Album Review: Ben Glover - And The Sun Breaks Through The Sky

 

www.benglover.co.uk 

Share the words anonymously with the poetry-inclined and approval is forthcoming. Share the musical nuances detached from the lyrics and sound geeks offer a nod. Combine these two essential elements and the result is Ben Glover back at the peak of the singer-songwriter mantle. A past canon of carefully curated songs left this Nashville-based Northern Irishman heavily stocked in the credit bank and at ease to decide whether a resume would further furnish the pile. Major winners in this return to form include those with the forensic demeanour to extract multiple nuggets from the past work, whether on solo records, co-writing with the  acclaimed or joining forces in the Orphan Brigade. Without glossing over 2020s short EP, it's been six long years since diving deep into a full length solo Ben Glover album. Roads may have branched off elsewhere in the intervening years, but AND THE SUN BREAKS THROUGH THE SKY brings things right back into focus with a compelling collection of nine finely crafted songs.

A quick scan down the credits reveals familiarity in abundance. Co-writing has been a fruitful path for Ben Glover and all but one materialise from that route. It's fitting that 'Make My Way Own' opens the album as the sole solo write due to the personal flavour pouring from the lyrics. Being greeted by the lines: 'Life can be a sweet conversation/between the dark and light' heralds a constant thread of poignant phrases spun like a poet web. A familiar name in Jaimee Harris lends her vocals to a track elaborately decorated. This links sleekly into a a couple of songs co-written with Harris' associate Mary Gauthier. This powerful partnership of pedigree prospers again with 'The Meadow' laced with southern sentiment and 'Till We Meet Again' proving the set piece closer awash with a lyrical structure synonymous of Danny Schmidt at his best. Both these songs appeared on Gauthier's DARK ENOUGH TO SEE THE STARS album, a continuing trait of co-written songs have multiple lives. 

We are accustomed to albums of this nature being produced by Neilson Hubbard. Not on this occasion though as Glover and Dylan Alldridge (another familiar names behind the controls) share the production duties. Hubbard does appear as the writing collaborator on title track 'And the Sun Breaks Though the Sky'. Keeping the East Nashville theme ticking is the usual link with Kim Richey. The two have been a touring combo in the past and team up with a pair of tracks on the record. 'One Fine Day' emerged as an early pick and the poetic intent in the writing marks the card whether wrapping your ears around the song or taking time to read the lyrics. 'Break For You' blossoms in the closing stages of the record with the mood for savouring excellence bedded in. 

Two names not recognised in the writing stakes take their place suggesting a move to keep the process fresh. 'There's a River' written with Eliot Bronson adopts a wealth of imagery that once again met with approval in poetic circles. Kent Agee assisted in the creation of 'Lifetimes Apart', a piece with a slight sound deviation courtesy of some faint strains of flugelhorn enhancing a lighter produced number. 

Trading songs with the greats has long been a Ben Glover forte. 'Arguing with Ghosts' did have a second life in 2020s low key EP release, but it's 2024 re-surfacing will further elevate the traction that is one of the integral reasons Gretchen Peters is a giant among song writing peers. It is interesting to note Matraca Berg made this a triple co-write in the day, a name we don't hear much of these days but is sorely missed. Together an absolute gem was created that lavishly opened Peters' masterclass project DANCING WITH THE BEAST. A sketchy memory somewhere in the distant past links the song to Peters' mother. Either way pouring over the majestic writing and six-year update on the production is a fine pursuit. It is also interesting to assess how a different version can be vocally owned. Ben Glover is adept at this as exemplified elsewhere on the release.

With such a strong record marking a celebrated return to the present array of astutely delivered song writing albums, the next stage is to re-establish some live presence. Always the part of the game with the most logistical challenges, yet when overcome unfiltered sharing becomes the icing. However you can separate the live from the studio, and the songs meticulously wrapped in the various formats of AND THE SUN BREAKS THROUGH THE SKY penetrate willing ears in the record form. Poetically dreamt, creatively produced - it is good to welcome the music of Ben Glover back. 

Album Review: Pi Jacobs - Soldier On

 

www.pijacobs.com 

SOLDIER ON is the tenth release from Californian singer-songwriter Pi Jacobs and represents an artist at the peak of their powers. The eleven track-forty minute effort often checks in to the bluesier side of the American roots spectrum. This eases immediately into the listeners's lap with some nifty guitar work hailing further catchy credentials wrapped in album opener 'Hallelujah'. This slips seamlessly into an harmonica blowing start to 'Too High Too Low' with Jacobs' gutsy vocals refining an ear worm piece adorned with the relatable lyric sounding like 'we share a few laughs, three chords and the truth'. Sage words in the title chorus also suggests a balanced approach to life. Coincidentally, her last album in 2020 was ironically titled TWO CHORDS AND A LIE. 

'Coyote' picks the beat up a tad and comes across as an affable listen pitching itself to be savoured by many without ditching a roots undercurrent. This possesses one of many memorable melodies on the record. 'Something To Lose' brings a sedater presence to the proceedings with a voice, simple guitar and a bunch of heartfelt lyrics all that's needed to move the album along. The classy credentials of Pi Jacobs come to the fore in the poignant track 'Smoke Signals', dealt with a punchy beat while elaborately sung. 'Shoo Fly' represents the funky pivotal mark of the record with all the hallmarks of grammy producer Eric Corne being in charge of twiddling the knobs to bring the best out of Jacobs and her band. 

Pi Jacobs has had a much travelled career criss crossing her homeland acquiring an amalgam of sounds and styles that embed a core of Americana. You sense being in the company of a distinguished musician highly capable of finding the listener's sweet spot. 

'Mermaid' kicks off the album's second phase (or track #7 for the digital listening experience) and builds on the serene qualities displayed in the first half. Once again a mild dose of twang enhances the roots-tinge. For the first time, a slight edge in a contemporary country direction appears in the opening bars of 'My Last Day' and remains as the track rolls out to further develop a resolute album. Jacobs' dips into character writing for 'Charlene', which comes across as a personal song, almost in a lullaby style with added strings detected. The album title track appears in the penultimate slot with perhaps a kind of straightforward message emanating from the mid tempo 'Soldier On'. Maybe something all artists have to so at some stage of a lengthy career. The curtain comes down in the secure hands of 'I Don't Feel Lonely', a tribute to music itself and a fitting finale to an album stacked with sounds forming a pleasurable dive into the music of a consummate professional. 

The undeniable class of Pi Jacobs consistently stands out throughout the duration of SOLDIER ON. While longstanding admirers will savour this effort, an open door is there for new arrivals. Good musicians don't dwell and reaching new parts can stimulate a career to greater heights. 

