Gig Review: Catherine MacLellan and Lucy Farrell - Kitchen Garden, Kings Heath, Birmingham. Wednesday 21st May 2025

Simplicity can often be the face of a more complex constitution. The ease at which experienced musicians convey their work in a live setting may belie the intricacies woven together and harnessed away from the spotlight. Matching melodies with words and many painstaking hours perfecting the art of vocal and instrumental delivery reach a pinpoint when nakedly exposed to a paying crowd. Experiencing live music evokes impressions on multiple senses and when it effortlessly unveils, the ears, eyes and inner feelings feed a sense of satisfaction. A high water table of talent is an essential starting point that counts for nothing without an ability to connect. Sometimes you feel in the right place at the right time. From a left field pool, the collaboration between Catherine MacLellan and Lucy Farrell found the pinnacle of comfort, guile and connection.

The Kitchen Garden was in a middling mood for this show. Neither bursting at the seams nor spaciously quiet, just its attentive self, populated with likeminded folks sensing something special. Similarities and differences floated from the performing space complementing and blending when needed. One Brit and one Canadian bound by a residence in the latter’s homeland alongside a love of folk music moulded by a nation’s identity. Lucy Farrell, steeped in the English folk tradition and a much admired participant on the scene for many years in several guises. Catherine MacLellan, born into folk royalty and using every inch of a precious gift to craft a gilded canon of songs. The former interprets and writes; the latter writes and interprets.

For the uninitiated, bios were left to be sourced elsewhere. Farrell and MacLellan dropped snippets of who they are in between a raft of moving songs. Family was a recurring link. It was the driver moving Farrell thousands of miles west to set up a new base, although modern life can render a world smaller. It formed songs like ‘Edwin Lullaby’ inspired by her son. MacLellan used the link to introduce ‘Tell Me Luella’ about her grandparents and a later number based on ‘re-friending’ a sister. Whatever song the pair introduced, the benchmark soared in the first set with a version of the Canadian classic ‘Snowbird’ written by Gene MacLellan, whose work lives on in his daughter’s voice.

To balance the Canadian perspective, which also closed the show in the shape of Kate & Anna McGarrigle’s ‘(Talk to Me Of) Mendocino’, Farrell’s impromptu invitation to sing an unaccompanied version of Molly Drake’s ‘Happiness’ drooled with class and pristine English folk heritage. This act of vocal excellence added to the exquisite fiddle and intrinsic tenor guitar playing from an artist best known in recent years as a member of the Furrow Collective. Solo seems to be the current focus, although we were tantalisingly teased with the prospect of a duo album. Evidence leant further with the pair hastily recording a tour only EP.

Recordings have been relatively scarce from Catherine MacLellan in recent times. COYOTE was her last album in 2019 and prior to that it was 2014 for the highly acclaimed THE RAVEN’S SUN. Interspersed between these two was a reworking of some of her father’s songs. However this is the second UK visit in just over a year showing a commitment to travel after a patchy period. Maybe something is on the horizon.

The show’s momentum was reflected in a longer second than first half alongside the evening passing through too quickly. Three weeks into a four-week UK tour had obviously aided the gelling process so for once a benefit of not seeing a jet lagged opening date from what was still a new performing format for the pair. The venture may have been left field on the surface but the product was right at the heart of what makes live music special. Two obviously talented musicians showing where working together can lead. The destination this evening was right into an intimate venue’s sweet spot. 

Gig Review: Ellie Gowers - Hare & Hounds, Kings Heath, Birmingham. Wednesday 14th May 2025

 www.elliegowers.com

Capturing the moment can be the highest accolade paid to any live performance. Your mind doesn't long for past glories or wander into a world of 'what ifs'. Ellie Gowers has been on a musical journey for a few years and will continue to have a flourishing one long into the future. The trio format serves her well alongside being the vocal front of Filkin's Ensemble and one third of acclaimed folk outfit The Magpies. The Hare and Hounds Birmingham on one May night was all about the solo side. Pitch perfect sound, exquisitely paced set, alluring aura and an audience at one. Take this evening as a mutual gift. A show to treasure on many fronts and a moment truly captured. 

