Gig Review: Demi Marriner - Thimblemill Library, Smethwick. Friday 13th December 2024

 

There is something quite special about Thimblemill Library as a gig venue, and Demi Marriner wholly concurs. On multiple occasions, she gushed about the unique surroundings and thoroughly enjoyed her first performance on its adaptable stage. Look up and ahead to see a piercing night sky flood through the arc of windows. Look straight up to catch a sight of multiple quirky light shades adding fine touches to the art decor. Look all around and packed book shelves provide a cultural backdrop to the welcome frequent invasion of nighttime music. This arts hotbed at a junction where outer city issues blend into phases of vibrant suburbia epitomises everything innovative about grassroots venues mixing and matching multiple diverse events adding buoyancy to a thriving operation.

For the second week running, tickets for the music side of the Thimblemill offering poured out to around the three figure mark. It was a tough road getting people back to live music especially as weekends tend to be the preferred time here where so many alternative pursuits compete. Strong hopes remain for a prosperous future, although music will always have to find its place among theatre and directed community engagement events vital for funding streams. No doubt submissions to play far outweigh capacity, so the chosen few can wallow a little in flexing their creative artistry in such an in-demand setting. This will always fall in line with the importance of core daily library activities. 

Demi Marriner has previously found Birmingham a welcoming place to play music. The audience for this show just over the border in Sandwell was swelled by many fans fully conversant in her music. This set the scene for a successful evening where she strode to share a lengthy bunch of songs along a timeline of past, current and future records. While the flickering to and fro was a touch difficult to follow at times, there was clear evidence of an artist in a rich productive vein of creating music anchored by the meaningful song. Stories interspersed a raft of mainly full band backed numbers lifting the decibels considerably higher than your usual library gig sounds. Feel good end of year vibes embraced the levels attained and compliments morphed into a lengthy merch queue snapping up goodies unique to gig goers. 

The music of Demi Marriner is malleable enough to find ears in country pop, hardened Americana and eclectic folk circles. She is certainly working hard to polish her craft and now has a secure base to preserve and nurture. There was clear mutual love from many in attendance. Working with Joe Coombs (electric and acoustic guitar), Scott Warman (electric and stand up bass) and Gary Kroll (drums) possesses considerable benefits and their influential presence adds layers to songs rinsed in personal feelings and experiences. 

For this, and a few other shows on the tour, Sean Duggan from Steady Habits has played the opening slot. This solo format sheds a different light on a performer strong in seeking an identity. Coincidentally, both featured artists share the exhilarating talents of Joe Coombs in their band. Mind you several Stateside touring artists turn to his guitar skills, notably Sara Petite in the past and Carter Sampson coming up for 2025. The latter is scheduled to play a band show at Thimblemill Library in March next year.

It was almost the curtain call on music events for 2024 at the venue when the encore song finished. A local band has the honour of closing the year next week and a tough act following Demi Marriner as a fitting finale. The real winner is a flourishing grassroots venue and many music fans leaving their armchairs to seek out new and familiar artists during the year. Demi Marriner will also concur to their importance.

Gig Review: The Unthanks - Birmingham Town Hall Monday 9th December 2024

 

The Unthanks are contemporary folk royalty in the UK. Led by sisters Rachel and Becky, they and their countless collaborators have reached far and wide from a north east base to fill many halls and venues throughout the land. At the end of 2024, they have struck a significant seasonal note by both releasing a double winter album and touring its entirety. IN WINTER hit the shelves in November, but a record of this essence really comes to the fore on the turn of advent. On its various formats (vinyl, disc and digital), the running time of 19 tracks runs to 72 minutes. Over the course of a brace of 45 minutes sets, the 8-piece onstage ensemble allowed a little time for inter song chat and introductions. The jury was out on the value for money side of a slim set for a pricey outlay, but never in doubt is the quality of arrangement and musicianship on offer. 

As you would expect, the presentation was slick and plush. The sound choreography was seamless with brass, strings, percussion and piano all playing a key part. Cementing The Unthanks is the breathtaking vocal acumen of the sisters, excelling in harmony and equally compelling on their own. The lush setting of Birmingham Town Hall, plus an appreciative audience probably filling two-thirds of this 900-seater venue was conducive to hosting an eminent sound interwoven with many facets of a northern hemisphere winter. From a faith angle, familiar chimes of 'O Come All Ye Faithful', 'The Holly and the Ivy' and 'God Rest Ye Merry Gentlemen' were primed for innovation or subtly sampled, while folk staples like 'The Snow it Melts the Soonest' and 'Dark December' headed the secular segment. 

Carols of many forms prove a backbone to the record with perhaps the pick on disc and live being the refreshingly atmospheric 'Coventry Carol'. A beautifully sung hairs on the arm moment. Original compositions were not left out with the pandemic inspired 'Nurse Emmanuel' accruing much applause for its introduction and playing. 

The audience came to life in the final stages with a communal singing of The Unthanks family favourite 'Tar Barrel in Dale' and in line with the album the closing moment of the show was a special parting song 'Dear Companions'. This was a real high.

Music from The Unthanks is stamped with the highest quality mark from beginning to end. The unfiltered experience of listening live added value. Perhaps there was moments of racing through a pre-ordained album listening party with maybe room for a little more stage adaption extending into other areas of a strong back catalogue. It said IN WINTER on the tin and that is what we got. A gig for the moment with a likely fading effect.

Gig Review: Dylan LeBlanc - Kitchen Garden, Kings Heath, Birmingham. Tuesday 10th December 2024

 

www.dylanleblanc.com

The Kitchen Garden was looking and feeling its quirky best. Christmas lights ever present since lockdown resumed a status of seasonal presence. Surreal Brummie paintings adorned the wall behind the artist including two iconic bulls locking horns. The infamous mirror adding depth to the side view. The 'L' shaped configuration testing a performer's dexterity. But most importantly, a packed house hooked onto the every word and musical note. There's no hiding place in a sold out Kitchen. Dylan LeBlanc knew the feeling as he ambled down the wooden stairs to the performing space. Just over a year ago, his full band had commandeered and conquered the tight playing confines to deliver a masterful show for the ages - arguably the venue's finest moment of recent times. For the return, the comfort blanket of familiar sidekicks was stripped. This was just one man, a guitar and a heart blasted open. The rest was history.

