Gig Review: Kassi Valazza - Sunflower Lounge, Birmingham. Sunday 29th October 2023

 

www.kassivalazza.com

Kassi Valazza is one of two West Coast singer-songwriters Loose Music have introduced to UK audiences on a more formal basis this year. While Angelica Rockne made a brief visit to our shores in August, the Portland-based Valazza is getting wider exposure with a second run of dates just about to end. This October return is part of a more extensive European tour and new venues across the UK have been sought. The Sunflower Lounge in Birmingham is not your usual hangout for touring artists of an Americana slant, but was chosen to host the penultimate show of the UK leg. 

The ironically titled album KASSI VALAZZA KNOWS NOTHING has been the introduction for many this year and is one of two releases in the back catalogue. As this show evolved, a couple of new songs were shared alongside plans afoot for another Kassi Valazza record. Needless to say the style was similar and those who have fallen in love with the symbolic cosmic strand of country-laced folk rock with revel in this continuation. 

A trio format is in place for this tour. Tobias Berblinger diligently plays keyboard, while Lewi Longmire regularly switches between electric guitar and lap steel. Together they create a subtle atmospheric sound that perfectly entwines with songs escalating into the upper echelons of a sonic stratosphere. As a trio they come across as calming, placid and introspective. A notable intensity and dedication to their chosen craft is also detected leading to a blissful musical output.

Valazza’s songs are tough complex compositions. Snippets of melody take hold, but the true worth is when you dig a little deeper into a divine structure and meticulous construction. This art is truly nailed from a purist perspective. 

This evening’s set ran to 70 minutes in length and followed a half hour slot by London-based singer-songwriter Henry Grace. His songs and style heavily lent towards Americana even if he admitted that the journey in this direction has been coincidental. The presence of this new name to many in the room provided a good fit to what we were about to experience. 

You get the impression that Kassi Valazza is finding her feet with British audiences. The polite pauses can throw an artist into an awkward spot. The music certainly comes before the chat. Only the odd song had an introduction never mind any insight. Sometimes you have to accept that getting to know a new artist by intended design is secondary to exploring the core art of their craft.

By the end of this show, there was a profound stamp of the music in your mind. One conclusion was the slim differentiation between listening on record and in person. A fine outcome if this is your driver for venturing out on a Sunday evening, but room for development that may or may not happen if you want a touch more stage craft.

There was a consensus after the gig that a dedicated listening seated venue would have better suited this show than a city centre basement bar. Wise ears with their feet on the ground can be useful guides. 

There is little doubt that the unveiling of the studiously talented Kassi Valazza to new audiences who understand her psyche is a coup. Music oozed from the stage occasionally tinged with trippy psychedelia on a higher plane with vast riches in grasp for those levitating their own senses. This match can be a unique experience and one to treasure when the connective process is aligned. 

Album Review: Anton O’Donnell - Tomber Sur PRW

 

Anton O'Donnell is a singer-songwriter from Glasgow widely known as the front person of Anton and the Colts. Despite the name on the front of the latest record being streamlined to reflect a solo stance, the band effect is alive and kicking within nine tracks that land on the listener in a haze of toughened suburban Brit Pop meets heartfelt heartland Americana. The conundrum within the title and cover begins to unravel when TOMBER SUR PRW gets its literal translation as 'falling on Paisley Street West', the place where O'Donnell lives. A sense of street realism runs through the theme of the lyrics and you surmise to what extent the road under the nose influences the songwriting process. Like all albums cut from the word-laden mind of a troubadour, savouring the wares with lyrics in hand creates a rounded listening experience.

A chance meet up with American producer Brian Brinkerhoff led O'Donnell into a unique creating process for this album with the added imposition of a worldwide pandemic in full flow. This is 'setting the scene territory' as what unravels for the listener is an enthralling package pivoting on the 'less is more mantra'. The aforementioned nine tracks come across as symphonic pieces within a forty-five minute span possessing a hefty load from a small yet powerful collection swaying in tempo and vigour.

A concoction of detected instrumentation flavours the sonic landscape. Essentially the straight up rock guitar sound is dominant, but faint strands of pedal steel slip in an alt-country feel. This is most prominent in the killer opening track where 'Kindness' oozes with a strong message within a neat music mix encompassing tender strains and fiery blasts.

Continuing the instrument theme, a waft of harmonica adds an ambient gloss to 'Shine a Light' where a scratchy opening blends into evocative vibes that cast a vision of a dry ice environment evoking a late night bleakness. For one of the record's more populous numbers, a surprising trumpet interlude hails the detailed story song 'Madman on the Loose' and weaves its way back in the latter stages. 

For some tempo variety, 'It Never Lasts' is a more upbeat rocker awash with clear and combative vocals, while an acoustic backdrop frames an anthem-like song in 'Dreams Fade Under the Light' where a headline lyric draws you into investigating further what is being said. 

A fleeting run through an album that ultimately is better heard than read about sees a resurgent sound permeating the six-minute stirring track 'Set it on Fire' and an archetype brooding closer in 'Django'. Completing the set in random order are the alt-country defined 'Roots' where guitar and steel spin alongside vocals that spill out with purposeful integrity and a dose of murky rock in 'Skulduggery'.