Heads were turned when this show was announced six months ago. The Kitchen Garden across the road would have seemed the logical fit especially if the plan was to play solo. Her previous show there had been a near sell out and the style of music suits the venue from numerous perspectives. The bold move paid off with a turnout likely exceeding the capacity of the neighbour. Extra stage space and additional lighting enhanced the impact with a mix of seats and standing accommodating all. The trump card was played late in the day when Mia Kelly was invited to open the show.

On numerous occasions over the last twelve months, the Canadian-native has graced Midlands stages in a shared or support capacity. Such is the growth of interest and strength of impact, a headline Mia Kelly tour is surely on its way. She has it all: infectious personality, engaging stories and songs that propel forward packing a punch. There is also a growing catalogue to support longer sets than the generous forty-minutes afforded to warm up a Hare and Hounds crowd. Two absolute gems from the latest album lit up the room. The country credentials of 'Meaning Well' were up there with the best and 'South Went the Bird' is a glorious metaphor of a break up. Brilliant writing and likewise delivery.

How do you follow a support artist who takes warm up to the brink? Stand up Ellie Gowers who hit the right note from the start and continued to mesmerise for the next hour and a bit. This Warwickshire artist now calling the vicinity of the venue her home grasped the motivation to make this evening special, with the ability to extend to any. The back catalogue is limited to one full album, but EPs and singles bulk it enough at the moment with the option of a most glorious cover interpretation. Many attempt Joni Mitchell's 'California'; few align with its vocal complexities. 

The voice breadth is one aspect of Ellie Gowers' armoury, songwriting is another. The bulk of the set came from 2022's DWELLING BY THE WEIR,  a record packed with astute observational writing. The title track set the ball rolling and the inevitable encore was the reserve for a crowd assisted version of 'Woman of the Waterways'. More evidence of the folk credentials came in the historical significance of 'Ribbon Weaver' with its Coventry heritage and a passionate response in 'A Letter to the Dead Husband of Mary Ball'. The latter was stunningly sang a cappella creating a jaw dropping moment. 

While folk is driving multiple lanes of the Ellie Gowers' career, the revelation of 'I Can Be Right For You' from the latest EP is an elegant dip into pop. Classy with a glance to future style diversity. Also shared from 2024's YOU, THE PASSENGER were 'A Moment' and 'Testing the Water'. Away from albums and EPs, 'The Stars are Ours' was put out in multiple single versions and the countryside side passion comes across in a live version inviting  audience participation. 

Although this gig wholly owned the present, a brief moment took the mind back to a festival field in 2020. Yes, one did run that year - Beardy Folk with the infamous Beardy bubbles. A young solo artist by the name of Ellie Gowers caught the attention. Sometimes your instincts are spot on. 

Gig Review: Abigail Lapell + Steph Cameron - Kitchen Garden, Kings Heath, Birmingham. Sunday 11th May 2025

 

Curiosity around this gig started when it was first listed. Two random artists joining forces with little exposure in the UK. Both had crossed my path with a significant gap in between. Steph Cameron was the better known via her 2017 album which had some UK press and few low key dates on a short tour. We quickly learned during the show a reason for the lengthy break between prominent activity. Awareness of Abigail Lapell came through some indirect press activity in North America around her 2024 album. Research led to an extensive back catalogue, although scant awareness of activity over here. A couple of days before the gig, the opening show of a three-week European tour, ticket sales approached a sell out. The Kitchen Garden audience is not noted for turning out in large numbers for two first time Canadian visitors with minor presence. There was definitely something in the water when a large chunk put their hands up when asked who was here for the first time. Not to worry, the Kitchen can be a magical place when packed with its intimate aura. So the scene was set for Abigail Lapell and Steph Cameron to have a fulfilling Birmingham debut.

It was intriguing to see what the format would be for two individual artists. Separate sets either side of a break was logical with each owning the space telling their stories to a fair number of fresh ears. To an extent this was the case with some shared additions. Apart from partners and young kids, the touring party was enhanced by a drummer and bassist who remained in active post throughout the duration of the show. 

Abigail Lapell was first up with Steph Cameron joining her on backing vocals and occasional guitar. The style of the Toronto-native resides on the quirky side of the folk radar with some similarity to compatriot Jolie Holland, who commands a substantial following in the UK. While the songs can sometimes take a while to cut through, the stage presence was warm and connective with most of the material coming from the recent album. Bouts of inventive percussion enhanced the overall sound and you felt a lot more versed in the music of Abigail Lapell after a 50-minute exposure.