8:15 and the call went out, where's Dylan LeBlanc? 8:30 the protagonist sheepishly appeared with an apology. You sensed things being a little different this evening. By 10:45, seventy minds were blown. Profound beauty blossoms from unconventional waters. The voice, the stories, the songs, the anecdotes - they came at pace as the cog revolutions intensified. There can be no formal schooling in how Dylan LeBlanc portrays his music. Innate brilliance eases a gut coated sound to circulate an intense listening room. Soulful with a tender raspy edge that both smooths the words and blends seamlessly with degrees of instrument amplification. The acoustic guitar weaved its magic on a show escalating in eminence from an unplanned pool. 

9:30 and a commercial break ensued. Not from the floor, he would have played for ever. Two hours on the hard chairs requires a bum shuffle for even the hardiest of gig goers, and small venues need to sell their beer. After a short break and minimal merch perusal (2024 is a year for touring after 2023's release of COYOTE), it was business as usual. Sheer randomness, great tunes, stories best kept in-house and more insight into an interesting world co-existing alongside somebody born to make music followed. The main upshot is Dylan LeBlanc likes this room and the room likes him back. Mutual appreciation hung thickly in the air.

Escaping alligators, youthful chaos, dodging cops and eventful flights all filled lengthy but engaging gaps between songs that draw little explanation, just evolving in their own bubble of effect. Maybe we weren't shown the best side of Shreveport Louisiana. For the record, songs like 'Coyote', 'Dark Waters', 'Hate' and 'Stranger Things' represented recent times, but for overall tenacity and resolve, older numbers in 'Cautionary Tale' and 'Easy Way Out' retained a prominence during post-gig reflections.

Perhaps it is aura that breaks Dylan Leblanc away from the more grounded singer-songwriters with a similar level of fine compositions. A gene garnering strength from the odd flaw. Great art often flourishes from a bout of imperfection. A trait separating the jobbing from the inspirational artist. The result induces a seamless bond between performer and listener, locked tighter within the enclosed boundaries of an intimate venue.

Dylan LeBlanc - the band- and the Kitchen Garden: the perfect fit. Dylan LeBlanc - solo - evoking the ethereal emotion of a room's spirit. If good things come in threes, get the booking in now. Whether band or solo, the  welcome mat will be rolled open and vibes of ingrained intimacy will wring every ounce of nuance from musicians who matter and know how to connect. 

Gig Review: My Darling Clementine - Kitchen Garden, Kings Heath, Birmingham. Sunday 8th December 2024

Since the summer, each My Darling Clementine show has likely been a poignant and moving experience. Yet from the darkness of despair, music has the power to light up the road to better times. 

Over the last eleven years, these pages have been filled with many reflections and accounts from the My Darling Clementine music experience, both live and on record. In a case of art inspiring art, the Kitchen Garden Christmas 2024 show is captured in a few stanzas of self-penned verse extolling the worth of music.

Seeking strength in the song

Grappling grief with the guitar

Honing in on the healing highway

Hour by hour

Each note piecing together a shattered mind

Each lyric sowing the seeds of recovery

Each beat showing the resilience of time

Day by day

Tracks signalling a brighter place

Grooves etching a road to reality 

Words working wonders

Week by week

The sanctuary of a musical harbour

Tuneful, melodic, cathartic 

A broken soul soothed

Bring on 2025 and more My Darling Clementine. 

Gig Review: Ramblin' Roots Revue Christmas Party - Bucks Student Union, High Wycombe. Saturday 7th December 2024

 www.ramblinrootsrevue.co.uk

Ramblin' Roots brings a fine array of artists to High Wycombe across a long weekend each April. These artists represent their status and niche with exceptional class and commitment. When the surprise announcement came that there would be a mini extension into a busy December of seasonal events, you could be sure the fare served up would be top notch and up to the usual standard. So instead of entering the dual rooms of the Bucks Student Union on a Friday for a full weekend slate of sets, it was a cosy gathering in the main room on a Saturday evening for three home-based acts to showcase how they transmit their music so well.

On a day where travel was severely hampered by Storm Darragh, it was a testament to commitment that artists travelled from the north, west and east of England alongside those of us ditching the Chiltern Line for the more reliable M40. Once settled it was a case of Annie Dressner, Steady Habits and Matt Owens and the Delusional Vanity Project taking the reins to duly entertain us from just before eight to the stroke of eleven.

Collaboration is a key tool bringing cost effective innovation to the grassroots. For the second half of Annie Dressner's opening set, she invited Matt Owens and Sean Duggan from Steady Habits to join her on guitar and vocals to glide through a sample of her well received 2024 album I THOUGHT IT WOULD BE EASIER. Rehearsals ranged from limited to non-existent though quality artists can quickly adapt. Annie herself appears in a very good place musically. Her unique and slightly quirky style is building an identity and cutting through to more fans on the roots and Americana circuit. There is a touch of indie cinematic sheen to her vocals, the type of low budget productions that accrue widespread acclaim and cult status. A New York background forms a scenic delivery extending into a volley of varying paced songs laced with an interesting perspective and melodies that ease into open ears. The next exciting phase is an invitation to open for Danny and the Champions of the World on an extensive tour next spring. New fans and increased merch sales a desired aim. At the same time a new album will start to take shape under the production control of Peter Bruntnell. All adding up to the good place assertion.

Upcoming albums proved a theme of the evening. Sean Duggan returned to the stage for the second set with guitarist Joe Coombs, drummer Jamie Dawson and bassist Cathy Ife joining forces to become Steady Habits. Like Annie Dressner, Sean is an American who has settled long term in the UK. To further the similarities, a new album is getting close to completion. This debut album is probably long overdue because it can prove frustrating for folks to really buy into the live performance without taking a meaningful slice of the music home. On the evidence of tonight, and a couple of other viewings including The Long Road Festival in 2023 and here at Ramblin' Root Revue earlier this year, the songs are strong and sounding stellar with immense personal emotion adding luscious layers. The band arrangements are straight out of the Americana playbook, adaptable for small and larger settings. 'Deviate' has the potential to become an identity anthem across multiple spectrums and a new song called 'After Light' (or something similar) is certainly in playlist territory for those choosing representative tracks. More to follow from Sean and his Steady Habits band, but for now a hugely enjoyable middle set at the Ramblin' Roots Revue Christmas Party. 

