Album Review: Michael Weston King - The Struggle

 www.michaelwestonking.com

Unfinished business or just a calling that every artist gets from time to time? Either way the good news is Michael Weston King showing a side of his work that has taken a back seat for a decade or so. Underpinning the mission statement of My Darling Clementine was a raft of supremely crafted songs that would blossom whether dressed up in a country/Americana persona or not. On THE STRUGGLE we see the singer-songwriter art in its purest form, albeit the production does frame it as more sophisticated than entirely raw and stripped back. During the My Darling Clementine years (very much still active) projects occasionally diverted to reflect an utmost respect for songwriters like Townes Van Zandt, Jackie Leven and Elvis Costello. Now the words of Michael Weston King as an artist in his solo form come to the fore. 

THE STRUGGLE is a ten track collection of songs, slightly streamlined by re-working one of the flagship numbers 'Weight of the World' with an alternative version in the closing slot. Opening with this song acting as an acute representation of what to expect is a shrewd move as many curious newbies are likely to click on the first one to test the water. There is an epic feel to this track where the full ferocity of a songwriter's passion feeds into a void for the listener to access. As you would expect from a seasoned songwriter, there is plenty to grapple and decipher in the lyrics pouring from the mind of Michael Weston King. Alternatively, feel free to kick back and soak up the grandeur of the music from a guy who knows how to present his songs in an accessible way.

Before a delve into what else surfaces on an album launched into the world by Cherry Red Records, a quick reference to the alternative version of 'Weight of the World' which gets credited as the Ghostwriter re-mix. The changes are subtle with a couple of moments that give the song an extra edge including some pertinent spoken clips. 

Successful albums require tracks with momentum qualities to carry things forward when the impact of the release period wanes. 'Another Dying Day' blessed with some significant lines is a candidate to do the leg work here and give the album an opportunity to prosper long in the future. To pump a slice of diversity into the proceedings 'The Final Reel' provides a Celtic twist to firmly put the union back into the UK. Whether dabbling or being inspired by sounds Stateside, Michael Weston Kings portrays his Englishness right at the heart of his music and a reach out to all four corners of a wider land often disunited is refreshing.

Two songs where the words of others were kindly lent includes 'Theory of Truthmakers' where a lyric from the late Jackie Leven inspired to the extent of getting a co-write credit and 'Sugar' which had its origin in Lafyette via a co-writing session with Peter Case. For those who come to the music via his work with My Darling Clementine, 'The Old Soft Shoe' will resonate. This country porch lullaby could have quite easily featured on any of the duet albums from the last ten years. Insert some pedal steel instead of the short brass interlude and its style would have been nailed.

The title of 'The Hardest Thing of All' synchronises with the album title in theme, but any melancholy gets blown away with a snippet of shimmering organ to usher in some soul. Like on so many parts of THE STRUGGLE the skilled production gives the song an added glow to enhance the listening experience.

The final brace of tracks nestle just before the closer and are linked by a character name in the title. Storytelling comes to the fore in 'Valerie's Coming Home'. Frank gets his introduction in the lyrics of this one, a likely prelude to 'Me and Frank'. Both tracks draw you into the narrative. A trait that is core to what makes THE STRUGGLE an album rich in sincere goodness.

2022 is shaping up to be a busy year with My Darling Clementine shows rubbing shoulder alongside Michael Weston King sharing the intimacies of the solo record on alternative dates. THE STRUGGLE is likely to take on an added dimension in the presence of its architect. In lieu of such an occasion, it warrants a place on your retrievable shelf of fulfilling contemporary singer-songwriter music. 

Album Review: Pete Gow - Leo

 

www.petegow.com

Pete Gow has all the credentials to burst out from a cult status and take his music into the ears of many far and wide. Those credentials are now boosted by a powerhouse release firing on all cylinders from the opening blast of horns to a reprise that eloquently completes the cycle. LEO puts a strong marker down as one of the most dynamic albums of the year, which reflects a team surmounting new levels of platitude. 