Steph Cameron's brand of folk music is of greater orthodox than her touring partner. The Saskatoon-native drew a lot of influence from the 60s revival scene, both Greenwich Village and those of an English persuasion. This was evident in the 2017 album, though its follow up had just been released with raising a family explaining the seven-year wait. Similarly to the first set, all four musicians were on stage with Abigail Lapell applying a touch of faint electric guitar alongside backing vocals. At the end of the set we had a feel for the new music of Steph  Cameron without knowing too much about what defines the musical side of her persona. 

The evening would have been more rewarding with a less crowded stage and each artist stripping their sound to befit the tight surroundings as understandably there wasn't a lot of band chemistry. With drums and bass in the room, a dedicated electric guitarist would have improved the Steph Cameron experience.  The vocals were also a little quiet though volume moved in the right direction in the latter stages. The second set also appeared a little hurried despite a near identical running time.

Birmingham gave Abigail Lapell and Steph Cameron a slice of the grassroots music scene at its most vibrant. They are obviously talented artists in their own right, both in songwriting and presentation. The evening set the tone for three other UK dates before the team head to a more extensive run of dates on the continent. It will be interesting to see how they build on this visit and take advantage of an impressive starting point in this phase of their musical careers. 

Gig Review: Sorrel Nation - Thimblemill Library, Smethwick. Friday 9th May 2025

 

www.sorrelnationmusic.com

Sometimes cracking the gig code can be a straightforward process. Bring your 'A' game, cover the basics and connect with the audience. Mutual respect can go a long way to firming up a base at the grassroots. Sorrel Nation starts from the high water mark of a sublime voice, expressive songwriter and smart band arranger, yet so many other aspects of her approach are key to a growing presence on multiple UK music scenes. Whether based in her native home county of Kent or living a rambling life on the road, an aura of experience coats a stage craft piercing new areas with each tour. Spring 2025 evolves around the launch of the vinyl format of the debut album LOST EN ROUTE and an inaugural show in the West Midlands yielded more converts to a growing band. Making inroads in a crowded independent pool of folk-infused contemporary acts can be demanding and littered with obstacles. Promising signs of Sorrel Nation establishing a foothold were laid bare in Thimblemill Library with a scope for signifiant development echoing from an accomplished performance.

The nearest previous show to the Birmingham area was last October when the album launch tour called into Leamington Spa. The Temperance was ideal for the trio format which proved an excellent live introduction. A wider library stage enabled the six-piece to flourish and the entirety of the album had the benefit from multi-layered support. The two evenings had the common theme of inviting Droitwich-based singer-songwriter Clare Portman to open and her set laid the groundwork for a rewarding evening of music. The key moment was a debut live airing of 'Love is the Way' from a brand new EP with the piano accompaniment superbly coaxing an emotive and sensitive song into life. 

The six piece format with Sorrel joined by Sam Anderson (guitar), Theo Holder (cello), Ri Baroche (keyboards) , Simon Browne (drums) and Stef Happie (bass) had an early season festival outing at Ramblin' Roots last month and this whetted the appetite for an extended headline gig. The band shaped up well in a venue more used to slimmer formats. Anderson's guitar skills will flourish in any setting, while the twin frontline sounds of keys and cello came across well adding sonic vibes to what is an evocative library backdrop. Backfield rhythm is always understated yet never under estimated creating the perfect tempo. At the heart is a front person using an acoustic guitar and blissful voice to paint a collage of visual images and inner feelings. 

A set time pushing the seventy-minute mark saw the entirety of LOST EN ROUTE played, opening with 'Old Man' and surprisingly peaking with 'Wild Solitude'. Hearing album tracks spring to prominence on stage is not uncommon and unseating the initial standout 'Crazy For You' is no mean feat, even if only for one night. Each song had a meaningful introduction shedding light on what drives the creative passion of Sorrel Nation. An outdoor existence, past relationships and wild ideals all jostle for your headspace as each track added the blocks of effect. 

Two covers tilted the show towards influences. Many artists cite and reinterpret the early work of Gillian Welch. Tonight we enjoyed 'North Country' from the 2024 record ending a lengthy hiatus. On the surface, adding to a mountain of 'Who Knows Where the Time Goes' versions is brave requiring a deft interpretation not to sink. The encore moment here floated with splendour. 