Wherever you place yourself on the Anton O'Donnell awareness scale, dipping into what flows from the grooves of TOMBER SUR PRW will likely form a favourable opinion. A strong well-rounded release with intriguing themes and a rousing sound falls neatly into the slot of a style lapped up by fans of Americana music. 

Gig Review: Lynne Hanson - Kitchen Garden, Kings Heath, Birmingham. Wednesday 25th October 2023

 

www.lynnehanson.com

Touring is in the DNA of Canadian singer-songwriter Lynne Hanson. Whether exploring new territories or revisiting old haunts, polished songs cut through to audiences from seasoned to fresh. Listening rooms are filled with an air of confidence as a cathartic experience fulfils the prophecy of live music fuelling its connective role. Extended excursions from an Ottawa home have landed in many formats, guises and locations as continental Europe and the UK has frequently embraced what this songwriter has to to say and most importantly how it's conveyed.

The current run of UK dates ended with this Kitchen Garden return and it is worth noting that this year's dates followed a successful return to distance touring in 2022. You wouldn't bet against more Lynne Hanson visits with the enticing nugget of another new record slated for a 2024 release. This latest Midlands show - previous trips have seen her play Bewdley, Thimblemill Library and around a dozen years ago open for Gretchen Peters in Bilston - saw a rich mixture of songs extracted from a variety of albums with the latest record being a little too far back for this tour to hang on its promotion. A quick recall of the setlist reflected a heavy trawl through 2020's JUST WORDS with half a dozen picks from opener 'True Blue Moon' to the curiously titled 'Hemingway's Songbird'. 

On several occasions we have had the pleasure of the full Lynne Hanson band experience. As enjoyable as that has been, there is much merit when an artist takes a breath and frames the songs in a more focussed style. The format for this tour is a duo with regular recording and playing companion Blair Michael Hogan. He provides electric guitar and backing vocals to add depth to the presentation. On the topic of duos, there is a line of thought through listening experience that Lynne Hanson has moved the game onto a different plane since an active collaboration with the widely renowned fellow Canadian Lynn Miles. Co-incidentally, Lynne and Lynn frequented this actual performing space in 2018 when touring their acclaimed album of the time.

With no support on the bill, a decision was made to run the show straight through rather than the conventional split pair of sets plus the obligatory commercial/refreshment break. There are arguments for both formats in this single act setting with the relevant one tonight of both artist and audience undisturbed after entering a transfixed zone. A raft of songs taking us just to the ninety-minute mark were interspersed with musings ranging from casual anecdotes to  flavouring proceedings with informative inspirations. A couple of new songs were introduced in 'Sure Of' and 'Can't Let Go' signalling a positive future building on a substantial past. 

What comes across best from a Lynne Hanson show is how the craft of writing and performing a significant song has been honed and fine tuned. Touring conditions may always not be so favourable for independent artists dealing with factors from raising your voice in a world weened on familiarity to a frail economic environment. Faith in what you do must be intact to drive an artist forward and belief that you will find your audience in sufficient quantity (and quality!)

Longevity and frequency suggest Lynne Hanson has done many things right in courting overseas listeners over the years. Nights like this in Birmingham may ultimately be small pieces in a bigger picture but they have a dear place in forming an artist's identity. There is also an identity to those moved by her music and that became a little stronger after her latest visit to our shores. 

Album Review: The Heart Collectors - The Space Between

 

www.theheartcollectors.com

The Heart Collectors are a four-piece Australian band adept at creating a unique and distinctive sound. They focus on a tightly spun ethereal sonic template that matches largely acoustic charm with a blend of individually dealt vocals and harmonies that are secure to the core. Their latest record creatively titled THE SPACE BETWEEN possesses multiple strands as the band stir together a melange of new tracks, a trio of fan favourite covers recorded live, and a couple of older songs reworked from an unavailable previous album.

Before dipping into the recorded fare, the striking album cover evokes the spiritual vibes emanating from the music and sets the scene perfectly for what is about to be sampled. A case of bracing artisanship all round. 

The shortest of the three segments is placed as a pairing at the centre point of the album, which stretches to a 54-minute running time. 'Stand Up' is the first of the re-worked older tracks with violin, cello and mandolin detected as key components in a song symbolic to what is generally created. 'Hold On' follows in a similar vein to catch a flavour of the band's past. 

It is probably right to tag the three covers onto the end. The band are proud of how these key influential songs have become ingrained in what they do and resonate well with fans. The trio are led by 'Helplessly Hoping' a song from an era dear to the heart of the band. There are definitely late 60s swirling vibes across the piece. 'Woodstock' gets another notch on the lengthy list of versions out there and Paul Simon's mid 60s effort 'Kathy's Song' completes the homage to architects from a distant age, though relevant in influence. 

On this, The Heart Collectors 5th studio album, the rump of the record is the eight new tracks straddling the re-works in the running order. With the band looking at fresh horizons in the promotion of the record, this set is key to showing what they are all about.

The absolute album standout is 'Sirius B' possessing one of the most drooling atmospheric intros you are likely to encounter this year, or any other as a matter of fact. The melting twangy sound is one to die for and a cinematic imagination is let free to run amok once this pleasure lands on the listener. This delectable track unveils as a near 6-minute moment of bliss. Another song that catches the ear as a memorable interaction is 'Rocky Mountain', which re-ignites the new collection after the re-worked pair. This is one of the more folky offerings with banjo leading the way. A different vocal perspective revitalises the album at a suitable point and points the compass in an American roots direction. 

