly changed guitars to play the right song. Whatever guitar he played had a luscious tone and the key to putting the 'rock' into 'folk rock'. 

Bonny Light Horseman are a band of few words. These three quips formed the bulk of the chat. The chosen route of letting your music speak for itself is a testimony to the quality of the songs and a magical slant on collaborative performance. This evening saw the supergroup hype spilling from a smitten roots press turn into reality.

Everything was in place for a special show. The third and latest Bonny Light Horseman album was out and getting compulsive repeat plays to raise the pre-gig anticipation. The XOYO Club had an exceptional sound system and subtle stage lighting adding to a simple aura. A sizeable yet comfortable crowd was respectful, appreciative and responsive. Exactly what you would expect from an erudite assembly. Support artist Bridget Kearney of Lake Street Dive possessed sufficient craft and experience to enhance the opening slot, whatever your take was on a solo singer-songwriter set played on bass. The dynamics radically changed when Kauffman and drummer JT Bates joined her on stage for the final two numbers. 

It was an incredibly tight headline performance with over twenty songs cramming the statutory ninety minute segment including the obligatory encore couple. Within a few songs you could clearly see the vocals being driven by the chemistry between Johnson and Mitchell. They occasionally lent in a three-way direction, but Kauffman was primarily the architect of wonderful electric guitar that melded into the heartbeat of each song. Evidence spawned that the entity of a five-piece band was the key ingredient with bassist Cameron Ralston completing line up.

When seeing a band live for the first time, you seek the moment when the code is cracked inducing the chills. This may not happen at every gig. Around twenty minutes into the set, 'The Roving' did it for Bonny Light Horseman in Birmingham.

While the axis of Kauffman-Johnson-Mitchell spices an alluring cocktail of elevated folk rock, there is a magnetic charm to the poise, movement and distinct voice of Anais Mitchell. Awareness of the enormity and eminence of her solo work including the Haddestown project prove a signage to what she brings to Bonny Light Horseman. Eric D Johnson holds the stature of your archetypal rock band front man. A role he orchestrates for acclaimed US band The Fruit Bats. The playing of Josh Kauffman would illuminate any setting. Checking out his associations and connections confirm this.

The Birmingham performance of Bonny Light Horseman gently evolved over its duration. The chosen route of minimal inter song interaction etched a studio feel into the first half. Immaculate, impeccable and impressive, but do you want some break that deviates from studio to stage; a little more unscripted and off the cuff - the beauty of in-person imperfection. That came in the second half where the shackles came off and you felt more connection. An important criteria of the perfect live show whatever the quality on stage. At the end the feeling of being at one with the band was sealed. 

To get some further facts about the content check out this link - Set List - if Birmingham isn't updated, it was pretty similar to London from memory.

Gig of the Year? A candidate definitely, although it depends on a personal criteria. Flawless, engrossing and optimal on-stage band collaboration gives this show a huge leg up to the podium. Bonny Light Horseman framed why we go to live music. It inched a step forward to perfection, though leaving a space for development thus keeping the search for utopia fresh and alive. 

Album Review: Ags Connolly - Your Pal Slim: Songs of James Hand

www.agsconnolly.com

Ask a range of casual country music observers to name an elder statesman of recent times and few would come up with the name of James Hand. With the help of one of his greatest advocates, the chance of this recently passed Texan being recognised will be greatly increased on the back of this carefully curated tribute album. Fans of Ags Connolly will be aware of his locked-in appreciation via the 2014 track 'I Saw James Hand', which became a staple of his live performances. Now that awareness and reach for the UK's premier purveyor of traditional country music is considerably growing, the same will occur for Hand via a neatly curated twelve-song collection on the merch table at shows. YOUR PAL SLIM: SONGS OF JAMES HAND is a labour of love; a feeling overflowing in mutual appreciation upon sampling the fruits of this project. 

There is a dusty timeless feel to the production. Oodles of fiddle and steel are a given, but you can never have too much of these blissful sounds. The process began in the UK with bass and drums laid down on a personal selection of Hand's numerous cuts. A Stateside search then began to get some players close to the real thing to add the most authentic of touches. The magic of the aforementioned country beacon sounds appeared alongside guitar and mandolin to create a worthy reconstruction ready to shine a fresh light. The most familiar recruit to UK fans would be Brennen Leigh, who has a significant profile over here alongside a legendary Texas status. 

The upshot of this record is the unmistakeable stamp of Ags Connolly's vocals. It's highly likely that Hand, who passed away in 2020, would approve. They are pleasingly absent of pretence possessing an authenticity doing justice to the compositions. The finished product is heaven sent for country fans seeking a conduit from the past to the future. A role, by intent or not, Ags Connolly perfectly fulfils.

The twist is the dozen concludes with an Age Connolly original 'Corner of My Street' that was intended to be a James Hand co-write. Sadly, an event curtailed by his passing. The eleven other tracks reflect a near-thirty year recording career amounting to half a dozen studio albums suggesting content wasn't rushed. The songs have the double edged appeal of working whether you want to listen intently to the lyrics or just wish to idly wallow in a sound feeding a craving for moments of dreamy nostalgia. Great country music satisfies both.