Album Review: Giulia Millanta - Only Luna Knows

 

www.giuliamillanta.com

Back in 2021 these pages hailed an introduction to Giulia Millanta's music: 'an imaginative and stimulating album'. Forward three years and this Austin-based artist has built upon a lofty assertion by spinning their wares in a parallel world. Millanta has chosen a bi-lingual route for the first time unveiling a sumptuous take on purring vocally through her Italian first language. The native tongue intermingles with English along a celestial landscape brimming with evocative sounds. ONLY LUNA KNOWS is roughly equal split on the linguistic front with the moon providing a constant thread alongside supremely crafted musicianship chiselling an emotive hollow for sultry vocals to blossom. 

While a narrow preceptive language horizon is often the case for English speakers, there can be an exotic glint when other tongues come to the fore leaving ample space for the imagination to spark into life. Four tracks are entirely in Italian and you get a sense of the theme in their titles: 'Luna, la Follia', 'Chiar di Luna', 'Luna lo Sa' and 'Mi Chiamava Lulu'. The bi-lingual feature permeates the opening track, where a slowed down spaghetti western feel leads the listener into the world of 'Fatale'. This track beds in after a few plays with layers of different instrumentation accompanying Millanta warming up her musical chops. 

The album title track commandeers the middle ground with 'Only Luna Knows' courting smart ears with a deftly delivered song. The writing credits link this solely to Millanta among a few co-writes and alongside a borrowed and re-interpreted piece. The name Gabriel Rhodes jumps out on the credits, known for his work with another Austin legend - his mother Kimmie. One of the tracks used to promote the album is the strongly messaged 'I Dance My Way' leaving a memorable lilt as it fades out. Another pick from the collection is 'Stormy Night in Paradise' with all the trappings cultivated in the production hotbed of Austin, although this particular album was recorded in Tuscany and blends two worlds through its participants and location. 

Sources list this as Giulia Millanta's ninth album. The reach began to widen on release number's seven and eight - TOMORROW IS A BIRD (2020) and WOMAN ON THE MOON (2022) - creating a momentum for ONLY LUNA KNOWS to launch from a name becoming increasingly familiar. The direction may be slightly different, but the impact is boosted by a warm cloak of diversity. 

Album Review: Heather Little - By Now

The association immediately to jump out when exploring the musical world of Heather Little is Lori McKenna. A few more miles down the track and the names may be placed together in the songwriting pantheon. Without jumping too far ahead, the first task is to wrap your ears around a rare and beautifully cultured album putting a marker down to what this native Texas can do as a recording artist. BY NOW navigates a path into the open world via the Need to Know Music label and presents thirteen preceptive tracks wrapped in the poignant honesty accustomed with the serious songwriting underpinning country music in its finest robes. 

A quick scan down the track listing reveals a song from the vaults launched to stardom via the rise of Miranda Lambert. Heather Little was the co-write of the mid 2000s hit 'Gunpowder and Lead'. A decade and a half later, a dusted down version containing an extra verse gets a reboot courtesy of the capable hands of violinist and vocalist Van Plating, who joins a host of other players helping Little bring her talents to the fore. 

Possibly the most notable artist lending their vocal talent is Patty Griffin. The legendary singer-songwriter helps out on two numbers with 'Hands Like Mine' and  'This Life Without You' being highly personally themed akin to much of the inspiration driver for Little. The album wastes little time adopting a raw stance with opening track 'Five Deer County' being amongst the standout candidates from a viewpoint of pouring scorn on missing loved ones. 

With a Miranda Lambert smash hit in the mix, it has taken an extremely strong song to prove the pick of the record with that honour going to the sublime melody-powered track 'Better By Now'. If this song portrayed self-doubt, this is some misplacement as the result is hugely listenable. Lyrics are an essential part of Heather Little's creative crusade and some of the album's most astute ones reside in 'Transistor Radio' where the digital age is lamented in the context of things that really matter. 

There is an awful lot to digest in this hour-long album, probably due to there being so much to say. There is an element of fate for Heather Little to step out of the shadows and push a fine bunch of songs so personally delivered. You sense integrity, sentiment and brunt honesty running through each track with compelling evidence that sometimes the source is the best conveyor of a truly touching song. BY NOW is a collection yearning the listener to return to time and again. An activity to relish for all junkies of a sincerely spun country song.  

Gig Quest: Ramblin' Roots Revue - Bucks Student Union, High Wycombe. Friday 5th April to Sunday 7th April 2024

www.ramblinrootsrevue.co.uk

Ramblin' and maverick are sister words in our vocabulary. They conjure up what is indescribable about a music community roaming around the fringes, punching above its weight in quality and comradeship. Sometimes it tags onto the big beasts adding a touch of class to established genres and the semi mainstream. On the other hand, there is something special when it coalesces on its own terms, albeit small in stature yet big in heart. Ramblin' Roots Revue doesn't stand alone when carving a niche. But what it has nurtured over the last seven years is an identity and sense of belonging. While resolute at its core in terms of operation and support, artists and  audience will drift in and out creating a legacy that lingers. The date may be movable due to outside academic forces; the impact and importance to legions of active followers remains solid. 

The aftermath of another High Wycombe gathering is a time to reflect on what makes this event tick. Many will concur that anything north of the capital is an accessibility win. Okay maybe not in the realm of the sadly demised northern outposts of SummerTyne or Southern Fried, but a couple of miles from the M40 will suffice. Offering thirty different sets without a clash across an evening and two full days is as comprehensive as practical with the only debate when to rest aching legs from standing on an unforgiving hard floor for thirty hours. Space is apportioned in the Bucks Student Union to watch/listen to the music seated. However the best experience is on your feet strategically positioned to absorb the stunning folk vibes from Katherine Priddy or dance to the honky tonk tunes offered by Dom Glynn and His Sunday Best. 

David Banks & the Loose Change

Balancing a budget with a music menu to entice folks from around the country and further afield is a challenge met with credence by the organisers. Familiar names mingle with new discoveries to keep an event fresh and welcoming. Ags Connolly and Michele Stodart fired the opening and closing shots with a distinctive sheen. Ags turns subtle evolution into an art form, while Michele is on a glittering streak of output awash with tears, laughter and belonging. Wedged in between these long standing treasures is whatever the Clubhouse contingent turn to their hand to. The rocking delights of Luke Tuchscherer and David Banks are on an active upward curve, and both on top form. Meanwhile, the late night Clubhouse All Star jamboree welcomed back several old faces this year to celebrate the music of The Band. 

Every single festival with a 'ramblin', 'maverick', 'roots' moniker will uncover a new gem. Look no further than the sheer impact made by French singer-songwriter Bobbie who made you feel like a quest to crack the country code had ended. Time will tell, but for forty minutes on Saturday afternoon you felt like closing the book. She was that good. A festival can also be the ideal place to bring music from your periphery into focus. James Hodder has been known in various guises for a few years. His set proved it is never too late to hook into music matching every ideal you look for.

