Album Review: Damien O'Kane & Ron Block - Banjophonics

 

www.damienokane.co.uk

Two Transatlantic titans clash on the banjo field for the second time in four years. In 2018 we had 71 minutes of BANJOPHONY, now we have the follow up with 55 minutes of BANJOPHONICS. Of course lengthy banjo instrumentals is a niche as you get on the folk circuit even if the exponents are as talented and acclaimed as Damien O'Kane and Ron Block. 

For those a little partial to the mysteriously maligned twang, then sitting back to let the best pick and strum for your delight is not a bad place to be. Just when you get settled into a foot tapping groove, an earthquake appears in the form of vocals. Seven pieces into this thirteen track collection, Damien O'Kane bursts into song with the 'Endless Wanderer'. It probably doesn't define the album or knock the banjo too much out the way, but as a different dimension it works. Then out of the blue, they re-appear in 'Women of No Place'. Heady days indeed and now firmly planting the sound in conventional folk territory, for at least three minutes.

The tunes are a mixture of original compositions from both parties, although O'Kane slips in one from a fellow Irishman in Barry Kerr, with several tracks being the obligatory mash of a pair of numbers. These projects succeed in projecting the artistry of two practitioners often seen in supporting roles, albeit solo success has been aplenty. O'Kane unsurprisingly is never far from his famous wife's side, the folk royalty that is Kate Rusby. Ron Block, the US element of the duo, is known widely as a member of Union Station that propelled the career of Alison Krauss to lofty heights over a decade ago. However both make the most of their time in the spotlight to curate a hugely infectious album. They do enjoy a fine supporting cast with the mandolin of Sierra Hull and whistles from Michael McGoldrick getting a credit.

All musical appreciation is in the ears of the beholder and framed by taste. Critique can come from the trained and informed. The rest of us can tick the box of yes/no/who cares. I'm going for yes for no other reason than the banjo floats the boat and plenty of aural pleasure can be derived by letting its twang reverberate around your listening sphere. BANJOPHONICS does that when you turn the key and let Damien O'Kane and Ron Block do the rest.

Album Review: Michael McDermott - St. Paul’s Boulevard

 

www.michael-mcdermott.com

There are no half measures when Michael McDermott is in the mood to pour his heart and soul into a hefty project. Whether it was a lauded yet ultimately stuttering stab at the majors or a successful renaissance through The Westies and a string of solo albums, each release from this Chicago native saps, strains and eventually enthrals those willing to take up the challenge of diving deep in headlong. ST.PAUL'S BOULEVARD sees McDermott revving up the folk-rock engine before churning out a lyric-laden barrage of songs stirring into life any facets of passivity. A short intro turns the ignition before fourteen tracks take hold to whisk you on a journey where hope mingles with realistic despair.

You will need to section off in excess of an hour to absorb this record that launches with the rollicking 'Where the Light Gets In' and ends in the pure escapism of 'Paris', light years away from the crusty core of heartland USA. McDermott's acute songwriting hits a high early on with the line "Just remember the wound is where the light gets in" from the opener's chorus.

The knack of weaving in characters, both fictional and real life, is a trusted trait alongside tales told within a song. In the second track, 'Our Little Secret' spins around the axis of a chance encounter with consequences. Only a couple of tracks in and the richness of the production is paying off bringing out the best of McDermott's worn rock vocals. 

Possibly one of the album's standout tracks flourishes in the no.4 slot. A rampant chorus thumps home the message of 'Sick of This Town" with the sentiment of the title booming out and captured succinctly in "feels like my future's in the rear view mirror". 

To balance out the negatives, tempered rocker 'New Year's Day' heralds a message of hope, while 'Pack the Car' offers a solution if you get want to get out of here. These songs in the midriff and closing moments of the album catch McDermott in full flow to strengthen up an already strong collection of stirring songs. 

We learn that 'St. Paul's Boulevard' can be anywhere you want it to be and the title track deep in the heart of the record steers the theme with a hint of twang plus plenty of rousing keys, and the sound titled heavily in power ballad direction. A style in which Michael McDermott excels as witnessed close at hand at a gig in Birmingham a few years ago. 

The earlier mentioned external characters crop in 'Marlowe' - celebrating the fictional Phillip - and 'All That We Have Lost' where a string of assassinations frequent the lyrics from "Bobby in LA" to "Jesus on the cross". In contrast, 'The Outer Drive' threads in more characters likely from a fictional source to spin further escapist thoughts from a place wonderfully described by the line "There’s that goddamn ceiling fan. Hangs like a noose above a wanted man".