It probably won't be long before Ags Connolly gets back on the original recording train. His four acclaimed albums are a testament to this. For now, space created to expand his recording repertoire has been fruitfully filled. God rest James Hand and may his music power on. God bless Ags Connolly for sharing an inner passion so effectively. YOUR PAL SLIM: SONGS OF JAMES HAND is not getting filed away for a long time and may well just be the tonic when you want a fix of Texas country music created from both outsiders and insiders who care. 

Album Review: Janice Burns & Jon Duran - Great Joy to the New

 

www.janiceandjon.com

Folk duo Janice Burns and Jon Duran delicately put their twist on an array of seasonal songs spun on a different axis to what is generally delivered this time of year. GREAT JOY TO THE NEW explores many facets of winter tradition perceptively sourcing traditional pieces malleable enough for creative manipulation. Song notes have a raised level of importance as prior knowledge is unlikely to be widespread among general listeners. While raising your own awareness levels is a likely reward, finely curated music exquisite in vocal and instrumental adeptness defines the appeal. 

Burns and Duran settle on 13 tracks to form this long awaited album as they finally convert many seasonal shows into a worthy recording. Inviting several top players to contribute including in-demand  double bassist Ben Nicholls and multiple brass musicians prove a subtle touch.

One of the first songs to keenly catch the ear when reflecting upon the album is ‘The Trees are All Bare’, probably on the basis of an optimistic tempo and joyous melody. Largely simple and hugely enjoyable pinpoint the trait. Heading the most curious inclusion is a Norwegian traditional song titled ‘Haugebonden’, vocally assisted by native speaker Mari Bjorkoy. The duo learnt this medieval ballad from an active stint in Norway and the version found here is a beautiful piece of vocal art. 

‘Carol of the Beasts’, ‘The Wexford Carol’ and ‘Sans Day Carol’ all proclaim a song type in the title, and, although not among the most popular of the seasonal kind, are woven into the fabric of how winter is portrayed on the record. The latter of this trio comes across as the most appealing. 'On Christmas Day’ leads you one way in the title then down a darker route in the words. ‘While Shepherds Watch’ closes the collection in familiar territory, though the left field arrangement is in tune with the overall album approach. 

On more secular ground, ‘The Wren’, famously known in folk circles as ‘King of the Birds’, is this time depicted in the tradition of being hunted and paraded on St. Stephen’s Day. One slightly out of sync inclusion is the ‘Month of January’, but still fitting the wider winter theme.

GREAT JOY TO THE NEW is a sumptuous serving of low key optimism in a style oozing meticulous craft and sensitive delivery. Janice Burns and Jon Duran engrave care and nuance into the record. Its carved niche will capture enthusiasts and lure casual observers seeking something different from seasonal offerings. Folk music is known for reflecting the seasons and especially comes to the fore when winter descends as exemplified in this album. 

Gig Review: Sunny Sweeney - Kitchen Garden, Kings Heath, Birmingham. Thursday 14th November 2024

 

Hearing a country song at the Kitchen Garden is a common occurrence; hearing it from a bonafide country singer is somewhat rarer. Sunny Sweeney fits the bill of both. A mainstream Nashville label stint, raised in Texas, residing in Tennessee, she has all the country credentials, and laying them on the table in a packed room is in her DNA. You get the impression the 2024 version of Sunny Sweeney is quite enjoying this UK renaissance, visiting venues to rekindle her roots. The 45-minute interval between a pair of similar timed sets is almost as important for both an artist to greet and a fanbase to meet. Selling a haul of merch is another motive. 

It was a year ago to the month when a tentative Sunny Sweeney shocked a sizeable English Midlands following by playing Kings Heath in a surprise tour. That night she was perched on a stool next to guitar partner Harley Husbands hemmed up against the mirror. Tonight a more conventional standing position enabled a greater relaxed freedom of expression and the space was filled with what makes Sunny Sweeney tick as an artist. 

Twenty years as a pro has seen this Texan sharpen her game. Rapport and wit sit alongside song themes rich in country identity. Drinkin’, cheatin’, lovin’ (your dog) , but no trucks, all play their part. Songs with alluring lyrics are king. These may be co-written originals, borrowed from contemporaries or choice selections lifted from luminaries. They all get a brash yet humble rendition forming the basis of any show. 

New music is the lifeblood of any progression-seeking artist. Sunny Sweeney combined the past with the present by re-recording her ten year old PROVOKED album with the addition of a couple of tracks. More relevantly, a brand new album is in the offing, no easy feat for an independent musician. The upshot was one new song sounding stunning. If folks adhered to the request not to post video coverage of ‘Houston Belongs to Me’, then the wait will have to be a little longer for wider exposure of this revitalised gem. 

The writing partner on this song is Brennen Leigh, well known to UK audiences in general, and Birmingham ones in particular, for her duo work with Noel McKay. She is a long term associate and friend of Sunny and one of many fine artists name checked on the evening including Lori McKenna and Jim Lauderdale alongside ‘under the radar’ acts like Bob Dylan, Stevie Nicks and Jerry Lee Lewis. 

