Music Reviews - starting with the cliche before branching out to where the music matters. Live and Recorded with an emphasis on country, folk, Americana, singer-songwriter and roots for starters. EST. 2012
Robert Vincent and Dean Owens - Kitchen Garden, Kings Heath, Birmingham. Monday 4th December 2017
Get link
Facebook
X
Pinterest
Email
Other Apps
-
United by a record label; united by the rhetoric of song and
now united in planting the roots firmly in the ever-popular songwriters’ round.
Robert Vincent and Dean Owens are far from novices on a UK circuit that branches
out from a core of Springsteen, Dylan and Young. Their latest venture is to team up with the
Worry Dolls for a Roots in the Round tour that leaves Nashville out of the
title, but is forever tinged with the song writing spirit that epitomises Music
City. Midway through this string of early winter UK dates, the guys set about appearing in a couple of duo-only gigs; more roots in the semi-circle than the
round. Birmingham’s Kitchen Garden has seen its fair share of highly crafted
singer-songwriters pass through the brick-walled interior in 2017 alone, but sufficient
room was made for a couple more, and our two protagonists perfectly fitted the
bill.
At The Helm Records is the operation responsible for Robert’s
award nominated 2017 album I’LL MAKE THE MOST OF MY SINS and if the wheel of
fortune pays heed, similar acclaim may await Dean’s upcoming release SOUTHERN
WIND, likewise a debut effort on this South Coast-based label. Both records
offered material for this evening’s show as each artist set about stripping down
a bunch of songs to expose their raw bones to a respectful audience. While
there was ample synergy in how these two songwriters ply their trade, significant
markers of differentiation enabled this show to flourish without the feel of a procession. Dean has a far more literal side to his art and a grounded vocal
style greets the subject of his compositions on a platform of terra firma. In
contrast, there is more flair to Robert’s style. This begins with a vocal range
that cuts a rock thrust amidst material that appears to veer further in an
abstract direction. Both artists were refreshingly candid about their
influences that frequently were born from a deep personal experience or
feeling.
It was no surprise in deducing Robert’s acoustic version of ‘Demons’ being the prime moment of the
evening. Although it was closely followed by, ‘I’ll Make The Most of My Sins’, which seemed to evolve as a
country piece when all the full-band faculties were stripped out. Probably the
pick of his older songs was ‘The Passage’,
and it was of added interest to get an insight to the origin of ‘The Bomb’.
An older song, with a combination of personal connections, titled ‘Man From Leith’ came out tops when
reflecting upon Dean’s contribution, which amounted to around eight rotated
songs in a brace of sets. It also bodes well that two new picks from the
upcoming album, ‘Southern Wind’ and ‘Last Song’, came across as impressive
live efforts, the latter constructed in association with legendary Nashville
operator Will Kimbrough. Dean was the keener of the pair to invite the
inevitable audience participation, with this number in addition to ‘Lost Time’ presenting opportunities for
folks to offer a muffled accompaniment.
On an evening where the cast had to re-adjust to their
temporarily slimmed down tour set up, there were certainly no complaints in
hearing more Robert Vincent and Dean Owens, especially as Birmingham has not
been on their touring horizon in recent times. What we were privileged to
witness were two outstanding exponents of filtering the ware of their creative
inspirations through the precious medium of song. Rob especially has spent a
fair amount of time with his band this year and this solo show spun his music
in a new and welcome light. Dean often ventures south from his Scottish base in
solo mode, but you never know, the new album may present band opportunities
this side of the border in the New Year.
Three key North American legends were namechecked in the
opening paragraph, but lately, and in sad circumstances, Petty has been the
go-to cover in the last month or two. ‘Learning
to Fly’ may have lacked the Worry Dolls harmony vocals, but it crowned an
enjoyable evening. Conclusively sealing a view that Robert Vincent and Dean
Owens are two singer-songwriters fit to enrich any scene that they frequent.
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 Thi...
www.jasonringenberg.com You can't keep a good man down and Jason Ringenberg is one of the best of them. Boosted by the reception and satisfaction of his 2018 album STAND TALL, everybody's favourite cowpunk, witty, incisive, intelligent lyricist is back with another record as deep and broad as its predecessor. RHINESTONED is a passionate release depicting every inch the portrayal of Jason Ringenberg, namely historical curator, proud custodian of a style and blessed with a cavernous conscious. The starting point of this album may have been some of the leftovers of the previous record, but it has soon developed its own entity and matches up well with what Ringenberg has produced in a long career whether heading the Scorchers, playing up to the Farmer Jason moniker or just the plain solo act with something to offer. This album has all the distinctive hallmarks of a Jason Ringenberg record from a vocal perspective as well as the routes chosen for the material. Of the four tracks...
www.anniecapps.com If you enjoy diving into a deep lyrical pool, then the latest album from Annie Capps is a smart listener's delight. Taking a detour from her work with partner Rod, she plunges headlong into this stark and thoughtful solo project to deliver a dozen-strong collection. This presents HOW CAN I SAY THIS? as a body of personally driven songwriting of the highest calibre. The notes inform a 40-strong cast of all women collaborators have assisted on this project, but you feel forever secure in the solo arms of a songwriter exploring life and nostalgia from numerous angles and experiences. The album plays out on a level plane with minimal highs and lows. A few more notable peaks may have boosted the impact for casual listeners, but sufficient elegance and guile puts the album firmly on the road to laudable acceptance. Truth or fiction are a creative writer's prerogative. We can only surmise the directions Capps takes throughout the songs here. She relies heavily o...
Comments
Post a Comment