Gig Review: John Blek - Thimblemill Library, Smethwick. Saturday 28th September 2024

 

www.johnblek.com

It was almost six years to the day since John Blek was first introduced to Midlands music fans when he opened for Frontier Ruckus at the very venue he returned to this evening. The team behind the Thimblemill Library music presentation have proved valued supporters of this Cork-based singer-songwriter including inviting him to an early post-lockdown gig at a nearby upstairs pub room when available venues were thin on the ground. Looking back to a write up of the inaugural September 2018 evening saw that impressive traits of style and delivery remarked then were still high on the appreciation agenda half a dozen years further into an increasingly acclaimed career.

This most recent visit to the West Midlands was in the final stages of a tour promoting an album released in early September. CHEER UP joined a length of several recordings to pop up since 2015 and help cement a burgeoning reputation of a stimulating folk-inspired operator warmly welcomed in Americana communities. The album proved the cornerstone of Blek's set joined by older songs and an iconic concluding cover loved by all of a folk persuasion and wider afield.  

There was a late change of line up when Jessie Reid pulled out on the morning of the show on health grounds. The eleventh hour stand-in was a familiar face in Amit Dattani who has appeared at the library several times before. The most significant revelation from a short 30-minute set was a new album ready to be unleashed in the near future. Out of necessity, there has been a move to electric guitar, both live and on the new record. Regardless of the medium, Dattani's deftly applied picking skills and quaintly executed roots-derived songs will alert keen fans to what he will deliver next. Jessie Reid is set to return  to open for another show later in the year. 

From his opening song, you sensed John Blek being completely in the zone. It took a couple more songs before evocative and the odd quirky introductions kicked in. Overall adding value and becoming more communicative with the audience as the show progressed. The pinnacle of the interaction came in the closing stages with 'The Body' inviting a degree of participation resonating in a track that had become a lockdown playlist favourite in the world of pilates. 

Shining through during the performance was a love for guitars filtering down to how they are played. A skill delicately adorning a raft of lo-fi songs. The Irish wit is as subtle as you can get and musings ranged from the humorous to profound observations surmising on the depth of art. All immediately lured newbies onto the performer's side willing him  to succeed. The faith was repaid with a humble appreciation to those keeping live music alive. 

Visits to the West Midland are often accompanied by life changing moments for John Blek. He shared the big change of due to become a father in a couple of months time. Fuel for a singer-songwriter no doubt. Having spent his time in the spotlight shining a torch on the inner mind of a songwriter's output, the final gift was sharing the 'The Times They Are A Changing'. Certainly relevant here.

While the songs of John Blek are generally not awash with hooks and repeated choruses, a smooth Irish brogue and wry humour gently lubricate the ears of the listeners to get the best out of what is subsequently shared. It is the complete package that marks John Blek out. A warm demeanour and deep rooted talent blend into a relatable and likeable artist. You sense somebody passionate about the art of song and an innate style to express a love through a medium easily accessible to fans tuning in. 

Album Review: The Lost Notes - Good Luck Shoes

 

www.thelostnotes.co.uk

The Lost Notes are a five-piece band highly active on the Midlands music scene with a keen eye to expand their horizon nationally. They have built a reputation as an adaptable and entertaining live outfit comfortable in a slimmed down three-piece where necessity ensues. To supplant the many live shows, the band led by frontman, lead songwriter, vocalist and multi-musician Ben Mills, have twice been in the studio to record full length albums. RUN FRE RIGHT NOW kicked things off in 2017, while LOWLIFES & HIGH TIMES proved a lockdown hit in 2020 as we were about to be confined to our homes for a long winter. Now opportunity has knocked for this independent band to return to the studio and the result is GOOD LUCK SHOES, a ten-track effort coated in the effervescent identity curated by a band adept at encompassing accomplished recordings into fun nights out. 

The core trio of The Lost Notes is Mills, his wife Lucy on vocals and Oli Jobes providing most of the guitar licks. For this album, and larger gigs, Max Tomlinson (drums, percussion) and Steve Vantsis (bass) join the fray and the combined effort lays in front of new and old listeners a record buoyant in demeanour and smooth in its relay from performance to keen ears.

From the upfront a cappella chorus chant of 'Don't Try It On Me' opening the record, a sense of Lost Notes familiarity resounds and you settle down waiting for other treasures to emerge. You sense the opener is going to be more upbeat than what actually appears. The smartest part of this song is the melody attached to the opening lines of the chorus - very catchy and gets a nod here. 'Run Like a River' hits the pedal a touch harder in the second slot and now you start to get the full picture of the harmonies that make the band tick, both on stage and on record.