The latter trio were all covered on the evening with not the most obvious songs. Dylan’s ‘To Be Alone With You’ was one of the additions to the re-recorded album, while ‘Find it Where I Can’ from Jerry Lee Lewis’ back catalogue is set to be cut on the next record. ‘After the Glitter Fades’ by Stevie Nicks followed one of the many anecdotes shared on the evening, this one surrounding a Fleetwood Mac show on an icy Boston day. A fourth significant cover is a staple of any Sunny Sweeney show and just like last year, the Lucinda Williams recorded-Randy Weekes written classic ‘Can’t Let Go’ sent folks away happy and singing. 

The highlight of any Sunny Sweeney show is when she dips into material from the iconic 2000s album HEARTBREAKER’S HALL OF FAME. Identical to last year, ‘Please Be San Antone’ and ‘Lavender Blue’ represented this superb record, although a quick scan of recent set lists revealed ‘If I Could’ featuring. One day when the stars align ‘Ten Years Pass’ will re-emerge.

There were countless highlights from the more recent songs selected. The personal best sounding ones were the camaraderie-inducing ‘Poet’s Prayer’, the impish ‘Backhanded Compliment’ and the powerful ‘A Song Can’t Fix Everything’. The audience smiled at ‘Momma’s Wine’ and ‘Grow Old With Me’ and lapped up oldies in ‘Staying Worse Than Leaving’ and ‘From a Table Away’. 

Other songs making the Birmingham cut were another Brennen Leigh co-write ‘Pills’, a crazy world motive to ‘Front Row Seats’ and a favourite occupation in ‘I Drink Well with Others’. ‘Better Bad Idea’ and the second new song on the re-recorded effort ‘My Own Lane’ brings it up to a full complement. 

Sunny Sweeney brings the sass; Harley Husbands brings the class. His ability to roll out an array of country guitar licks added a vital dimension to the songs. The duo partnership is ideal for making the current touring format viable. There is a remaining niggling feeling of what the sound would be like behind a full band. The Long Road appearance is fading into the distance, yet much more effort and resource is required to expand into a tour that reaches people like the current set up does. 

One missing piece is the full transition from bar-type venue to a premium listening joint. There is scope to tone down the sound a touch and let the Kitchen’s bricked walls do the heavy lifting on the acoustics. Maybe a third opportunity will do this. If not, the live presence of an artist whose fans had to do distant listening for many years is a gift to treasure. 

Sunny Sweeney is a smart operator, real deal country performer and engaging entertainer. This phase of a long touring career is being lapped up by UK fans. A sense of continuation is apparent and the present format fits the bill. Resourcefulness, integrity and connection remain the bedrock of her psyche. Fully evidenced by the second instalment of her Kitchen Garden experience. 

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. 

Gig Review: Sorrel Nation - Temperance, Leamington Spa. Sunday 27th October 2024

 www.sorrelnationmusic.com

If this was the start, the endpoint will be something else. The journey in-between will likely be one not to miss. 'Start' may be a loose word to attach as many miles, hours and endeavour have gone into the craft of Sorrel Nation to reach a point where things are beginning to happen. A debut album launch tour reached its conclusion in Leamington Spa to cap a period of increased awareness and accrued praise. Whispers and  local recognition are morphing into a larger entity where the name and music of Sorrel Nation is considerably growing its presence. Diving deep into a gorgeous album and subsequently listening to the songs in an intimate setting completes a mini circle of engagement and one to derive heaps of satisfaction.

LOST EN ROUTE is literally only weeks old to the wider world and, in the vein of smart artists, its entirety was shared in the cosy surroundings of the basement performing space in the Temperance. We learnt for this final date of the tour that the band format was slimmed down with the drums and bass departing early. However the strength and malleability of the songs brushed them up for a stripped back airing, though after the break an extra vibe was added with guest cello and keyboards.

The vocals held up after a busy period and there were several significant moments where some extreme notes were conquered. This side of Sorrel Nation's musical artistry is one of her key assets, neatly nestled next to an ability to match meaningful lyrics with enticing melodies. A diversity to sweetly serenade in a softly spun folk style and rock out in an absorbing manner shows the breadth of talent. 'The Way the Wind Blows' and 'Dead Man's Road' from the new album perfectly exemplified this. 

The evening's headline performance first set saw guitarist Sam Anderson join up in a duo format. His playing skills were a feature of the show, showcasing the full range of an electric repertoire within the confines of a small space. He also offered support on acoustic guitar complementing Sorrel on her own take with the instrument. One key moment in the first half was when she ditched the guitar and poured her heart into a version of 'Who Knows Where the Time Goes'. A staple of folk rock pretence slowing things down, though only ever borrowing it from Sandy Denny. Other features of an impressive start were opening track 'Old Man' and dipping back into the pre-album stack of songs with 'Slow it Down'.