The Christmas party moniker was a stretch. Put these three performances on in July and you wouldn't tell the difference, minus Annie Dressner's sparkling dress. Absolutely fine for us more motivated by what the three acts are best doing and leaving the frivolity elsewhere. Was headline act Matt Owens going to leave us with a seasonal treat? Tom Petty's 'You Wreck Me' sufficed.

Probably the biggest challenge of the day was Matt Owens and the Delusional Vanity Project making the precarious journey from Bath. The fact they successfully did was gratefully received by those organising Ramblin' Roots, and those attending. The result was a super slick hour and ten minute set of finely tuned rock and roll. The DVT are an exceptional outfit in full flow. James Jack on electric guitar and Geoff Widdowson on keys bring the shine, the rhythm combo of drums and bass build the substance. At the core, curating and channelling an innate talent is the irrepressible and hugely experienced Matt Owens. A veteran of a distinct stint on a different plane in the rump of acclaimed outfit Noah and the Whale, now fully embedded in the concept of organic grassroots development. From a three-strong recent album catalogue, he dictates the pace whether rocking out to 'Beer for the Horses' and shining a light in the sincere ballad 'Cargo for the Road'. The purpose and role of the DVT means full stage slots are at a premium. The upshot is each live appearance witnessed is a moment to capture. Full kudos to the the band for their endeavour and exceptional performance.

We all return to the Bucks Student Union in April for the next instalment of the Ramblin' Roots Revue. At time of writing, the line up is unknown, but trust with the organisers is locked in. Matching the quality and authenticity of this interim gathering would be a great starting point. Whatever lies in store for the future of this early December renewal, the memory of three acts and a sturdy audience battling the elements on a truly awful weather day keeps a strong bond intact. 

Gig Review: Chris Cleverley - Hare and Hounds, Kings Heath, Birmingham. Sunday 1st December 2024

 

www.chriscleverley.com

What is the earliest date for a 'Christmas' show? To be fair, this 1st of December gathering was generally low key on the festive front leaving space for things to gather pace as the month bounds towards the 'big day'. A quick trawl through the archives revealed a much deeper into December gig for Chris Cleverley when he teamed up with Kelly Oliver to play a duo show at the Kitchen Garden in 2017. The abiding memory from that night was signing off with 'Wombling Merry Christmas'. Now that's a festive banger deserving more airing. Seven years on from that appearance, the evolution was marked by growing the stage presence from two to six and doubling the audience. The second room in the Hare and Hounds was packed to its near capacity for a full band show and the formal launch of a new seasonal EP. In the Shadow of John the Divine is available to the wider public on December 6th, but the good folks of Kings Heath had live versions and album copies on offer for what proved to be a highly successful homecoming. 

The Chris Cleverley Trio is the next step up from the solo performer. Kathy Pilkington and Kim Lowings provide instrumental and vocal pillars to the combo and were the likely first picks to bring their esteemed musicianship and voice prowess to the festive party. The real rabbit out the hat was persuading long term friend and in-demand folk musician Sam Kelly to offer his guitar skills and arranging nous to an all round accomplished evening. Completing the line up was renowned solo performer Minnie Birch and guest clarinet player Katie Stevens, who is best known for her role in Birmingham band Bonfire Radicals. 

The evening began with a short set from Kathy Pilkington and Minnie Birch who have formed a new duo playing under the name Awake Mother. Some gorgeous vocals and gently spun songs ideally set the scene for the main fare which saw the pair return for slightly different roles. 

Over a performing career now into its second decade, Chris Cleverley has cultivated his own style. Low fi with a hint of mischief binding together a wealth of strongly executed songs, which evoke alternative moods and inspired innovation. While the set this evening was primarily the base for half a dozen new songs, a few snippets from the back catalogue filled the stocking. These included 'Rachael' from a 2019 album and 'But Thinking Makes It So', which formed part of the Shakespeare song project - The Company of Players.

However the most purposeful moments came from the new songs. To be more accurate 'The Ringing of Bells' is a rework of a co-write several years ago with the aforementioned Kelly Oliver though sounding fresh and revitalised. Another twist on the term 'new' is a cover of Sufjan Stevens' 'Sister Winter', maybe accurate with the Chris Clevereley adaption and to anybody previously unaware of it. No such variation on 'fresh out the wrapper' songs like 'Vespers' based on the EPs title referring to a cathedral in Manhattan, the sensitive 'For a Winter Angel' with an unmistakeable blending of 'The First Noel' and the poignantly philosophical 'Snowfall, My Evergreen'. You'll never a see a snowman in the same light again.

The beautiful pin drop moment on the night was a merging of three voices into an unaccompanied rendition of 'The Coventry Carol'. Kathy's and Kim's parts were utterly divine. Kim also accepted the invite to share a festive tune of her own in 'You are Always Welcome Here'. The magic of discovering her talent on the local Stourbridge scene over ten years ago never wanes on the brief occasions you get to hear her live these days. Consistently, the gilt-edged musicianship of Sam Kelly added a dynamic to raise the quality to another level.

So no Wombles, but plenty of other delights to launch a lengthy month of festive fun. While mainstream Christmas music can be tiresome, the folk, alternative and even Americana worlds repeatedly dig up plenty of seasonal gems this time of the year. Chris Cleverley was on safe ground with his friends in the band and a largely familiar audience. He also knows the streets of Kings Heath well. Where he does break away is seeking alternative slants of presentation and arrangement. He is far from a pigeon holed folk artist, more an highly creative free thinker seeking a deeper platform. Matching his guitar playing and writing skills is leading to increased acclaim and delivering entertaining nights like this Birmingham return.