Four additional tracks take us up to the full complement. 'The Arsonist' is only a title that could come from Michael McDermott's writing and begins benignly on piano before picking up the pace to blast away. 'Meet Me Halfway' is aptly positioned right at the album's halfway point and is as typical a Michael McDermott track as you are likely to hear. Vocals from the gut, a soundtrack to project the aura and lyrics true to the soul. 

'Dead By Dawn' and 'Peace, Love and Brilliant Colors' complete the set. Like all the tracks, both are living organisms on their own even within the strains of a semi-concept album. The former oozes a heartland gruffness, while the latter secures the penultimate spot in spirited positivity. 

Any record from Michael McDermott is not for the faint hearted. Prepare for an exhausted journey where no pain no gain rings true in mild doses. ST PAUL'S BOULEVARD is a dedicated work of art once again propelling its architect to the summit of gritty heartfelt industrious folk rock. Each time he releases a record, more join the throng and that is justice. 

Album Review: Jason McNiff - Tonight We Ride

 

www.jasonmcniff.com

Borrowed music has been around since year dot under a variety of guises such as covers, interpretations and renditions. Separating the art form of performing and writing can be an act of purity, although contemporary popular music has spawned the combo approach especially in the field of rock. Jason McNiff has garnered lavish praise over the years for both his guitar and songwriting skills. For his latest project he has parked the latter largely to one side and decided the time was right to turn his hand to covering or interpreting a batch of songs ripe for some Jason McNiff treatment. The result is TONIGHT WE RIDE, and certainly innovative enough to steer clear of the cliched cover.

The title track is a fairly left field choice to kick off a commercial outing as Tom Russell has tended to appeal more to insiders rather than a wide world. Not that the wide world wouldn't be richer with more of this exceptional songwriter. The version here showcases the merits of both parties with a pointer to digging out more of Russell's work that tends to get unwrapped only when he tours. This focal track is one of eleven covers that McNiff bravely tempts folks to hook up with including a few that are particularly well known.

Possibly leading the way on the populist front are stabs at slightly twisting 'Fisherman's Blues' and adding another notch to versions of 'Tunnel of Love'. Die hard fans of The Waterboys and Dire Straits can have their say, but McNiff does it for me. Listening to 'Hard Times' has a familiar feel to it as the steps of many others are being followed, but slightly less is known of 19th century American writer Stephen Foster who includes this in a monster catalogue of popular songs. 

Those with any knowledge of Jason McNiff will be aware of his humble appreciation for legendary guitarist Bert Jansch. Therefore no points awarded for guessing a couple of inclusions from him in the shape of opening number 'Running From Home' and the centrally placed 'The Open Road'. At this point there is a temptation to seek out the originals for comparison. The choice is with the listener.

Safe ground is sought in terms of source for the next four covers as a pair of Dylan tracks ('Precious Angel' and 'One Too Many Mornings') join Leonard Cohen's 'Moving On' and 'Tomorrow Never Knows' from the huge Lennon-McCartney vault in a collection brimming with artistry. If the latter had been included in the Glastonbury set, McNiff may have backed a bigger winner. Alas even Macca didn't go that left field! 

The final cover choice possibly has most appeal to core Americana fans and there were no complaints here with an excellent take on Townes Van Zandt's 'My Proud Mountains'. 

However the ultimate word has to go to Jason McNiff the songwriter, and no higher acclaim can be afforded than his own compositions - 'I Remember You' and 'Shadow Ships of Deptford' sitting seamlessly pretty amongst a parade of big hitters. It is understood that this project came about as a whim from an artist who fully embraced the digital fan connection during lockdown and was absolutely won over by experimenting with covers across the wires. These last two tracks are a reminder that songwriting is very much in the DNA of Jason McNiff and he will likely return to that to a greater extent in future releases.

In the meantime, TONIGHT WE RIDE is a handy companion to the classic covers albums in your collection. Jason McNiff  knows these songs are treasured artefacts and the time he borrowed them was duly a considered act of innovation and respect. 

Gig Diary: Beardy Folk Festival - Hopton Wafers, Shropshire. Friday 17th to Sunday 19th June 2022

Beardy circles will forever be in the folklore of this festival. However it was refreshing not to see a single one in sight as the future arrived in terms of stepping three years back. 2022 became 2019 for Beardy Folk Festival in one sense, but for the band of devotees it was the perfect reward for defying the odds twice with socially distanced stagings. This perfectly formed small event kept the flame of field gatherings flickering in September 2020 and June 2021 when all around was dictatorially hibernating. Now in a blaze of mingling, dancing and sitting where you like (not confined to Beardy circles), the hills of south Shropshire were once again cavorting to the many asides of what is loosely constructed as folk music. 