After the break Theo Holder, Sorrel's partner, turned the duo into a trio via the cello. We got the impression this aspect of the live set up is a newish venture. The added dimension brought extra vibes to tracks such as 'Lost En Route', 'Eggshells' and 'Crazy For You'. The latter is the closest yet to a Sorrel Nation signature tune. A slice of recording gold sounding as good live as from the studio.

The high quality studio production is one of the album's highest merits. For a grassroots artist, adaptability is the key when taking to the road. A skill securely held in the band's locker. We later gleaned that further full band tours and a slate of solo dates are in the pipeline. No time like the present to exploit the talents in multiple and practical settings. 

Two other covers defined the influences. Straight after the break, support artist Clare Portman accepted the invite to play keyboard on a blessed version of the Gillian Welch classic 'Look at Miss Ohio'. While unequivocally English in her creative outlook, the style of Sorrel Nation blends into Americana-tinged sounds. Portman returned for the encore when the now-assembled quartet sent a sold out Temperance home in the Leamington Spa rain with a rip roaring version of the Marshall Tucker Band's addictive tune 'Can't You See'. Cue some final top playing from Anderson let loose on electric. 

Clare Portman, a Midlands based singer-writer and associate of Sorrel Nation from her days in the south east, played a short opening set of mainly personal songs. The pick of these was one described as a 'long burner' and written in honour of her late father. From the keyboards it sounded hugely emotive and endearingly good.

The Temperance proved a fitting attentive setting for this final show of the tour. It provided a close up exposure of what Sorrel Nation is about. Folks entering the room with high expectations had them matched. Those taking a lucky punt pulled out a gem. The start of this singer-songwriter-cum-invigorating performer raising her profile has eased quickly through the gears. Plans are afoot and inspiration seems plentiful. Catching a piece of the action is a no brainer in the near and mid future. 

Gig Review: Robert Vincent - Actress and Bishop, Birmingham. Thursday 24th October 2024

 

Robert Vincent is the voice, pen and soul of this thing we call UK Americana. 2024 is his purple patch year. The new album has proved worth the wait to lead while others follow. Shows are beginning to multiply and two festival appearances dealt a couple of hours of exhibitive guile. Adaptability is the key at this semi-grassroots level, full band, solo and various duo formats match the venue and the moment. Each performance adds to the memory bank, one requiring extra capacity as we are now over a decade into following the career of this singer-songwriter.

Hiccups are part of the journey and finding a niche on the Birmingham gig scene has proved elusive. A reduced songwriter's round with Dean Owens at the back end of 2017 didn't kickstart the listening rooms and few shows emerge from The Sunflower Lounge as life affirming. Although that night in 2019 unveiled a liaison with Matt Owens that has gone from strength to strength. A Moseley night was mentioned, but that passed me by and hasn't been repeated. Curiously a Stourbridge date was announced earlier this year. Having lived in the town for 28 years, the venue wasn't convincing and another gig won a head-to-head clash. The latest venture accrued a booking at another city centre location, with the Actress and Bishop in the heart of the Jewellery Quarter providing a setting for this section of the Barriers Tour.

Over the last few years a handful of potential gigs have cropped up at the Actress and Bishop, but this was a first visit. It will likely be the last as the venue was totally unsuitable to what makes my gig journey purr. An awkward configuration leaves the stage as a non-focal point. The outer rim of the room acts as a magnet when the crowd numbers around fifty (ideal in the listening venues) leaving the artist playing into a void. The sound engineers have a perpetual battle and other niggles played their part. The venue is pleasant enough and ideal for a packed Friday night experience where idle chatter fills the air and an inconsequential band plays in the background. Singer-songwriters should steer clear of this place.

The fear of any vocal performer is voice impairment. The conundrum is when to resume in the middle of a tour. Robert Vincent marginally landed on the positive side of resumption. Nights have been spent in the company of artists who should be nowhere near a stage. The crowd were largely at one and a communal feel pulled things through. The songs were still there if the majestic vocals needed an extra dose of R and R. We were promised a different show next time. Please don't make this the Actress and Bishop.

The last Robert Vincent duo show seen was an absolute gorgeous set at The Long Road Festival with Anna Corcoran on keyboards. This evening Danny Williams, a regular band member, on upright bass was the partner. Whatever the stature of the musician, the effect of bass and keys on the audience is incomparable. My view on bass is it makes the artist tick. The chemistry between the pair was on the mark. 

For a reasonable city centre outlay, we had two hours of music. The opening act Leah Wilcox played for half an hour before Vincent and Williams took to the stage just before nine to play a well-stacked hour and half set. There was a notable switch in set material from the other two recent Robert Vincent live performances seen. Both The Long Road and the more recent full band effort at The 7 Hills Festival featured a trio of songs that have cracked the writing code in 2024. Strangely, 'The Insider', 'Burden' and 'Follow What You Love and Love Will Follow' were all missing, alongside the staple 'So in Love', admittedly the latter is better with a full band. Whatever the reason, and artistic setlist control remains an imperative, not giving these three gems oxygen at this moment in time is like finding three jigsaw pieces missing. 