This team sees Gow once again hook up with the ultra talented Joe Bennett, who surely cannot have orchestrated an album of such magnitude in the many projects that he has guided to fruition over the years. The winning formula sees the polished organic songwriting acumen of Gow merge with the charismatic blast of horns and succulent strains of a stringed accompaniment to take the listener on an indulgent sonic journey of immense proportion.

This is Gow's third solo release since putting his Case Hardin outfit out to pasture. The choice of eight tracks (expanded to nine with a meaningful reprise of the opener at the end) within a tight forty-five minute template is a blueprint for optimum planning. Each play is a measured treasure trove of exploring nuances popping up from each interlude, chord and lyrical part. 

LEO gets it release on Gow's usual label of Clubhouse Records and is a significant directional move in sound. Although as a label, they tend to harness individual talent rather than pioneer a style. The wares of LEO have likely proved a long yearning for Gow even when he was riding the surf of guitar driven alt-country rock in Case Hardin. Yet strip back all the music he has made over the last decade or so and you get a sharp acute songwriter possessing a vocal style that puts his lyrics in clear earshot. 

If there was no focal point to the record, the nature of a sparkling entity would project it from the pile. However it is tough to argue against such a point existing in the likely anointed high spot of 'Leonard's Bar' nestled in the slot where album edges into maturity. This is peak Pete Gow songwriting and one to adjust your lyrical antenna to absorb the narrative. The most innovative track on the record is 'This City is a Symphony' largely due to Joe Bennett veering off in weird and wonderful tangents to the extent of getting a songwriting credit.

'Where Else Would We Be Going' heralds the cyclical aspect to the album. Its opening presence catches you totally unaware with a blast of brass in the first sound wave. Its reprise version at the end is a tamer affair with the brass put to bed leaving just Gow's guitar and voice at the start before the subtle additions of keys. A dual slant to a song version that works. 

Another aspect that make LEO a fascinating and alluring listen is its constant switch of tempo. This is most prominent within the second track 'Say It With Flowers' and in the general feel of one of the more mellow offerings 'Casino'. Here some shimmering organ takes root and the horns possess a different feel. 'Side III of London Calling' is the most eye catching title and although it is more conventional in reception, a great melody resides within its midst. A key trait of Pete Gow's music in the past. 

'Eight Long Hours' and 'Both Sides Are Down' conclude the song selection with the latter positioning itself right at the heart of the album akin to it sizing up as a track most representative of what LEO is all about. A concoction of sounds headed by the horns and strings.

The energy and panache of LEO frames it surfacing as a highly impactful album. It places Pete Gow right in the spotlight, and alongside Joe Bennett, a clear force in what cultured independent music can achieve in this country. Context is always a sweet coating to how a record plays out, but this release requires no extra encouragement other than its presence in the here and now. 

www.petegow.bandcamp.com

Album Review: Lynne Hanson - Ice Cream in November

 

www.lynnehanson.com

Ottawa-based, but very much internationally focused, recording artist Lynne Hanson bounces back into new release territory with the unveiling of her ninth and latest album. ICE CREAM IN NOVEMBER has had a lengthy lead in process with the final few weeks of waiting occurring while its architect was concluding a long awaited return to touring the UK. Of course copies were available for in-person punters to buy at shows, but now the rest of the world can cherish the latest move for a performer showing clear signs of positive evolution. 

Hanson has worked closely in tandem with Blair Michael Hogan on the new record, and it is this new streamlined duo format that has greeted fans at shows that are now set to roll out in continental Europe. Anybody who has followed her career closely over the last decade would have detected subtle changes in style. This switch has been compounded in the contents of the new record with a more explorative contemporary sound edging things slightly away from straight up folk roots rocking Americana. Yet you never lose sight of Hanson's raw talent underpinning things.

This dozen strong collection of co-writes pulls up just shy of the fifty-minute mark and leaves much to chew over especially in the first half. It is the opening handful of songs that tend to define the album, although like all stings in the tale the finale springs a couple of pleasing surprises. 