If you wanted a blueprint for a higher plane eclectic offering, late Sunday afternoon sprung from left field. Dallas Burrow brought a slice of 'Texicana' to Bucks with a a demeanour in the mould of Justin Townes Earle at his most expressive. Keiron Marshall uncovered an innate talent to front a stunning blues trio meaning there's no going back now with endless badgering to show more alongside the day duties. More stateside invitees graced the main stage prior to the finale in the shape of Kevin Montgomery's thoughtful songwriting and the powerful alt-country Canadian rock from long time practitioners Elliot Brood. 

Bobbie

The upward trajectory of the music from Kirsten Adamson, Sara Petite and Steady Habits continues to gather pace and they are locked into my musical world for the long term. At the other end of the scale, this was the first opportunity to catch the evolving experience of Brown Horse in a concentrated live setting. The band were just hitting their stride when the Friday curfew came.

Ramblin' Roots Revue 2023 closed with Bennett Wilson (minus Poole). Only brief unscripted cameos from Bennett and Wilson this year, leaving the path clear for Tony Poole to return with a 2024 incarnation of his legendary 70s outfit Starry Eyed and Laughing. You can't go wrong enlisting the services of Emma Holbrook on drums and Jim Maving on guitar, likewise a twelve string Rickenbacker and closing a set with 'Mr Tambourine Man'. Covers are generally rare at this festival, though making an impact when delivered.

The announcement of Ed Harcourt turned a few heads when the line up was revealed. However curve ball bookings aren't unusual, and they rise to the challenge of entertaining fresh ears with sounds from a different sphere. Horns, strings and up front keys did the job here as well as a pin drop floor finale. 

Kieron Marshall

From the buoyant and thriving AMA UK pool, early spots on each day were afforded to: Aayushi from Birmingham with her stunning folk-inspired trio; country influenced Scottish act The Niche Family and the unfortunately afflicted East of Reno, who had the triple misfortune of missing their drummer, a guitarist and breaking a bass. They stoically powered on in true spirit. 

Leading off Saturday and Sunday respectively, albeit on different stages, were Demi Marriner in full band mode and My Girl the River in a slimmed down duo format. There is an added depth to Demi's presence when surrounded by a band that brings the best out of her, while Kris drew plaudits for sharing her extremely important song 'Helpless'. 

Familiar faces popped up in a couple of other acts. Jim Davies, formerly of The Goat Roper Rodeo Band, is now one-third of the lively indie trio Bau Cat. Del Day resurrected his old band, MT. Caburn, for a set ably assisted by a guest appearance from his buddy Danny Wilson on lead guitar. The Vagaband are the veteran of so many Maverick Festival appearances that they also fell into the familiar category. This was in contrast to the final pair of new artists making this Ramblin' Roots reflection in the shape of the exuberant Majorcan rock band The Ripples and forceful singer-songwriter My Crooked Teeth.

Michele Stodart

Stamina was the order of the day to catch every act at Ramblin' Roots this year. Admittedly, a very small handful were a twenty minute sample and a few were listened to from the pews, not the ideal location but needs must. The economics of the event are a delight in this day and age. Inexpensive tickets and a pint for under a fiver, just like your student days, although for many 50p would be more accurate. An ease on your pocket not to be sniffed at, alongside a breakfast that undercuts Wetherspoons. Long may the value for money package remain as kind as the great music on display. 

April 2025 is like wishing your life away, and great ramblin', maverick, roots music is available 365 days a year if you search hard enough. But we all need markers. Maybe Ramblin' Roots Revue will continue to provide one. Cheers for setting the festival scene for 2024. 

Gig Quest: Rhiannon Giddens - Town Hall, Birmingham. Thursday 22nd February 2024

 

Rhiannon Giddens is a beacon for meaningful music. The self-described 'cultural archaeologist' brings many facets to the stage underpinned by definable musical talent and a sense for enlightened justice. This Limerick-based North Carolinian is in a buoyant phase of a celebrated career. The wider world has embraced a new album delivering a rare delve into entirely original material, while seismic potential surfaces from playing banjo on Beyonce's dip into country music. For a smaller set, the enticing prospect of touring with a full band has built upon the esteem of generating appreciation from more slimline stage set ups. Twelve months on from a duo performance at Birmingham Town Hall with partner Francesco Turrisi, the multi-dimensional six-piece line up returned to the zone and the transformation was immense without shedding any intimate personal appeal.

A major development between shows was the liberation of Giddens from a fairly intense performer to a majestic band leader. It transpires the musicians in tow have been around for a while, but in the five times seeing her play live over the last nine years their full presence can't be recalled. Memorable nights are born from inventive bouts of excellence and the barometer of Rhiannon Giddens stock edged further upwards after two stunning sets in the final throes of the current tour. 

Momentum was a key factor. A tentative first set received an energy boost via Dirk Powell's cajun instrumental medley after a cautious start. The opening peak was reached with the vibrant airing of 'You Louisiana Man' off the the latest album YOU'RE THE ONE just before a halt for intermission. The second half wasted little time in hitting the straps and the pace soared until the crowning closing moment of the whole venue in active unison to a rousing rendition of 'Up Above My Head'. 

Powell, from Lafayette Louisiana, is a widely renowned American roots purveyor with multiple strings and keys filling the air this evening from a musical prowess. He was the architect of the back-to-basics segment when the the band stepped up front to deliver a timeless take on 'God Gave Noah the Rainbow Sign' and another upbeat old time rural song injecting retro energy into the air. 

With the fiddle and banjo of Giddens holding court in the centre, the front row was completed by Congolese guitarist Niwel Tsumbo bringing African rhythms to the sound. He also thrived in the spotlight when afforded the space to spin a couple of tunes.

The sturdy backfield of drummer Attis Clopton, bassist Jason Sypher continually hopping between stand up and electric and the aforementioned Turisso added a dynamic solidity. The latter, a firm fixture next to Rhiannon Giddens in all aspects of her life, brought an air of his Italian roots with an instrumental piece titled 'Briggs' Forro', although international horizons are blurred when music emanates from the keys and accordion of this distinguished performer. 

The set list called at various points of Giddens' solo career. Highlights from the new album included the poignant 'Another Wasted Life', the compellingly uplifting 'Hen in the Foxhouse' and the accomplished 'Yet to Be'. Another top moment from a special night was an emotive version of 'We Could Fly' off the FREEDOM HIGHWAY album. As per usual, the spoken moments exuded passion, intellect and insightful intuition. 

