Three Chords and the Truth UK

The hottest ticket in town; a statement that is going to resonate more when word gets around about the Rachel Baiman and Molly Tuttle duo show. With as much talent on display as a several piece band, this self-curated duo - assembled primarily for a European tour - left an indelible mark on the musical landscape of the West Midlands in the shape of a breathtaking show. This was a superlative exhibition from two performers bursting at the seams with the precious gift of virtuoso musicianship. Whether you honed in on the banjo and fiddle of Rachel or Molly’s extraordinary bluegrass picking on the acoustic guitar, a fabulous array of craftwork was widespread. The way these two very independent artists blended in a near sell-out show at Thimblemill Library raised the bar of quality a little higher as this versatile venue goes from strength to strength. The format of the evening saw both performers generally take a switched lead across each of the two sets as the other flickered in an...

Ninebarrow is a Dorset-based folk duo providing a blast of fresh air across the national scene. From the acclaimed status of BBC Radio 2 Folk Awards Horizon nominee, the pairing of Jon Whitley and Jay LaBouchardiere is carving a significant mark as a vibrant purveyor of the traditional tale and song. Not content with dwelling on the past, their music fully embraces the surroundings of the present and intuitively takes a bold step into the future. Utilising the triple instrumental approach of harmonium, multiple strings and piano, the soundtrack sways within the mood of the songs, accomplished yet not overpowering the sparkling vocal content. This evening was a case of the folklore of Dorset spreading its wings to the outer limits of the West Midlands to extol the virtues of the seasons, the landscape, the history and fantasy. All served with occasional dashes of staple folk sides. Across a brace of sets in the homely settings of a hired social club, Jon in particular continually fou...

How much credence is there applying context to a record? Alternatively, should each body of work be assessed on the merit of the independent entity.   The former cannot be ruled out with the new album from Daniel Meade, as a seismic shift in sound perspective rolls around the edges of the release. While WHEN WAS THE LAST TIME retains a strong core of what makes this artist tick, serious adjustment is required to grasp the true essence of the album. Daniel has made a name in the roots world as a purveyor of boogie-woogie honky tonk music, fuelled considerably by associations with artists such as Old Crow Medicine, Sturgill Simpson, and on a slightly different level, working with Diana Jones. On the other hand, constriction has never been on the agenda and versatility on a performing scale has escalated into a widespread touring role as keyboard player for Ocean Colour Scene. Maybe this latter influence has rubbed off on the new record as the retro throwback feel is discarded i...

When this blog adopted the slogan ‘music is the voice of the soul’, there was no intention to refer to any particular artist, just to capture a state of mind. However along comes Kyshona and a force of good blows the theory apart.   The injustice of any self-respecting music fan saying ‘who’ is tempered by the privilege of witnessing the embodiment of 'country' soul striving for justice amidst a fiery outpouring of protest passion. This is soul free of trappings, but packed with intent, innate talent and the power to convey a feeling. 4000 miles from Kyshona’s Nashville home resides a duo aspiring to forge a Celtic twist on the increasingly indescribable notion of international Americana. Whatever label, tag or genre alignment applies, The Remedy Club display a cool and classy approach, straddling a few lines while being forever mindful of the road they are heading. The duo consisting of Kieran McEvoy and Aileen Mythen has long left the fledgling status behind, fully resource...

Weary, scattered, worn, dusty and cinematic, just a few assertions made after succumbing oneself to a blast of Sam Morrow. Roadhouse country, brazen with an outlaw texture, edges a little closer to the core of CONCRETE AND MUD, eventually morphing into one of those records that you feel will shape the year. In other words, spawn a life of its own as it drives through the opposition like an orchestrated herd. This is the music of an exiled Texan, hooked up in the parts of the Golden State often left behind by the marketing men. Think Bakersfield, Steinbeck and underground LA, and you will soon get into the swing of this man’s music. Escaping similarities to a sound pitching somewhere between Waylon Jennings and Sturgill Simpson may appear shallow on the surface, but the challenge to deny is out there. Rucks of twangy guitar spiralling into sizzling solos lead the way, with steel and fiddle having fleeting moments. There is even a slight sound sidestep as this ten-track offering eases...

You can never under estimate the power of live music, and in turn the effect of stamping a mark of ownership on a show. Taking your music far and wide on a personal journey is another major shift towards sealing the listener relationship, especially pertinent when in the field of sharing the gut pouring meaningful song. TRINITY LANE trumped ROYAL BLUE and LET DOWN in the burgeoning Lilly Hiatt back catalogue and now a run of inaugural headline UK dates is taking her music onto another level. It is nearly two years since she graced the surroundings of the Kitchen Garden in Birmingham for a debut appearance alongside Hannah Aldridge, and the developmental advancements as a live performer were a shining example to touring performers. On her return, there was to be no dual approach, just a fully grasped effort to raise the stakes from a considerable base to begin. Foremost, Lilly Hiatt is an exceptional songwriter, ensuring that no smidgeon of genetic talent is going to waste. Graspi...

The quality of their music is a given, but you should never under estimate the warmth that generates from a Kathryn Roberts and Sean Lakeman show. It is very much an open door policy into the world of this renowned duo, one well established as a premium UK folk act.   You do not really need an excuse to catch one of their concerts, and they often tour outside the album release cycle when family commitments allow. On this occasion, the tour aligned to a new record, with PERSONAE getting its due rewards in the press when the delights were recently unveiled. The Midlands Arts Centre (known widely as the MAC) was one of the first dates of the tour’s second phase and proved to be more fruitful territory than a previous visit to Birmingham’s Glee Club. Over the duration of around an hour and half, a sumptuous serving of the traditional, gorgeous, enlightening and good old entertaining spilled out from the stage and set the scene for a successful evening. For fans that have seen Kathryn...