On what is an album that needs a few spins to grasp its entirety, the two opening tracks play an important part in framing the musical narrative. 'Energy' is the apt name for the lead off piece as it is full to the brim with kinetic listener engagement. This slips into 'Evergreen' that shines a light on the harmony parts adding to a full-on sound circulating in various directions. 

'Travellers' and 'Where the Light Rests' are paired just before the covers flood in with the former rolling out as a foot tapping mover bestowed with the vocal elegance that lives and breathes in each track. The latter is a toned down piano-led ballad awash with gorgeous vibes that highlight the versatility of The Heart Collectors. 

The two remaining pieces have the tough task of following the aforementioned standout. 'No Separation' gently rises without truly creating the waves of what is dealt elsewhere, while 'The Garden' floats in an inquisitive world where a slightly mournful backdrop nestles within a sphere of hope and birth. 

The Heart Collectors are a band on a mission to share a sound that is finely curated and delicately spun creating a world of warmth and comfort. THE SPACE BETWEEN requires a significant investment to grasp the big picture. Snippets can easily be pulled out to frame the moment, but hanging in for the entirety sheds a different complexion on what is set out to be achieved and ultimately pulled off.

Album Review: Rod Picott - Starlight Tour

 

www.rodpicott.com

Rod Picott returns to the status of current recording artist with the release of his latest album. You get a sense that this is likely to be the case for the foreseeable future such is the torrent of inspiration that appears to flow from his creative stirring pot. The tread gets a little worn, but this only adds to the resilience that insulates from the fickle world of changing tastes and horizons. STARLIGHT TOUR is an explicit case of an artist focussing on their strength and possessing the nous to source some additional parts to refine the running. The key component here is a return to the producing realm of Neilson Hubbard; an ace in the pack for polishing the raw credentials of songwriters rich in the soil of their influences, though just needing a reboot to get the songs out in commercial formats. 

Writing collaboration is one thing Picott hasn't shied away from in his career. You only have to explore his back catalogue or attend one of the shows to learn about the Slaid Cleaves liaison that has lasted a near lifetime. The duo don't appear on this ten-track effort, but three other writers get a co-credit with one featuring twice to suggest that hooking up has been a key driver here. Anybody attending a recent Rod Picott show would have heard the origin of the Brian Koppelman involvement. For those not privy, this influential movie shaker fancied a dabble at this songwriting game and ended up chipping in on the metaphorical 'A Puncher's Chance' and the deeply reflective 'Combine'.

A more likely name circulating in Nashville songwriting circles is Amy Speace. The pair put their considerable talents together and came up with one of the standout tracks on the record. 'Homecoming Queen' is an adorable song at the heart of the album and protrudes as a clear example of Rod Picott being at his most accessible. A sincere melody joins the fray alongside some atmospheric pedal steel, while there are positive undertones to a song that as usual is framed by a dose of pensive realism. 

The album ventures into a gritty domain with the fourth and final co-write. The name Nick Nace didn't ring too many bells in European circles (a place where Picott has made his second musical home for many years), but there must have been some synchronised understanding with the way the main man works when coming up with the toughened strains of title track 'Starlight Tour'. 

On one of his recent UK shows, Picott filtered the first three album tracks into the opening set. The second of these is quintessential Rod Picott and the first song to land a lasting blow when taking an initial dive in the well of this new release. 'Digging Ditches' is earthy, punchy and about as trademark as you want to get. Maybe the sentiment of the chorus and title gives way to the power of the pen these days, but a good story, image and past truth is all part of the show. 'Next Man in Line' leads things off setting the scene with the knowledge that you are in the safe hands of a pragmatic singer-songwriter and accomplished production team. 'Television Preacher' is a profoundly personal offering and those in tune with the world of Rod Picott from previous material and live shows will know the influence imparted from close family. 

Prior experience of Rod Picott albums teaches that they don't tail off. We wait eight tracks to be greeted by the most uptempo effort within the grooves. 'Wasted' escalates with a decent rhythmic pace alongside the usual lyrical outpouring of something itching to be said. Quieter service is resumed as a more stripped back Rod Picott dips into character mode to tell a heartfelt story in 'Pelican Bay'. We depart with similar lo-fi vibes trickling out of the ultra philosophical 'Time to Let Go of Your Dreams'. At this point you marvel at the way Neilson Hubbard almost backs off bar some faint trumpet and lets a seasoned operator sign off on their own terms.

Of course every Rod Picott album is an invitational deep dive into what he has to say and the way it is said. This is a personal engagement and STARLIGHT TOUR is ripe for such an interaction. The string of releases over the years vividly tell the Rod Picott story. Each has their own space and a new plot has been cultivated for the fruits of 2023 to grow.

Gig Review: Michele Stodart - Temperance, Leamington Spa. Wednesday 18th October 2023

www.michelestodart.com

A hushed vocal glow; facial expressions living each lyric line; delicate playing conveying an ambient mood; an audience awash with cathartic bliss. It felt like a personal invitation. The reality was Michele Stodart breathing every moment of her new album INVITATION. 