Ultimately, gig reflections should focus on what sounds filled the air. The picks of a growing catalogue for Birmingham 20024 were 'Keeper of the Heart', 'The Beast Inside', 'The Kids Don't Do God Anymore' and 'All for You'. Maybe the new songs aren't omnipresent yet, a statement you can't attach to 'I'll Make the Most of My Sins' and 'Demons'. They would only be missing when the ravens escape!

Robert Vincent makes and plays music that dreams are made of. However, there is a need to find venues where those dreams can be fulfilled. The stars don't always align, but you should never cease the search to find the perfect gig. One day the full band will play a scintillating show on a platform worthy of the eminent talent. At the other of the scale, Robert Vincent, the stripped back singer-songwriter, will find the ideal space in Birmingham. Over to the movers and shakers to make the Kitchen Garden or Thimblemill Library work. You won't need to issue a 'fuck off' at the end of the first song.

Album Review: Amy Speace - The American Dream

 www.amyspeace.com

Amy Speace possesses a distinctive sound and style. Moments into her 8th solo record, you sense the warmth of familiar territory. Arrive at the end of THE AMERICAN DREAM and the urge to repeat is too strong to resist. Every artist's desire to make their latest record the best yet, few achieve it. We may be in the midst of the exception here. Through an inspiring collection of a dozen tracks, Speace fuses the head and the heart, knowing full well that the team around her will turn her raw songs into recorded gems. If this album does settle in the legacy spot, then a mighty fine body of work is enshrined.

Neilson Hubbard has been the wizard of the production process for heaps of great albums over the years. He has worked with Amy Speace before. Here, his stamp lies as the undercurrent, while perfecting the art of ensuring the right voice is up front. 

It is a brave move to place two of the likely stronger tracks at the start of an album. 'The American Dream' and 'Homecoming Queen' set the high bar and the tone. They remain at the summit throughout the listen, but the others push them to the limit. The title track is pure vintage for folks of a certain age. Over here in the UK, 1976 will forever be remembered for the hot summer. These are staple in the US so memories of the Bi-centenary and Carter versus Ford hover in the background. Speace wonderfully evokes the beauty of youthful dreaming among the era indicators. The underlying message is as strong as the references. Following this opening piece of unabated nostalgia, a delightful character story takes centre stage. A killer melody and a chorus to die for serenades a twisting story. A hint of innuendo spices the tale and a resounding final line captures the meaning - 'she still looks like 1985'. 

A quick leap to the final track reveals Amy Speace the smart listener. When I first heard Jaimee Harris sing 'Love is Gonna Come Again', it melted me. The cover version here doesn't own the song, but borrows it beautifully. When you leave space for one non-original on a record, make it a stellar belter like this.

One song glowing with personal pride is 'First United Methodist Day Care Christmas Show'. Happy memories of the event transcend from writer to listener. The detail is evident, though the notes inform of a video of the occasion that will never be shared. Writing from a personal perspective is a strength of Amy Speace. A view backed up in the early placed track 'In New York City'. This is a candid, fascinating and gutsy piece of strong narrative. Her days in the Big Apple's art scene have been well-documented and this autobiographical account cramming a lot in provides a flavour and is delivered in a trademark theatrical style. 

A lot of Amy Speace's work would easily transfer to the stage or screen. You can envisage 'Already Gone' in a late night lounge bar. Definitely a song to capture a moment. This was co-written with one of her favourite collaborators Robbie Hecht. Among the other co-writes is 'Glad I'm Gone', where Gary Nicholson lends a hand wrapped in a sound with a touch of soul in the bones.

Neilson Hubbard joins the writing fray on 'Where Did You Go?', where he also assists in giving the overall sound an epic feel with strings kicking in. Two other tracks that are as effective in the feelings they generate as the sentiments expressed are 'Something Bout a Town' and 'I Break Things'.

A pair of songs framing the astute writing are 'This February Day' and 'Margot's Wall'. The former is a contemplative number cleverly reflecting on a pivotal day. The latter is inspired by visiting Anne Frank's house in Amsterdam and viewing the adorned wall of her sister Margot. An exquisite slice of observational writing that links with events occurring back home. 

AMERICAN DREAM is the latest in a lengthening line of cracking albums from Amy Speace. A reflective body of work capable of fuelling the future. Lush, expressive and unmistakable sums up the listening experience. Conclusively, it feels real and leaves you at one with the writer. Let it settle and breathe, and the sparkling quality will illuminate. 

Album Review: Beau Jennings and the Tigers - American Stories Major Chords

 www.beaujennings.com

The latest album from Beau Jennings and the Tigers rates highly on two approaches. Pursue a lighter route of using it as a soundtrack to routine activities and its undulating rock 'n' roll score will encircle an environment punctuating moments with enticing melodies. When space is made to dive deep, fascinating lyrics await unravelling where real and fictional storytelling jostle to fill blank pages with poignant memories. AMERICAN STORIES MAJOR CHORDS sums up in four words what the album is about. Expect tender reminiscing awash with the raw sentiment of a tight band playing with the freedom to rock out and own the room they're filling.

