Three Chords and the Truth UK

Rachel Harrington’s overseas music career has had two phases. Between 2007 and 2012, the singer-songwriter from the Pacific North West recorded three successful solo records and a one off country project as front person of the Knockouts. Additionally, she toured UK and Europe countless times utilising the solo, duo and band formats. This focus away from her American home met with critical praise including a session recorded for the Bob Harris Country Show on BBC radio. An extended hiatus followed that was only broken last year when making a tentative return to play a few UK summer shows. Among the dates on the tour was a first ever visit to the Kitchen Garden in Birmingham. Now the music rehabilitation is in full swing another overseas trip followed and with no surprises, a repeat engagement at the Kings Heath venue ensued. The show put on by Rachel was of a similar vein to last year. She used the first half to share some of her older material including a few requests from fans that ...

The continual search for keepers of the country flame from the contemporary pool can pause for a moment to digest the brand new album from Carson McHone. CAROUSEL may have a slightly rehashed slant to it, but if you are new to this Austin Texas native then none of it matters. The eleven-track album gets its release on Nine Mile Records, a label responsible for artists such as Carrie Rodriguez in the past. One guarantee is that anybody with a faint interest in traditional country music will at least raise an ear to the music of Carson McHone. Expect plenty of fiddle, steel and lyrics drowning in vocal emotion. In other words, check off the country template credentials and sit down to enjoy how Carson has successfully made a record to get the nod in influential circles. In essence, the album is ten-strong in terms of songs, the eleventh being a one-minute instrumental intro that effectively launches the second half or reverse side if playing the vinyl version. Four of these songs...

There was enough credit in the Kacey Musgraves bank to forgive a slow start to the GOLDEN HOUR era. While others instantly eulogised over the album, the title of the opening track has never been more pertinent when getting to grips with a new record. It was also apt that ‘ Slow Burn’ fires the opening salvo on dates during the Oh, What a World Tour, which is currently rolling around venues in the UK. For the latest visit to Birmingham, the entourage headed across town to the Academy and a renewal with fans in a venue steeped in the city’s musical heritage, long before the corporate world stepped in. An element of curiosity will always surround the music of Kacey Musgraves: a maverick, independent or just another act out to fluidly maximise exposure. One constant is always the inspirational depth to her music and an ability to match interesting facets with excellence. For two hours this evening we witnessed an artist perfecting the art of smooth entertainment, capable of engineering...

Jamie Lin Wilson was an artist recommended to me a few years ago. The subsequent period has seen her occasionally flicker on my horizon with only a 2015 album release to follow up the original 2010 Dirty Blonde Hair EP. However, 2018 is set to be a major landmark for this Texas singer-songwriter based south of San Antonio. The good fortune of obtaining an advance copy of JUMPING OVER ROCKS set the pulse racing with countless early plays that tagged this album as one of the year’s forerunners in the authentic country stakes. As the album is now out for all to enjoy, the time is ripe to share the love for a record spiralling deep into the ethos of this blog’s title. JUMPING OVER ROCKS has its name drawn from a lyric in the mid-album story track ‘ Death & Life’ and evolves into an eleven-song collection of primarily original numbers. The exception is a nodding tribute to the late great Guy Clark via a version of ‘ Instant Coffee Blues’ in tandem with fellow Texan Jack Ingram a...

Some albums wither and die probably only destined to have a short shelf life. Alternatively, others possess longevity to benefit from subsequent renewals. Kirsty Merryn’s SHE & I absolutely falls into the latter category. Its conceptual uniqueness added a breath of fresh air to the folk world, everlastingly sustained by a pristine execution. Twelve months on from savouring the delights of the record upon release, there was a timely opportunity to return to the album as Kirsty delivered its entirety on a current run of live dates across the country. Although she is no stranger to playing shows in the Midlands area, this was Kirsty’s first visit to the Kitchen Garden, an ideal venue to capture the intricacy of the record. This solo presentation was a one off on the tour as partner Todd McDonald was unavailable for the evening. Having only previously seeing Kirsty on her own, it was a case of business as usual. The decision to split the evening between the whole album in set one an...

The name Neilson Hubbard has cropped up numerous times in the producing role of many excellent albums over the past few years that perhaps the moment was right to enter the spotlight. Steps were taken in this direction with the Orphan Brigade project where Nielson collaborated with fellow musicians Ben Glover and Joshua  Britt. Now a major leap has occurred with the release of a brand new solo album titled CUMBERLAND ISLAND. Here Neilson has curated eleven tracks drawn from different periods of his lengthy career to form a theme based around the location in the title. The result is an expansive earthy record scratching deep into the gruff emotions of thoughtful expression. Predominantly, he sinks into submerged insular mode, making the listening experience extremely intimate. Both Ben and Joshua are involved in this album, either in a co-producing, writing or playing role, with another very familiar name in ace guitarist Will Kimbrough being one to jump out on the pre-releas...

Maybe there has always been a theatrical touch about My Darling Clementine. Spoof and irony nestle securely alongside exclusive musicianship with the occasional big toe dip into the literary world. Therefore, Birmingham’s Repertory theatre may not be such a left field choice to host a homecoming gig of a sort, despite its limited involvement in the local live music scene. In fact, the venue has graced My Darling Clementine on two previous occasions when crime author Mark Billingham presented The Other Half project in conjunction with Michael and Lou contributing the music input. In the eight years since Michael Weston King and Lou Dalgleish launched their My Darling Clementine operation, there have been numerous highs for this husband and wife duo seriously intent on highlighting a side of country music increasing marginalised. Three superb albums in addition to a surplus of stellar gigs, including a never to be forgotten night in 2013, has kept the pair busy along with the other tra...

