Carter Sampson indicated how lucky she is to be doing what she does. Likewise those overseas who have enjoyed the music of the self-anointed ‘Queen of Oklahoma’ for over a decade are exceedingly lucky. Meanwhile ‘Lucky’ was the track that closed this Carter Sampson show with a difference. Not only was this a first appearance at Thimblemill Library, a brand new incarnation in the Carter Sampson Band is hitting the UK for the first time.
The band were new to Carter but not to keen observers of the UK Americana scene. The list of artists and bands to benefit from the guitar skills of Joe Coombs, bass playing of Scott Warman and Jamie Dawson’s drumming is getting lengthier by the tour. A credit to their versatility and ability to adapt seamlessly. They brought a renewed dimension to Carter’s songs, impressively from the high bar of their solo eminence. Across two sets, a stylish demeanour shared engaging stories and anecdotes fashioning life in Oklahoma.
Carter joined a growing band of artists smitten by playing in a library, and Thimblemill with its art deco surroundings is not your average one. Sheepishly, she apologised for a cuss word and impishly surmised at bringing a rock ’n’ roll band. When addressing the audience as “you’re quiet” the response “it’s a library” was script written.
The music of Carter Sampson epitomises the Americana spirit. The vocals are etched with a Dust Bowl drawl and the songs evoke the expanses of the gateway to the West. To enact the presence, Coombs had to bring his country chops, Warman switched between electric and stand up bass to match the mood and Dawson kept time to a variety of tempos. From the time tested opener ‘Wilder Side’ to the blues-infused pre-encore cover ‘Since I Fell for You,' the fruits of numerous albums filled a West Midlands Saturday evening air.
When commenting on the origin of ‘Queen of Oklahoma,' also the title of one of her older songs, the freedom of being whoever you want to be was extolled. Sage words in a world where conforming is de facto. The individuality of Carter Sampson is one trait making her stand out among the throngs of American touring artists trying their luck this side of the pond. The longevity of her presence over here is a testimony to the appeal.
This Smethwick gig (the Birmingham omission is an accurate and ‘local’ thing) was the second date of the most ambitious Carter Sampson UK tour to date. Why not maximise the availability of a crack band? The irony is the tour promoting a new solo live album. Live at The Blue Door is available at shows and will get a wider digital release later this month. You can savour the band effect in person and take home the equally good solo performance.
It is pleasing to see Carter Sampson stoically committed to touring the UK. The belief showed in making an unknown Oklahoma City native an album of the year recipient in 2016 has handsomely paid off.