This is the 3rd album in five years from an Oklahoma native, now back in his home state after spending time in Brooklyn. You get a sense of what to expect from the title and Jennings duly matches anticipation with a fully stocked package. Eleven songs keep you entertained from the majestically written opener 'Oklahoma Heat', which is gently strummed and strong in recount, to the curiously titled closer 'Sooner Superette'. Awareness of the term 'Sooner' in relation to Oklahoma sport is expanded when further researching its origin, while 'Superette' is a term for a small supermarket not used this side of the pond to my knowledge. Couple the song notes with the lyrics and more real world nuggets and experiences are revealed.

The outlier track is a frenetic exposition of garage-infused punk-inspired rock 'n' roll. The intensity of 'Rubberburn' blows away any dusty malaise as Jennings attempts to recreate the sound of his wife's college band. This track is paired in the running order with the lighter moderate rock tinge to 'Lookin' for a Way' that emits fragrances of post-punk new wave. 

The geographical span of Jennings' career is highlighted in two tracks. 'Broken Angel' is a solid focal track harking back to his Brooklyn days with references to 'tickets for a Mets game'. This track possesses radio friendly credentials and you can't go wrong with a harmonica blowing exterior. 'Boston Avenue' heads a few thousand miles west and back home to Tulsa where childhood grief is dealt with. This latter song contains the strong lines: 'Donnie I still have dreams/Where you’ve come back to get me/Oh you were my hero back then'

Another cracking lyric crops up in 'The People's Porch', where impactful piano plays a backdrop to 'There’s the dreams we have, and the dreams we get/And then there’s the waking up'. This song refers to a lost friend and links up with 'Norman Nights', a song about life in a college town. A decent piece rinsed with nostalgia. 

The title track 'American Stories Major Chords' turns up the heat in the early stages and is a quality full band effort after the temperate opener. Later in the album 'Driving Around' houses a mid tempo beat caressing fictional lyrics, although with a weird sounding ending. More piano and a memorable chorus feature in the final assessed track 'Knockin''.

Beau Jennings cordially invites you into the world of an insightful songwriter and a straight down the middle old school rocker. No frills just honesty, an assortment of chords and stories to be told. AMERICAN STORIES MAJOR CHORDS is swift, sincere and sold to discerning ears. A record to learn from and ultimately enjoy. 

Gig Review: Salt House - Thimblemill Library, Smethwick. Saturday 12th October 2024

 www.salthousemusic.com

Back in 2021 Salt House played a gig in the area under difficult circumstances. The team behind the music at Thimblemill Library were not still unable to host live music in their home venue due to post-pandemic restrictions. In a valiant attempt to get things underway they hired the upstairs room at The Bear Tavern in nearby Bearwood to host shows. At least those tricky days are behind us and it was wonderful to invite this folk trio to play a return show in less turbulent times. The tag Scottish used to geographically describe the trio but in a recent personnel change Anna Hughes from north-east England has replaced the hugely acclaimed north of the border fiddle player Lauren MacColl. Big shoes to fill but on the evidence of this show progressing neatly. 

The original pairing of Jenny Sturgeon on keyboards and Ewan Macpherson guitar are still in place guiding Salt House to fresh pastures of recorded music in a style that elegantly blends traditional sounds with contemporary themes. The songs evolve from multiple inspirations many from the natural world. The key takes from seeing Salt House live is the harmonious therapeutic music drifting across pin drop venues such as Thimblemill Library. The fiddle breathes most serenity while the voice of Jenny Sturgeon adds some Celtic gloss. In combo, the new line up oozes with uncomplicated grace and the softly spun stories add extra flavour to the mix. 

Further enhancing the Thimblemill folk experience was an opening thirty minute rendition of unaccompanied song by local vocalist and musician Michelle Holloway. She launched this solo venture in addition to fronting raucous band Bonfire Radicals at the Library a year or so ago, and the evidence now suggests something improving in finesse and delivery. 

Salt House's return to West Midlands proved a far more fulfilling experience. Obviously the class has always been there but this time a more conducive environment played its part in allowing unrestrained musical entertainment to run its course. 

Festival Review: The 7 Hills Blues and Roots Festival, Komedia, Bath. Sunday 13th October 2024

Matt Owens

Was it Hannah White shedding layers of country vulnerability in ‘Car Crash’? Was it Danny and the Champs reminding us to ‘never stop building that old space rocket’? Was it Robert Vincent pleading for us ‘to find a better way'? You could look wider afield and lay it at the feet of Matt Owens for his vision, passion, craft and sense of community. The sweet spot of The 7 Hills Blues and Roots Festival spawned from countless moments, but ultimately coalesced around the power of grass roots music to bring people together. 

There was a laudable motive of boosting the profile of UK Americana music in the good city of Bath. The knock on effect saw a multitude of folks from ‘out of town' descend on North Somerset’s regency gem to savour a line up right on the pulse of what’s happening at the back end of 2024.

Keiron Marshall

The evocative old cinema setting of the modern sounding Komedia proved an ideal location for this one day festival. The main auditorium hosted the big stage for half dozen full band performances and a makeshift space for a similar number of supplementary sets, purely defined by space not stature or impact. 