Gig Review: Martin Simpson - Midlands Arts Centre, Birmingham Friday 29th November 2024

 www.martinsimpson.com

One certainty is that you leave an evening with Martin Simpson with a stretched and enhanced mind. It may take a few braincell exertions to fully absorb the breadth of stories, links and lyric-laden songs, yet when accompanied by the finest of folk blues picking you can expect to see on the UK circuit, everything clicks into place for a rewarding experience. Even the wintry blue MAC lighting emanating tranquilliser-like vibes couldn't quell the wealth of two hours exceptional music. This Sheffield-based musician is still as active as ever, dashing around the country for shows and exploiting any opportunity to further a musical odyssey. After a period of the Midland Arts Centre being unable to host events in its main theatre due to well documented construction issues, it was good to re-frequent a space the scene of many fine folk performance over the years. A few more customers would have matched the quality of the music, but experienced musicians aren't fazed by the odd empty seat. Still it was a reasonable turnout.

Simpson has a double edged appeal of interpreting roots music from both sides of the Atlantic with equal panache. When playing the Craig Johnson song 'New Harmony', a comment regarding its pure Americana credentials resonated strongly. This was the second song of his covered joining the story piece 'Damned Old Pinney Mountain' , a song taking your mind to Galax Virginia with all its hardships. Two other numbers with an American twist were from more familiar names - Dylan's 'Don't Think Twice' and the Joni Mitchell write 'Cactus Tree'.

Social commentary moments are part of Martin Simpson's DNA. Woody Guthrie's 'Deportees' is as relevant in 2024 as when written. Links to Grenfell accompanied a take on 'Palace's of Gold' from the repertoire of the influential Leon Rosselson. Lengthy environmental stories made an impact with 'Skydancers' being an original on the subject of swift migratory patterns. 

A lengthy defining story was based around 'Ken Small' and the subject's discovery of a tank in the waters off Slapton Sands in Dorset. The names Linda Thompson, Anne Briggs and Anne Lister cropped up when the radar turned on the English folk scene. This was further exemplified in traditional songs such as 'The Cherry Tree Carol' and 'Alan Tyne of Harrow'. In terms of popularity, 'Icarus' continually surfaces as a fan's favourite when put to the vote and duly found a place in Birmingham's set list.

At the heart of the show is a person raised in Scunthorpe who found a calling through an acoustic guitar. The rest is history. Martin Simpson's appeal is locked into the folk community. Exceptional playing and a gig packed to the hilt with discovered nuggets pose as the redeeming feature. Wherever he plays, folks will hang onto every word, lyric and note picked. They know their stuff as much as one of England's leading folk lights. 

Gig Review: Bella Hardy - Kitchen Garden, Kings Heath, Birmingham. Thursday 28th November 2024

 

www.bellahardy.com

Bella Hardy is stacked with all the attributes of an accomplished musical performer. Gilt-edged vocals nestle alongside a flair to bring the best out of the violin. A keen ear detecting eminence and value in traditional song inspires her own songwriting chops to respond and creatively curate original material. A stylish poise illuminates the performing space. These qualities have served this Derbyshire-based folk luminary well over the years ensuing treasured status and a wealth of acclaim. A sense of renewal is in the air as we approach the middle years of the decade and an advancing landmark of being 20 years in a recording realm.

The presence of Bella Hardy fills a room with vitality and freshness. An added spark to this evening's show was a debut performance at the Kitchen Garden, partial oversight and partial lure of frequenting larger venues. In one of her peak years, 2015, a Birmingham Town Hall stage was shared with Mary Chapin Carpenter. There has been a life and career reset in recent years. Releases aren't quite as frequent as in peak productive times and her own family dynamics have radically changed. The current tour that came out of the blue appears not bound by any clear strategy, just an urge to reflect, bond with fans and drip feed newish songs into a changing world. 

Between initial listing and pre-gig posters, the name Jenn Butterworth appeared as a playing accomplice. Those aware of this ultra-talented Scottish guitarist purred at the value added and all present lent their ear to some sublime playing that delightfully accompanied a batch of prime songs and tunes. An album due in February sees her ahead of her tour host in terms of new releases and this will likely be on many folk fans 'to catch' list when out. 

The duo show possessed a degree of escalating evolution. Sparks increased as a brace of sets followed. Improvised moments fuelled a mutual ethos. An end too soon is a sign of a night on the mark. When the joy of playing transmits to the audience, the satisfaction of laying your money down grows. Embracing the key ingredients of quality, presence and aura is crucial to a fulfilling live music engagement.

When putting flesh on the bones of Bella Hardy's successful Kitchen Garden debut, the starting point has to be her award winning signature tune 'The Herring Girl'. The twist is dark and sweet amidst a thoughtful recognition of a trade from the Scottish Highlands to eastern England. WITH THE DAWN is a significant release in the back catalogue and it housed a couple of blessed show moments including 'The Darkening of the Day'. The opening segment set the scene with 'Hares on the Mountain' and 'My Johnny Was a Shoemaker'. The future was signalled via a new single 'One Day at a Time'. 'Sprig of Thyme', 'Queen of Carter's Bar', 'Sleeping Beauty' and 'Shepherd's are the Cleverest Lads' all played a part forming a song content enhanced by sumptuous guitar, serene violin and vocals decked with stylish aplomb. 

Venue vibes, magical musicianship and crafted connection positioned Bella Hardy in a good place. The past may be rich, yet more to offer is apparent. The beauty of a live performance is disguising the innate gulf between those who can and those who appreciate. Humbly honing in on your talent is a performing virtue. The Kitchen Garden proved a good fit for Bella Hardy, Jenn Butterworth and a satisfied audience. 

Album Review: Dean Owens - Sacri Cuori: The Ridge Trilogy EPs Vol 3

www.deanowens.com

The final instalment of the THE RIDGE TRILOGY is released on 29th November. SACRI CUORI is the third sampler ahead of the new Dean Owens album due out in early 2025. In a similar vein to its two predecessors, the collection is a mix of a demo, preview track and three pieces from the wider process of recording the new record titled SPIRIT RIDGE. The latter are exclusive to the EP adding a touch of necessity for collectors.

'Spirit of Us' is the preview track and opens this five-song recording featuring John Convertino of Calexico. This haunting track proudly displays the Dean Owens quality trademark. It exposes the soul to life's fundamentals, while possessing the double pleasure of being both hugely personal and eminently relatable. 

