Gig Diary: Willy Porter + Fritillaries - Thimblemill Library, Smethwick. Saturday 28th May 2022

Positive vibes were beaming around the art decor surroundings as a creative slice of duality spiced the latest presentation of roots music from the good folks of Thimblemill Library. Contrasts were abound from a seasoned Wisconsin performer flitting between folk, blues and observational songwriting and a fledgling Bristol-based duo possessing all the hallmark of a pioneering far flung retro Americana act. Dig a little deeper, and synergy could also be mined as Willy Porter and Fritillaries were thrown together to curate a duly admirable evening of music to breathe life into any weekend malaise. 

Technically, this was not a twin bill with the duo of Hannah and Gabriel accepting the invite to play a thirty-minute opening set for a touring artist of a more established nature. Porter will be the first one to embrace the next generation and humility was forthcoming as he propelled a couple of sets into a Smethwick evening leaving the spoilt clientele absorbed by an entertaining performance. 

Split by many years, the acts were bound by a new album in the working. For Willy Porter it is yet another release joining a lengthy back catalogue that at least goes back to 1990. Info gleaned by including a track from that album in the set list. Fritillaries are at that exciting stage of unleashing a debut record to the world and July 15th is a date etched in their minds. 

There is never any harm filtering in associated resemblances into any post-gig reflection. There is so much Dave Rawlings emanating in the guitar style of Gabriel. The quip of not wasting a single note was stolen from an audience member on the evening and is now embedded as an apt written description. This is Dave Rawlings in his supportive phase with Hannah playing the Gillian Welch role of commandeering the vocals. Hannah was a touch more ethereal in style than the iconic associate, but her voice still contained a magical essence that makes the music an attractive draw on first listen. 

Willy Porter's bio inferred a healthy dose of the blues which frequently came across in his guitar playing. Vocally there was an element of Paul Simon, mainly in the pace of delivery and the way the words were spun. Engagement with an audience was his ultimate pulling  point. A trump card of a fun packed improvised finale drew the anticipated applause. Cynics searching for the template had to stretch their tentacles as it was a pretty impressive twist of random suggestions. 

Both artists were vaguely known beforehand without primary experience. Fritillaries began life as Rainy Day Women whose gigging ventures had taken them north into the Midlands on several occasions. The name change (explained by Hannah) coupled with the upcoming self-titled debut album release on Pear O' Legs Records represent a real springboard for them to become one of the UK's premier folk-Americana duos. Mandolin, banjo, multiple guitars, songs and style are all in place. All that is needed now is a little bit of good fortune. 

Willy Porter was the master of the informed nuggets. The backdrop of books led him to muse that each writer once stared at a blank page and on the US gun impasse he acknowledged the deep entrenched ideology of both sides. Although on the latter, inference on right and wrong was deemed. His love of trains and baseball radio commentary shone in observational content, but he was always ready to embrace the world of his current surroundings. Ultimately, he was a very astute performer. 

The value of any gig is enhanced by the post-show glow. The experience of the present is often a gimme in live music, so extending it into the realms of the memory bank is a credit to each performer. Willy Porter can travel back to Milwaukee content that new audiences are still out there after many years of performing. Fritillaries have the anticipation of a whole new world waiting for them when they get their music out. 

Gig Diary: Lachlan Bryan and the Wildes - Kitchen Garden, Kings Heath, Birmingham. Monday 23rd May 2022

www.lachlanbryanandthewildes.com

One downside of the sparsity of live music in the winter of 20-21 was the missing gleeful nature of progressive US touring artists celebrating the momentous homeland election result after a period of apologetic embarrassment. While similarly minded British artists have to wait a little longer to wade into some political joy, an unexpected twist occurred on a rainy Birmingham night thousands of miles from a source of bursting pride. It didn't take long for Aussie Lachlan Bryan to tip his hat at the departure of his country's somewhat controversial Prime Minister. Yes, left leaning artists tend to dominate my scene.

This is also a scene bristling with many exciting acts from across the world of which Lachlan Bryan and the Wildes has been a prominent player since first emerging at the Maverick Festival in 2017. The door slammed shut on their European ventures for a couple of years, but not the creative output which included a couple of albums and a host of other musical activity. Straight out of the blocks, this Melbourne-based outfit have fit a fleeting UK return into a busy schedule with a bit of unfinished business ahead of an exciting match up later in the summer. 

For this late spring hop of 10,000 miles, Lachlan and his touring buddies, Shaun Ryan and Riley Catherall, have teamed up with Dan Webster and Emily Lawler for  a run of dates blending some eclectic UK folk-country-Americana with similarly inspired tunes from Down Under. It is a case of re-tracing old steps as Lachlan appeared at the Kitchen Garden in July 2019, a venue the hosts also knew well from previous visits.

