Three Chords and the Truth UK

Back in January, the gig year began with a show featuring Emily Barker, and it was a pleasure to welcome her back to the Midlands area as part of a tour that has formally put a seal on her latest album. Although songs from SWEET KIND OF BLUE were previewed on that last visit to the nearby Worcestershire town of Bewdley, which was in a duo format with Lukas Drinkwater, the assembled band format for this Glee Club date gave the tracks the deeper sound that they warranted. Emily Barker is more than the sum of any record she has released and remains one of the most fascinating artists on any circuit that embraces her style. This may be a style forever tinkered with, but a gold leaf streak has been consistently threaded within her releases. Emily is no stranger to The Glee Club and wasted little time in reminding folks how she has become a valued artist who constantly seeks to explore the wider canvas of contemporary roots music. ‘ Dear River’ opened her ninety-minute set and still si...

Regardless of what has happened in the past or may do in the future, 2017 will go down as the year Lucy Rose released the most adorable album and took all its divine beauty on the road with her. SOMETHING’S CHANGING also possessed an intriguing backdrop fuelled by an artist asking some of the most fundamental questions as to their creative existence. Therefore, it was no surprise to see Lucy in a candid frame of mind as she set about sharing some of her craft with a packed Glee Club audience. Amidst the lucid concerns and musings, the subliminal art of serving a record in a format that defined its personal intensity was plain to see. It helped that the couple of hundred souls cramming into the venue’s main room created the pin drop atmosphere required to savour the album’s subtle brilliance. However, this presented the evening’s first conundrum as Lucy came across between songs as being slightly unnerved by the surroundings. This did not affect any of the songs’ pristine delivery,...

Rhiannon Giddens has to be one of the most vibrant and dedicated advocates of American roots music currently active in the public eye. Throw in an extraordinary talent that spans the artistic spectrum and you have a sure fire way of ensuring your message gets across to expanding audiences. Spare seats were at a minimum in the Town Hall this evening as Rhiannon and her band set about ensuring this return to a Birmingham venue ended up a resounding success. In contrast to a recently seen gig at this venue, this show went beyond the ninety minutes set mark, thus maximising the diversity that bubbled in the musical presentation. Whether celebrating original British Isles emigration to the Carolinas or a revival of Cajun/Creole culture in the sixties, the quality and absorbing nature of the music beamed in harmony with the venue’s ever manoeuvring lights. The crowning moment of Rhiannon’s post-Carolina Chocolate Drops work has been her latest album FREEDOM HIGHWAY, and the fruits of th...

When Mavis Staples was musically active at the heart of the Civil Rights era, she probably didn't envisage having to make this album in 2017. Regardless of the cause or mission, this icon of the gospel-soul world would have always found a suitable outlet for her talent. Ultimately, songs can only play a small part in repairing society’s ills, but when you have Mavis Staples in unison with Jeff Tweedy, the healing process is made a touch easier. IF ALL I WAS WAS BLACK joins a lengthening list of albums dedicated to voicing a strong opinion against the wrongs afflicting the world and ensures the power of song carves its niche in the discourse of the day. This album is the third collaboration between Staples and Tweedy, with the Wilco frontman being the architect of all ten songs to adorn the record. The Grammys have acknowledged their previous efforts to varying degrees and it would be no surprise if accredited acclaim came knocking again. The sound comes across as a slick an...

It has been just over two years since The Stray Birds first caught my ear, and the subsequent evolution of their sound is now gathering pace. Essentially, a strong core of the band’s ethos will always be rooted in the old time roots camp. However, the transition to blend in a finely tuned country rock sound is taking hold to the extent of now being on the cusp of dominating their live show. Whatever style they adopt, a stark talent shines through, and a continual approach to have the UK on their touring horizon is reaping rewards in growing a fan base. This latest excursion from their US homeland has included a first Birmingham date, and a Hare and Hounds audience revelled in a performance still rising to a peak when time was called on a fabulous gig. For those who have had the privilege of attending a previous Stray Birds show, the wandering thought from the early stages of the set was when the vintage single mic would be utilised. This format had become a trademark feature of ...