The Temperance in Leamington Spa redefines intimacy. A little readjustment is needed when you first descend into its basement. More so when every space is taken for a sold out show. You initially look for a potential exit until the music starts then you’re locked into an artist’s tightly spun web of allure. 

Michele Stodart is famed for her animated bass playing in the group she co-founded around 20 years ago. While the Magic Numbers occasionally spring into action for both pop up and short run shows plus the odd record, its members plough on with a surfeit of other projects. Stodart, and her brother Romeo, are highly active in the capital’s music scene, and from time to time Michele hurtles herself into breathtaking solo mode. The latest album is her first since PIECES in 2016 and an adoring fan base far and wide will yearn for a shorter gap before the next one. Word on the street from interviews and a glorious finale to this evening’s show indicate the wait will be shorter.

For this album launch tour, a band of Andy Bruce (piano), David Ford (guitars) and Emma Holbrook (drums) meticulous provide optimum support, subtly in the first half for a tender album rendition and more expressive after the break when the hair gets a little looser. Stodart herself starts on acoustic guitar, the perfect accompaniment for eight emotive burners played exactly in the intended order and ripe for a listening party. Afterwards the Gretsch cranks up for some fun. No bass tonight but still the charismatic charm of the Michel Stodart so fondly loved by tuned in-fans. 

There was a song arc to the main event. ‘Tell Me’ opens the album so did likewise tonight. It is one of the most compelling songs heard all year and is perfect for enticing the ear. You knew the night would be special from its instinctive infectious tone. A couple of hours later we were presented with the parting gift of ‘Dismiss Me’, hailed as a new song and offered so much space to flourish that the band took an early breather. A magical end promising more in good time. 

There has been a different support for each show on the tour so far. For this second Midlands show after wooing the Kitchen Garden in Birmingham a couple of weeks ago, singer-songwriter George Boomsma was invited to open. He didn’t have far to travel since re-locating from the north to the creative start up-filled Birmingham suburb of Stirchley. After sharing a batch of precisely executed lo-fi songs, there was one more twist: joining Michele on stage for the second half of her set to duet on Neil Young’s ‘Birds’. A glorious version. 

On an evening promoting an album rich in the 'less is more mantra', there is little more to be said about the first half. The eight tracks are out to be savoured. Catching its entire performance in this format is recommended but other listens can accrue equal pleasure. Michele Stodart did her album proud with just enough chat to paint its warmth on a tight canvas.

The intensity lifted after the break. A handful of more upbeat numbers prior to the closer renewed the vibes and brought more facets into play. Ford ratcheted up the guitars and blew some harmonica, Bruce revelled in the odd solo and Holbrook took the invite to lift the beat literally. They were a top notch band adept at matching a malleable mood. 

Temperance is fast becoming an established venue on the provincial roots circuit. It tends to focus on folk and blues with an eye on artists swaying between the up and coming and those hooked into the intimate appeal of a locked-in listening space. Michele Stodart rode the ripple of a concentration that had a placid exterior but was so active within the engrossed mind. This was music at its most connective. 

A special night sharing a special album adheres to the 'less is more mantra' as the final word. 

Gig Review: Ward Knutur Townes - Newhampton Arts Centre, Wolverhampton. Saturday 14th October 2023

 

www.wardknuturtownes.com

On the evidence of witnessing only the second ever Ward Knutur Townes gig, this trio will be a mighty formidable outfit by the time the inaugural run of shows is done and dusted. It helped that British folk singer Lucy Ward, Icelandic singer-songwriter Svavar Knutur and Canadian troubadour Adyn Townes are experienced operators in their own individual sphere coupled with being in possession of an impressive debut album courting praise from across the media spectrum. Erudite humble bloggers and the wide reaching domain of national newspapers have joined forces to celebrate the wealth of UNANSWERED, which is set to be one of the surprise folk music successes of the year. If listening to a record born out of captive online collaboration provides one perspective, a whole new dynamic comes to the fore when they bring the riches to the stage. After a premiere in Ward's hometown of Derby, the folk music arm of Newhampton Arts Centre in Wolverhampton was next in line and it was treats galore as an astute audience lapped up the delights of two endearing 45-minute sets.

Even prolonged inter-song chat was not going fill the time slot with the mere contents of a 40-minute album, so scope existed for each performer to offer a distinct flavour of who they are as a solo artist. This in turn evidenced how they were able to filter their own talents into an ambitious collaborative process. 

Svavar Knutur

Ward led the way with three compositions from her back catalogue, while her two travelling colleagues shared a pair each. This slightly evened things up as they edged the song choices that eventually made it onto the album. On home turf, Ward was probably more at ease with UK audiences and knew she was on safe ground with a traditional leaning offering joining two fiery singalongs right at the core of the protest side to her music. 'Alice in the Bacon Box' was well-received in the first half of the show, while 'Bigger Than That' immediately followed the intermission with her returning to the stage solo. With the audience revved up for some participation, a further powerful piece 'For the Dead Men' flourished in the final stages. We haven't seen too much of Lucy Ward live on stage in recent years and have missed her. It is hoped the desire is there to return even when this collaboration comes to its natural end.

The other two would no doubt concur that the Icelandic idiosyncrasies of Svavar Knutur were the star turns of the evening. Slightly quirky and forever entertaining, you really had a sense of his home culture when listening to the back stories from both the album content and the two individual songs he selected to play. The first of these was titled 'While the World Burns' and involved all three players either on guitars or vocals. The pick of Knutur's pair was 'November', emphatically explained and expertly delivered alone when the other two temporarily left the stage. It was a case of Iceland warts and all. 