The ditching of guitar for a drift into Sandy Denny territory revealed a different aspect of Sorrel Nation's artistry. The vocals took on a fresh identity with food for thought to where they may be taken with further advances into this field of delivery. Likewise development could also come from mixing up the band role. More Anderson guitar solos would add a vibrancy, while filtering in the odd Sorrel stage solo moment could strengthen a more candid aspect. With new material likely to emerge before too long, refreshing the stage show could help propel a burgeoning career.

An immersive glow surrounds the work of Sorrel Nation whether on record or live. Engagement is fruitful and you sense an artist with a definitive upward trajectory. A template for connection is something to be nurtured. An amalgamation of simple traits and accumulative talent is serving her well. 

Gig Review: Brown Horse - Hare and Hounds, Kings Heath, Birmingham. Monday 5th May 2025

 

Even with a vague interest in the indie-Americana-rock scene, the elevation of Brown Horse has been noticeable. A distinct style has piqued interest in those wrapped up in the pioneers of alt-country where the tightness of a rock band coalesced around upfront keys and pedal steel bringing sweeping tunes and themes to the fore. On the back of favourable press and increased awareness, the six-piece outfit from Norwich have been ultra active. Numerous festival slots, tours covering large parts of the UK crossing over into the continent and a pair of full length studio albums lay out the activity. Appearances at Moseley Folk Festival and a previous gig at the Hare & Hounds have helped grow a Birmingham base, and the small room in the Kings Heath venue was packed as the band returned to the city to close the latest tour. 

There is a lot to admire in how Brown Horse come across despite far from the finished article. The set up shines through shared songwriting, instrument swapping and musical interaction. You are witnessing a fully integrated band embedding a captivating sound, while finely crafting a positive impression. All was evident during a set packed with good vibes, yet a little light in time. Bands on the rise should be looking at upping their set up time offer from 55 minutes and when taking a support slot into account not falling short of an hour and half arbitrary benchmark for folks heading out for an evening’s live music. 

The current guise of Brown Horse have only been active for a couple of years. They are trying to enact a mature style requiring a lot longer to come to fruition. Illuminated signs signal a prosperous future with all six band members engaged in deep thought how to cultivate a complete sound. Charisma exists in how the music infills a room, small ones at the moment with potential to grow. 

A lot of pieces need to come together for Brown Horse to thrive live. Rotating keys and accordion, predominate pedal steel, a guitar trio of bass, electric and acoustic continually alter the profile. This can be a challenge to some sound systems. Not all consistently aligned in the Hare and Hounds and it was tough at times to decipher the vocals. Imperfections are part of the live experience and the substance of Brown Horse’s overall demeanour can carry a performance. 

There was a marked difference in the ease of acceptance for Brown Horse albums. RESERVOIR, the 2024 debut, required time to build an impact, while ALL THE RIGHT WEAKNESSES, now a month old, revealed its strengths a lot quicker. Reasons behind the upward trajectory were laid out in the highlights from the Birmingham set. Possessing a banner track lavishly leaving an imprint on a listener’s mind is a gem worth shining and perpetually using. ‘Corduroy Couch’ could be Brown Horse’s calling card, capable of swooning a small venue gathering and likewise bigger stages that await. Hot on its heel in Birmingham was the bass heavy opening to ‘Radio Free Bolinas’, a pair of standout moments. Other tracks from the new album included were ‘Verna Bloom’, ‘Wisteria Vine’, ‘Dog Rose’ and ‘Wipers’. Definitely an album to stick around for the long term.

Less of RESERVOIR had an airing. ‘Stealing Horses’ remains an intriguing song, while ‘Shoot Back’ proved a valuable encore addition as it ensured the gig ended on a high. There was even a new song introduced. With back-to-back albums out in little over a year, it may be wise to nurture their live presence rather than adding to a crowded place. 

Oli Cook and his band opened the evening with a 30-minute slot. They proved a wise choice and good fit on a Brown Horse bill. A tight band and one exceptional guitar solo gave the performance a positive glow. 

Reasons behind Brown Horse being picked up by Loose Music and the rush to praise are evident. They shape up well for refined ears and are an easy sell to certain quarters. The challenge is to broaden the appeal. Sharpening the live presentation and honing in on key strengths will yield results. They are a band worth watching out for and add value to any live music choice. Expect to have to give a little as a keen listener and nuggets will begin to sparkle. 