There are only certain artists that can get away with an opening live song as a tribute to a recently departed friend. This was certainly no warm up number for Blue Rose Code as Ross explained the circumstances to a packed Kitchen Garden audience, ensuring the faithful were with him right from the off. Further relevance for ‘ Over the Fields (For John)’ opening the set was unravelled with a dedicated intent to play the new album in its recorded sequence. A brave attempt to re-enact an album that froths will all the trademark creative energy, which has defined the evolution of Blue Rose Code as a fluid outfit. This was Ross Wilson’s second visit to the Kitchen Garden in just over twelve months. Last October he played a solo gig and gave a special performance extracting all the traits that make him such an innovative singer-songwriter. This time, in true Blue Rose Code pot pourri, the format was extended to a trio, though still a far distance from the double figure ensembles that ...

The new album from Kirsty Merryn may only be eight tracks and twenty-eight minutes long, but it is a gorgeous blueprint on how to deliver a record succinctly packed to the rafters with treasurable discoveries. This may well be classed by the authoritative sources as one of the leading UK folk albums of the year when the dust settles, and few disputes are offered here. Apart from Kirsty’s pristine vocal prowess, the amazing notion from listening to the album cold is that this is not a dip into the world of the traditional song. Such is the magnitude of Kirsty’s compositions, folklorists in centuries to come may well class these songs as important as those passed on by word of mouth. The big clue is in the title, and gender focus is at the core of SHE & I. The eight tracks are dominated by a female character at the centre of the story. These possess a fluctuating level of historical importance, ranging from the well-told story of Grace Darling in ‘ Forfarshire ’ to the unknown w...

While roaming the world digitally for romanticised music has long been an influential source, occasionally it is worth pulling your horns in a touch to check out what is happening under your nose. Birmingham based band, The Lost Notes have been knocking on doors around the local scene for a while, often getting opening slots for overseas touring acts. With most of these artists being of a folk/Americana/acoustic tilt, this local combo have proved an ideal fit with their authentic approach to stripping innovative lyrical-laden music down to an agreeable form. Now it’s the turn of The Lost Notes to take on the role of a recorded outfit with the release of a debut album titled RUN FREE RIGHT NOW. Essentially, the album rolls out with eleven self-penned tracks plus a bonus of two offered in an alternative format of a live version and vocal remix. ‘ Bobby ’ is one of these tracks, with a live recording captured at the Tower of Song, and probably sits at the summit of the album’s appeal...

The magnitude of the sophomore album from Canadian folk artist Steph Cameron is that each play opens another window on the world of a lyricist on top of their game. DAYBREAK OVER JACKSON STREET had its Canadian birth in the spring and, with a helping hand from UK label At The Helm Records, it now takes flight across the Atlantic to mesmerise European audiences. This record may take a while to grasp, but the journey is a mighty satisfying one. While there is a degree of complex sophistication in Steph’s approach to song writing, an air of simplicity underpins the sound. This is a raw as acoustic sound as you could possibly get from a studio album. Without access to any credits, all you basically hear is Steph; her guitar and occasional harmonica, but that is sufficient to portray the worth of a high tensile record. With the UK release heralding a significant change in the seasons, you do feel the starkness of a Canadian winter running through the sound. Albeit, the homely vocals ...

The Kitchen Garden is a well-renowned venue for its conducive acoustics, and it accrues praise almost each time an artist sets foot in its interior. Over the last decade, many fine nights have been enjoyed in this suburban Birmingham venue, but from a sound perspective, few come close to eclipsing what was heard when Angel Snow and Ida Wen Ø e came to town for a very special gig.  While artists and sound team are not doubt quick to salute each other, the stars were certainly aligned this evening, whether your ears were tuned into the vocals, electric or acoustic guitar. The sum of these parts led to a gig that rampantly surpassed expectation and projected both artists to a new level. Angel Snow has had a presence in the UK for a few years and has been previously seen in a joint touring role with both, Ben Glover and Matthew Perryman Jones. Maybe it was seeing her for the first time in this venue (although it was not her first show here) that proved the catalyst, but she u...

Jason Isbell is currently on the sort of hot streak that would be the envy of a sports team anywhere in the world, akin to the domineering days of his beloved Braves. His song writing, album making and performing skills are firmly planted on a plateau, peering down into the distance of the chasing pack. All these attributes are in stark evidence when he takes to the stage, and shows like what we witnessed in Birmingham this evening veer very much towards defining where this artist stands in 2017. This was a gilt-edged artisan on top of his game and a supporting cast in the 400 Unit matching him each note, chord and interlude. Of course, it has not been all plain sailing for Jason, but adversity and genius often go hand in hand. In addition, contrasting views are held on the differences between polished perfection and good old dirty rock ‘n’ roll. Although it has been a while since Jason dabbled in the latter, you feel that it will be always be part of his DNA, and the sidestep from ...