Fast forward to the final slot, which is filled with a demo of the heartbreak number 'A Divine Tragedy'. No Dean Owens record would be complete without a dash of life affirming misery. This demo version has that expected raw feel, while we are informed to expect a full band version on SPIRIT RIDGE. 

The core of the EP contains two instrumentals and one song born from the SPIRIT RIDGE sessions. 'El Minuto' is the first of the former living up to its title in not taking too much of your time. 'The Gloaming' follows trebling the length of the previous tune. 'True of You' completes the exclusive segment and is a more conventional composition with a lyrical sentiment leaning in a greater upbeat direction.

Lengthy album run up periods these days can either be a succession of single releases or a more dynamic mix of teasers, extra cuts and addendums. The second half of 2024 has seen Dean Owens adopt the latter strategy. Success will be in the reflection. Ultimately the buyer can wait for SPIRIT RIDGE in its polished package or seek snippets of its making. The upshot is Dean Owens in a creative and productive zone, signalling good things all round. 

Gig Review: Jason Isbell and the 400 Unit - Civic Hall, Wolverhampton. Saturday 23rd November 2024

 

Jason Isbell is stitched together with imperfection, but boy how he heals with guitar in hand and lyrics in tow. A modest exterior shields an interior rich in ideas of creation and expression. Connection is the key. Other artists parade talent, Jason Isbell fires volleys of redemptive words, poetic phrases and blistering guitar straight to your head, heart and soul. He's the best of his kind in a subjective world. Evidence compounds with each performance. 

Was it the scintillating guitar solo in the second song? Was it a trio of tear-inducing moments? Was it finding the perfect song combo? Was it a final guitar duel with the devil sitting back admiring? You could argue it was the impact of the 400 Unit: a truly great backdrop whatever the line up. The answer lies in the mind of every single person crossing the threshold of a Jason Isbell show.

"We're gonna have good night." "We've had a good night". "That was Alabama Pines". Toss in five band introductions and chat was as minimal as you get. Few artists have song material as strong as this to hold fort for an hour and three quarters. Even fewer can get away with it. Tonight was vocal not verbal. The language of rock 'n' roll sufficed.

The 400 Unit in full flow are as dominant as the 50s Yankees. Sports-mad Isbell with a love for the Braves may begrudgingly agree with this. Closer to home think Surrey cricket in the 50s and Liverpool FC in the 80s for a sports analogy. Music comparisons can be with whoever you wish. The nutshell is, whether you are hugging the front rail or sitting in the distant seats, the music and aura of this live performance has a special feel.

Grasping the brutality of the verses then heartily singing the chorus of 'Travelling Alone' hits the live music sweet spot. Was the tear-induced moment in this song one of sadness or happiness? If 'Elephant' doesn't hit you hard, then you are made of sterner stuff. The raw emotional sentiment of 'Cover Me Up' freezes the pre-encore moment to be re-lived in the aftermath. The way the band gradually builds up during the song is phenomenal.

An Isbell masterstroke was following 'Elephant' with the joyous feel-good rocking irony of 'Super 8'. Not a set list regular, but gratefully making Wolverhampton 2024. Among the lyrics and songs you sometimes forget what a great lead guitarist Jason Isbell is. The solo in second song 'King of Oklahoma' put the gig in the credit column. The seal came with Isbell and Sadler Vaden sparking off in show closer 'This Ain't It". 

Vaden is a long term band member as is drummer Chad Gamble. A new member from Australia is twin bassist Anna Butterss, while the five-strong current line up is completed by multi-keys player and accordionist Derry deBorja and additional guitarist/drummer Will Johnson. Together they are the 400 Unit; a formidable unit.

Eyebrows were raised when Jason Isbell played Birmingham Symphony Hall on his last visit to the West Midlands in 2017. A less aesthetic venue was craved. The revamped Wolverhampton Civic Hall is not exactly your dirty rock 'n' roll dive, but its layout and immaculate sound did the job for this gig to thrive and deliver.

Opening for this run of European shows is SG Goodman. A Kentucky artist with a lovely tone to her southern charm and known to British audiences via a slot at the Long Road Festival earlier this year. Since November 5th, she is asking if each town visited has any vacancies. I'm sure Wolverhampton could find a place!

I recently commented that the ideal gig combines brilliance, connectivity and some sense of vulnerability. Imperfect perfection to coin a phrase. Beauty exists in both the ordinary and extraordinary. Jason Isbell exudes both. An artist that will inspire the smallest acorn inside you to write or play anything. Listening and enjoying is fine too. 

Gig Review: Bonny Light Horseman - XOYO Club, Birmingham. Thursday 21st November 2024

 

"I played a folk club at the Hare and Hounds in Birmingham. Is it still there?"

Yes it is, Anais. Not quite a folk club, but we get the drift. That Birmingham appearance can't be recalled as opposed to the Glee Club in 2014 and Moseley Folk Festival in 2022. There may be others, but clearly we don't see enough Anais Mitchell in the West Midlands.

"It's the Birmingham debut for these songs tonight."

Eric D Johnson didn't really need to remind an eagerly awaited gathering at the XOYO Club that Bonny Light Horseman were playing Birmingham for the first time. Connections making it happen deserve to take a bow and these debut songs purred with blissful elegance from start to finish.

"I've got a different setlist to everybody else."

Josh Kauffman hurriedly changed guitars to play the right song. Whatever guitar he played had a luscious tone and the key to putting the 'rock' into 'folk rock'. 

Bonny Light Horseman are a band of few words. These three quips formed the bulk of the chat. The chosen route of letting your music speak for itself is a testimony to the quality of the songs and a magical slant on collaborative performance. This evening saw the supergroup hype spilling from a smitten roots press turn into reality.

Everything was in place for a special show. The third and latest Bonny Light Horseman album was out and getting compulsive repeat plays to raise the pre-gig anticipation. The XOYO Club had an exceptional sound system and subtle stage lighting adding to a simple aura. A sizeable yet comfortable crowd was respectful, appreciative and responsive. Exactly what you would expect from an erudite assembly. Support artist Bridget Kearney of Lake Street Dive possessed sufficient craft and experience to enhance the opening slot, whatever your take was on a solo singer-songwriter set played on bass. The dynamics radically changed when Kauffman and drummer JT Bates joined her on stage for the final two numbers. 