Adyn Townes

Adyn Townes shared both his separate tunes with the others. Maybe it would have been more focussed to deliver one totally solo, if just to balance things. 'Leave it Alone' came early in the show, while the personally family focussed 'Churchill' came deep in the second set.

While the separate songs added the spice, the core ingredients of this intoxicating show were the songs from the new album. All but one of the tracks were shared with the odd one out being the entirely Icelandic closer 'Orgar Brim'. Perhaps a step too far on the language front for the stage this evening. The bi-lingual title track of the album did see Townes and Ward move away from their first language for the evening finale. This was the crowning moment with the only possible enhancement being references to the story behind the disconnected telephone that inspires 'Unanswered'.

Most of the ten album tracks played possessed enlightening introductions with the originator leading the way. Two of Aydn Townes' contributions confirmed their standout credentials in the live setting. 'Everything' was the best song on the night, while 'Seasons' continues to move the listener with each play. 'Astronaut', which opened the show. and 'Aurora' were vintage Lucy Ward story songs and came across eloquently to those sitting attentively in awe. The song that made an enormous leap of appeal from record to stage was 'Medusa'. Maybe this was down to Svavar Knutur's impassioned introduction, but it reached fresh parts in a different setting. 

Lucy Ward

The half a dozen aforementioned songs from the album were multiple peaks. That is not saying that the quartet of 'Paper Plane', 'Work it Out', 'Isn't it Funny' and 'Your Love Was Death to Me' were too far behind. Prime quality in song structure, musicianship and vocal harmony was prevalent across the whole evening and a crushing accolade to the perfect decision to bring the album to a live setting.

Fine tuning, live practise and greater comfort in a shared stage environment will feed into how the Ward Knutur Townes tour evolves. Attending an early one had little fears and boosted the appeal of an interesting collaboration that has plenty left in the tank to flourish. There is a little doubt that in their own right Lucy Ward, Svavar Knutur and Adyn Townes are accomplished performers. The former has been a firm favourite for nearly ten years here, while the latter two have announced their arrival with a fanfare in 2023. The result is an exceptional album and an equally excellent live show. 

Album Review

Album Review: Ben de la Cour - Sweet Anhedonia

 

www.bendelacour.com

When an album is so good, there is no limit on subsequent release dates to ensure it reaches as wide an audience as possible. April was the first time SWEET ANHEDONIA by Ben de la Cour reared its probing head bonded onto a substantive base. The onsetting darkness of October is an apt time for it to receive a European reboot and getting lost in its mesmerising maze is not a bad place to abscond to as the shortening days loom. A little knowledge of Ben de la Cour's previous material sets you on track for a tough ride that accrues an extra sheen when learning that the Southern gothic sounds of Jim White are influenced from the production seat. Lacking that knowledge doesn't diminish the appeal as long as you buckle up for a heavy dose of Americana noir that glistens with reams of exceptional songwriting.

The oxymoron of the title echoes the irony code. Dig a little into the writer's documented background and you feel therapy taking shape. Take a peep into the character's world and shudders ensue. The wrong side of the tracks is a compelling fertile place for striking songs, equally enjoyable if you are consuming from the safe haven of the other side. 

'Sweet Anhedonia', the title track, is demonstrably personifying with cutting lyrics making a desperate plea for awareness. Mesmerisingly constructed and hard-hitting sketches the outline of a song given a slither of light through the featured additional vocals of Emily Scott Robinson. 

On an album pulsating with resonance throughout its 11-song 48-minute existence (this includes the digital only bonus track 'Birdcage' that sits as an outlying roots stomper in different robes at the end), there are four killer moments to lift the record into the annals of hugely influential. Two tracks in and Becky Warren joins the prime protagonist for a sumptuous duet 'Numbers Game', one awash with fiddle and an alluring narrative focussed on characters bumbling along rock bottom with just a slight glint of hope at the end. It is interesting to note that Lynne Hanson gets a co-write credit. Now if Ben de la Cour had the touring horizon of her, then some serious talent would cross the ocean. 

The next pair of potential standouts nestle together as the record rounds the corner into the home straight. 'Suicide of Town' is a high tensile rocker in the vein of Michael McDermott for those in the know and a certain Mr Springsteen for the rest. The repeatedly defiant tub thumping line of 'I ain't going back' toughens the exterior of a heart pumping track. In one realm, this track juxtaposes with follow on piece 'Palookaville'. This piano stunner complete with a sensuous brass interlude is a slow moving character documentation once again channelling the vibes of Michael McDermott, though this time stripped down, and on a different scale pulling comparison with Simone Felice famed for a steely gaze adding intensity to his songs. 

Ben de la Cour probably reaches his lyrical peak in the penultimate offering 'I’ve Got Everything I Ever Wanted' with scintillating lines bursting out peaking with the stellar lyric 'I looked down at the table and said get me out of here/ Table didn't say nothing, Table just don't care'. At this point on the record you can be forgiven for losing the stamina to dissect. The way with words fluently eases the path from creator to listener. 