From a personal perspective, I was stoked to see seven acts wholeheartedly adored and respected get the call to play. Deal sold before reasonably priced tickets and accessible travel arrangements kicked in making this the wisest of music trips. The whole day was in credit before a chord strummed or new act seen. 

There was a third dimension to The 7 Hills; a stage in a separate location within the venue hosting local acts. The success of this side of the venture will need to be gleaned elsewhere but the aim is in sync with growing grass roots music. 

Paul Lush and Danny Wilson

The acts filling the main auditorium from just after half twelve to the stroke of ten o’clock possessed a wide degree of experience with most currently on top of their game. The common bond was a style inked into what we know as blues or roots music, though Americana is a useful catch-all phrase. 

Danny and the Champions of the World were as experienced as any and had the honour of headlining this inaugural event. The Champs may flitter in and out these days, often sparring for a place among the many other activities of Danny Wilson. However they are set be a prominent part over the next six months with a brand new album imminent and a full UK tour planned for next spring. This Bath appearance was one of a handful of pop up high profile autumn shows. We had the full current line up in place with a couple of guests joining for the finale. There is no such thing as ex-Champs, so let’s just call the invited Geoff Widdowson and Robin Bennett currently non-active Champs. The core line up of Henry Senior (pedal steel), Paul Lush (guitar), Joe Bennett (bass), Steve Brookes (drums) and Thomas Collison (keyboard) quickly found the groove and Wilson led in his usual convivial manner. The new songs will need time to bed in and it was left to a trio of old favourites to get a sturdy band of devotees dancing their socks off. ‘Clear Water’, ‘(Never Stop Building)  That Old Space Rocket’ and ‘Every Beat of My Heart’ sweetly brought back fabulous memories of many Champs nights. A happy place indeed. 

Our Man in the Field

The first full set seen on the day was Keiron Marshall Blues Band who played as a trio on the main stage. There hasn’t been many opportunities to see this exciting combo outside their South London base, but those present at this year’s Ramblin’ Roots Revue were blown away by a pulsating performance. A few present that evening made the trek to Bath and the treat of Marshall’s blistering guitar playing was lavishly repeated. On a day where original songs held sway, a handful of covers found a niche led by outstanding versions of ‘Will the Circle Be Unbroken’ and ‘All Along the Watchtower’. 

Keiron Marshall is widely known around the UK music scene as guitarist (and husband) for the increasingly popular Hannah White. To re-enforce the camaraderie among the acts, White borrowed his bass player and drummer when her time to shine came. The set included some of the singles put out this year as part of a release-a-month project. The performance sparked into life with a trio of exceptional numbers led by the ultra-emotive ‘Car Crash’. The country drenched ‘Broken Bird’ may be a couple of years old but matures as a vintage with each listen. The jewel of the set was the finale with the killer melody of ‘Chain of Ours’ soaring into ‘song of the year’ territory accompanied by a scintillating electric guitar outro courtesy of Marshall. Hannah White is now growing her live presence around the UK outside supporting big names, so many opportunities to see an extended performance can be sought.

Robert Vincent

Regarding the aforementioned artists on top of their game comment, this tagline surely applies to Robert Vincent. There was a case for his band show headlining, but an evening engagement cleared the way for the Champs to claim that spot. A late afternoon hour of the Robert Vincent Band complete with event host Matt Owens on lead guitar was no bad thing. His set is almost becoming overrun with anthems. The staples of ‘Demons’, ‘I’ll Make the Most of My Sins’ and ‘So in Love’ are now joined by burgeoning newbies ‘The Insider’, ‘Burden’ and  'Follow What You Love and Love Will Follow’. This amazing trio from an equally amazing new album is blowing away all 2024 song contenders and taking the ever entertaining Vincent into new realms of stellar songwriting. 

Lauren Housley shared her admiration for Robert Vincent when playing immediately before her fellow northerner, albeit hailing from the other side of the Pennines. The dovetailed stages meant the music was seamless all day. Therefore an opportunity to avoid taking a breather if so desired. Housley brought her full Northern Cowboys contingent south with bass and drums joining guitarist/husband Thomas Dibb. She is in a good place at the moment. Bringing her young family to shows is a boost and these are becoming more prevalent despite being in a clear space between album releases. Housley and her band have nailed the country soul sound within the UK Americana community. A colourful attire and bouncy personality complement the far reaching vocal acumen. Recording a Candi Staton song in Muscle Shoals is enough to inspire any artist and the pride was brimming throughout a sparkling forty-minute exhibition.

Hannah White

Musicians playing multiple sets during festivals is a feature of grass roots music. Among those extra active today were Jim Godfrey (keyboard for both Robert Vincent and Matt Owens) and Henry Senior (long term pedal steel player for The Champs and now an integral part of Our Man in the Field). OMITF to give them an increasingly familiar acronym were another outfit to bring a full complement to 7 Hills. Drums, bass, cello and steel joined front man Alex Ellis to power a bunch of songs rich in tone and mesmeric in rhythm. Get onto the wavelength of OMITF and a satisfying zone of hypnotic music can be found. Prominent upfront bass plays its part alongside the alluring vocal and writing style of Ellis. ‘Go on Easy’ was a classy closer. 