It was an incredibly tight headline performance with over twenty songs cramming the statutory ninety minute segment including the obligatory encore couple. Within a few songs you could clearly see the vocals being driven by the chemistry between Johnson and Mitchell. They occasionally lent in a three-way direction, but Kauffman was primarily the architect of wonderful electric guitar that melded into the heartbeat of each song. Evidence spawned that the entity of a five-piece band was the key ingredient with bassist Cameron Ralston completing line up.

When seeing a band live for the first time, you seek the moment when the code is cracked inducing the chills. This may not happen at every gig. Around twenty minutes into the set, 'The Roving' did it for Bonny Light Horseman in Birmingham.

While the axis of Kauffman-Johnson-Mitchell spices an alluring cocktail of elevated folk rock, there is a magnetic charm to the poise, movement and distinct voice of Anais Mitchell. Awareness of the enormity and eminence of her solo work including the Haddestown project prove a signage to what she brings to Bonny Light Horseman. Eric D Johnson holds the stature of your archetypal rock band front man. A role he orchestrates for acclaimed US band The Fruit Bats. The playing of Josh Kauffman would illuminate any setting. Checking out his associations and connections confirm this.

The Birmingham performance of Bonny Light Horseman gently evolved over its duration. The chosen route of minimal inter song interaction etched a studio feel into the first half. Immaculate, impeccable and impressive, but do you want some break that deviates from studio to stage; a little more unscripted and off the cuff - the beauty of in-person imperfection. That came in the second half where the shackles came off and you felt more connection. An important criteria of the perfect live show whatever the quality on stage. At the end the feeling of being at one with the band was sealed. 

To get some further facts about the content check out this link - Set List - if Birmingham isn't updated, it was pretty similar to London from memory.

Gig of the Year? A candidate definitely, although it depends on a personal criteria. Flawless, engrossing and optimal on-stage band collaboration gives this show a huge leg up to the podium. Bonny Light Horseman framed why we go to live music. It inched a step forward to perfection, though leaving a space for development thus keeping the search for utopia fresh and alive. 

Album Review: Janice Burns & Jon Doran - Great Joy to the New

 

www.janiceandjon.com

Folk duo Janice Burns and Jon Doran delicately put their twist on an array of seasonal songs spun on a different axis to what is generally delivered this time of year. GREAT JOY TO THE NEW explores many facets of winter tradition perceptively sourcing traditional pieces malleable enough for creative manipulation. Song notes have a raised level of importance as prior knowledge is unlikely to be widespread among general listeners. While raising your own awareness levels is a likely reward, finely curated music exquisite in vocal and instrumental adeptness defines the appeal. 

Burns and Doran settle on 13 tracks to form this long awaited album as they finally convert many seasonal shows into a worthy recording. Inviting several top players to contribute including in-demand  double bassist Ben Nicholls and multiple brass musicians prove a subtle touch.

One of the first songs to keenly catch the ear when reflecting upon the album is ‘The Trees are All Bare’, probably on the basis of an optimistic tempo and joyous melody. Largely simple and hugely enjoyable pinpoint the trait. Heading the most curious inclusion is a Norwegian traditional song titled ‘Haugebonden’, vocally assisted by native speaker Mari Bjorkoy. The duo learnt this medieval ballad from an active stint in Norway and the version found here is a beautiful piece of vocal art. 

‘Carol of the Beasts’, ‘The Wexford Carol’ and ‘Sans Day Carol’ all proclaim a song type in the title, and, although not among the most popular of the seasonal kind, are woven into the fabric of how winter is portrayed on the record. The latter of this trio comes across as the most appealing. 'On Christmas Day’ leads you one way in the title then down a darker route in the words. ‘While Shepherds Watch’ closes the collection in familiar territory, though the left field arrangement is in tune with the overall album approach. 

On more secular ground, ‘The Wren’, famously known in folk circles as ‘King of the Birds’, is this time depicted in the tradition of being hunted and paraded on St. Stephen’s Day. One slightly out of sync inclusion is the ‘Month of January’, but still fitting the wider winter theme.

GREAT JOY TO THE NEW is a sumptuous serving of low key optimism in a style oozing meticulous craft and sensitive delivery. Janice Burns and Jon Doran engrave care and nuance into the record. Its carved niche will capture enthusiasts and lure casual observers seeking something different from seasonal offerings. Folk music is known for reflecting the seasons and especially comes to the fore when winter descends as exemplified in this album. 

Album Review: Ags Connolly - Your Pal Slim: Songs of James Hand

www.agsconnolly.com

Ask a range of casual country music observers to name an elder statesman of recent times and few would come up with the name of James Hand. With the help of one of his greatest advocates, the chance of this recently passed Texan being recognised will be greatly increased on the back of this carefully curated tribute album. Fans of Ags Connolly will be aware of his locked-in appreciation via the 2014 track 'I Saw James Hand', which became a staple of his live performances. Now that awareness and reach for the UK's premier purveyor of traditional country music is considerably growing, the same will occur for Hand via a neatly curated twelve-song collection on the merch table at shows. YOUR PAL SLIM: SONGS OF JAMES HAND is a labour of love; a feeling overflowing in mutual appreciation upon sampling the fruits of this project. 

There is a dusty timeless feel to the production. Oodles of fiddle and steel are a given, but you can never have too much of these blissful sounds. The process began in the UK with bass and drums laid down on a personal selection of Hand's numerous cuts. A Stateside search then began to get some players close to the real thing to add the most authentic of touches. The magic of the aforementioned country beacon sounds appeared alongside guitar and mandolin to create a worthy reconstruction ready to shine a fresh light. The most familiar recruit to UK fans would be Brennen Leigh, who has a significant profile over here alongside a legendary Texas status. 