Another popular and respected addition to the credits is Elizabeth Cook who supplies additional vocals to 'Shine on the Highway'. For close on four minutes there are vocal and rhythmic shades of Sam Baker housing a ghostly march exuding implied messages and observations. At the outset, the tone is set through the vibes of 'Appalachian Book of the Dead', a powerful slice of gothic noir to open things with the line 'where you gonna go when you can't go home' driving home a point of death and missing. 

Worn vocals bed in on 'Maricopa County' as a race to the bottom accelerates. A track painstakingly slow, but in time with the sombre mood of a place more than a little down on its luck with mysterious characters. Much later in the record 'Brother' unveils as a softer gentler number addressing a character with some poignant advice. This is just before the mini epic 'American Mind'  where easy sonic tones emanate while the lyrics are left dangling free of not too much interpretation, just allowing room to marvel in the writer's serene lyrical flow.

The work of Ben de la cour has previously been toyed with without leaving that lasting mark. SWEET ANHEDONIA changes the script and cements an ending to lock in an artist's ultra credibility. It is a record to get lost in, peruse or study and just enjoy a masterly approach to the songwriting art. An armoured soul may help in some cases, but an accessible nature makes you believe in what is being said. The ultimate accolade to a songwriter exploring the truth before waving a magical lyrical wand to make their point.

Gig Review: Rod Picott - St. Lawrence's Church, Biddulph. Wednesday 11th October 2023

 

www.rodpicott.com

Rod Picott's output is a conveyor belt of creative inspiration. His writings, whether in prose or songs, seemingly freely flow and there is a reassuring comfort that the span between albums barely exceeds a couple of years. In recent times you can almost count the months between releases as STARLIGHT TOUR hits the shelves soon hot on the heels of last year's PAPER HEARTS AND BROKEN ARROWS. While the basic formula remains the same, there is always something fresh to explore in his writings.The road remains integral to his identity and provides the scope to share both his music and musings. You tend to know what is on offer from a Rod Picott show and the longevity of overseas trips suggest an appeal that runs deep into the DNA of the UK's Americana community. 

There were few rocks displaced as St. Lawrence's Church in the Staffordshire town of Biddulph became the latest in a long line of stopping off points the length and breadth of the British Isles. A solo stance commands the space with a likely heavily road tested old guitar, trademark shirt housing the metaphorical aching joints from a life split between the hammer and the pen, and a pair of 45-minute sets spilling songs old and new. Away from the stage there is still an eagerness to connect and reaffirm the key bridges of loyalty.One surprising aspect from this show was no mention that a new album was due an official release in ten days time. Not even a little hint that there were copies on the merch. table. The process of every Rod Picott album is usually packed with interesting facets especially when the process lands in the capable hands of crack Nashville producer Neilson Hubbard. It is appreciated that the produced flavour doesn't fit the sole performer on stage model, but the strength of any Rod Picott album lies in the stripped back songs.

On stage it was old and new all round. The opening four songs from the new album found a space in the first half of the show. The earthy 'Digging Ditches' was the pick of the quartet, while 'A Puncher's Chance' possessed the most chatty intro with the origin of it being a Brian Koppelman co-write. 'Next Man in Line' and 'Television Preacher' completed the offering without indication of their context.

The pick of the older material brought no surprises and nor should there be with the unmistakable unequivocal quality of 'Rust Belt Fields', 'Broke Down' and 'Primer Grey'. The day the first two subside is the day Rod Picott exits the door to a quieter less hectic life. 

The expected chat was also a mix between the familiar and new insights. Slaid Cleaves, family and the arduous journey from Maine to Nashville are staples now joined by the Archers and Radio 4. Familiarity is part of the Rod Picott appeal and the comfort provided throws a conservative blanket around proceedings. Perhaps that is something we need in the ever evolving world of new music spewing out of every online crevice. Nothing against new music when it's good and moves the dial, but the pace can be relentless. 

The work of Rod Picott has been with me since discovering so much 'new music' in a strange world known as Americana in the mid 2000s. There is every chance that it will still be there when the curtain draws. His way with words, heartfelt delivery and dedication to the 'truth' resonates. Long may this association reign even if the structure keeps the known variables at the core. St. Lawrence's Church gave Rod Picott a warm welcome. The response was replicated with the gutsy fervour of a much loved operator. 

Gig Review: Brigid O'Neill - Kitchen Garden, Kings Heath, Birmingham. Tuesday 10th October 2023

 

www.brigidoneill.com

Whatever decisions Brigid O'Neill has made in her time in music, few could match the bravery and appropriateness of stepping outside a comfort zone to reach new audiences. Possessing the talent and serving an exceptional new album smooths a process that is still fraught with challenges and the hurdle of raising your voice in a crowded room. On the evidence from the opening night of leaving her Ulster home to play a raft of new venues across the Irish Sea, the venture is set to succeed - give or take an element of luck that too often sits at the heart of commercial music. A decent turnout for an inaugural show at the Kitchen Garden gave this Co. Down native a warm and kind welcome that was replicated with a performance escalating the assured, confident and immaculate scale.

O'Neill brings a sense of warmth, sincerity and distinctive acumen to the wide reaching singer-songwriter style. The attributed comments of admirers echoes shades of folk, country, jazz and pop, all innate rather than concocted to meet a brief. The latest release TRUTH & OTHER STORIES evokes a myriad of styles and is the centre-piece of this tentative step into fresh waters. A step with the capacity to evolve into a leap once the word gets around and a wider roots community embraces the full effect of a Brigid O'Neill show.