While intent shifts into a genre-less sphere, the music of Rhiannon Giddens spawns evidence of certain styles being re-energised and re-focussed. It shines a light on embedded traits and paves the way for evolution. Country, folk, old-time string music and any other type pulling in the talents of this performing maestro is given a boost. Although strong forces dictate the mission on many fronts, Rhiannon Giddens purrs with entertainment value. Wrap the message with appeal and its lessons will prosper. 

Album Review: Spencer LaJoye - Shadow Puppets

 

www.spencerlajoye.com

Combining the subtleties of indie folk and the sweetness of introspective pop sees the full length debut from Spencer LaJoye blossom across its wholly owned template. The themes of SHADOW PUPPETS re-define the boundaries of personal discovery in an immensely engaging manner. Through a dozen tracks bursting with lyrical intent, a door is opened on a world of making sense of things leading to the calming waters of reassurance. Gender identity and religion entwine as a songwriter seeks solace in their art. LaJoye effectively deploys their own elaborately primed vocals across a musical landscape layered with succulent strings, subtle synth and essential acoustic guitar embedding a slice of simplicity into a complex world. 

Believing in Lajoye's long and ongoing journey, on a literal plane from south west Michigan to Boston but so much more from a queer artist finding solace in music, takes hold with a minimal dive into the songs and associated trappings. The writing sways between metaphorical and muses of a more straight up nature. Titles evolve from the opening track 'Shadow Puppets' implying an alternative view on life and the mid-placed 'The Joker', where confessions bubble over, to a trio of fully exposed pieces at the end in 'Surgery', 'Someday You'll Wake Up Okay' and 'Forgiveness'. While detaching the sound from the intent would lose some of the effect, there is an independent charm to 'Chaotic Neutral' that sparkles with a touch of country pop melodic glitter. 

SHADOW PUPPETS is the culmination of a rebirth. Under their new name, Spencer LaJoye has spent the last few years tossing small projects into the wider world, all building up to the inner seismic move of telling a profound and well-crafted story. Strong vibes and powerful words wrapped in an accessible package make the music stand out commandeering understanding, respect and solidarity. The strength of this artistic pursuit penetrates boundaries and you sense a cathartic experience in the making. If the cherry was far reaching acceptance, this can be unreservedly offered.

Album Review: Matt Owens and the Delusional Vanity Project - Way Out West

 

www.mattowensmusic.com

Remove the name irony and you have a rollicking good UK band adding fully fledged homegrown sensibilities into the beating heart of 'transatlantic implied Americana'. You sense the work of Matt Owens bubbling upwards in recent years and the latest output overflows with guile, potency and richly layered rock-infused songwriting intent. The journey from the heady heights of Noah and the Whale to unlocking the treasures of the Delusional Vanity Project is shaping up conveniently for listeners switched on to Matt Owens' organic approach to cultivating a fresh identity. WAY OUT WEST toys with heartfelt sentiment and tightly spun rock defining the current space commandeered. 

Two tracks into the album and high octane cards are laid on the table. If charging your listener with upbeat energy from the off is the aim then look no further than the rocking duo of 'One for the Grapes' and 'Glasgow City Lights'. The former wastes no time in the opening slot inducing head nodding, foot tapping and hip moving within the realm of a funky rock beat. The latter is an unabated slice of air punching heartland rock re-fashioned for the UK's urban landscape. All good albums have finely tuned gear changes and '5 Years into Marriage' fabulously spins the axis of momentum. The result is an updating of the quintessential duet with no shortage of pain, panache and ladles of touching honesty. The esteemed Hannah White is Owens' duet partner and an ideal match from a close knit movement of shared ideals. The slower pace is retained as the offering slips into 'You're Not Gone' a song capably toughening up the ballad arena with a tender core peeping out of a gruff exterior.

The Delusional Vanity Project is a bunch of talented musicians and they get ample outings to shine across the record. One such instance is on 'Blindsided by Time' where the band focus ramps up on a mid-tempo rocker with guitar parts strutting out full of polish and pomp. In contrast, the next track 'Morning Light' draws you specifically into the vocals of Owens exposing a depth of purpose.

The second half of this eleven track collection kicks off with a couple songs suggesting things are now in full swing. 'Both Sides of the Line' nails the concept of melody in another finely curated mid-tempo effort creating the perfect template for vocals, lyrics and band input to flourish. There are moments when a change of tack re-enforces the album's appeal and 'The Bard of the Bars' meets the challenge here. This spritely piano-driven number with a folk underbelly embodies the classic English pop song story as perfected by the iconic Ray Davies and framed by Matt Owens for the modern age. 

Harmonica is a perpetual feature of the sound and its intro opens a window on the wares of 'Hope the Darkness Pulls You Through', where the song lures you into a deeper listen, likely to the the delight of a songwriter craving for their work to be savoured and understood. The track has an added dimension of a further Delusional Vanity Project interjection to provide greater flavour. This seamlessly leads into 'Death, Sickness and Heartache' possessing the  appeal of the band being let off the leash with amazing results. The common trait of an acoustic closer concludes a super release with harmonica interludes weaving their way into a final story song rinsed in nostalgia. Name checking is rife as a journey is documented. Listen closely to 'Twickenham Station' and it all comes together in the final throes. 

Optimum pace, sincere songwriting and a cultured band input give WAY OUT WEST the substance to capture the present. Matt Owens escorts open ears through a journey of thoughtful song and portable sound. Whether rocking out or guiding you through softer moments, you sense an innate talent coming to fruition. This is one vanity project far from delusional. 

Gig Quest: Thea Gilmore - The Glee Club, Birmingham. Tuesday 6th February 2024

 

Three tours into the re-set and this new phase of 'Thea Gilmore live' is taking shape. Solo has become the de facto format with the extra dimension of improvised additions to meet the halfway point between pure acoustic and some element of a band. Whether the latter resumes is conjecture for another day, the present is owned by an artist appearing content, purveying peace and kindness and feeling a mutual love of playing live. There was a change of venue for the Birmingham date of the latest tour. After twice staging shows at the MAC, she returned to the city centre and graced the stage of The Glee Club for the first time in over a dozen years. A commendable turnout had the honour of sampling a cross section of her work ranging from an earlier album now turned twenty-one to last year's record courting an all-encompassing remark of 'contentious'. This didn't stop many quarters from hailing the self-titled album a landmark release, but like much of Thea Gilmore's output, time tested tends to be the true outcome when new music lands.

After hiring the services of a poet to open the last tour, type was reverted with Manchester-based singer-songwriter Liam Frost commandeering the thirty-minute support slot armed with an acoustic guitar and several self-penned songs to share. All the attributes were in place to deliver a meaningful set: fine playing, good voice, amenable demeanour and poetic intent. Maybe the addition of a song that you took home would have enhanced things. On the other hand, spending time with Thea Gilmore has the ability to rectify.