The ‘magnificent seven’ who proved the initial draw was completed by Matt Owens and the Delusional Vanity Project. Forever the courteous host, Owens sacrificed a slice of his set when the tight running schedule hit a glitch. However, in the time permitted his band rocked and vibes reverberated around the Komedia displaying what a fine performer this ex-member of Noah and the Whale is. Songs from his latest album filled the air joined by older numbers such as the mellower ‘Cargo for the Road’ accompanied by the complementary Hannah White. While it was no doubt a stressful day for Matt Owens, the release of playing a storming set among friends must have been awesome. 

Of course the event wasn’t confined to these long term favourites. Unfortunately, a bus and coach trip from Stourbridge to Bath via Birmingham and Bristol meant only the tail end of Phil Hooley’s set was caught. Maybe next time will be more convenient as support for his music has been provided in the past. Another early performance partially witnessed was Sweet Giant. This style of indie-rock once defined my youth, but now only briefly features at eclectic festivals attended ie folky ones inserting a bit of oomph. A new act to me in Supalong was another rock-infused affair with the front man being a familiar name in Sam Brookes. Definitely a different sound to what was heard from him before, but still a performance to take something from. 

Lauren Housley

Leading the blues segment as prescribed in the festival name was Mississippi Macdonald, a recent UK award recipient. This set was enjoyed by a sizeable gathering, and aficionados of the genre present gave their approval. ‘Headlining’ the smaller space was Gary Stringer from 90s Brit rockers Reef - a nearby Somerset resident offering a local flavour. The songs clearly resonated with a select assortment at the front of the stage. 

Having floated several potential stars of The 7 Hills Blues and Roots Festival, you have to settle on the spirited desire of Matt Owens to promote and play an event so warningly received. He will no doubt pay homage to all the assistance provided as no one person can single handedly run an event, even on a moderate scale. If this festival, whose name could only refer to the home of its architect, retains a one off status, a fully appreciated day will linger long in the memories of those in attendance. On the other hand, folks from the Midlands, the North and the South-East may well just be prepared to keep their busy gig diaries free for a renewal in October 2025. Either way the soul of wider grassroots music and more genre-defined UK Americana is safe in the hands of inspirational enablers, aspirational artists and dedicated fans. 

Gig Review: Frankie Archer - Kitchen Garden, Kings Heath, Birmingham. Friday 11th October 2024

 

www.frankiearchermusic.com

Eleven months ago Frankie Archer opened the minds of a curious band of Birmingham gig goers. Plenty more had a brief exposure a few months later when this north-east based musician played a short opening set for Jim Moray, also at the Kitchen Garden. The style of blending trad folk with eclectic electro sounds was still exhibited, though in a slimmer content. The first turn of the annual cycle is almost complete and over the ensuing period Frankie Archer has grown an audience to just fall short of selling out the venue. Rough observation deduced a healthy mix of returnees, so there must also have been a contingent getting their first experience of something unique and intoxicating with respect to the staple folk circuit fare.

Where Frankie Archer's natural audience lies remains a conundrum. Twenty-minute opening sets for The Last Dinner Party offer one side, as opposed to frequenting venues healthily inhabited by folk stalwarts. Exquisite fiddle playing, sumptuous vocals and extensive trad songbook sourcing form one part of the equation: analogue synthesiser, sound tracking recordings, loops and innovative song building takes the listener and audience into an alternative stratosphere. Re-tune your mind, dust off preconceptions and therein lies a potential reach far and wide.

At the heart of Frankie Archer's cultural guidance is to re-imagine the role of women in traditional song. Challenging convention, pursuing a different approach to legions of archivists and revivalists reveals a headstrong artisan. You can deduce a lot about Frankie Archer - the person - by her stage presence, and where her musical path leads. Flexible mindsets will inevitably be coaxed to latch onto this innovative performer, yet the choice to retain a degree of convention may always choke off some curious observers.

The strength of her trajectory resides in a buzzing and connective live presence. The recorded content has recently been expanded to now two four-track EPs. Samplers when compared to the vast cannon of contemporary folk music, yet small seeds grow quickly in fertile soil. The eventual release of a debut Frankie Archer album will yield wider acclaim to capitalise on the existing media exposure secured from a limited base.

Pitfalls and bumps present themselves to all independent artists. Maybe things that don't quite go right can embolden performers. Having seen Frankie Archer on each of her three Birmingham visits, the one to enhance the listener experience is to avoid short second sets like the one delivered this evening. Four songs, though eloquently explained, plus a work-in-progress tune created an abrupt ending. Gig perceptions are often formed by lasting finales. A vague memory suggested it was different in 2023 with perhaps 'O Bonny Fisher Lad' being part of a climax. 

Everything else about the year discovering the music of this talented and perceptively evocative musician has been a treat. Electro-trad is a riveting concept and when presented so well is a compulsive listen. Frankie Archer remains one to watch. An engaging artist pressing new pulses to move boundaries and raise important issues of historical interpretation.