Three of the opening four tracks have been the chosen ones for pre-release promotion. Lead off number 'Shadowland' has fast become a live favourite with its call and response chorus and its spaghetti western / surf style gives proceedings a sizzling if rather unexpected start. 'Hip Like Cohen' is a curious track that requires tuning in and was placed here in the 'grower' category. 'Hundred Mile Wind' needed little impetus to become one of the standout songs. Probably due to the most Americana sounding track on the album. Perhaps even harking back to the sound framed on 2015's 7 DEADLY SINS. 

The other three tracks in the first half all take the music of Lynne Hanson in different directions. The retro feeling title track 'Ice Cream in November' invokes an ethereal description. 'Orion's Belt' is star gazing in more than just the title and 'Birds Without a Feather' is strikingly innovative. 

The listener is suitably immersed in Lynne Hanson evolution by the time the second half kicks in. Things settle down a little and it is not being derogatory to state that the next run of tracks don't quite hit the heights of the impactful predecessors. Then the sting in the tale. Hanson teams up with long term collaborator MJ Dandeneau to write a French language song titled 'Le Bon Moment' that is sung so beautifully. This is then followed by the album's hidden gem. 'This Heart of Mine' possesses the most infectious of choruses and its theatrical undertones makes it a candidate for some serious playlist consideration.

Some may pinpoint a significant shift upwards in the music of Lynne Hanson post her collaborative 'Lynnes' project with fellow Canadian Lynn Miles. That was in 2018. Since then JUST FOR WORDS took the mantle forward, now ICE CREAM IN NOVEMBER has made a monumental leap. The winners are folks, old and new, hooking up with the music of Lynne Hanson. 

Check out this live review of Lynne Hanson's first show of the UK tour where any lingering jet lag was jettisoned for a super Bewdley evening.

Bewdley Gig Review

 

Gig Diary: Emily Portman & Rob Harbron - Kitchen Garden, Birmingham. Tuesday 19th April 2022

www.emilyportman.co.uk

Folk duos and collaborations regularly crop at any stage of an artist's career. It is often a natural evolution as performers look to peers who complement their own attributes. Both Emily Portman and Rob Harbron are successfully acclaimed musicians in various guises and obviously saw milage in combining their talents for this new project. Ahead of releasing a debut album under a dual title, the pair have decided to take some tentative steps by playing a few low key dates to test reaction. The Kitchen Garden is the perfect intimate venue to host such an event and those choosing to spend a cathartic evening in the company of two accomplished artists certainly made a wise choice.

Emily Portman, of solo and Furrow Collective fame, tends to take lead on the duo, virtue of the main vocal provider and the prime song seeker. Banjo and mini keyboard add some musical artistry to her repertoire, but it is her golden voice that resonates strongly with a listener drawn to her music. This element matured effortlessly across the two sets performed over the evening, all mixed with the usual affable and unassuming song info. 

Rob Harbron is one of the most sought after concertina players in the English folk scene. If you wanted to take just one nugget away from the evening, an awareness of the different types of concertinas and their often incompatibility proved fascinating. We now know the difference between the Anglo and English version, the latter being the one in full flow tonight. Listening to such fine playing only moved the needle forward on quite a bespoke instrument. Apart from being the main accompaniment to Emily's mainly traditional songs, we were treated to a couple of instrumental segments including one set of tunes originating from his native Cumbria. 

www.robharbron.com

It wasn't exclusive concertina from Rob as he also dipped into guitar when deemed more suitable for the song. As just mentioned, these were largely mined from the archives with subtle arrangements and poems put to popular tunes featuring. There was just one original song in the set as Emily dealt with her own childbirth experience of waiting a couple of extra weeks as May tipped into June.

Apart from the usual folklore, themes tended to reflect the natural world with 'The Birds in the Spring' being the top moment when all the stars aligned. We also had a pertinent comment from Emily of music's ability to detach from the linear and enable life to be experienced from a different perspective. Thought provoking indeed, but it helped being present in the zone.

The evening concluded with the umpteenth invitation to join the singing, which was deftly obliged. The next stage is to await the music that Emily Portman and Rob Harbron are set to release later this year. The album is currently being mastered. Expect more of a fanfare when the project comes to fruition, however an inspiring and informative introduction proved the tonic as that most changeable season - spring - kicks into gear.