Beardy Folk, the inspiration of one man supported by an incredible team, is a comprehensive three day event pivoting around thirty-six sets that tempt the dedicated listener to savouring each one up close and personal. There are the usual peripheral attractions affiliated to folk festivals across the land including those who just chill with the camaraderie. For music lovers, expect a continual stream of diverse performers proving that any budget can conjure up polished and unpolished gems. 

The Magpie Arc

From the gently strummed chords of Calum Gilligan opening the returning raised Garden stage on Friday morning to the loud and enthralling electrified folk rock of The Magpie Arc closing things with Monday morning encroaching, a string of artists passed through the listening sphere of the discerning festival goer leaving calling cards of all shapes, sizes and peculiar mementoes. Personal favourites were exactly that and tended to swing between the known and those itching to be added to your discovery list. 

The hilly extremes of western England in the early summer month of mid-June are always going to tease the weather watchers. In a mischievous way, the weather gods decided to toy with folks this year, delivering hot sunshine alongside a halving of the temperature in a rain fuelled follow up that tested the resolve. On a brighter note better weather is always just around the corner and things cleared up to resume focus back on the positives.  

Katie Spencer

Folk styles came in many forms across the weekend. Traditional and contemporary; tunes and song; instrumental and unaccompanied; original and cover; sub-genre and no idea what genre; seriously political and down right comedic, all rubbed shoulders from a guest list likely emanating from four corners of the British Isles. Pioneering solo performers followed those preferring a band accompaniment without a smidgeon of ego in sight. Egalitarianism reigns supreme, both in the artist and audience fraternity. Some will no doubt just make a fleeting visit to Hopton Wafers, others heed the call to return, not unknown to be more than once. The same goes for the audience as no doubt seasoned five-year regulars provide a solid base for those who flit in or out on an annual basis. One significant pulling point for Beardy Folk is that its timed staging is outside the high summer festival scrum.

So where do we start with what artists floated the personal boat? The temptation is to give every one seen a glowing review as they all excelled in their own way. Practically it is easier to précis and offer some subjective assessment on a selection reverberating around the familiar and the newly discovered. 

Gaz Brookfield

Confession time has arrived and circumstances dictated an early Saturday departure leaving four sets unseen. Insight on The Young Uns, The Trials of Cato, Gary Stewart's Graceland and Bonfire Radicals will have to be sought elsewhere. It is only the last one that has eluded me over the years. The day will arrive soon and maybe that is Moseley Folk in September. Let's not dwell too long on the unseen when thirty-two artists played their hearts out in front of my eyes and ears.

On the highly familiar front, Katie Spencer gets better every time seen, and basking to her music in glorious sunshine was a blissful experience. At the other end of the career scale, Martin Simpson never loses the fire in his belly and aptitude for pickin' fine songs. Services to UK Americana should nestle alongside his folk music credentials. Will Pound slimmed his stage presence down to a duo format with Jenn Butterworth since Shrewsbury last year, a positive in a sense that we get more of one of Scotland's finest guitarists. Dan Webster's music ascends a notch in full band territory and his performance impressed mightily. Another Dan, this time Midlands-based musician Dan Whitehouse, has been on my periphery for years without really exploring. His innovative electro infused set sparked an intent to seek out more. Rachel Newton battled the elements, but the beauty of her harp is good enough to fend off adversity. 

Dan Webster

The most anticipated artist seeing for the first time was Jenny Colquitt. Tip offs put me in her direction last year and the debut album backed up that advice. Live, she brought a singer-songwriter ray of sunshine to the Garden stage on Beardy Sunday. Her conventional style of dual delivery on guitar and keys was not overdone across the weekend, but her performance flew the flag and signalled a bright future ahead starting at Glastonbury this week.

A quick change of mid-review philosophy with every artist seen now getting a mention! 

Seby Ntege

We started a few paragraphs back with top sets that opened and closed the festival. On a similar theme of opening and closing, Anna Renae played first on Saturday morning with a beguiling static classic folk style made popular by many artists over the years. Preceding Anna in the running order was folk reggae outfit Edward II who joyously headlined Friday night bringing a raft of dancers to the front of the Meadow stage ensuring social distancing, Beardy circles and 'pandemic festivals' were consigned to history (or at least 2020 and 2021). 