In the recording world, we are now back in the realm of 'Thea Gilmore'. The re-set album that proved the centrepiece of tours in 2021 and 2022 was released under the name Afterlight. Far from being a diminished entity, we were informed the guise may be just resting and could make a return when the time is right. Strip away the cover and you are left with one of England's finest singer-songwriters over the last twenty years, capable of making music to mix with the best, while never straying far from her roots.

From an extensive catalogue, the setlist constructed for Birmingham possessed an inclusive feel to welcome seasoned admirers and fresh ears inspired more by curiosity than experience. The album spread ran from a couple of tracks lifted off 2003's AVALANCHE ('Razor Valentine' and 'Mainstream') to a superb quintet representing the latest record. First heard from this in the 90-minute set was 'The Chance', one of a couple played on keyboards. She quipped of being told of its Billy Joel likeness, not too far off the mark with respect to its lighter content than the usual Thea Gilmore fare. 'Unravel Me' soon followed and is likely to be a live staple for years to come. Three songs punching their way to the album summit came in succession to close the show. The part song-part poem 'The Bright Service' is a masterclass in poetic lyricism. 'Like a tsunami, a one woman army, it took a pharmacy to calm me' is a line for the ages. 'She Speaks in Colours' sheds new light when the background is shared and came across in a moment of sublimity. 'That's Love Mother Fucker' is the festival song that will never be played at one. No problem at The Glee Club as the audience miked its punky vibes and clever irony. 

Thea Gilmore and covers have a sensitive and strategic relationship. 'Bad Moon Rising' and its zombie story is regularly on the menu, but even that measured version was trumped by a new addition this evening. 'Girls Just Wanna have Fun' is a song with many identities possessing endearing qualities that never fade. When stripped back it gets better and better, none more so than the version framed tonight.

Invited audience participation seemed more prevalent than the other Thea Gilmore shows seen over the last five years. Maybe a reflection of the artist's desire to connect. Her audience may not be exposed to loops and drum machines too often, but the room is at one when this approach is activated and the effect is becoming an integral part of the live presence. While adaptability is one virtue: stature, poise and a distinctive voice bristle from a performer blessed with innate talent.

Other notable highlights from the show included a version of 'The War' also played on the keyboards and forever dedicated to the late Jo Cox to show an empathy forming a belief. Pickings were slim from the Afterlight project with 'Friendly Little Heart Attack' being the sole inclusion. Finally, the ever popular 'Rise' always illuminates a room.

A comparison between 2021 and the present is a poignant place to close this chapter. The sheer intensity and feeling emanating from that first post-pandemic Birmingham outing was utterly beguiling and memorably ingrained. Afterlight clearly served a purpose. We are now in calmer waters. Intensity is replaced by a distinguished aura. Both fuse the connection between artist and audience in a way gift wrapped for live music. 

Gig Quest: Gordie Tentrees & Jaxon Haldane - Kitchen Garden, Kings Heath, Birmingham. Monday 5th February 2024

 

A thirty-hour trip home may have been next up for Gordie Tentrees but nothing was going to be left on the table after the final show of his latest UK tour. In a lengthy and extensive performing existence, wooing new towns is second nature for a Canadian where the travelling gene is as imperative as one born to share songs and stories. The call of the road is a must when your base is the town of Whitehorse located in the far north western Canadian province of Yukon. Learning that over a thousand shows have been played with existing touring partner Jaxon Haldene alongside hundreds more in different guises translates into distance being no obstacle. Therefore a shortish hop from Scotland to Birmingham would be small feed to a serial gig player. Not a minute was wasted to engage the fresh ears of a Kitchen Garden audience from a booming opening note to closing an hour and a quarter later with an audience singalong to Fred Eaglesmith's '49 Tons'.

An evening extending to almost two hours of riveting roots music began with an impromptu collaboration between Jaxon Haldane and English fiddle player Samantha Flounders. We learned they only hooked up at an earlier show on the tour and this was a fleeting chance to add extra depth to the core presentation. The opening forty-five minute set saw Haldane primarily deliver his own songs from banjo and guitar with Flounders' sweet sounding fiddle proving the perfect accompaniment. A little bit of Haldane's Winnipeg background was shared and it was obvious being in the presence of an assured and astute operator. This was to prove just the starter as impressively witnessed after the break.

There was a short pause before Haldane joined his long term musical partner to commence the main set. Immediately, a vocal burst from Tentrees jolted the music into action and things never looked back. A pattern soon emerged of Tentrees owning the vocal, song and banter part with his partner showing an extraordinary dexterity of stringed instrument playing. He constantly switched between a numerous array of guitar, banjo, mandolin, cigar box contraptions including one seemingly electrified and the bog standard DIY saw that occasionally pops up in folk instrument arsenals. Haldane's immense versatility contributed heavily to the show's success.

Gordie Tentrees has a backstory, charismatic personality and innate musical entertainment qualities to own the spotlight in invited spaces. The sound projects with voluminous intensity, likely schooled in spit and sawdust establishments sprinkled across the vast Canadian and US heartlands. The more refined confines of the Kitchen Garden's jungle room had a taste of life on the other side as we delved deeper into what forms Tentrees as an artist, performer and person. 

The set raced along with intermittent pit stops of candid banter capable of piercing the heart of sterner souls. Connective admiration grew the more Tentrees unveiled the inner workings of a background and approach to life. Underpinning a gracious and increasingly warm demeanour was a batch of boisterous songs brought to life via the strumming of a couple of guitars and evoking the folk music spirit by punctuated harmonica blowing. Invited audience participation further sealed the deal and when the inevitable curtain was drawn, you felt invigorated by the music of an artist you knew a lot more about than a couple of hours previously. The evening ended with all three artists tangling wires in a cramped space for the encore, once again adding the depth offered earlier. 

Although the UK has long featured on Gordie Tentrees' vast international touring schedule, this was a Birmingham debut and a fitting performance to engage with new people before embarking on the long haul back to Whitehorse. Without doubt, this intrepid Canadian will soon be off again bringing smiles, uplifting stories and fine music to fresh faces and seasoned fans. Plant your seeds far and wide and forests will grow. 

Gig Quest: Nigel Wearne - Thimblemill Library, Smethwick. Friday 26th January 2024

You should never underestimate the challenge and trepidation facing an artist taking their music thousands of miles to new destinations. The stakes are high with a strong and resilient sense of belief required. Success can have a range of measures from deeply personal to collectively communal. A positive outcome must be a proud accomplishment. In the early phase of a second significant visit to the UK, evidence is pointing towards an enhanced reputation for Nigel Wearne as he plots a way into the hearts and minds of a welcoming and open music scene. One key indicator is an audience returning to your shows. Having appeared at Thimblemill Library almost twelve months to the day, not only were returnees in the audience, but a whole host of curious observers eager to take a chance on a new name. On his previous visit, Wearne shared the bill with Lauren Housley. From a short window, enough positive seeds were planted, and now the opportunity arose for folks to learn a lot more about this culturally driven Australian.