Album Review: Kevin Buckley - Big Spring

 

www.kevin-buckley.com

The latest in a long line of albums getting a European release to co-exist alongside an earlier Stateside one is BIG SPRING by St.Louis-based multi music operator Kevin Buckley. To describe this dozen-strong offering as a fiddle feast pretty much hits the target, and if you are partial to this most pan-continental of instruments, then there are plenty of styles on offer to enjoy. Swing, bluegrass and traditional Irish folk music see Buckley expanding his repertoire on an album that truly feasts on a desire to frame a long standing passion.

This is actually a debut solo release for a hugely experienced exponent of roots music and beyond. Band involvement and producing filled a lot of the time previously, but stepping out up front with a minimalist set up has shone a light on a raw talent. This has been mainly in the role of interpreting traditional tunes. It doesn't take a deep understanding of genre fiddle styles to detect the switch. Close you eyes and it is easy to imagine being either in a European concert hall, an Irish pub or a dusty old rural shack as the album skips across the terrain. 

Three songs pop up to give the instrumentals a break. Two are traditional in the shape of 'Miss Bailey' and 'The Blackest Crow', while a cover of Andy Irvine's tribute to Woody Guthries 'Never Tire of the Road' is a third opportunity for Buckley to flex his vocal chops. This last song is the only track where the fiddle is laid down to rest. 

Buckley's ability to compose his own tune occurs in the early stages with 'Ryder's Block'. A couple of tunes are borrowed from known sources such as the swing influenced cover 'Marcelle et Marcel'. A handful of numbers celebrating the inspiration of the Emerald Isle particularly crop up in the latter stages with 'The Belle of St.Louis' and a fervent finale feature in 'Ships are Sailing' leading the way,

Finding a place in a congested fiddle market can be a tough ask. Kevin Buckley shows that he can compete admirably amongst his peers relying on an ingrained and cultivated talent alongside a smart selection of tunes and assorted breaks. BIG SPRING launches a new era and may well just be the catalyst to some positive expansion. Regardless of where this leads, the here and now has been suitably graced with a record inducing a smile and drawing immense pleasure from.

Album Review: Warden and Co - Somewhere

 

www.wardenandcompany.com

Seth Warden leads this operation gracing his name from the less populous spaces of New York state and maybe the title highlights an element of anonymity. After a longish run-in of performing and releasing shorter recordings, an opportunity has been grasped to show what the band can really do when afforded a wider platform. From a streamlined base of violin, viola, guitars and percussion, SOMEWHERE peers out from the wilderness to present an eleven-track/forty-minute offering of music self-anointed as a stab at folk rock, all enriched by a tuneful element. There is a popular strand to the sensibilities of Warden and Co, which does make the album an accessible listen. Whether the intention to branch out from the hinterland is strong or not, it has landed on foreign shores, and its neatly presented wares at least make it a worthwhile one to check out. 

The opening track 'Living for Love' is a clear representation of what you are going to get, so it's a sensible move to enable it as a promotional single and position it up front. Other highlights on the record include the violin-pop infused 'PSA' lodged in core of the record and the catchy 'Without the Word'. The latter is another fine example of fiddle firmly putting the folk into folk rock. 

SOMEWHERE possesses suitable guile to find its niche. It will probably need a live presence to back it up, but the versatility and fluidity of recorded music in the digital age can confound early impressions. Warden and Co. have set the agenda with their debut record. Time will tell where it leads. 

Gig Diary: Side Pony - Thimblemill Library, Smethwick. Saturday 2nd April 2022

 

www.sideponyband.com

The chance meeting between Alice Wallace and Caitlin Cannon a couple of years ago proved a shrewd move for both artists. The lure of Nashville has long been a major pull for singer-songwriters at any stage of their career. Remnants of success had accrued from operating out of their own western staging posts, California for Wallace and Colorado for Cannon, but no artist can rest on their laurels in the cut throat world of country music, especially when not cushioned by major label funding. In an industry cast under the shadow of a pandemic, a ray of light emerged in the shape of a duo calling themselves Side Pony and gears suddenly shifted for the careers of two songwriters ripe for re-energising a career.

