Annie Keating has been a consistent performer for many years, never falling below the high bar set when first discovering her through the 2008 album BELMONT. Those were the days where you were more likely to pick up recommendations through the music mags rather than today's proliferation of online barrage. Like now Annie Keating always had a good European presence and often saw the north eastern United States has a starting point to spread her music. In line with her previous seven releases, the latest offering as found its way overseas, albeit the digital mode has certainly eased the passage. Some have already said that BRISTOL COUNTY TIDES is her best yet. That assertion may be a little premature as it's such a hefty package of work. Like the old adage, a dog is for life not just Christmas, this demanding album warrants more than just release day. However it must be said that all roads look like leading to a pinnacle and not just the Massachusetts coast that inspired both the title and the cover.
First up you need to devote three minutes short of the hour mark to truly savour the treasures of this fifteen track album. An increasingly tougher task in today's scrolling culture and one where many of us are guilty of absorbing saturation. Yet each of the several listens afforded in the run up to release day reveals a different highpoint, all within the confines of exceptionally lofty markers. This comes about from a high calibre of playing added to the mix, a performer who combines a touch of swagger with a husky demeanour, and a theme that keeps giving to a writer with a thirst for inspiration.
To associate or not to associate is often pondered when describing an artist, but the latter route is taken here by painting Annie Keating as a refined Lucinda Williams. A place which may not define the subject of the comparison but tightly fits the connotation of the artist in the spotlight. The sonic landscape Keating generates is akin to the ebb and flow of the tides featured on the cover. We gently ease between the ballad and the rockier effort. Guitars, keys, bass and drums may be the usual quartet, but an adaption across the record shows an effective diversity to fit a multitude of moods.
It was easy to pick out 'Hank's Saloon' as a focal track from first listen due to its uniqueness among the collection. As good as that track still sounds from its pivotal position of leading off the second half, the leader board gets more crowded as others emerge over time to jostle for the peak. I suppose 'Kindness' in the number eight slot sits in the true pivotal position and its sincereness warrants a mention as we launch the whole album for listeners to navigate to discover their own preferences.
Despite the album possessing an extensive zeal, Keating is shrewd enough the stockpile the opening moments with alluring tracks. The upbeat rollicking tune 'Third Street' kicks things off with a touch of anger, while it is immediately followed by 'Kindred Spirit', a wise and acclaimed track to which the promotion was initially pinned.
Other tracks worthy of a mention from the first half include 'Nobody Knows' which heralds a deft switch in mood and the slightly mysterious edge to the quirky 'Blue Moon Tide'. In the second half, 'Song for a Friend' is a curious grower, while 'Lucky 13' ensures there is no flagging in the final stages.
BRISTOL COUNTY TIDES is a blueprint that lockdown has been kind in the creative stakes for Annie Keating. Admittedly this has not always been the case for many artists. However let's rejoice in one who has grasped the moment. Whether she is a performing songwriter or a songwriting performer, all cylinders are firing at full capacity here. Those comments anointing this as her finest body of work yet may have a point to the extent that release day is just the start. Let's ride this record on a long distance journey and see where it takes us.