On one hand, similarities with a string of US artists run deep, and Americana with all its ambiguous nuances feels a fit. Alternatively, there are so many influential strands tossed into the pot that trying to pin down a music identity is a tough task. Narrowing things a little from the floor of Thimblemill Library, vibes flowing from the stage were etched in folk and blues. With this in mind, the latest album has two versions floating around - one stripped back ala tonight and the other draped in every big sound you can imagine. The latter live is a fascinating prospect, but let's not get too far ahead.

There was a decent turnout at the library this evening. I'm even going to surmise it exceeded last year's show. Good news is popping up all the time for this vibrant cultural hub as its arts programme continues to widen aided by newly acquired funding. Live music retains an important part of the offering, whether promoting local talent or being a receptive haven for touring artists. This evening's support came from neighbouring Birmingham, and it was good to see Amit Dattani back playing live. His deftly touched country blues is fighting back  against numerous pitfalls and afflictions. 

  

There were many facets to the live persona of Nigel Wearne. The vocal style is not as deep and profound to what you instantly expect, but it strongly conveys the meaning of the songs. Top notch string picking brings life to an acoustic guitar and banjo. Maybe more from the latter would have enhanced things during the show especially as a track towards the end was dynamic. He is not afraid of playing an intrinsic instrumental and feels comfortable to test a few developing pieces on willing audiences. We're a kind lot in Thimblemill Library.

The banter was a neat blend of appreciation, essential storytelling and marked observation. If Lucinda Williams is going to champion you, shout it loud and clear. Social and political justice is at the heart of his music and wider beliefs. He will find many likeminded Brits on the path being navigated. It was interesting referring to his country's national day as Invasion Day- coincidentally January 26th. From afar we get it and fully understand the global nature of cultural divisions. It is always good to garner an insight to historical events of simmering relevance from different parts of the world and this evening we learned of the Eureka Uprising in 1850s Ballarat. 

The perception of Nigel Wearne evolves as an astute touring artist. Mindful of his surroundings, associates and forging relationships to ease the journey. It enormously helps possessing an impressive music package and having a key knack of a memorable delivery approach. 

The return to Thimblemill Library followed appearances at a couple of industry showcase gatherings. Those things can serve a purpose, but there is nothing like getting out there with the people especially causal onlookers seeking a music liaison rather than a posse of dedicated observers. 

The road from the English industrial Midlands is packed with connective opportunities over the next couple of weeks before Nigel Wearne returns Down Under. There is an optimistic outlook of things panning out quite well. Whatever the desired outcome from this second trip to the UK, increased interest, respect and admiration is forthcoming from audiences both finding and returning to his music. 

www.nigelwearne.com

Album Review: Malcolm MacWatt - Dark Harvest

 

www.malcolmmacwatt.com

From an Highland upbringing to wherever the hat was laid, Malcolm MacWatt has developed a broad and deep outlook featuring strong in his song writing. Traditions, stories, identity and justice pour from a curious mind finding an illustrative home in the music sculpted by a multi-instrumentalist background. The lure to borrow the term 'Transatlanticana' couldn't pass as it gets to the nub of what fires the passion in this Scot's approach to music especially melding a deep feeling of his homeland and all things Americana. On the back of a 2021 record joined by artists of the stature of Gretchen Peters and Laura Cantrell, MacWatt returns to the release cycle with an album full of countless nuggets, wise words and laudable appeal. DARK HARVEST is a full-bodied collection of almost entirely original pieces, politely requesting a return investment in listening intent. The deal is sealed when charmed by a sincere bunch of songs thoughtful in creation and richly coated in execution.

Short changing is not in the DNA of Malcolm MacWatt. Fourteen songs spanning an hour is the prize for clearing the listening schedule. You can probably double the interest time when satisfying a curiosity aroused from a multitude of characters and stories unfolding. One trait not requiring a follow up is a desire for justice and a deep-rooted pride in Scottish identity spilling over into the current political landscape. 

While an independence stance, on the music front as well, and ploughing a solo highway is the path chosen or practically dealt, smart collaboration crops up in places. Highly acclaimed folk artist Angeline Morrison adds vocals to the relevant 'Empire in Me' continuing themes from her celebrated album. MacWatt couldn't envisage anyone else taking on this song. From across the pond, Nathan Bell lends a spoken vocal part to title track 'Dark Harvest' where uncovering the truth and seeking retribution sparks a true story from a Scottish island. You sense the values and leanings of this pair are aligned. The third credited assistance comes on the album's only non-original track. 'Out on the Western Plain' has its roots in the content spawned by the legendary Leadbelly, and for this version securing the services of Irish guitarist Pat McManus to provide a bluesy edge was a coup. 

The album is bookended by a pair of tracks fuelled by a Scottish heart. Opening with 'Strong is the North Wind' and closing with 'Semi Scotsman' leave you in no doubt of a proud heritage. A smart move to announce your arrival and parting with such passion. Another track rooted north of the border is 'Heather and Honey' where the drawbacks of a Highland life are mooted. 

One background nugget to resonate was the sentiment in 'The Nightjar's Fall From Grace' of quieter voices struggling to be heard. A travesty when theirs can be more meaningful than the opposite. MacWatt delicately makes his point in a delightful song. 

Four historical characters yield their voice in song via MacWatt's writing. Early political icon Watt Tyler is the inspiration for 'The Church & the Crown', while a blackspot in English history is dealt with in the explicitly titled 'Brave David Tyrie'. We cross the Atlantic to learn about the sad plight of an unnamed Canadian first national in 'Red River Woman' where the story slates misogyny, racism and violence. James 'Scotty' Philips is the subject of 'Buffalo Thunder' with a Scottish slant added. As an aside, this song was first heard just after watching the Ken Burns documentary The American Buffalo. 

The final trio of songs lodge in the second half of the album. 'Drowsy Maggie' opens with a Celtic-driven fiddle part, one of MacWatt's many musical talents, although he leaves the piano to others when the song kicks in dealing with the impact of drugs on society. This is preceded by 'The Last Bowman' influenced by a personal interest in archery, though the song soon hones in on other issues of preserving tradition. Preservation is the theme of the last song courting comment with environmental concerns brought to the fore in 'She Told Me Not to Go.

