Album Review: Kim Richey - Every New Beginning

 www.kimrichey.com

Kim Richey epitomises quality and longevity in Nashville songwriting circles. Over a thirty year career, this Ohio native/ long term Music City resident has rubbed shoulders with the finest, curated a fanbase around the world and has proven a guiding light to aspiring artists determine to hone their craft. A legacy is intact even without a significant new release, however the renewed vigour shown in EVERY NEW BEGINNING suggests any final career chapter is put firmly on hold. Richey proves a champion of chiselling every meaningful second from a tight template as ten fresh songs herald a new record matching up with the very best from primely stocked catalogue.

The title emphasises a career reset and the launch of a new phase. We learn from the blurb that Richey is constantly writing, and when an album opportunity arises, past scribblings and inspirations are scoured to turn prototypes into finely tuned components. The sum of the choices to fulfil this offer by Yep Roc records for a new chapter to evolve are a bouquet of beauts with a single solo write and nine co-written efforts making the final cut. This split leans heavily on Richey's forte of fermenting fine pieces from combined efforts. 

Two sparkling album gems were born from writing sessions with Aaron Tasjan, an esteemed artist in his own right. 'A Way Around' and 'Joy Rider' glisten in the first half with the former oozing class while housing the cracking line - 'drop the needle on your favourite sad song'. The latter relates to a real life character riding the streets of locked down Nashville with prestigious hooks and a killer chorus creating an alluring number full of positive vibes. For me this concludes as the joint high spot alongside the penultimately placed 'Feel This Way', a song co-written with Jay Knowles built for the stage. A powerful message pours from a piece adorned with an electric guitar segment. The urge to to join in with 'it hurts like it's always gonna feel this way' never relents.

Photo by Stacie Huckeba

Rewind to the beginning of this thirty-five minute album and two nostalgia-rinsed tracks lead off. 'Chapel Avenue' was written with Nashville veteran Don Henry and is stocked with viviv recollections of a cherished past. 'Skateboards and lemonade stands, 4th of July bands' evoke a warm and friendly reminiscence. As an aside Richey and Henry were both present for my only ever visit to the Bluebird Cafe in 2016. More reflections surface in 'Goodbye Ohio' as the antenna points north to Richey's home state.

The music of Kim Richey has long swayed between country, folk and sophisticated pop. Perhaps the first of these genre styles features most prominent in 'Come Back To Me' where the co-writing services of Ashley Campbell were enlisted. Effects of banjo, mandolin and violin help the sway towards this verdict. A song that stands alone is 'Take the Cake', largely due to a slim down studio presence of just Richey and an adorable string arrangement of violin, viola and cello. Simplicity rules in this second solo written song to appear on the album. Another outlying track is 'Floating on the Surface' where the production was done separately in the hands of Richey and co-architect Roger Nicholls. The theme possesses a metaphorical feel with the repetition of 'over our heads, over our heads, we don't want to get in over our heads' coming over well. 

There is a fleeting sound addition to 'The World is Flat' with flugelhorn making an appearance in a song enhanced with a poignant and extensive lyric content. The horn also features in the reflective closer 'Moment in the Sun'. This poetically written and elegantly sung effort brings the curtain down on a sumptuous collection of sumptuous songs. 

EVERY NEW BEGINNING showcases the music of Kim Richey blossoming in a fresh bloom. From its exquisitely produced status to a welcome addition to a wealthy canon of previous work, it carries all the hallmark of a Grammy bestowed career and luckily one where the UK has been a focus for many years. Songs are key to any successful album; a trait amply excelled here. 

Album Review: Kaia Kater - Strange Medicine

 

www.kaiakater.com

Sometimes you prefer music as a casual backdrop to a busy life; alternatively a deep dive seeking stimulation is the ideal driver to fill a vacant space. A perfect candidate for the latter is the 4th album release from Canadian roots artist Kaia Kater. STRANGE MEDICINE has been a slow burn with a six year gap since Kater's last record. Its unveiling reveals a compact collection on the surface expanding in an exponential dimension as each of the ten tracks is explored. The dedicated listening experience yields acres of satisfaction emanating from an artist with a thoughtful demeanour. 

