Around forty minutes into the show's main set, Andrew Combs exclaimed 'that's my new record' and you could sense a weight lifting while evaporating into the spacious air of St. Lawrence's Church. What preceded came across as a redemptive stream of soul searching from a singer-songwriter plunged into the crossroads of an artistic career jettisoned into the lonely enclaves of enforced solitude. You hook up with artists like Andrew Combs for the cover to be lifted and agreeing to the terms and conditions. Ultimately riches reward endeavour and those checking him out in stand alone shows on the current tour get a staggering return for their pound and a show feeding off a dynamic shift of aura and intent.
It is brave to open a set with a complete playing of a brand new album barely a couple of weeks into its commercial life. Even braver when this album takes your music to new places and diverts listeners from a trusted template. Adding to the steady previous labels attached to the music of Andrew Combs such as Americana, singer-songwriter etc, those wannabe digital tastemakers from Apple went down the route of alt-folk. Not sure what anything alt is, but what was apparent was the intensity plied into eleven songs. By the time the conclusion was duly announced, a few of the jigsaw pieces came together, although the whole picture remains in enigmatic mode. Introductions and shared snippets were quite sparse bar a general feel that this album came from a significantly different place. Willie Nelson famously said, 'once an album's out it's yours.' I'm not sure SUNDAYS will ever be relinquished by Andrew Combs.
What followed in the second half of the set was an imperious display of a chiselled songwriter framing a barrage of classic writes. The new songs may join the pantheon in good time, but that is for the future. Leading the way was 'Too Stoned to Cry', which we now know is a firm favourite of Marty Stuart after the invite to sing duet at The Long Road Festival the previous Saturday. Hot on the heels were the Dylan LeBlanc co-write 'Hide and Seek' and a song surfacing in different guises from the dual pen of Andrew Combs and Brent Cobb. The latter described by Combs as one of the few country guys today who he believes what they say. 'Rainy Day Song' was the title Combs used to lead off his 2015 album. Other gold flaked songs adorning the second half included 'Firestarter', 'Hazel' and 'Rose Colored Blues'.
These run of dates have adopted the trio format with Jerry Bernhardt on guitar and keyboards and Dom Billet on percussion. The latter wasn't the only source of beat as an electronic aid was frequently switched on to form the backdrop. This was the fourth time seeing Andrew Combs live and each one has taken on a different perspective. Putting aside the oddball Country 2 Country arena booking in 2016, the defining show to date has been a full band set up a year later in Birmingham. This evening's return to the Staffordshire town of Biddulph was a more sedate seated affair, perfectly suited for the unwrapping of the new album.
You know you have attended an absorbing show when the surroundings become secondary. That is a pertinent reflection on both artists as we were housed in a stunning church location. One that brings the best out of the music on offer. If you like a singer-songwriter that evokes the mythical spirit of the Whistle Test circa 1972 then this was the place to be. Likewise if your sanctuary is in the midst of an artist that leads rather than follows, the style of Andrew Combs sows music to be harvested by those with an astute outlook. It won't always be a rose garden on the path to singer-songwriter nirvana, with give or take being a useful tool. Shows of stark candidness are a two-way process. Buy into a gifted soul and rewards ensue, whatever the source and state of mind.