In some respect it is brave of Malcolm MacWatt to pack so much into DARK HARVEST. There are obviously so many ideas brewing and clamouring for space. Also, opportunity has to be grasped when you are an independent artist, and one has been afforded here via a second album link up with US based label Need to Know Music. The mantle has been grasped with relish and rich pickings run deep for likeminded music fans sharing the ideals of this singer-songwriter. Time and space are the keys to engagement. Also, no doubt floating on the horizon is this record hitting the road. It will come to greater life in a further explanatory format. Conclusively, DARK HARVEST is a record finely tuned to reach its audience and goals.

Gig Quest: Tim O'Brien - Kitchen Garden, Kings Heath, Birmingham. Wednesday 24th January 2024

 

Over a distinguished career, Tim O'Brien has without doubt played contrasting venues in many cities especially possessing an ability to adapt between grand palatial settings and intimate places where the listening zone is unfiltered. The West Virgina native-longterm Nashville resident can now add Birmingham to the list with the Kitchen Garden joining the Symphony Hall as stages hosting the talents of this premium musician, lauded songwriter and authentic country vocalist. On the stroke of eight o'clock, O'Brien descended the wooden creaking staircase, weaved his way through the cramped dining chairs and positioned himself in the performing spotlight. He asked if there were any country, folk and bluegrass fans in the house and proceeded to entertain a packed venue with music as pure as a mountain stream. 

The sold out signs soon followed the coup announcement of Tim O'Brien playing the Kitchen Garden Cafe in Kings Heath. Previous visits to Birmingham have seen him join the Transatlantic Sessions cast for their annual jamboree around the nation's plush concert halls. The crowd appeared to include many devotees alongside more curious observers. Maybe if a few chose to return to see the many up and coming homegrown roots artists playing the Kitchen, then the battle to promote such music at the grassroots would be easier. 

Celtic Connections is often the magnet for US musicians to tour the UK in January. Small venues around the country benefit from artists seeking to add a few extra dates around the Scottish centrepiece. For this trip, O'Brien was accompanied by wife Jan Fabricius playing mandola and adding backing, duet and, on one occasion, lead vocals to the format. With no support on the evening, the pair played a standard 45-minute opening set before returning with an hour long second half after the break. Although the quantity is always relevant when shelling out money, quality is the driver when Tim O'Brien hits the stage.

Acoustic guitar was the main instrument choice for the evening with occasional hops onto mandolin and fiddle. Whatever the mode, virtuoso charm filled the room. Effortless playing is the order of the day and being held in a mesmeric trance is one of the joys of witnessing top class playing in a tight kinit space.

The banter swayed from dry humour to informative nuggets. Nashville neighbourhoods, lamenting home politics and honouring his peers were just a few of the themes. Of the names mentioned, we learned of a recent recording session with Tom Paxton, alongside a Tim O'Brien slant on the work of Bob Dylan and the Carter Family. There was one tetchy moment when an intricate fiddle version of 'Working on a Building' drew unwelcome audience participation. Eventually this bluegrass version navigated its way to a rousing conclusion with O'Brien conducting a mass unaccompanied singalong.

On a night where the audience was spoiled to have so much high calibre music close at hand, it is a credit that Tim O'Brien and Jan Fabricius still find the magic to share their music in intimate settings. This timeless display of traditionally focussed country, folk and bluegrass music was a joy to behold. It should never be taken for granted when a legend passes through town. A sold out Kitchen Garden gave love in exchange for a super show.

Album Review: Jack Cade - Bewilderland

www.jackcade.com

Jack Cade cuts a fuller sound on his latest album carving a deeper niche in the UK independent music scene. A thoughtful stare from the sketched portrait on the cover coupled with a title leading down a route of curiosity sets the scene before the evocative baritone vocals and overarching sound creates a foothold. A smart rule for despatching a record into a crowded listening space is to fire the first barrage with your strongest hand. As appealing as the summative listen to BEWILDERLAND is, lead track 'Change Your Condition' reigns supreme over its counterparts to the  extent of potentially becoming a signature song for both artist and any realm infiltrated. A strong structure yields a sincere message delivered in the vein of Johnny Cash wandering into a Spaghetti Western set.

Heavy twang tightens further when the pedal eases on second track 'Roll Them Dice'. By now the die is cast and Cade's voice has either wooed disciples or shaken off limp ears. We then enter a faster paced indie-gothic phase in 'The Faster You Run' where additional lighter backing vocals add a deft touch to the powerful aura. You could envisage swirling dry ice smothering the protagonist in 'Little Secret', an intended, or not, themed association primed for sparking the imagination. 'The Glitter Around the Eyes' slows things down at the midpoint with Cade widening the soundscape with vibes aligned more in an Americana direction, albeit in the darker corners where hope battles hard. 

BEWILDERLAND is the fourth record from this south coast-based singer-songwriter-musician and significantly builds on the impact of its predecessor THE DEATH THROES OF A JADED EMPIRE, which opened new doors for Cade. The theme grapples with life's afflictions proving once again fertile song writing rises to the surface in murky pools of pontificated reflection.

An intro with a sombre beat joined by an increased cello presence heralds the second half with the duet vocals of Helen Muggeridge adding a folk music tinge to the stratospheric leaning 'Where the Sun Meets the Moon'. We are in deep excavation territory now. Suddenly the switch is flicked and a new bout of energy bursts through with the bellowing tones of the electric-fuelled 'Love Will Burn All Down' reigniting procedures. 'Heal Me (Everything Ain't Alright)' is another delve into the subterranean world of indie-goth and Americana misfits. Addictive qualities spill into the listening sphere to add impact to a record not short of pulsating lure. 'Rocking Horse Blues' seeps into your senses as one of the more memorable compositions while heading towards the end with acres of melodic high octane twang. A optimistic conclusion holds out an olive branch to the next Jack Cade outing. 'Keep Believing' echoes the wise words of a song writing sage brushed down and ready to maintain the fight. The vocals finally temper at the fade out leaving a bold calling card. 

Jack Cade tosses a potent record into the mix for willing takers. BEWILDERLAND broods in places while never losing sight that owning the moment with a powerful swirling sound can be a winning formula. From a spectacularly launched opener, momentum takes hold and delivers a substantive, sonically graphic album. 

Gig Quest: Ashley McBryde - O2 Institute, Birmingham. Sunday 21st January 2024

Six years ago, Ashley McBryde graced the stage at the O2 Institute for a Birmingham debut opening for Luke Combs. She may even have expressed a desire to return one day to headline with her own band. If so, fulfilment on one front is now achieved having wooed a near sold out venue with an assured display exuding all the craft and confidence making her one of the most important artists strutting out from the clutches of the major label Nashville country scene. Three albums have followed on from her 2018 breakthrough release, each one projecting the stature of this Arkansas native. An overriding feature of her music has been the triumph of substance over style and a knack of writing melody driven songs constantly refreshing a trusted template. 