Strong connections are on hand to add shine to the content. Fellow Canadian Allison Russell features on 'In Montreal' where a hometown lure simmers through evocative vocals and trademark banjo. Opening the record sees the services of Aoife O'Donovan enlisted on 'The Witch', the final pre-release single tackling historical misogyny through the narrative of revenge. This mystical opening sets the scene for the record. The third named associate is Taj Mahal lending a hand to 'Fedon' where Kater returns to her Grenadian heritage in a song about a revolutionary figure. More banjo is joined by violin here. Six tracks in and a familiar sound is embedded. The album title is also revealed in the lyrics to this track.

Photo by Janice Reid

A slight deviation in style elevates 'Often as Autumn' to one of the listening highlights. Strong vocals, a minimal sound backdrop and a delve into the paranormal stimulate the senses to energise the engagement. There are strong folk credentials to this track. A similar feel comes from 'The Internet', the first song to surface around the turn of the year and almost an outlier to the underpinned tone. Here the writing is more explicit in sentiment as digital connection is lamented. Those attending Kater's winter UK shows will also associate it with spilt drink! 

There is a lyrical draw to 'History in Motion' where an observation agenda drives a meditative song exploring barriers. Yet more banjo filters into the ears, similarly to the beguiling and wistful 'Maker Taker' inspired by a brave detachment from how others perceive your songs. 'Mechanics of the Mind' leaves a musical mark with strings and a steady hypnotic beat. Further exploration reveals the long process getting 'Floodlights' from raw parts to recorded song. Listening first time draws you to the near spoken lyrics. 'Tigers' is a ruminative ending closing the lid on a finely tuned and deeply personal music collection.

STRANGE MEDICINE is the antithesis to a quick fix. Kaia Kater's music is an immersive experience. Stripping away a shrouded exterior exposes subtle layers of instrumentation alongside poignant writing drawing solace from self analysis and viewing a world through different lens. A complex record devoid of significant hooks is compensated by a towering lyrical presence and a miscellany of sounds embodying the roots spirit. This is a record best consumed in full and solo where a commitment is lavishly rewarded for those of a discerning disposition. 

 

Album Review: Tim Easton - Find Your Way

www.timeaston.com

American troubadour Tim Easton re-establishes a status of current recording artist with a brand new album moulded to match the ideals of those who drool over top notch folk-Americana song writing. Assisted by the capable hands of esteemed Oklahoma label Black Mesa Records, FIND YOUR WAY acts as a compass to navigate the buzzing mind of someone heeding a call to entertain through song. Easton is never too far away from new material with 17 albums surfacing across a 30-year career. Location frequently fires the imagination to fill the content. Numerous places across Europe and North America have been home for this wandering soul with the Canadian city of Victoria being core to the new record. Under the guidance of Canadian Leeroy Stagger (a past favourite here when he focussed on the UK), Easton gifts ten tightly crafted tracks inducing serious listening and critical enjoyment. 

The album can be interpreted in two halves. The first five tracks are generic in style. The title number starts at the location of 'the corner of Trinity and 41' pointing the arrow of the album's direction. 'Find Your Way' is followed by a reassuring message spilling out of 'Everything You're Afraid Of' as Easton spins a laudable web of words. Kindness vibes ooze out of 'Here for You' before the character song 'Jacqueline' triggers a pondering thought. The 'q' in the name is in the pronunciation, something curiously never heard before. A minor note not detracting from a fine song. The first half ends on a telling high with the non-autobiographical 'Little Brother' addressing addiction in a song bestowed with deep feeling in the lyrics. Place wise, we venture out east to Bangor Maine for the setting.

A stylistic feature of the record is the definable sounds found in the second half. We kick off in blues mode for 'Bangin' the Drum (Inside My Head)' from intro through to its earthy conclusion. 'Arkansas Twisting Heart' possesses more than a hint of rock n' roll as a groovy road song sets out its store. The road and a rocking backbeat conjures effect to 'Dishwasher's Blues' evoking a country sound solidified by the appearance of fiddle in the latter stages. A cowboy folk love ballad could describe 'What Will It Take' as Easton prepares the way for a fitting finale. 'By the End of the Night' is arguably the most memorable song on the album with its simple infectious sentiment. You can envisage this song having a previous life as a 50s-60s pop ditty - catchy and weepy. 

Throughout its procession, this amenable collection of songs gets the Easton gravelly road worn vocal treatment. A fitting trait offering credence and a sense of heartfelt authority. 

Tim Easton is an artist that may at times pass quickly along your listening conveyor belt. Bets are off that pausing for a moment to absorb his work will enrich any musical passage. Dig deep into his catalogue or just sample the fine wares in FIND YOUR WAY to discover a literary magnet wrapped in fine musicianship. 