Alice Wallace had already made inroads overseas in solo mode and plans were quickly put into place to tour the Side Pony operation once conditions prevailed. The band had already created waves in independent country music circles with astute praise for the release of a debut album. LUCKY BREAK was short and sweet but spilling over with heaps of impact. Touring it was going to require a touch of innovation, although both artists had their solo material to fall back on as well as a sharp ear to how they plan to evolve.

After an enterprising trip to Spain wooing Americana fans on the Iberian peninsula, it was time to put the bi-lingual patter on hold and head to a land where language still divides nations more from a lexicon perspective. From the opening salvos of what turned out to be a hugely entertaining evening, language innuendo and banter grew tenfold from the experiences of Spain as Side Pony set about laying all wares out in front for a Smethwick audience. This ranged from sharing inspiration to demonstrating how they were adept at re-defining the appeal of country music soaked in tradition, while coated in a contemporary sheen. 

Great songs, golden voices, vivacious chemistry and loads of zany fun enthralled a healthy local turnout still adjusting to how live music is shaping up in a new cultural landscape. If you were to seek some sound comparison from the commercial end of country music the Pistol Annies come to mind. Although if Miranda fell on hard times, Thimblemill Library would probably turn them down on the basis of Side Pony already owing that domain! 

Any thoughts of a short evening were allayed as the show extended to well over two hours allowing an intermission to generate those vital merchandise sales. Strategically the pair filtered in all eight tracks from the album. Each had a colourful introduction from the sharp incisive wit of 'Heels', through the recurring mermaid theme of 'Under the Surface' to the pandemic outcome of 'All the Time in the World'. If you weren't sold on LUCKY BREAK by ten o'clock then the boat was missed. 

Outside the Side Pony material, Alice Wallace truly shines as an exceptional country vocalist alongside a dual knack to write fines songs and seek smart others. 'Elephants', 'The Blue' and 'Motor Cycle Ride' was three shared examples of why her 2019 solo album INTO THE BLUE met widespread industry approval. She also frequently played the straight part of the fun. However, we all know great duos bring different twists to the party. 

Caitlin Cannon was certainly a character and the springboard for the playful wit. A zestful demeanour illuminated a venue that was already bathed in enforced light. Her trump card was to flick the switch from the playful entertainer to heartfelt country singer-songwriter capable of tending to a variety of issues and discomforts. 'Drink Enough' and 'Deliver' were two capable offerings from THE TRASH CANNON ALBUM released in 2020. She also shared a couple of new songs giving hints to what may be in store for Side Pony in the future. 

A couple of contrasting covers helped inject some more familiar songs into the evening. A version of the Jimmie Rodgers classic 'Mule Skinner Blues' is an open invitation for Alice Wallace to test out her yodelling skills. To turn the mic on the audience, closing the show with a singalong version of 'Rose Garden' led to many budding Lynn Andersons in the room. A nice touch from two artists who clearly know their roots and allow many facets of country music to channel into the sounds of Caitlin Cannon, Alice Wallace and Side Pony.

This UK jaunt is a relatively short one for Side Pony. They won't be short of love to return from paths they cross on this inaugural venture. Although if things pan out, we may have to put in bids for their presence in lieu of bigger things calling Stateside. Not that Alice Wallace and Caitlin Cannon would forget their roots. They fully understand the power of spreading music in the communities and when it it as good as re-defining country music as showed here, a role for Side Pony would always be required. 

Gig Diary: Lynne Hanson - St.George's Hall, Bewdley. Friday 1st April 2022

 

www.lynnehanson.com

The late spring of 2021 was an emotional time for those homegrown artists at the forefront of tentatively stepping back into live music. Fast forward almost twelve months and a similar feeling is starting to emerge as the rate of overseas touring artists starts to pick up pace. Gratefulness, honour and a little bit of relief were the order of the day as  Lynne Hanson, the press anointed 'Queen of Canadian Americana', re-started her extensive journey as a prolific overseas tourer. April and May are set to be busy months for this Ottawa-based musician with a raft of live shows booked across Europe. The privilege of hosting the opening night fell to St.George's Hall in Bewdley; a venue kind to both Hanson and fans of hers in the past with a couple of barnstorming shows. 