Since being fortunate to obtain an advance digital copy of this album a couple of months ago, the art of falling in love with a record has surfaced. While the sumptuous tones of Hilary Scott’s DON’T CALL ME ANGEL have garnered countless pleasurable plays, the conundrum of how to convert the appreciation into meaningful words refused to reveal a solvable hand. As the eventual release date passed, the time was ripe to at least share a few thoughts and ultimately let folks decide whether they are touched in similar ways. The issue came prominently from where to locate a coat hanger to house such a record in the mind. Genres such as country, Americana and folk bounced around without offering a best fit. Pop reared its head, but that also seemed inappropriate, although the ease of listening meant very little exertion had a requirement. The vague realm of singer-songwriter had to be the final resting place if such a location needed finding. Labels aside, maybe just words like classy,...

To pun or not to pun, that was the question before scribing any thoughts on the debut Annie Oakley album. Eventually, temptation caved in and reluctance not say that it hit the mark subsides. Adopting the name of an historic sharpshooting hero is a curious and smart move for this Oklahoma-based trio. Maybe there is some intentional gender association on the back of the Babb sisters (Sophia and Grace) teaming up with third member Nia Personette to offer a delectable take on harmonious indie-folk. WORDS WE MEAN had its world bow on October 12 with a release on Horton Records and hence a focus on the UK market via the good guys at At the Helm. The social media age abbreviation RIYL denoting association can often raise eyebrows on press releases and assorted blurb, but stating artists such as The Wailin Jennys, The Staves, First Aid Kit and in more left field, The Milk Carton Kids is generally travelling down the right highway. Admittedly, this album has had a stop start existence i...

Three vocalists that appeal to me all find perfection within imperfection. The voices of Lucinda Williams, Brandi Carlile and Natalie Maines each possess a fault line offering a peep into the chasm of their soul. Now without resorting to a case of over hyperbole, there is a distant resemblance in the vocals of Emily Mae Winters thus lifting her head and shoulders above most singers that cross my ear. This is one immense talent that needs to be nurtured, with a limitless potential dripping out of the songs, music, voice, and an approach to projecting a distinct style. Any resemblance to conventional folk music is ebbing away as Emily sharpens up her tools to launch into album number 2. The probability of Emily Mae Winters soaring up the scale of UK performers recognised in the blurry horizon of Americana is increasing to the extent that 2019 could be one big year. Anyhow, back to the present and the HIGH ROMANCE pre-release tour stopping off at Birmingham. This show was a lower...

October chat between Stephen Simmons and his co-performer Dave Coleman this evening brought up the topic of some of the Halloween traditions back home, with Stephen particularly commenting on how he is often touring Europe during this time of year. In a slight twist of irony, it was October 31 st 2014 when I first saw Stephen Simmons play live and thus extending the musical appreciation that initially surfaced when reviewing the HEARSAY album released around then.  At the time, he was establishing a fan base in the Staffordshire area and always pays the county a visit when trips are made from his Tennessee home to continue a mission of sharing music with European audiences.  Since that Halloween evening four years ago, Stephen has played an annual show in Elford, either in a house concert or marquee garden format, cementing relationships formed and frequently bringing new music. The 2018 renewal saw a couple of innovations. Stephen usually tours the UK alone, altho...

Free Dirt Records have been responsible for some exceedingly good album releases in recent times and this continues with the brand new record from JP Harris. When you are in the company of artists such as Western Centuries, Dori Freeman, Rachel Baiman and Vivian Leva, the bar is elevated high; a challenge richly accomplished throughout the short shrift tones of SOMETIMES DOGS BARK AT NOTHING. Regardless of the back-story, which may or may not be relevant to the listener, you gain the impression from the off that JP Harris is a straight-up no bullshitting honky tonker. The songs are brash, cutting and splashed with an element of rawness. Just glancing at the titles before spinning a single track, the vocabulary is awash with negative connotations such as nothing, quit, blues, dead and alone. However, this is country music and wallowing in some sort of depressive misery is a badge of honour, and we purists would not have it any other way. Of course the motto ‘sad songs = happy pe...

It is nearly four years ago since Bob Collum brushed away any New Year blues with the release of a record that eventually travelled a long way down the 2015 musical highway.  Now as the nights draw in and 2018 hurtles towards its conclusion, the follow up to the excellent LITTLE ROCK is unveiled for all to hear, complete with a spring in its step to placate any detrimental season change. PAY PACK AND CARRY still carries the moniker of the Welfare Mothers as the backing band and resumes Bob Collum’s stature as the architect of some exceedingly infectious music. Terms such as pub rock, power pop, alt country and exiled Americana can be tossed around and still carry a resemblance of accuracy whichever angle you choose to approach this album from. Ultimately, Bob Collum, and whoever nestles comfortably within the Welfare Mother family, makes music that sinks deep into your psyche and retains an instinct to refuse to budge from your immediate horizon. In other words, the challeng...

The shortening of the days and dipping of the temperature may see the prevalence of the dreaded lurgy, but Blair Dunlop was not going to let any affliction knock him off course. There is a new album on the table up for promotion and we all know that music is the best medicine. To be fair, the momentum of this gig at the Robin 2 in Bilston played its part and from an early vocal stuttering, it soon turned into business as usual. This is Blair Dunlop reminding folks what an accomplished artist he is, fully adept on the writing, musicianship and performing front. For the early throes of the tour supporting the recently released NOTES FROM AN ISLAND, Blair has assembled a trio format in harnessing the talents of long time drummer Fred Claridge and newly enlisted acquaintance Jack Carty on bass. The latter, an experienced singer-songwriter in his own right, opened the evening with a support set packed full of self-penned songs spanning the European and Oceanic continents, thus represent...