Album Review: Ruth Moody - Wanderer

 

www,ruthmoody.com 

Around a decade ago, the music of Ruth Moody was on a high branching far from her Canadian homeland reaching appreciative ears in Europe and beyond. She was in the midst of forging an acclaimed solo career after rising to band heights as an integral member of the acclaimed roots outfit Wailin Jennys. On a minor self indulgent point, her Warwick show in 2012 was the first ever published gig review on this blog and she toured again a year later with performances caught in Oxford and the Maverick Festival. Little did we know at the time that THESE WILDER THINGS, her second solo album in 2013, would see a halt in new material for a lengthy period, and from all activity a couple of years later following a successful association with Mark Knopfler. Such a precious talent was never going to be buried for good and, now with family adjustments in hand, the time is right to share her musical gifts with old and new fans alike. Tuning into the gem that is WANDERER leaves the last decade in a blink with a seamless resumption of golden music possessing all the charm of folk and roots music. 

Ten sensually textured and adeptly layered tracks cradle finely spun vocals shining the spotlight on Moody's innate ability. Raised in Manitoba though often active in Nashville where the album was recorded, a vast array of talented musicians have lent her a hand, most prominently Anthony Da Costa on guitars and Joey Landreth duetting on one of the leading tracks 'The Spell of the Lilac Bloom'. This song was born out of an impending pregnancy and a banjo backdrop lavishly flavours the sound. 

On a record of many highlights from a high base, 'Twilight' is the first track to elevate the interest, a song resonating with a relationship focus while forging a solid impact. This immediately followed album opener 'Already Free' instantly hailing a sumptuous return.

Photo by Kaitlyn Raitz,

For lovers of twang, the place to be is at the heart of the record with pedal steel adding a delicate touch to the elegantly tuned 'The Way Lovers Move' and another prime candidate for the album summit in 'Michigan'. A deep personal emotion spills out of the latter warmly felt by the listener. Although a tight roots style binds the album, there is a definite folk leaning in 'North Calling' with banjo playing a strong part in a poem-cum-song purring with traditional undertones. 

With much of the album chronicling Moody's hiatus, it is of no surprise seeing lockdown feature in the notes as an inspiration, namely in  'Seventeen' where reminiscing goes into overdrive in a song enhanced by a fuller sound. In contrast, a sparsity to title track 'Wanderer' sparks the appeal. Inspired by love at its strongest, this stunning song has a spine tingling feel to push the record to new heights. 

'Coyotes' and 'Comin' Round the Bend' complete the complement and are two of the older songs chosen ensuring a full pack of meaningful compositions. The former has an upbeat middle that piques the ear, while the latter benefits from a re-worked string arrangement. 

The assembled studio band frames an astutely crafted batch of Ruth Moody songs to announce an album stacked with a wealth of major moments making it an instant hit. The depth, guile and overall quality to WANDERER ensures this is one of the best comeback albums of the year. Those in awe of Ruth Moody's pedigree will be in no sense of shock to what has been produced, while there is ample strength to open a few new doors as well. 

Gig Review: Kacey Musgraves - Civic Hall, Wolverhampton. Monday 13th May 2024

 

Kacey Musgraves last toured the UK in 2018 when promoting the GOLDEN HOUR record. Much has happened in the intervening period including the release of two albums taking the quota up to six (including the Christmas effort!) since breaking into the big time with SAME TRAILER DIFFERENT PARK in 2013. Evolution defines the progression of an artist flickering on the border between country and pop. Each record sparks debate on the fringes, while shoring up a fanbase fully behind their hero's directional whims. 2024 sees Musgraves in a good place, comfortable with an album reflecting a clearer state of mind and strutting a stage with assured confidence and wit. 

New horizons on the touring landscape have emerged with Wolverhampton muscling in on nearby Birmingham's monopoly of mid-sized gigs over the last few years. Marketing calls this venue The Halls, enhanced local knowledge will always address it as the Civic Hall. Either way a lengthy yet impressive revamping means more near-sold out nights like this are required to recoup the investment. 

The run up to this penultimate venue of the UK leg of the DEEPER WELL World Tour proved interesting. Heavily discounted stalls tickets were easily available on reputable sites, yet there was barely a space to move on a packed floor. Without insight, it is difficult to say whether losses were incurred or a question mark against ticketing prices. The upside was £31.50 resale all in, a third down from booking the same ticket on release day. Food for thought, and ultimately more palatable. 

