Amelia White and Carter Sampson fleetingly crossed paths at the Maverick Festival in 2016. Seven years later they will re-assemble at the same spot much more acquainted and versed in each other's music. The sets will be separate at Easton Park Farm in contrast to the closely constructed duo element that features in the many touring shows either side of the festival showpiece. To UK observers, the collaboration of two artists awash with musical treasures from their respective East Nashville and Oklahoma homes came out of the blue. Tours, records and fan interaction had been prevalent in the pre-pandemic activity. In a move like so many internationally focussed American musicians, the urge to travel has become a reality in 2023. Tapping into their UK contacts has enabled an extensive run of dates stretching from the south coast to central Scotland with the usual Midlands stopping off point of the Kitchen Garden in Birmingham.
Carter Sampson is no stranger to these pages. Gigs in London and Birmingham have been warmly reviewed alongside that festival debut. The summit of the record acclaim to date was WILDER SIDE accruing the album of the year accolade in 2016, although momentum is growing to anoint the recently released GOLD as her best yet. It's all subjective though and secondary to the undisputed acknowledgement that the voice and songs of this Oklahoman travel far and please many.
Amelia White is a much loved and key purveyor of the essence of East Nashville's music scene. Her resourceful approach has seen a valued network of appreciative contacts and fans develop. Album recognition gathered pace when 2014's OLD POSTCARD was promoted within the UK's Americana community, and subsequent releases and shows have always caught the ear of those seeking a little depth and darkness to their listening repertoire. Her style is distinctive and embracing to others as noted by the many acclaimed musicians she has worked with. We got the nod this evening via a couple of songs that there is a Kim Richey-produced album in the can.
This show at Birmingham's core folk, roots and Americana venue began with two solo slots. Carter Sampson wasted little time in sharing six songs from her brand new album to add weight to its initial positive reception. She opened the night with 'Home' before launching into the stellar title track 'Gold'. We had the stories behind 'Drunk Text' and 'Pray & Scream' alongside the pandemic sentiment surrounding 'There's Always Next Year'. The presentation of songs from the new record concluded with 'Can't Stop Me Now'. A Carter Sampson show would be incomplete without recognition of WILDER SIDE. The title track was shared tonight to satisfy this craving. It is hard to look past two songs lifted from 2018's LUCKY as Carter Sampson at her most crowd pleasing. The origin of 'Rattlesnake Kate' is as legendary as the song, while her version of Shel Silverstein's 'Queen of the Silver Dollar' was the key pre-encore finale after the artists united to enhance the collaboration element.
'Lucky' the song (not the Carter Sampson album) comes from Amelia White's repertoire and closed the evening in an unplugged format with both artists standing off mic enlisting a crowd singalong that needed little invitation. Earlier Amelia White treated the audience to songs from the breadth of her catalogue. These ranged from 'Black Doves' from the early 2000s right up to date with the title track from last year's record ROCKET REARVIEW. This album is essentially getting its promotional outing and almost in reboot mode. Perhaps the brace of songs that came across best during the solo set were the contrasting number 'January & June' and the catchy melody to 'Yurma'. As you would expect from these type of singer-songwriter evenings, we learned a lot more about Amelia White than known previously. On one account the stories combine spice and wit, while the demeanour and sound strikes of somebody emotively buried in her songs, but still able to share in an amicable and likeable way.
To highlight the span of song styles on show tonight, Carter Sampson went unapologetically off piste with a jazz-version of 'Since I Fell For You', a piece you could sense her love for. When singing together, the pair served up Loretta Lynn's classic 'Don't Come A Drinkin' as a taster to what can be expected when they join a host of other artists at Maverick paying tribute to the late 'Coal Miner's Daughter'. While covers are fun, they don't define either Amelia White or Carter Sampson as they embody the pioneering spirit of American songwriting powering forward in new territories and directions.
The summer touring artist circuit in the UK can be a little crowded with many acts cramming in dates around prestigious festival appearances. Yet, if you do the hard yards, build things slowly and possess the adept skill to showcase your music then niches can be created. Amelia White and Carter Sampson wouldn't be here now without those traits to their craft. As fans, we are grateful that they have resurfaced from a jolt that especially affected those bound by the need to get out and play in front of real people. Tonight at the Kitchen Garden patience paid off and once again Americana riches landed here from the source of so much good music.