It was wasn't entirely seamless between the regular Lynne Hanson gigs that toured pre-pandemic. Often she was billed as Lynne Hanson and the Good Intentions with a rhythm section and lead guitar creating the momentum to really rock out. Things have now slimmed down to a duo with a a couple of technical aids to provide a subtle addition to the sound. For this tour she is accompanied by Blair Michael Hogan, an artist, musician and songwriter with whom there has been a greater collaboration over the last couple of years culminating in being a vital cog in the upcoming new album.

In fact there are two albums featuring in this current tour as her 2020 record was just released when the world shut down. So not only are the songs from JUST WORDS getting a first airing overseas, but the new record is literally just around the corner. ICE CREAM IN NOVEMBER gets its formal release on April 22nd, but it would be remiss to leave home without few copies for the gig faithful to snap up at shows.

One of Lynne Hanson's previous projects was to team up with fellow Canadian the legendary Lynn Miles to record and tour a duo album. During those shows you felt that being in the presence of such an esteemed singer-songwriter would move her onto another plateau, and the fruits of that liaison are starting to blossom as evidenced in this evening's performance. This wasn't about rocking out, it was owning the room with an alluring blend of supremely crafted songs and wrapping them up in the most amiable of banter, both informed and heartfelt. 

The support provided by Blair Michael Hogan could not be understated. His electric guitar blended effortlessly with his musical partners's electric and acoustic. He is obviously a talented musician in his own right and this set up with Lynne Hanson is reaping rewards all round. 

As mentioned, the majority of songs were lifted from the most previous and upcoming albums. The odd two out album-wise were the well-received 'Rivers of Sand', likely because most folks recognised it, and the emotive encore delivery of 'Gotta Have Rain'. This unplugged and totally immersive closer strengthened an ever solid bond between artist and audience in the most engaging and memorable of ways. The only non-album track was the 2021 single 'Hold My Breath' which got things underway.

A quick delve back into the archives informed us it was ten years ago when the music of Lynne Hanson first came to the attention of a lot of her fans. She opened for Gretchen Peters on the Hello Cruel World tour and for many they have not looked back. She rarely stands still as an artist and this is best exemplified by the new record. Songs from setlist in the shape of 'Shadowland', 'Hip Like Cohen' and 'Hundred Mile Wind' have been let loose in the digital world ahead of the full album and hearing them live confirms a transition. This is especially pertinent in the first two, while the third reaffirms her as a prime focal point for fans of Americana music. 'Orion's Belt' was the pick of the other new ones shared with its lyrical twist, although the title track 'Ice Cream in November' will generate a lot of interest.

There is a concerted effort not to sideline JUST WORDS in the wave of publicity surrounding the new record. Five tracks from that album were chosen for this evening's show with 'True Blue Moon', 'Clean Slate' and 'Hemmingway's Songbird' being the highlights. As ever the intros to most songs were enlightening with the audience getting regular signs of how grateful she was to be playing live again. You get the impression that only half of Lynne Hanson exists in the studio, and she only truly blossoms as an artist when taking her songs onto the road.

After a stop-start resumption in 2021, the monthly music nights in St. George's Hall really kicked into the gear this evening with the usual format. We had a very impressive youth act in Abigail Stanton. Her guitar playing and vocals were ear catching, and any young person covering Colter Wall's 'Devil in a Suit and Tie' as well as she did deserves attention. The more established support act was folk duo Nadi Hafren, who played a half hour set of low-key acoustic numbers with electric bass accompaniment that held your full attention while waiting for the main performance. 

That performance from Lynne Hanson was worth waiting for. It was different, yet mightily satisfying for those hooked in the magnetic appeal of songwriters sharing their valued craft. It underlined the versatility of this Canadian who you feel could grace any arena in a folk, country and rock scene. Ultimately she is true to herself and audiences who buy into what she is doing. When that works well, there is no finer place to be than in the presence of live music.