There was a uniqueness about her guitar accomplice for this show. It was a case of keep it in the family when learning that Cian McGrory was her son. A team up making more sense once understanding the lockdown origin of the new album where many solitary hours were spent together honing a special collection of songs. Those enjoying the wealth of the recorded album had the pleasure of a full Nashville production steered by the astute and go-to producer Neilson Hubbard. Any danger of things falling too short in a stripped back airing evaporate when you realise how substantial the songs are. A fact glowing in credibility from a Birmingham audience position this evening.

The evening rolled out as three sets with Peet Jackson returning to the venue he visited in April to play a thirty-minute opening segment. This performance was on the eve of a new record and contained some familiar contributions recalled from his time opening for Bronwyn Brent. The standout remained the story song 'The Ghost of Myanmar', as on the whole, the audience were treated to some fine guitar playing and a vocal style leaving nothing on the table. 

Two sets followed from the main act with an intention to mix things up via the bulk of the new album shared alongside samples of Brigid O'Neill's recording past. Life and career decisions impacted on the extensiveness of the latter, but there were still plenty of newly discovered gems from the 2017 album TOUCHSTONE; a pair of songs lifted from a 2014 EP including the title track 'Arrivals and Departures' and a stunning offering in 'Sisters Born Here' from the commissioned release INTANGIBLE HERITAGE. The latter was about a prison in Omagh and featured McGrory on uilleann pipes; a staple instrument from his alternative role in the traditional music scene,

While first and foremost Brigid O'Neill is a singer-songwriter, she used the first encore song to sing her version of the much interpreted 'Willie Taylor' from her homeland. This paved the way for one final farewell number in 'Iron in Your Fire' from the TOUCHSTONE album. It was this record that supplied an early song in the first set possessing an initial sense of backstory. An element to O'Neill's stage presence that measurably grew throughout the evening. 'Refugees' was the song that was inspired by the Syria crisis at the time, but sadly never loses relevance. On a lighter note, 'Amelia' from the new album soon followed with its heart warming sentiment of friends from afar. 

Being smitten with the new album from its March release, meant high points rattled off as the show proceeded. A near perfect pop song in 'Live a Little Lie Oh' closed the first set. Maybe the Kitchen choir didn't reach the same level as one closer to home the previous week but small numbers can levitate to big effect. In the second half, 'Leaving' got a stunning rendition alongside the shared worries of never being able to put herself in the subject of the song. Great songwriters can overcome that barrier as witnessed this evening. The final two pre-encore songs probably crowned the show. There was no holding back on the audience joining in on closer 'Prayers', another infectious song awash with a fine melody and catchy chorus. From a personal perspective, the wait for 'Messy Path' was a long one. It came in the penultimate slot and oozed every ounce of its country class. The phrase 'channelling an inner Patsy' came from the stage. Maybe it was 'channelling an inner Brigid'.

So where next for Brigid O'Neill? For the 'living in the moment ethos', just experiencing a show free of any reflective faults is a starter. The true answer is in the ambition, drive and desire of the artist. It can't be reiterated more that all the factors are in place including an adoring audience waiting to be aligned. But we all know life doesn't always work like that. In a just world Brigid O'Neill will be one of the most well-loved and finest purveyors of UK Americana with an emerald twist. For now, conquering the Kitchen Garden will suffice. 

Album Review: Track Dogs – Blind Summits & Hidden Dips

 

www.trackdogsmusic.com

There is no drifting when Madrid-based multi-national outfit Track Dogs hit the road re-defining the often used term eclectic. Maybe the eclecticism driven by the recorded and live output is confined to the roots spectrum, but you are certainly spun round an interconnected world when engaging with the music. On their latest album BLIND SUMMITS & HIDDEN DIPS, the listener is kept alert as a tight template encompasses a wide array of fast paced sounds that make half an hour feel longer - in a good way.

From a band name referencing the dark subterranean world of the New York Subway, two Englishmen, an Irishman, an American and a host of guests take you on a whirlwind trip of ten tracks constantly blending near omnipresent trumpet with many stringed accomplices including guitar, mandolin, banjo and ukulele. Bluegrass, Latino, folk and blues all add to the Track Dogs trimming as the songs sway between originals and choice adaptions from the works of other. 

The Latino dance grooves in 'The Way of Things' get things underway to set a positive tone. The breadth of Track Dogs is secured in the final piece where a poem gets a folk makeover in 'Disaster at Sea' with the harmonium of Alice Jones adding depth to this shanty-style number. The intro to 'Be Your Silver Bullet' will be familiar to folks of a certain age before the work of saxophonist Lou Marini takes hold to steer a track awash with jazzy blues sentiments to enhance the toe tapping feel that permeates the record. 

Another significant guest is Spanish vocalist Lu Garnet who gets a featuring credit on the band's version of the Stevie Nicks standard 'Rhiannon'. The brass opening adds the Track Dogs trademark to a commendable effect. On the subject of covers, we head down a full blown bluegrass highway on 'Sleep With One Eye Open'. This pushes the credibility of an Americana nod; a label that lingers without fully landing on Track Dogs. 

