Molly Tuttle graced the performing area in the packed venue (selling out in record time) around nine o’clock following an enjoyable and entertaining set from Norwegian singer-songwriter Ole Kirkeng. It did not take too long to ascertain the influence and inspiration for this artist, compounded when announcing a life split between Oslo and New York City. Taking a lead from the folk revivalists, he proceeded to turn his hand to a selection of decently crafted acoustic songs. ‘Rocking Chair’ was probably the pick of a bunch that found their groove early on then refusing to budge. A cover of Jackson C. Frank’s ‘Blues Run the Game’ lifted him out of his comfort zone thus adding a touch of diversity to a specific sound he nailed from the off.
Covers from
the greats (three for the record) played a part in Molly’s set too as she toed
the party line of honouring the legends. It was not just the
fact that ‘Gentle On My Mind’, ‘White Freightliner Blues’ and Neil Young
‘s ‘Helpless’ were played (they have
many, many times before), but that they were given the Molly Tuttle treatment,
and a breathtaking piece of guitar picking to lift the songs into the upper
echelons of their many versions.
While the
covers played a small but distinguished part, the blending of evolving song
writing, adept vocals and obvious ‘A’ grade guitar playing will project the
star of Molly Tuttle. The brand new album, titled WHEN YOU’RE READY, bulges to
the hilt with original compositions and the audience had the pleasure of
listening to a majority of them live. It was hard to look past album opener ‘Million Miles’ as the standout song on
the evening, with further light shone by explaining how it began life as an
unfinished Jewell-Steve Poltz number before Molly added the final touch.
Other tracks
such as ‘Sleepwalking’, ‘Take the Journey’ and ‘Light Came In (Power Went Out)’
represented the new album with distinction. This maybe is an album that entered
the world wrapped in curiosity as the production steered it away from being a
wholehearted traditional record to one where the term ‘contemporary roots’
plays a defining role. During this live show, you could detect the moments on
songs when Molly toned down the intense claw hammer picking, likely to
replicate when other instrumentation kicks in on the studio versions. However,
the poise, class and owning the moment ensured that each of the songs were
dealt in a state of ultimate control.
Outside the
new record and astute covers, Molly’s 2017 EP RISE made a couple of set list
appearances, notably from ‘Good Enough’
and a Kirby Lenker co-write ‘Friend and a
Friend’. You only need to read briefly about Molly to decipher the circles
she mixes in Nashville and this bout of collaboration obviously wears off.
www.mollytuttlemusic.com