On record, McBryde cuts a mean operator; on stage, she channels the part of acute entertainer. A fired up backing band added all the rudimentary requirements to lavishly perform a bunch of songs wholly representative of what we have heard on record. It did cross the mind why so many backing bands are male dominated. The ceiling is being breached upfront, but seemingly not so in those key roles that help illuminate a live performance. The ease at which she flourished from her band's input enabled the show to effortlessly roll along. Whether joining the guitar contingent on acoustic and electric or occasionally freeing herself up for sole vocals, everything about McBryde's performance was primed to package her music on the terms of the artist, while retaining a popularity from an inclusive audience. The present set up is serving Ashley McBryde well, but you feel there is much to offer if the urge to breakout and head down an independent path proved a lure or necessity. On the instrument side, keys, guitars and drums were briefly joined by fiddle, mandolin and bouzouki. There is not really a roots side to the music of Ashley McBryde, but the live show would benefit enormously by the presence of pedal steel.

There was a cautious start to the set when the band entered the stage at 9:20. The scene of all electric guitars and drums powering through 'Blackout Betty' heeded an unwarranted warning that a rock fuelled sound may become the defining landscape of the evening. Quickly, one guitarist settled on the keyboards and what unravelled was a near-perfect accompaniment as they adapted to the intended mood of each song. Three numbers in, McBryde echoed the phrase country music in her intro and duly delivered with 'Brenda Put Your Bra On' from the enigmatically curated concept album WELCOME TO LINDEVILLE. Sadly that was the only song from the record to make the setlist this evening. 'Bonfire at Tina's' featured at earlier shows but not tonight.

Ashley McBryde is not at the forefront of re-designing the country genre for the modern age. Her music tends to rattle in three chambers; a distinctive traditional vault with ballads and jaunty singalongs, a conventional rock infiltration brought by slick solo guitarists and a heartland driving beat not unlike many bands plying the Americana and alt-country highways. The stamp she puts on each approach is dressed with a slice of sass and a vocal sound holding its own in bigger arenas.

An asset this evening for Ashley McBryde and her band was the impeccable acoustics of the Institute, a traditional ornate venue in Birmingham's Digbeth area long before its current corporate incarnation. A sweet sound is an audience dream and something cherished by the main act and the two supports on the evening Harper O'Neill and Corey Kent. Both introduced themselves as from Texas, and set out in a brief outing to showcase a personal-tinged approach to country music. The backstory appeared prominent and both found allied minds in an audience packed in well before proceedings began at eight o'clock. 

From a twenty-plus long setlist, countless highlights surfaced. The iconic moment came towards the end in the guise of signature song 'A Little Dive Bar in Dahlonega'. A lengthy background intro set the scene with an addendum fitted in before the finale when fans vociferously filled an invited chorus gap. Two upbeat numbers heralding the sound at its thumping best were the Springsteen-esque 'El Dorado' and a surprise addition from previous tracked shows of the rousing 'Martha Divine' in the sole encore slot. 'Whiskey and Country Music' and 'Women Ain't Whiskey' both wear the essence of their title in strikingly good songs, while multi-sided emotion runs deep in 'The First Thing I Reach For'. The career propelling evocative personalised ballad 'Girl Going Nowhere' had an interesting airing when its required silence was breached by an altercation in the crowd. Two men were quickly berated by dozens of women. In a flash, order was restored and the song rang true in its desired environment.

The stormy weather blighted gig arrival and departure times, but nothing could dampen the stellar show given by the hugely impressive Ashley McBryde. Her music has been massively enjoyed since getting the big break, and if you delve back an album further, the mini effort JALOPIES & EXPENSIVE GUITARS is a riveting listen. By nailing the present, the future is there to be grabbed on an artist's own terms. Hopefully, it won't be another six years before a Birmingham return. This show was an outstanding success and it surely can only be replicated or even built on with slanted improvements over time.

Album Review: Brown Horse - Reservoir

 

If you have tracked the output from artists attached to Loose Music over, at least, the last decade or so, you will know the centre ground is rarely the trodden path. For their latest venture into the recording world of all things pre-fixed 'alt', the London-based label have delved into deepest Norfolk (or at least urban Norwich) to uncover a band spinning a sound not the usual fare you hear on the homegrown wires these days. Brown Horse have been creating a stir with each track unveiled culminating in the release of their debut album. RESERVOIR instantly draws comparisons with a world where 70s folk-rock meets 90s alt-country. A crude overview maybe for an album dictating its own presence and falling into the laps of active listeners schooled in the Americana psyche. 

Since their formation in 2018, Brown Horse have evolved from a folk quartet into a six-piece combo fuelled by an escalating electric guitar presence and the assorted instrumental back ups. A rock-influenced double blanket of amplified strings and cracked vocals warms the ten tracks forming this inaugural release, yet beneath the layers stunningly good songs reside aching for discovery. Another Loose alumni, Dawes once said at a festival 'strip away all the guitars and you're just left with a folk song'. Simple but true and extensively evident in Brown Horse. If a more recent Loose Music artist likeness is sought, try Treetop Flyers especially in some of the vocal parts. 

RESERVOIR is not an album to fully grasp even after the first few listens. Patience is a useful accompaniment. The pre-released tracks hinted at a robust undercurrent without strong hooks to lock in a song from the off. Even after buying into what the band have created, there isn't a particular track gnawing at your ear demanding constant repeat plays. Where the album scores highly is the deep rooted appeal from losing yourself into its evocative vibes from a dedicated listen.

The country channel chosen by Brown Horse is primed for the open eared and not the faint hearted. Opening track 'Stealing Horses' references Jimmie Rodgers and evokes a narrow band of country music in a track glowing in ragged delights. As the album flips over into the second half, 'Paul Gilley' sends you down a rabbit hole of curious discovery. A relatively undiscovered, yet apparently acclaimed country songwriter is heralded. We learn he is credited with the Hank classic 'Cold Cold Heart' and succumbed to tragic circumstances. The perfect ingredient for a country leaning song. 

Brown Horse have also received the message of the role melancholy plays in making a record like this and rinse their songs in the muddy waters of dark matter. As you would expect from the rock overcoat, guitars, often of the heavier variety, frequently dominate the soundscape leaving your ears to strain a touch in tracing the fiddle, steel and accordion. 

The unveiling of RESERVOIR highlights Brown Horse's position of making music at the edge. They have the ideal opportunity to create a niche in the UK Americana market wooing fans looking for something different in these homogenised times. A busy year lies ahead for the band with gigs and festivals lined up. A few overseas trips shouldn't be ruled out alongside recognition in those end of year awards. All that is for the future. January is the moment for folks to get their teeth into an intoxicating album.