The remaining content all serves as Track Dogs originals. The international flavour is captured in 'Play Nice', a punchy roots effort that fluctuates with bi-lingual lyrics floating alongside snippets of the aforementioned brass. 'Cover Your Tracks' sits pretty following the hip swaying opener and is more a straight up folk-rock song with backing harmonies making a presence. This is a track that garners appreciation with more listens, probably a case of being less upfront than its compatriots.

Before we head to the borrowed finale of the previously referred to Fleetwood Mac cover and poetic rendition, 'Strange Ways' settles in and goes a long way to framing what Track Dogs do best, namely brass-tinged infectious songs that retain a bright subtlety. The final two tracks nestle around the midpoint of the record. 'Water Lawn' injects some more banjo-fuelled raucous American rural roots music into the mix, and from this angle largely stands alone in tempo. This immediately sinks into one of the album's more tranquil moments with 'Peace Inside' getting a rare inclusion of added strings with cello and violin. Just another tool in Track Dogs extensive armoury.

BLIND SUMMITS & HIDDEN DIPS is the latest instalment of Track Dogs literally getting back on track following a number of disruptive years for an outfit with an international horizon. This is a third album in eighteen months and will be supported by an extensive run of UK dates in October and November. The Track Dogs are fun live as experienced at a festival, yet in lieu of that opportunity tuning into their eclectic and pro-charged vibes via discs such as this bring a vibrancy closer to home. 

Album Review: Ward Knutur Townes - Unanswered

 

www.wardknuturtownes.com

As far as collaborations go, few can match the uniqueness and depth unveiled in the debut album from Ward Knutur Townes. Debut may be prematurely suggesting we are at the beginning of a lasting association, but the evidence presented in UNANSWERED signs this special project as far from exhausted. While the prior and future solo careers of Derby-based folk artist Lucy Ward, Canadian singer-songwriter Adyn Townes and Icelandic troubadour Svavar Knutur will remain core, it can safely be recorded that collaboration has showered them with creative enrichment. From the dark yet innovative days of the pandemic to the re-invigorated joy of inter-personal interaction, this North Atlantic unison punctuates a crowded sonic landscape with fascinating songs intrinsically curated and pristinely propelled from source to receptive ear. 

The spark for this project was the Global Music Match initiative that entwined musicians via the online tools of the day. This trio were far from done when formalities ceased. The eventual inaugural personal meeting was a studio in Iceland to capture the moment for a wider audience and now we move onto a physical release backed by an extensive run of UK dates. You could say the circle is now fully turned.

The fruits of Ward Knutur Townes are encapsulated in an eleven-strong song collection, all original to a large extent if you factor in the adapted poem that closes the album. On 'Orgar Brim' the two native English speakers meet the Icelandic counterpart entirely on their turf, bravely yet confidently embracing a language far from home. This a stark piece of international cohesion that gives the record a rounded dimension. 

All three protagonists add a distinct vocal flavour to the content. The UK folk fraternity will be well versed in the East Midlands brogue of Lucy Ward and her attraction to a protest stance against social injustice. One of the album's standout songs is perfectly cast for her to attack as she adds a fervent part alongside the other two in 'Everything'. Adyn Townes brought a theme of stark inequality in his home city of Montreal to the writing table and the trio spun a gem of a track. 

The contributions from Townes are the most definitive vocal parts on the album. A purely personal resemblance links them with Danny Schmidt, can't think of any other reason relating two voices divided by the length of the North American continent. However, both work for me so I'm in. These are particularly strong on 'Work It Out', one of the record's more pacy efforts written in response to the pandemic, and a standout candidate in 'Seasons'. The latter is an ode to the Johnny Cash - June Carter love story and a track given a more evocative edge when Ward's vocals join in.

Svavar Knutur may be an outlier on the first language front, but his presence is integral whether on vocals, guitars and keys or bringing some of his country's folklore to the project. He is right upfront on all aspects of 'Isn't it Funny' in the album's midstream alongside supplanting the myth behind what is set to be the most intriguing legacy track on the record. 'Unanswered' takes the story of a disconnected phone that has been known to mysteriously ring as a starting point before weaving in linked tales and perspectives all adding a curious flavour. This compelling track in the penultimate spot also introduces snippets of the Icelandic language. 

A musical high on the album is a fiddle part interwoven between some beautiful harmonies on 'Paper Plane'. Joining the named trio are a further three musicians adding the aforementioned violin alongside customary percussion and bass. 

Ethereal themes are incorporated via Ward's creative inspiration on opening track 'Astronaut', where we are graced by Townes' vocals for the first time, and a further fantasy inclusion in 'Aurora'. The final two tracks to complete the set see Townes once again vocally upfront for the Knutur solo write 'Your Love Was Death to Me' and all three significantly coming together on 'Medusa' with a theme of the travails of touring. A facet known too well to the trio on their personal individual musical journeys.

UNANSWERED is an album of layers. For light touch engagers, there are moments of instant appeal from vocals and scattered melodies that resonate from the off. Dig a little deeper and the strength of collaboration flexes its musical muscle. Ultimately, the true worth lies in the power of unison and three diverse songwriting musicians melding together to seamless bridge differences and traits. The winner is the magic of music and the journey it can take. Being at the receiving end of the Ward Knutur Townes project is not a bad place to be.