Madi Diaz was invited to open the UK shows and this fellow US singer-songwriter felt at ease sharing stories to fresh ears. The half hour set fell into two parts. The opening segment was delivered via an ineffective and overpowering electric guitar with lyrics suggesting a lack of maturity in getting the message over. When switching to acoustic for the final couple of numbers, the sound was richer accommodating songs with a greater credence and reach. A mixed bag from a performer with a lot to offer. 

This was the fifth time watching Kacey Musgraves play live. Manchester 2014 (Country and Western Revue), Royal Albert Hall 2015, Country to Country 2016 (super Sunday with Eric Church, Chris Stapleton and Andrew Combs) and Birmingham 2018. The first the most eye opening; the latter the most reassuring. Wolverhampton 2024 felt like a crossroads. 

A stripped down 'Follow Your Arrow', now an acoustic mid-set number, is the sole survivor from the first two studio albums. Fully expected from an artist's desire to reflect their current zone and sole retro shows can be stale without improvise. There has been a sea change in style over the decade and this was overtly reflected in the live experience between 2018 and 2024. 

Contentment replaced sparkle in the band. The current eight-piece line up was well stocked including Sarah Buxton on backing vocals. Guitars, banjo and keys plugged away. Pedal steel remains prevalent even as the country feel fades with lack a zip and distinctive twang. Sometimes on a big stage you want the band to spark the star. 

With 95% of the setlist coming from the three most recent records, hope more than expectation led the way. In contrast to the adorable SAME TRAILER DIFFERENT PARK (2013) and PAGEANT MATERIAL (2015), GOLDEN HOUR (2018) required diligent scanning to hive off the gems. The post-lockdown STAR-CROSSED (2021) flickered without sustenance leaving DEEPER WELL (2024) to shape the present. This latest record has found a cherished personal listening place, but evidence points to not yet making a significant move from studio to stage. 

Song highlights from the hour and three-quarter long set were 'The Architect', 'Deeper Well', 'Rainbow', 'Slow Burn' and 'Follow Your Arrow'. Covers were kept to a bare minimum. Zach Bryan's 'I Remember Everything' was a shoe-in given Musgrave's presence on the hit, while 'Three Little Birds' was a telegraphed formulaic closer. 

The abiding summary from this gig is an assessment to whether a hugely enjoyable and committed Kacey Musgraves gig quest has come to an end. Belief in the artist securely remains, but the present somewhat clouds the vibrancy and freshness of some truly memorable nights. Time will likely delay a decision if ever needed. Perhaps the live music heart lies in a place of greater connection. That certainly wasn't The Halls on this Monday night. Ultimately, it is healthy that being a fan is conditional.  

Album Review: Blue Rose Code - Bright Circumstance

 

www.bluerosecode.com

BRIGHT CIRCUMSTANCE is Blue Rose Code's fourth collection of new music in the last decade and an album fully equipped to elevate the band to fresh heights. From a tidy pile of ten tracks maximising every beat of a forty-three minute soundtrack, a cauldron of moods, styles and prime songwriting bubble within a structure targeting the listening sweet spot with precision and panache. Exiled Scot, Ross Wilson is renowned for imprinting a personal identity onto a band sculpted in a musical journey following the contours of life itself. Assembling a talented array of musicians tightens an emotive spin leaving a record stacked with many nuances and lavish moments of an expressive approach to nailing an accessible song. 

Although an astute songwriter, Wilson has opted to place an innovative version of 'Amazing Grace' at the heart of the running order. From one perspective it splits the album into near two halves enabling the listener to assess in smaller chunks, on a more forensic level perhaps the words possess a greater personal relevance. Outside of this curve ball, one frequently finding a home in roots music, the writing is almost in the solo domain of Wilson barring a co-effort with Donald Shaw on the arrangement to 'MacDonald's Lament' where the style deviates into the left field waters of adapting the spoken word. 

On a more conventional level, the opening four tracks show Blue Rose Code on top form chiseling evidence of longstanding tags such as Caledonian soul, folk and Americana. A big sound dominates the launch with the refreshing soulful vibes of the rousing 'Jericho' getting the hips shaking. A couple of tracks later, 'Never Know Why' reintroduces the faster tempo securing that aspect in fine fettle. The listening antenna is finely adjusted to garner the full lyrical effect from the other two early tracks with 'Sadie' eloquently putting Wilson's late mother into focus and the narrative of 'Thirteen Years' bringing a fervent political pursuit to the fore. Many memorable lines enable an alignment between Wilson and empathetic listeners. 