Beardy Folk has a smattering of outpost acts each year. London-based Ugandan Seby Ntege added a world music flavour with some eye catching instruments and plenty of rhythmic shuffling. On a similar front, Mishra played an Indian fusion blend of folk music and kept a late Sunday evening Meadow crowd warmed up in the festival's penultimate slot. Katy Hurt bounded onto stage with a slice of upfront country pop to successfully tempt a folk audience out of their camp chairs. Festival comedy veterans The Bar-Steward Sons of Val Doonican had the audience in stitches with their repertoire which ensures Chris de Burgh and Greggs are never seen in the same light again. 

Jenny Colquitt

A trio of known names to me were Reg Meuross, Gaz Brookfield and The People Versus. The former had two sets across the weekend. One entirely on his own and another appearing with folk duo Harbottle and Jonas. Dave and Freya were happy to play the supporting role on stage, but together the trio have crafted a new album conducive to the talents each has to offer. Although the other two acts were seen for the first time, it is sensed that it won't be the last. Gaz Brookfield is a stalwart of the indie-troubadour touring scene and his fiery volleys were both engaging and hugely entertaining. The indie-folky vibes to The People Versus are set to grace many a festival stage during 2022 and they have been immediately added to the must see list at Moseley Folk. 

Although Beardy Folk doesn't seek overseas touring artists, there was an American tinge to Our Atlantic Roots where one half of this Cornish-based duo hailed from North Carolina. Likewise Lawrence County don't shy away from displaying their country and Americana credentials, and will always prove a festival pull. Mark Harrison clearly draws his inspiration from the blues and blended in a wry sense of humour to his act. Two facets that go together well. 

Katy Hurt

Straight up traditional folk is well served as you would imagine. Atlas Bridge opened things on Sunday morning and were later joined by two acts clearly displaying an adherence to folk convention. Greenman Rising was the most visually distinctive act roaming the site and stages, while Wet The Tea weaved some inspiring stories of migration into their musical virtuosity. For a good ole singalong in the shanty style, Sound Tradition sung impeccable four part harmonies on Friday lunchtime.

There was a Magpies link between two artists playing separate sets. Bella Gaffney - one third of the York-based trio - focussed on her solo material, while Holly Brandon teamed up with her brother George to play as Painted Sky. A trait of the folk world is many collaborations, spin offs and projects with festivals being the perfect platform to meet up and share with fans. 

Greenman Rising

A further two duo names announcing their arrival were Good Habits and Thorpe and Morrison. The former are an eclectic combo definitely putting the alt into alt-folk. They won the cover prize for folking up The Stone Roses and twisting vocal renditions of Mary Hopkins and Gloria Gaynor. Alongside their original material, of course. Sean Morrison was equal to many fine fiddle players gracing the festival stages over the weekend, and this included the acclaimed ex-Bellowhead member Rachael McShane who appeared with her band The Cartographers. Jigs and reels are staple to any folk festival and Beardy Folk was no exception. 

A quick head count leaves just one act to mention. Man The Lifeboats were one of many artists introduced to me during lockdown as part of the Virtual Green Note twice weekly stream. During those dark days artists yearned of playing in person once again. For this London-based act, the fields of Beardy Folk compensated for those hours playing in living rooms in front of cameras, computers et al. You can't beat playing in front of real people.

Dan Whitehouse

This brings us nicely to the concluding part of a whistle stop Beardy Folk Festival 2022 review. There has never been so much gratitude as to this event magically organising a brace of restricted festivals. Now with the shackles off, it was full steam ahead and a wonderful feast of folk music delivered to those in the know. Other festivals - big and small - are available, but Beardy Folk will live long in the hearts and minds of those who have embraced what it has to offer. Five festivals  old and it is still standing. Who know what the future holds, but this event has come through it all. The edge of the West Midlands conurbation is a mere twenty miles from the famed walled garden of Hopton Wafers and its imposing surrounding hills. However for one weekend in June, this near outpost thrives with a folk wave of mega proportions. It is a privilege to pay a visit each year and write some positive reflections to preserve the memory bank.

Album Review: Meredith Lazowski - Other Way Home

 

www.meredithlazowski.com

An utterly gorgeous vibe akin to the most gentle summer breeze greets you in the opening bars of an intoxicating release that traps you in an ethereal haze. This is a record to get lost in and allow it to sonically massage your senses. Meredith Lazowski hits the spot big time curating a signature album to re-create mood-driven seductive Americana. A bubbling pot of steel, assorted strings and hypnotic beats guides through a blissful forty-two minutes of satisfying music. OTHER WAY HOME is a slice of creative heaven evoking so many feelings and nuances. 

