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.