The upshot of this record is the unmistakeable stamp of Ags Connolly's vocals. It's highly likely that Hand, who passed away in 2020, would approve. They are pleasingly absent of pretence possessing an authenticity doing justice to the compositions. The finished product is heaven sent for country fans seeking a conduit from the past to the future. A role, by intent or not, Ags Connolly perfectly fulfils.

The twist is the dozen concludes with an Age Connolly original 'Corner of My Street' that was intended to be a James Hand co-write. Sadly, an event curtailed by his passing. The eleven other tracks reflect a near-thirty year recording career amounting to half a dozen studio albums suggesting content wasn't rushed. The songs have the double edged appeal of working whether you want to listen intently to the lyrics or just wish to idly wallow in a sound feeding a craving for moments of dreamy nostalgia. Great country music satisfies both.

It probably won't be long before Ags Connolly gets back on the original recording train. His four acclaimed albums are a testament to this. For now, space created to expand his recording repertoire has been fruitfully filled. God rest James Hand and may his music power on. God bless Ags Connolly for sharing an inner passion so effectively. YOUR PAL SLIM: SONGS OF JAMES HAND is not getting filed away for a long time and may well just be the tonic when you want a fix of Texas country music created from both outsiders and insiders who care. 

Gig Review: Sunny Sweeney - Kitchen Garden, Kings Heath, Birmingham. Thursday 14th November 2024

 

Hearing a country song at the Kitchen Garden is a common occurrence; hearing it from a bonafide country singer is somewhat rarer. Sunny Sweeney fits the bill of both. A mainstream Nashville label stint, raised in Texas, residing in Tennessee, she has all the country credentials, and laying them on the table in a packed room is in her DNA. You get the impression the 2024 version of Sunny Sweeney is quite enjoying this UK renaissance, visiting venues to rekindle her roots. The 45-minute interval between a pair of similar timed sets is almost as important for both an artist to greet and a fanbase to meet. Selling a haul of merch is another motive. 

It was a year ago to the month when a tentative Sunny Sweeney shocked a sizeable English Midlands following by playing Kings Heath in a surprise tour. That night she was perched on a stool next to guitar partner Harley Husbands hemmed up against the mirror. Tonight a more conventional standing position enabled a greater relaxed freedom of expression and the space was filled with what makes Sunny Sweeney tick as an artist. 

Twenty years as a pro has seen this Texan sharpen her game. Rapport and wit sit alongside song themes rich in country identity. Drinkin’, cheatin’, lovin’ (your dog) , but no trucks, all play their part. Songs with alluring lyrics are king. These may be co-written originals, borrowed from contemporaries or choice selections lifted from luminaries. They all get a brash yet humble rendition forming the basis of any show. 

New music is the lifeblood of any progression-seeking artist. Sunny Sweeney combined the past with the present by re-recording her ten year old PROVOKED album with the addition of a couple of tracks. More relevantly, a brand new album is in the offing, no easy feat for an independent musician. The upshot was one new song sounding stunning. If folks adhered to the request not to post video coverage of ‘Houston Belongs to Me’, then the wait will have to be a little longer for wider exposure of this revitalised gem. 

The writing partner on this song is Brennen Leigh, well known to UK audiences in general, and Birmingham ones in particular, for her duo work with Noel McKay. She is a long term associate and friend of Sunny and one of many fine artists name checked on the evening including Lori McKenna and Jim Lauderdale alongside ‘under the radar’ acts like Bob Dylan, Stevie Nicks and Jerry Lee Lewis. 

The latter trio were all covered on the evening with not the most obvious songs. Dylan’s ‘To Be Alone With You’ was one of the additions to the re-recorded album, while ‘Find it Where I Can’ from Jerry Lee Lewis’ back catalogue is set to be cut on the next record. ‘After the Glitter Fades’ by Stevie Nicks followed one of the many anecdotes shared on the evening, this one surrounding a Fleetwood Mac show on an icy Boston day. A fourth significant cover is a staple of any Sunny Sweeney show and just like last year, the Lucinda Williams recorded-Randy Weekes written classic ‘Can’t Let Go’ sent folks away happy and singing. 

The highlight of any Sunny Sweeney show is when she dips into material from the iconic 2000s album HEARTBREAKER’S HALL OF FAME. Identical to last year, ‘Please Be San Antone’ and ‘Lavender Blue’ represented this superb record, although a quick scan of recent set lists revealed ‘If I Could’ featuring. One day when the stars align ‘Ten Years Pass’ will re-emerge.

There were countless highlights from the more recent songs selected. The personal best sounding ones were the camaraderie-inducing ‘Poet’s Prayer’, the impish ‘Backhanded Compliment’ and the powerful ‘A Song Can’t Fix Everything’. The audience smiled at ‘Momma’s Wine’ and ‘Grow Old With Me’ and lapped up oldies in ‘Staying Worse Than Leaving’ and ‘From a Table Away’. 

Other songs making the Birmingham cut were another Brennen Leigh co-write ‘Pills’, a crazy world motive to ‘Front Row Seats’ and a favourite occupation in ‘I Drink Well with Others’. ‘Better Bad Idea’ and the second new song on the re-recorded effort ‘My Own Lane’ brings it up to a full complement. 

Sunny Sweeney brings the sass; Harley Husbands brings the class. His ability to roll out an array of country guitar licks added a vital dimension to the songs. The duo partnership is ideal for making the current touring format viable. There is a remaining niggling feeling of what the sound would be like behind a full band. The Long Road appearance is fading into the distance, yet much more effort and resource is required to expand into a tour that reaches people like the current set up does. 

One missing piece is the full transition from bar-type venue to a premium listening joint. There is scope to tone down the sound a touch and let the Kitchen’s bricked walls do the heavy lifting on the acoustics. Maybe a third opportunity will do this. If not, the live presence of an artist whose fans had to do distant listening for many years is a gift to treasure. 

Sunny Sweeney is a smart operator, real deal country performer and engaging entertainer. This phase of a long touring career is being lapped up by UK fans. A sense of continuation is apparent and the present format fits the bill. Resourcefulness, integrity and connection remain the bedrock of her psyche. Fully evidenced by the second instalment of her Kitchen Garden experience. 