After an hour long set where the songs, wit and inventive interpretive music of Dan Webster blended well with the fine fiddle playing of his musical partner in crime Emily Lawler, it was time to re-acquaint a full admiration of how Lachlan Bryan presents his music. 

Decked in lavish head attire that was both useful to keep dry and up the ante at the bar, it was a case of classic old stuff right from the off. Maybe the opener of 'Peace in the Valley' was a detour, but the emotive lead off line to 'Hope That I'm Wrong' and the curious mid-lyric of 'some girls (quite) like country music' in 'A Portrait of an Artist as a Middle Aged Man' triggered the memory to why his music resonates so highly. 

Following that was a mixture of the very new and others from a fruitful past. The best of the new songs was 'The Road', a stunning slow ballad that pierces the landscape like a beacon on a record where the guys haven't been afraid to experiment. It was also pertinent in content as the road once again beckons. An old favourite in 'Dugdemona' closed the ninety-minute set as we were reminded that casual New York acquaintances can lead to funny goings on down New Orleans. 

The other major highlight from this timely renewal was the superb musicianship of regular Wildes - Shaun Ryan on bass and Riley Catherall excelling on lead guitar. We even had a glimpse of the latter's solo singer-songwriter work. Lachlan continues to dominate with a huge slice of charismatic panache that is also encompassing to others as exemplified in executing a brilliant duet of 'The Basics of Love' when inviting Emily back onto the stage. There was an all round dollop of mutual humility between five artists and a hearty crowd choosing to spend a wet Monday evening with some seriously fine music.

This was Lachlan Bryan and the Wildes 2022 European venture Act 1. Act 2 kicks off in June/July when the guys hook up with Hannah Aldridge for a Scandinavian trip and further UK dates including a Kitchen Garden return. Also it wouldn't be a Maverick Festival without Lachlan Bryan if he is on our shores. So, it is festival appearance number 4 down Suffolk way.

We really are revisiting the best of pre-2020 when these boys are back in town. Full credit to Dan and Emily for hosting them and providing the opportunity for fans to see them play live again. A night of rich investment, ample return and a slice of heartfelt integrity. 

Gig Diary: Katie Spencer - Kitchen Garden, Kings Heath, Birmingham. Tuesday 24th May 2022

www.katiespencer.net

Katie Spencer is emerging from the mists of lockdown with renewed vigour and an enhanced state of assuredness. She is an artist unmoved by the fickleness of convention and driven to hone in on what inspires her musically. Attending one of her mesmeric shows is a step into a calming world of serenity where the luscious tones of a meticulously strummed guitar create an air of warmth and crafted mindfulness. Drifting within a song is permissible, but stay alert for the nuggets of context and inspiration that are an increasingly core piece of her song performing repertoire. The musical arsenal of this Yorkshire-based singer-songwriter is in the throes of further expansion as the latest record hits the airwaves. It is a case of more of the same in light of overall ambience with the bonus of the live shows getting a greater pool to choose from.

Unsurprisingly, Katie is featuring her new album prominently on this latest run of dates where familiar places rub shoulders with some new outlets. Exactly in line with the material as the older tunes dating back to some of the earliest ones written slip seamlessly into a parade of numbers evoking the crystal nirvana of an artist in tune with their intuitive soul. 

Where else would a young musician melt their own sumptuous compositions with the works of John Martyn and Bridget St. John. The former is right at the heart of where Katie is taking her music. Observing the impeccable execution of two of his songs on sparse electric where you could be forgiven for thinking the tamed beast was playing itself was jaw dropping. Mere mortals aren't meant to understand, just sit back and savour.

There is a blossoming uniqueness to the evolution of Katie Spencer; an artist rippling the folk world in an unassuming style. No fanfare just the magical potion of an extraordinary way to conjure up some thoughtful tunes that encompass the world around her. One mainly of a natural persuasion but not totally free of human influence. 

The live arena is currently the domain of a solitary performer. If you are already acquainted with the awesome horn segments built into the new record, a vivid imagination will bulge with opportunity as the relevant tracks glide across a pin drop venue. The guitar sound is real, while space afforded to a drifting mind can fill the rest. Katie Spencer truly nails the concept of less is more.

For the time being (and maybe a lot longer), the live show is likely to be the heartbeat of Katie Spencer's music. The wastelands of compulsory isolation are fast becoming a blip in history as artists re-ignite with the true connecting world. When nights like this permeate the smart choices of the humble gig goer,  the moving power of music to illuminate the artistic landscape both shimmers and glows. Vocals, songs, guitars, imaginary brass and a performer operating on a different plateau all make smart choices like this even more pertinent. 