The highlight of the second half is the pensive 'Peace in Your Heart' where the tempo allows each sinew of sentiment to settle. Blue Rose Code is synonymous with Wilson's natural Scottish brogue, a trait that travels far, and as relevant here as anywhere. Sparkling moments of adorable pedal steel courtesy of Conor Smith liberally illuminate the album including the spine tingling latter stages of 'Easy As We Go'. For a delve into spiritual aspects 'Don't Be Afraid' lures the listener as things start to wind down. The final act serenely begins with a gentle dose of mandolin leading into 'Now the Big Man Has Gone', a track poignantly ending with a significant voice message. 

An active studio enacts a lush live sound in BRIGHT CIRCUMSTANCE with an uplifting tone and accentuated sensitivity. Vulnerability is exposed on the confessional canvas of this supremely strong Blue Rose Code album. Horns, strings and twang add flavour, yet the innate intimacy and honest traits of band leader Ross Wilson remain the dominant piece. 

Album Review: Jenny Colquitt - Staring at the Moon

 

www.jennycolquitt.co.uk

Some artists hit the buffers with the second album, while others use the experience to release a record surpassing the heights and promise of the debut. Jenny Colquitt falls into the latter category in the wake of sending out STARING AT THE MOON into a world ready to embrace a blossoming singer-songwriter. You sense in the midst of a seasoned veteran backing their own vocal and writing skills, aided by an optimum production. Ten cinematic tracks widely hit the mark. Colquitt's voice pitches its tone to perfection using a measured approach essential in bringing the best out of songs stacked with lyrical nuggets. 

The independent status of this singer-songwriter from the north-west of England means the songs have to be stern efforts to engineer a ripple in a crowded market. Colquitt immediately sets a high standard subsequently avoiding significant dips. Intermittent peaks pop up with several moments built for a big radio audience or swooning a live crowd in a multiple of staged settings. 

Colquitt has previously released a brace of EPs sandwiching the album SOMETHING BEAUTIFUL that boosted her career in 2021. Live appearances have bubbled away with  festival slots and an evolving road presence Expect this side to grow, now an enhanced canon of songs is in the locker exemplified by 'Fallen Angels', a potential live firecracker with its infectious chorus inducing repeated singalongs. Reaching out to your audience is a trait core to Colquitt's act.

As deduced from the album title and referenced in the notes, the concept of little things in a bigger picture drives the lyrics. Accessing these when listening is a useful aside to marvel at how well Colquitt flexes her literary muscle to furnish finely crafted songs. The theme is taken to its nth degree in the final piece where title track 'Staring at the Moon' lavishly closes in a symphonic wrap. 

Subsequent plays lift 'I Won't Let You Drive' as a mid-album gem to drool over. The tempo may be at its slowest, but the mood induces shivers with the odd vocal spill into the company of Dolly/Whitney. Inspiration for the stunning album opening 'The Bravest of the Brave' will likely be learned in the intimacy of live shows, though you do get a sense of how special 'Isla' is.

Strains of Sinead O'Connor flicker in the opening lines of 'Without You' as the now trademark power ballad evolves. Strings kick in during the song to somehow make the lyrics  more meaningful than on the surface.

The instrumental intro to 'No One Loves Me Like You' has Keane from the mid 2000s written all over it, returning midway to decorate one of the album's more tuneful numbers. The lyrics are a little sparser in 'Dear Me', a serene moment when time is made available to reflect. Piano frequently forms the sonic landscape featuring on the slightly haunting 'For a moment', where an ethereal vocal opening escalates in sync with the tempo. 

'I'm Fading' is a tender offering in the early stages where the vocals find the right pitch to supplement a song blessed with heartfelt pleas pouring from the lyrics. 'My Design' resides in the penultimate slot and rides the crest of a wave from a record in full flow. The song builds to a crescendo with 'this is my design' crying out to re-enforce the message. 

STARING AT THE MOON possesses the craft and vigour to navigate a tough world projecting the artistic qualities of Jenny Colquitt to new levels. The raw credentials and an ability to pierce the listener's inner sphere sow the seeds to make it an instant winner on a micro scale. Justice may not be easily forthcoming, but small wins can accumulate into something bold. Pride in creating a stimulating album is the starting point with horizons broadening as the reach widens.