Gig Review: Andrew Combs + Dan Whitehouse - Kitchen Garden, Kings Heath, Birmingham. Wednesday 30th April 2025

Connection can create opportunities with positive outcomes. The chance meeting during a radio interview led to one of the most rewarding musical evenings of the year so far. The night belonged to Andrew Combs, yet like on so many occasions in recent years Dan Whitehouse co-opted the role of enabler. This short tour for the Nashville-based Combs pivoting around a slot at Kilkenny Roots Festival was already in place with an opening night in Birmingham prior to the new arrangement. Now the pair are working together, both on the road and on stage during parts of the short run, and what better place to tap into local knowledge than Whitehouse's own West Midlands. 

A packed Kitchen Garden with many faces from the Dan Whitehouse posse created an ideal environment for the music of Andrew Combs to thrive. Attentive and respectful throughout, wise heads may have been taking a chance on a new artist but when on top form there was zero chance of our American visitor not impressing with an outstanding array of songs. While Combs is a long established US touring artist with a strong foothold in Americana communities, Birmingham has proved a tougher nut to crack. His solo debut at the Hare and Hounds in 2014 didn't prove a launching pad, although there was an improved response to a Glee Club performance three years later. There, the interaction stalled. Some recounted an earlier visit with Caitlin Rose. I saw her play the Glee Club in 2010 and 2011 with any memory of him playing erased. Bringing things up to date, the 2025 show will linger long.

The current phase of Andrew Combs' career sees him settled, philosophical and in a good place. Music appears to be on his terms highlighted by the very personal latest album DREAM PICTURES. He is a proud representative of a Nashville community that swims against the tide, although he can make better country music than most when applied. Who can forget that surreal day in 2016 when he shared the O2 Arena stage with Eric Church, Chris Stapleton and Kacey Musgraves. Not a bad day for anyone with a foot in country and Americana camps. Nine years later, it is solo with a self-described 'band in a box' presenting the music in a different light.

Dan Whitehouse played a thirty minute opening set. A throwback role to somebody who earned his crust this way on the Midlands music circuit - shows with Simone Felice and Terri Clark spring to mind. Now the focus is on flagship gigs like an upcoming one at the Birmingham Conservatoire in June. With a limited window to appeal to Andrew Combs' fans, a representation of the recent past was chosen with songs from the GLASS AGE and VOICES FROM THE CONES albums featuring on both keyboard and guitar. You were adding considerably to your investment with the quality on show as Whitehouse absolutely nails the art of presentation. You could also see why the pair developed a mutual respect when crossing paths on the Brum Radio show. They both carefully craft songs with skill and guile. 

This conducive spotlight on Andrew Combs brought the best out of his songs. We were informed that the format may be unique as we were effectively getting the demo versions of songs. Basically, raw on guitar with drum beats and bass parts electronically preparing for studio adaption. As a spectacle it worked, ably assisted by a relaxed Combs chatting in his own reserved way. The insight was as candid as any other time witnessing a show. Songs spanning a pair of sets adding to a stacked evening of music showcased the breadth of a career.

 The title track off the latest record 'Dream Pictures' segued into the opening piece and the ever evocative 'Too Stoned to Cry' represented a young Andrew Combs naively thinking Music Row wanted real country music. Whatever song was presented, the clarity of a stunning structure shone through. Familiar ones like 'Hazel', 'Dirty Rain' and 'Rose Coloured Blue' reached out to touch the audience. Newer ones like 'Eventide' and 'The Sea in Me' invite you more into the mind of Andrew Combs. My two favourites from the evening were 'Strange Bird' written for his wife and the etched classic 'Rainy Day Song'. In recent times I've banged on about artists having a live staple song that is perpetually gifted to audiences. The latter will always be the 'Andrew Combs calling card'. 

Inevitably, the pair got together for the finale with the addition of deftly played electric guitar lighting up a couple of songs including 'Silk Flowers'. We were now in added value territory. The most pleasing aspect was Andrew Combs had nailed Birmingham. A patient 15 year wait for some.

Full credit to Dan Whitehouse for stepping in to enhance an evening that would have been stellar without his input. He helped bring the best out of Andrew Combs who thrived in the setting. Throw in a Desi pub experience and bostin' signs in Tipton on the 'New Road', and there was a little bit of the Black Country for the visitor to take with him on his travels. A night with surprises, yet echoing the magic of the stellar song.