Album Review: Katie Spencer - the edge of the land

 

www.katiespencer.net

Ambience and intrinsically subtle guitar playing are the traits Katie Spencer exudes on a listener delving deep into her mystique. Inspired by diverse surroundings as intimated in the title, the music of this East Yorkshire-raised musician invokes wonderful imagery in the minds of others. Such a mindful release and pull into the world of serene motion is awash across the boughs of her new album. THE EDGE OF THE LAND is the atmospheric second full Katie Spencer release, hot on the heels of her 2021 project of reinterpreting the music of one of her idols, John Martyn. 

That short EP of covers featured Spencer Cozens, a Martyn accomplice, and he figures again on the record adding Steinway piano and keys, alongside co-producing the album. The full team assembled here is a tightknit one with one stark musical addition of Nathan Bray's flugelhorn adorning the gloriously seductive track 'Silence on the Hillside'. The brass faintly punctuates the wealth of guitar artistry and is highly pleasing to the ear. 

The ten tracks forming the content consist of eight Katie Spencer-penned songs and a similarly composed instrumental spanning the central part of the record. The odd song out of origin is a cover of Anne Briggs' 'Go Your Way'. The merits of this insertion are likely debated in folk circles, but this doesn't detract from the fact that Katie Spencer is a very fine songwriter as well as interpreter. 

Although side tracked like so many artists, you felt it wouldn't be too long before she cleared the decks, raised the funding to record and ultimately hit the road. A patient audience would no doubt wait and hopefully increase in greater numbers in light of positive movements. 

The music of Katie Spencer is obviously a shared experience at her enticing shows, but away from venues, sitting alone and blanking out the real world is a perfect setting for letting it weave its artistry. Flagship songs help promote an album and the aforementioned brass-infused track serves a purpose even if it wasn't one of the three released singles. However Katie Spencer doesn't seek to place her songs in a pecking order, instead nailing the art of a continual flow of princely spun songs, sung with a long folky drawl that immerses the vocals in the searching lyrics. 

Two EPs and two LPS present a strong base for Katie Spencer to carry forward a likely mission of courting folks and industry luminaries alike. Not with any posturing or hollow words, just the beauty of her music. EDGE OF THE LAND will thrill existing fans as it captures her evolving trademark sound. More importantly it is soaked in the potential to grow a fanbase. The lifeblood of any aspiring commercial musician. 

Gig Diary: Charm of Finches - Kitchen Garden, Kings Heath, Birmingham. Wednesday 4th May 2022

 

www.charmoffinchesband.com

After wooing many folks far and wide during the extended Melbourne lockdown, Charm of Finches have finally took flight and landed their sumptuous harmonies on the shores of distant Europe. Prior to an extended run of dates in Scandinavia and the near continent, the UK is first stop for an inaugural visit and a chance for the sibling combo of Mabel and Ivy Windred-Wornes to enhance an already flowering reputation. Live streams proved the perfect selling medium for this folk duo immersed in observational singer-songwriter fare. However there is no substitute for that unfiltered in-person experience. One enjoyed by a Kitchen Garden audience often spoiled with such talent passing through the Birmingham suburbs. 

The standard twin forty-five minute sets saw the sisters draw songs from multiple sources. As you would suspect, the riches of their two albums were mined with a particular focus on the latest WONDERFUL OBLIVION. Joining the recorded material was a song awaiting a title with invited suggestions and an apt cover of Leonard Cohen's 'Famous Blue Raincoat'. The latter's version can be found online and it is fitting for two sincere songwriters aspiring for greatness to feed off one of the finest. 

Although the spellbinding harmonies adorn the headline praise for Charm of Finches, there is something utterly compelling in the detectable harsh Aussie brogue that lingers under the surface. This adds a steely inner to the overt beauty. Such strength is useful given the content of some of the songs. Mabel and Ivy frequently take the concept of the sad song to new levels. To counter the content, some therapy is a desired outcome especially when the loss is personal.

Musically, Charm of Finches are underpinned by Mabel's near continual delicate guitar strumming. Keys come a close second with both sisters taking turns to lead from this portable addition to the folk soundtrack. Ivy generally flickers between violin, played in multiple ways, and an expressive vocal style. Confidence and the flow of stories steadily increase across the sets with both sisters keen to share song inspiration and source. Mabel starts off as the main orator, but it is the dual power and grace of the sibling interaction that propels the duo into an ethereal trance. 

Like all extensive touring schedules, it is hello and goodbye Kings Heath just as you revel in the warm glow of such fine music. Charm of Finches started this show with some dedicated fans in attendance. They departed with a whole informed band of admirers in tow. All no doubt besotted by those adorable harmonies. Just prior to returning back down under in a couple of months time, the sisters make a flying return to the UK taking in the Maverick Festival. Folks down Suffolk way that weekend are in for a real treat. The Moonshine late at night will be a special place to be.