The initial thought on hearing this album was different but not divisive as long as a little mind adjustment is applied. However, it did not take long to delve into its delicate parts and reveal an artist in a hungry mood to tastefully propel their music forward. If you splice the professional career of Ashley Monroe with the initiation of the Pistol Annies project, SPARROW is the third album in the second phase, of which the first one was defined by the early years of chasing the Nashville dream. In a major shift from the two most recent albums LIKE A ROSE and THE BLADE, this record relies heavily on an abundance of lavish stringed arrangements, casting traditional country or pop pretensions to one side, at least for the moment. The big decision at the outset of this project was to hook up with prolific producer Dave Cobb, certainly providing him different tools to work with than those of Jason Isbell, Chris Stapleton, Sturgill Simpson and, more recently, Brandi Carlile. The magic ...

There will probably not be a more profound homage to the southern states among this year’s major releases than the new album by old roots favourites Old Crow Medicine Show. Starting with the evocative title and threading through a sound that signals the familiar with the odd twist, VOLUNTEER voluptuously feeds the desire for more of the same that fans have craved over the years. This record sees the band return to the fold of original material following a year of paying tribute to their hero Bob Dylan via the BLONDE ON BLONDE revival project. In essence, this is the follow up to the 2015 Grammy winning effort REMEDY and it will be no surprise if such acclaim comes knocking again. Before you even slide in the opening track, a glance at the song list reveals words such as ‘Mississippi’, ‘hickory’, ‘mountain’ and ‘Dixie’ suggesting a southern flavour is going to prevail. This is confirmed barely a couple of bars into the riotous fiddle-led hoedown number ‘ Flicker & Shine’ ; a ...

Voice of the soil; voice of the street; voice of the soul, I’ll settle on the latter as the vocals are the first thing that knock you out when discovering the music of Charley Crockett. Their uniqueness coupled with the perfect fit for the style of songs is quite a find and set to acquire this Texan plenty of new admirers. LONESOME AS A SHADOW is the title of the latest release and tosses a virile mix of honky tonk country, blues and soul into the pan. Do not expect too much of your listening time taken as the album rattles through twelve tracks in thirty minutes, unless you succumb to the inevitable pull of repeat plays to double check what you have just heard is that good. Charley is the veteran of a few albums now, including a devoted recent honky tonk one, but this latest effort signals a more international approach in promoting the artist. Live shows introduced him to UK audiences as the opening act for the JD McPherson tour at the start of 2018 with headline dates planned ...

The Magic Numbers To offer some clarity Ramblin Roots Revue is a three-day festival hosted by the Bucks Student Union in High Wycombe and has amongst its architects, the nearby- based Clubhouse Records. When an opportunity arose to attend the Friday evening, temptation gave way to reality and it was off to see five bands barnstorm through over four hours of seamless music. Off course, this was just the starter for those camped in both spacious locations within the campus building for the whole weekend as the Whisky Saloon segued into the main arena for the continual stream of sets. The vast majority of the acts booked were British, although if you dig deeper into the roots element, then the lineage of influence primarily goes through the Springsteen/Dylan/Young/Petty axis. In essence, the evening rocked with a branded streak of alt-country flowering as brightly as you are likely to see this side of the pond. Ironically, first up on the the adapted Whisky Saloon stage was the Am...

Bennett Wilson Poole is the collaboration made for destiny and one set to make a significant mark in the recording annals. Jangle rocking revivalists gets the clichés out the way early, but the two thoughts never stray far from your mind as this self-titled album washes over you. Rampant guitars, wispy harmonies and luxurious tunes combine to place the record in the set position pending the proverbial smash. Wholesomely British and vividly retrospective, the forty-eight minutes parade in a flash with little effect of strain, but plenty of endless uncomplicated ease. The destiny element arrives out of the work Tony Poole, Danny Wilson and Robin Bennett have previously done together, albeit not in this explicit trio format. Tony Poole spans the generations having been the acclaimed leader of seventies English rock band Starry Eyed and Laughing, undeniably influenced by The Byrds. Latterly, he has become producer-extraordinaire; working on albums by Danny’s band, the Champions of ...

There has been a buzz about Western Centuries in roots circles for a while and this is set to escalate in the jet stream of their second album release. SONGS FROM THE DELUGE draws its inspiration from a core country sound etched around the edges with shades of Cajun and soul. The movers and shakers around the collaboration that takes the name ‘western’ quite literally in terms of style include producer Joel Savoy, an artist steeped in Cajun lineage, and three songwriters noted for their work in other musical projects. The best known here of these is Cahelen Morrison, who has toured overseas in a duo format with Eli West. Fellow Seattle resident Ethan Lawton, who was heavily involved with the stellar work of Zoe Muth, joins Cahelen.  The core trio of the band is completed by New York City based Jim Miller. The irony of the trio honing in on a very southern sound from their bases in northern cities, albeit thousands of miles apart, is not lost, although the execution is rip roarin...

Such is the classy clarity to Don Gallardo’s music; there should be rampant rewards for putting the coolness back into easy listening. Building upon the elevated appreciation of his most recent record HICKORY, the new album lands on the listener with consummate ease.  STILL HERE is getting a staggered release across the artist’s two strongholds with us Brits getting a first bite of the formal cherry ahead of his American compatriots. In the hybrid world of independent music, genre lines are as blurred as digital borders, but whether delving into folk-rock, classic country or sensitive singer-songwriter this album scores highly and ensures not a moment of its twelve-track/forty-three minute existence is wasted. Once again, Clubhouse Records have played a part in getting this record to market in the UK in association with Don’s US operations. This review may be going out just as a short run of dates over here has concluded, but expect him back soon to renew this bond creat...