From the husky vocals to a backdrop slipping between cool electric and subtle roots, ten tracks blend into a sublime record that accumulates the capacity to make Meredith Lazowski a talent to transcend far from her inner circle. There are similarities in the way Caroline Spence expends her sound and that artistic journey has worked out well across the spectrum. All ten tracks are solo writes with the overall project benefiting from the production touch of Justin Rutledge. He is one Canadian wrapped in far reaching appeal and Meredith Lazowski has all the hallmarks of being another.

Picking a track to summarise the album is a tough task as each time you attempt it the lure of the complete play wins. Not something to argue against such is the effect. If you buy into the notion that the lead off track is critical in setting the tone then 'Prairie' is job done for Lazowski and her team. Floating steel dominates this number and it was a wise choice for promotional purposes as well. The title track 'Other Way Home' was another syphoned off for promo and its gentle tones anchor the early stages of the second half. 'The Other Side' and 'Aint Too Late' complete the quartet that surfaced ahead of the June 17th release date and all play a part in creating the textual feel to the record. 

The creative industry in a more commercial form has been her landing post in the past and this move into something surely more exciting and enthralling to share with an audience reaps rewards. Such does the album gather momentum that 'Running Circles' and 'Navigator' in track positions 8 & 9 ultimately make the strongest case for being the album's crowning moments. Lyrically, the latter of the this duo anoints those who lead on a journey and this album is certainly one vibrant expedition. The track before is a poignant love song pained with so much honesty. After much deliberation 'Running Circles' is the piece from OTHER WAY HOME that's going away with me.

Surveying the remainder, 'December' frames and dates the perfect memory, while 'No Reason' is full of redemption. Once you've been wrapped in the hypnotic blanket of the sound, diving deep into Lazowski's lyrics is the perfect accompaniment. 'Old Friend' dares to up the tempo right at the heart of the record. Mind you it's enacted subtly and in time with the gentle flow of the record. 

A philosophy on the record is less is more and that applies to the conservative word approach in the lyrics. The album closer wastes little effort in this quarter and 'Bring Back Time' leaves interpretation in the hands of the listener. We also end with some more delectable steel that completes the circle from the glorious opener. 

OTHER WAY HOME ensures the creative musical talents of Meredith Lazowski are geared towards making a record that others will absolutely lap up. She succeeds perfectly in owning a corner of your mind for each play and takes the learner on a most serene of journey. 

Gig Diary - Mama's Broke + Willi Carlisle - Kitchen Garden, Kings Heath, Birmingham. Monday 13th June 2022

 

www.mamasbroke.ca

www.willicarlisle.com

Gig Diary: Jess Jocoy - Kitchen Garden, Kings Heath, Birmingham. Tuesday 7th June 2022

 

www.jessjocoy.com

Occasionally you drop in on a show that reaffirms all your ideals about live music. To state that Jess Jocoy ticked all the boxes is merely the starting point. Straight out of Nashville and onto overseas' stages for the first time was more an opportunity than a challenge for a singer-songwriter not afraid to lay it all out in front of an audience seasoned in the spilled emotion of the travelling troubadour. There are also artists adept at treating each show as a curtain raising finale regardless of the situation. The Kitchen Garden faithful sensed all these facets from the recorded music of Jess Jocoy. In person there was so much more.

This native of the Pacific North West, no doubt lured to Music City for the opportunity, used the age old small venue canvas of twin forty-five minute sets to pour her heart into a string of songs spanning three releases dating back to that ill-fated time of spring 2020. A debut album and sandwiched EP have now been joined by the most travelled Jess Jocoy record to date in terms of overseas reach. LET THERE BE NO DESPAIR is as fresh a release as the spring in the step of its architect. It provided a trio of stunning songs that book ended a fabulous show that began with the infectious pitch of 'Jericho Walls' before climaxing with the stunning duo of the title track and 'Common Kindness'.

Jess Jocoy was as humble as informative. Her voice meandered around the contours of the venue knowing when to move in tune with the moment. The guitar was simple and true to the spacial creative accompaniment there to support the rhythm and meaning of the song. Candid moments added to the theatre and holding an attentive audience in the midst of a professional approach was an innate outcome. In a parallel universe, Jess Jocoy has skipped small town and holding court on the big stage. However a sense of realism nestles alongside the creative dreamer and at least small town offers the most connective artist-receiver unfiltered interaction.