Gig Review: Lewis Barfoot - Kitchen Garden, Kings Heath, Birmingham. Tuesday 12th November 2024

 

www.lewisbarfoot.com 

"Is Eileen in the room?"

A recurring theme of this gig was a chance meeting between Lewis Barfoot and Kings Heath resident Eileen in the hours before showtime. Their brief encounter stirred Emerald Isle emotions and a singing of 'The Galway Shawl'. The meeting had a sad twist of loneliness, yet its warmth set the tone for the welcome this singer-songwriter received from a first visit to play Birmingham. The upshot was Eileen hadn't taken up the offer of a guest ticket. Those who were present had an extensive exposure to a musician on a mission, a person rich in creative artistry and someone right on the point of audience engagement. 

Straight out of the gates, this London Irish-cum-current Cork resident exposed an identity via a vest plastered with the ironic motif - 'more dogs, more blacks, more Irish'. Politics with a small 'p'  thread through the songs, stories and ethos, though shades of beauty from an elegant voice enabled a variety of moods. However, impassioned justice was never far from the surface.

The crux of Lewis Barfoot's musical odyssey is a decision to seek her Irish heritage through relocation and a deep dive into its folk scene. This has been driven by years of imposed suppression and a growing desire to revel in one's roots. Understanding this mission is core to grasping the mettle of motivation and how you can draw the dots of where many of the songs come from. Innate talent and an enthusiastic drive help propel the impetus as well as drawing on an impulsive presentation persona from many years working in theatre. Lewis Barfoot - the entertainer - is certainly a take from a first impression.

A post-gig check into the back catalogue sparked memories of many significant songs heard. From the latest album HOME, impactful works such as 'Women of Ireland', 'Dublin City Bells' and 'Rock Me in the Ocean' were sprinkled among a couple of joyous sets. Other interesting setlist additions were show opener 'Blow the Wind Southerly' and its traditional counterpart 'Eileen McMahon' alongside the New Zealand-inspired original 'Taranaki'. 

Song mode constantly switched from seated to standing and acoustic guitar to unaccompanied. A couple of plays on the shruti box increased the folk vibes. The evening reached maximum poignancy in the final throes with thoughtful empathy for the Palestinian plight locked into an emotional song. 

Whether interpreting key songs of the past or conjuring original ones from a inquisitive mind, a mix of folk, blues and jazz styles gently brewed. Imagined bigger sounds from a more populous stage setting were invited, though growth will have to be organic from a solo base as the listening venues of the British Isles mainland are navigated. 

There was a lot to absorb from this first dip into Lewis Barfoot's musical world. There wasn't much left off the table. Piecing it together formed a simple jigsaw of one person revelling in  a road of discovery. Ample listening pleasure flowed from a dream morphing into the realm of live music reality. Feeling part of the process was a given with cathartic inspiration spontaneously filling the air. 

Eileen missed a good one. Maybe one version of 'The Galway Shawl' was sufficient for her on the evening. 

Gig Review: Luke Jackson - Kitchen Garden, Kings Heath, Birmingham. Wednesday 6th November 2024

 

www.lukepauljackson.com

Luke Jackson had a spring in his step this evening. The extra verve for this charismatic performer likely lay at the feet of an upcoming new album. From a pitch of old and fresh songs, this Kent-based musician played to his strengths utilising the dexterity of an impressive vocal range and a commendable knack of leaving a packed room reinvigorated and content. 

A sizeable crowd greeted Jackson’s return to the Kitchen Garden. His last two visits were on the brink, and in the aftermath, of the pandemic. Challenging times for touring musicians. Free of such constraints, the audience enjoyed a buoyant performance on an extended evening of entertainment. 

Prior to the main set, which ran almost to an hour and half, a talented opening artist in Philippa Zawe grasped a forty minute opportunity to show why she is a burgeoning performer. Having once lived in Birmingham, the surroundings of the Kitchen were well known. Folks also remember her from the time she opened for Rhiannon Giddens at Birmingham Town Hall. Zawe also has a new album in the works, though we are only at demo stage. A redeeming feature of a fine voice helps project a bunch of deeply felt songs. Bigger things are on the horizon once word gets around about Philippa Zawe, and her material is readily available.

Two memorable Luke Jackson moments were revived this evening. First up, a mention of Amy Wadge contributing to a track on the new album. Back in 2015, an early Birmingham show was him co-headlining a gig with her at the Hare and Hounds. A year earlier at the Artrix in Bromsgrove, it was recalled him breaking a string and subsequently replacing it while playing the next song. An identical occurrence happened tonight as an enthusiastic playing of 'Eliza Holt' saw a string casualty. Never mind, an unaccompanied version of his increasingly popular 'Trouble Now' came to the rescue and hey presto, a new string.

From the existing Luke Jackson catalogue, top tunes like 'Honeycomb', 'Cherrypicker' and 'On the Road' were shared. The latter is a long established encore anthem. One inevitably luring a hearty communal singalong. A trio of new songs to catch the ear were 'Old Friends', 'Woman' and 'Beside You'. The latter probably contained the most moving story of the evening with its tribute to a late tour manager. 

It would be really good to hear Luke Jackson sing in one of the great large halls. Sadly opportunities for grass roots artists are quite narrow. This would have made it extra special to catch him opening for Jools Holland at the Royal Albert Hall. He has also opened for Richard Thompson and humbly once again took on the challenge of playing 'Vincent Black Lightening 1952'. 

One missing aspect of the Birmingham shows is the trio format. As good as Jackson is solo, there is an added zest when seeing the band performance at festivals. Adaptions are required to bring this to the Kitchen but plenty of outfits have risen to the challenge and delivered. Maybe a thought for the future especially on the back of this impressive turnout.

Over the last decade, Luke Jackson has been a constant fixture on a musical journey. It was always intriguing how he would evolve. Now at the ripe old age of thirty, he appears in a contented place ready to plough an independent route for a welcoming music scene. The folk and acoustic communities love his work, I always thought the Americana world would grasp him more. However, Luke Jackson has always been his own man and that is why many have followed him over the years, savouring his music and live performances. Much more is likely on the cards. 

Bloom - the new album from Luke Jackson is released on November 22nd.

 Pre-order