Gig Review: Sara Petite - Thimblemill Library, Smethwick. Friday 11th July 2025

 

www.sarapetite.com

Honesty, sincerity and truth; traits that keep the fire of Sara Petite burning. An artist at one with their craft and dedicated to a vision of exploiting the attributes at her disposal. Over the last four years fans in the UK have come to know the music of Sara Petite fairly well. Opportunities rarely afforded in the first decade and half of a lengthy career have been grasped on a realistic scale, tapping into a music community keen to welcome overseas visitors with open arms. Some travelling acts connect through a verbal charisma, others are more at ease with letting the music paint a picture. Sara Petite cultivates a tight script exposing for impact. Musically, a narrow path is followed channelling the raw energy of country, honky tonk and rock 'n' roll. A comfort zone many miles from a Californian home is created as an energised performance illuminates whatever space is commandeered. Rock 'n' roll in an art decor suburban branch library pushes out a border leaving Sara Petite to jump right in and make a mark. 

On the surface, connection between a backdrop of well-stocked book shelves and the music of Sara Petite shares little synergy. Scrape away the top soil and the enlightenment of reading, whether feeding the mind with fiction or reality, helps understand the ideals of Sara Petite and what drives her to shape a career among the travails of everyday life. Denouncing the federal sins of her homeland, while praising the outspoken stance of Taylor Swift and Bruce Springsteen were second half curveballs interluding songs stacked with personal emotion. Beyond a random facade, sits an astute operator set up to frame the next phase of a rewarding career.

Circumstances dictated alterations to the borrowed touring band after three successive UK visits of continuity since 2021. Replacing Joe Coombs and Scott Warman on lead and bass guitar are Thomas Dibb and Mark Lewis, aka the Northern Cowboys. All four familiar faces on the UK Americana scene. Stability came from ever-present drummer Jamie Dawson, and also the cross-excellence in the choices. If anything, the style of Dibb gelled a little more cohesively. This was first noted from a festival set at Maverick the previous weekend and confirmed from a larger sample size during an extended performance at Thimblemill Library. The ultimate winner is Sara Petite as she gets the honour of touring with a fine array of musicians, adept at tweaking the moment in a variety of settings.

Two years on from her latest album, the perpetual crossroads is reached. One new song, 'Jealous Heart' has hit the wires, with a few fellow new ones featuring in shows with minimal fanfare. Whatever format these evolve into will keep followers engaged in the future. However the spine and essence of a Sara Petite show is a raft of road tested favourites stretching the tempo from upbeat revelry to solo reflection. 

Tonight's West Midlands show featured a change of scene with Thimblemill replacing multiple visits to the Kitchen Garden in nearby Birmingham. The evening almost had the feel of two distinct shows. This was due to how the first half ended with the band in finale mode via the excellent 'Promised Land' complete with congratulatory introductions and complimentary exposures. You have been to some shows where the hour stint conveyed in the first half would constitute the whole evening. But more was to come.

Both sets had a sparkling opening song. 'Feeling Like an Angel' is a staple Sara Petite show launcher and is easily lodged in the top echelon of her songs, based on a chorus melody to die for. The second half had a lower key beginning with the band granted an extra three minute rest through a solo rendition of 'Circus Comes to Town'. This moment worked well when strategically placed among the bulk of band songs. 

With seven studio albums under her belt, a rich selection of tunes poses a nice problem. 'Rare Bird', complete with one of the few lengthier introductions, 'Lead the Parade' and 'Little House' were the pick of the bunch before the home straight is set alight with three forever inspiring animated bangers. 'Bringin' Down the Neighbourhood', 'Wasted' and 'The Misfits' define the music of Sara Petite on many levels - staunchly independent, stoically proud and projecting a distinct voice sonically and metaphorically. 

Away from the fine writing of this broadened West Coast artist - Washington state raised, San Diego based - we were served two interesting covers from iconic American trailblazers. Tom Petty's 'Ways To Be Wicked' had the Sara Petite treatment in the first set and 'Land of Hope and Dreams' by Bruce Springsteen filled the encore spot. It was pleasing to hear a different Springsteen track covered than the usual suspects. 

You are never shortchanged when experiencing the music of Sara Petite. She eases people onto her side and induces a sense of belief, coupled with the nous to hone in what she does well. Since becoming a brave post-Covid touring pioneer in September 2021, many a platform has been blessed with the vivacious personality of an impassioned musician. Long may this continue as a guiding light in an uncertain world. An increasing band of UK followers will patiently wait. 

Album Review: Tami Neilson - Neon Cowgirl

www.tamineilson.com

The journey may be a cliche but its narrative-inducing concept lends a hand to make some great music. A conveyor belt of places, people, landscapes and sounds can stir the pot and prod the creative instinct of many an artist. NEON COWGIRL is a moving piece of self-celebration on several levels. The country heart of Music USA has always been Tami Neilson’s calling from a Canadian upbringing to New Zealand settling. A fulfilling road trip of rediscovery is the fuel that powers the sweeping sound of a record echoing so much of a heritage songbook from soaring soulful songs to raucous barroom bangers sprinkled with the odd heartfelt ballad and sincere homage numbers.

Neilson’s vocals crank into gear from the off with ‘Borrow My Boots’ raising the sass level in the vein of many a female country icon. The lavish overtones, complete with lush strings, launches ‘Foolish Heart’ into Orbison territory, pure self-admitted adulation from a young believer baptised in his music. ‘Heartbreak City, USA’ is as an explicit song title as you get and cranks up the twang to ignite even the most placid dancehall. Three songs in and Neilson serves stalwart admirers a treat and seduces the faintest of doubters. The results of a trip to seek out her inner ‘neon cowgirl’ are bustling their way into an array of a gold certified tunes. 

‘Keep On’ retains the big sound while reducing the tempo. Powerhouse vocals are the redeeming feature of a record rarely holding back on production capabilities. Eventually the quintessential country weepy appears with piano being the prime accompaniment to ‘Loneliness of Love’ as we dive deep into the sad song well and re-emerge with refreshed souls amidst the odd tear. The centre point of this eleven track album is ‘Love Someone’ where soulful organ kicks off a Memphis evoking number, full of uplifting backing vocals echoing a bygone age. 

Title track ‘Neon Cowgirl’ leads off the second half and is pure autographical as well as being a state of mind rather than a physical being. Whether a starry eyed kid or raising a family in her adopted home of New Zealand, the guiding light of Nashville and its ‘El Dorado’ status in country music is embedded in the DNA of Tami Neilson. The sense of its worth shivers from the tone and words oozing out of this valued track. This leads into another Orbison-inspired piece as ‘One Less Heart’ cracks the code of bass-backed ballads and carries all the scars of tear-stained tradition. ‘Salvation Mountain’ picks up the pace as your archetypal road song, name checking iconic references while rolling along with absorbing intensity. Probably the album’s deepest dip into rock ’n’ roll, leaving you well-travelled and revitalised. 

The finishing line of this shared life affirming album is nearly reached with the vibrant beat of ‘U-Haul Blues’ blending the exemplar musicianship that feeds throughout with an adept voice equipped with a dexterity shining through in this two and half minute song. The parting shot sees Neilson slip into duet mode featuring JD Mcpherson on ‘You’re Gonna Fall’, a rich offering keeping things fresh right at the end. 

NEON COWGIRL shows Tami Neilson harnessing an outlaw outlook with a conventional sound. It draws on multiple experiences shaping a style flourishing right across the country and Americana spectrum. New Zealand, USA and mainland Europe already embrace her music. UK pickings are still relatively untouched. This album leads the way and calls for a serious tour to back up its eminence.