There was a pledge to return in a haze of gratitude. An audience believed this as much as they believed in the wares of a singer-songwriter crafted in such a heartfelt and submerging way. This was folk music imprinted the Americana way. Delivered by an artist who has to fight hard to rise above a crowded pack, but relishes the chance and is full of faith. 

The past is all building blocks to the limitless potential of Jess Jocoy. The present on this rainy evening reminiscent of her home Washington state was all about joining the pantheon of artists passing through the hallowed surrounds of the Kitchen Garden. A spiritual calling card of many is etched into the walls, beams and floor. A little piece now belongs to Jess Jocoy. 

Album Review: Hannah Rarity - To Have You Near

 

www.hannahrarity.com

The rare talent of Hannah Rarity came to the fore in these quarters last year among an array of likeminded contemporary performers that decorated a changing gig landscape. Her show at the Edinburgh Fringe previewed an artist possessing all the attributes to move freely in the circles of established performers such as Karine Polwart, Eddi Reader, Siobhan Miller and Jenny Sturgeon. This rare talent talent now takes a major leap forward with the release of a second full length album. TO HAVE YOU NEAR is a packed template of many folk factions that make this Glasgow-based and highly rated singer-songwriter tick. Starting right in the heart of her homeland, tentacles spread first across the Irish Sea before crossing the Atlantic. All in a Celtic whirl of music set to beguile and soothe an eager listener.

This ten-track follow up to 2018's NEATH THE GLOAMING STAR reveals a multi-facetted hybrid artist comfortable in easing between traditional and contemporary styles. Rarity has branched off in several directions to source the content for the new album. The result is an enticing mixture of solo and co-written originals rubbing shoulders with smart covers, a commission and an arrangement of a hugely popular old time American tune. You don't have to search far for versions of the latter, but this Scottish brogue sprinkled cut of 'Hard Times Come Again No More' settles in a cosy niche that juxtaposes Dylan, Dolly and Springsteen. 

Staying across the pond sees Tom Waites' 'Take it With Me' get the Hannah Rarity treatment alongside in-demand Scottish musician Innes White who handles the production. Another fine song hitching a ride to new pastures. The second of the four contemporary covers brings the overseas influence closer to home as we dip into the rich well of County Clare-raised singer-songwriter Gerry O'Brierne with a fine version of 'Shades of Gloria'.

Back on home soil and there is no denying that 'Scotland Yet' yields much thought provoking activity. The version here shimmers with the glacial vocals of Hannah Rarity and if you want to view the song from a different perspective see how the chorus line 'whatever yet may be' can relate to your own world. Closing the cover quartet, and also the album itself, is a haunting version of 'Comes the Hour'. A fragile song from Julie Matthews that suits the voice and demeanour of Hannah Rarity to a tee. The promotional video is a shade over two minutes of beautiful simplicity.

Highly popular and esteemed Scottish songwriter Boo Hewardine has an omnipresent role in the folk scene popping up here with the graceful song 'I'm Not Going Anywhere'. He also provides backing vocals to complement a voice that can blend a whispering hush with a pronounced regional tone. 

The final four tracks under the microscope see Rarity sharpening her own songwriting skills with a quartet of originals split between solo and co-written status. Album opener 'Home', and one of the co-writes, breezes in a jazzy style and possesses a killer melody to hook in the listener from the off. There is a theatrical element to the way the songs are delivered and moments of this album are seemingly built for the stage. The other co-write is the imagination-inducing 'Kaleidoscope' with a sparse musical backdrop allowing the song to penetrate your senses. 

It is fitting to leave an aspiring singer-songwriter's own material to the end. 'My Friend' appears early in the running order and is a sensitive take on the challenges of the last couple of years. A fertile area for songwriters and a composition here that once again benefits from an optimal production that proves spot on. The lyrics resonate and reveal a string to Hannah Rarity's bow that can grow alongside the obvious song interpretation. A piano introduction leads into the other solo write with the lyrics launching straight into the song title of ''She Must Be Mad'. This is one of the fuller produced tracks on the album with strings increasingly kicking in. 

TO HAVE YOU NEAR is a classy album bearing the prime talents of an artist set to prosper significantly. Possessing such a distinguished record fuels an onward progression that should see the hinterland of Hannah Rarity expand. A welcoming audience south of the border will embrace the elegance and beauty of somebody already in the limelight of her own scene. Pioneering an album that moves a listener is a credible notch on a formative career.