This year's Beardy Folk Festival is gradually becoming a fertile ground for revised, renewed and new discoveries. Joining a growing list of featured acts getting extended focus is Cheshire based band Fine Lines who brought a spark of diversity to the fields and hills of south Shropshire in June. From a thoroughly enjoyable hour long Saturday afternoon set, we now move onto an equally admirable full length release almost pushing a similar time span yet far from outstaying its welcome. DEADBEAT LULLABIES is a prime example of UK Americana done well and an agreeable nod that the provinces can match what seemingly feels like the domain of the South East.
If starting and finishing an album is a pre-requisite to a highly engaging listen then Fine Lines have nailed this concept right to the top of the mast. Storytelling, emotive context, endearing melodies and framing an iconic sound are full to the brim in the twin pairing of 'King of These Streets' and 'New Year's Eve'. The first one of jangly delight and second hauntingly ends with faint shades of Auld Lange Syne following the most heartfelt of tales.
The first of these is a worthy candidate for many a playlist and features band architect David Boardman on lead vocals. Boardman is indeed the co-writer of all eleven tracks featuring on this album. The other contributor in this task is famed music broadcaster Mark Radcliffe who doubles up as the drummer in this seven piece line up. With no offence to the crucial contribution from rest of the band especially those on the essential fiddle and steel, the other upfront focal part to the band is twin vocalist Zoe Blythe who leads on another standout track, the second in line and rather fetching 'Del Rio'.
If this, the Fine Lines third album had only these three songs to offer it would be a winner, but there is so much more as a roller coaster of tunes spill out to keep the band firmly in the groove. 'First Light' brings the sound down to sedater levels after the top notch opening couple, yet shows a depth to a record that frames perfectly what Americana music should sound like when echoes of country and melodies of pop are blended into a pot built on the substance of informed songwriting. Fourth in line is the album's third single, but when you move onto the album in its entirety the pre-released status of some tracks becomes irrelevant and mere integral parts in a consolidated effort. The song in question is 'The Island' and a more conventional pop-rock song than the other country tinged efforts, although it too gets a twang rinse in parts.
The core sound rallies along in 'Far Rockaway' and this is a good point to acknowledge the contribution of Emily Doggett (fiddle), Chris Lee (pedal steel), Jim Broughton (bass) and Gary O'Brien (piano and Hammond organ). While influences obviously filter in from across the pond, there is a very English stamp on the style. In contradiction though, the UK sound most similar is Bob Collum and the Welfare Mothers, whose lead is an exiled American.
The album's pivotal positional track is the fiddle led ballad 'The Old Haunts' as the listener is serenaded in a waltz like spin across a a dusty rural dance floor. Just like you find in Cheshire! Seriously, UK Americana done well is a cue for dreamers and this album from start to finish meets the objective.
The second half of DEADBEAT LULLABIES (itself a wonderfully evocative title) commences with the combo of fiddle, organ and acoustic strumming leading into 'Long Way to Fall'. This is probably the folkiest part of the album and sees an exchange of vocals between Boardman and Blythe.
Three more tracks to the storming closer. 'Out on the Shore' leads off the trio and once again shows the milder side to the band's sound. Just like the perfect gig, a a spread of sonic mood gives the proceedings a fuller and more satisfying appeal. 'The Lie of the Land' ramps up the pace just like the point in a gig where the sidelined band returns to join the spotlighted duo. 'I Never Asked For Much' is a lot more than a warm up for the album climax and once again sees the vocal work of Zoe Blythe brought to the fore in a song symbolic of the Fine Lines acute ability to curate a catchy melody.
DEADBEAT LULLABIES is a delightful listen packed to the hilt with songs to move you and just plainly entertain where simplicity is required. The whole team effort of Fine Lines is to be applauded. The high spots are right up in the clouds and the supporting efforts not far below. Very few UK labelled Americana albums will match this is 2021.
