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.