Lucy Mills has been the architect of some of the finest moments on previous releases and she comes to the fore early on leading the vocals on the ballad 'Mine is the Heart'. The beautiful voices blends impressively with her bandmates' and they bring to life a bunch of meaningful lyrics that seem to be on a different plane to what was served before. The credit to this lies with Ben Mills whose solo writing status is tagged to nine of the ten songs. Among these is perhaps the strongest song on the album when the band turn their hand to 'No Place Like Home'. Although genres are generally sidestepped when attempting to pin down The Lost Notes, this track possesses a country feel. 

The album reaches its halfway point with 'God Loves a Sinner' another slower offerings that probably has a dual life of dependable album track and burgeoning live favourite. At this point the largely acoustic guitar work is in the capable hands of Oli Jobes. When seeing The Lost Notes live you quickly realise what a fine player he is and how his sound drives the band forward. Skipping a few songs in the running order sees Jobes' talent turn to songwriting. 'Whiskey for Breakfast' would make a great title for a country song and this redemptive story piece heavily leans in that direction with a touch of the blues tossed in. 

Back to the running order and 'Slow Down' kicks off the second half of a playing time just over forty minutes. This is another to feature the bands's trademark harmonies and another to scratch your head when trying to categorise the style. Maybe it's just The Lost Notes being who they are - influenced by swathes across the roots spectrum but wholly individualistic in what they produce. 

'River' returns in the title of a song for a second time when 'I'll Be The River' joyously hits the airwaves with boundless repetition a key feature of the lyrical structure in a track as pacy as the record offers. Another likely live favourite to emerge. 

As we approach the ending, the theme turns to lost love in the swaying ballad 'Let it Rain'. A song with a decisive conclusion - 'as the storm gathered over I left her for good.' You can be guaranteed The Lost Notes will close things in an upbeat manner and they duly provide here with 'Wildman', a track enhanced with a rare inclusion of some brass. The lyrics need one or two listens to decipher their meaning if that's how you approach an album. 

GOOD LUCK SHOES does have the dual traits of incorporating engaging lyrics with a sound creating an air of positivity within a range of tempos. It signals a band on the up and edging closer to where they want to be. If a band ever knows that! As a listener, it is easy to get on board and derive pleasure from the engagement. 

Album Review: Dean Owens - The Ridge Trilogy EPs Vol 2 Ridgeline

 

www.deanowens.com 

Dean Owens is taking a unique approach in the run up to his next full album. While SPIRIT RIDGE, the 12th studio album from this award winning Scottish troubadour, is due for release in early 2025, fans checking in early are being presented with a trio of tasters for what to expect from this latest exploration into alternative music landscapes. Commercially savvy or just an outlet for multi layers of content, Owens is releasing three four-track EPs of material derived from a dip into the aura of the Italian hills and a hook up with producer Don Antonio. RIDGELINE is the second of these EPs, which consists of digital and CD formats, and hits the shelves on September 27th. Its predecessor GHOST WALKING opened the project in July (see the Bandcamp link below) and SACRI CUORI will complete this phase at the end of November. 

While some of the work from THE RIDGE TRILOGY will appear on the full album, albeit likely in fuller versions, various elements are strictly confined to the pre-release formats. Ultimately, interested listeners will have a choice to how far they want to dive into this project. Die hards will immediately jump in, while more causal acquaintances may choose to sample the wares from the EPs and immerse themselves into the full album. This is likely to be the strategy expectations behind the release method with all the tools of modern listening modes utilised.

For now the four songs added include a pair of EP exclusives in 'On the Ridge' and 'Come With Me'. As you would expect from a Dean Owens' record, the accompanying soundtrack is classy and accomplished complementing vocals that are as distinctive as you get in the UK contemporary roots scene. Expect strings, horns and a pulsating beat to adorn songs intelligently constructed. 

These two luxury fillings are sandwiched between a couple of tracks set to appear on the eventual album. 'Light This World' opens the collection and features the drumming of John Convertino from Calexico, a liaison instrumental in the practicalities of the Italian side of this venture. This lush song is worth checking out. 'The Buzzard and the Crow' brings things to a halt for now and is an outlier in being a demo recorded in Scotland. For a different take, the version on SPIRIT RIDGE is slated to have the full band input.

Dean Owens continues to be one of the most innovative and creative musicians on the UK roots circuit. One foot in the camp of the standard fare we love and another taking you into different stratospheres. If you thought his recent past has been prolific, it looks at the same pace for the immediate future.

Look out for the third instalment in a couple of months.

Album Review: Julian Taylor - Pathways

 

www.juliantaylormusic.ca

Toronto-based singer-songwriter musician Julian Taylor is riding a current prolific wave of activity that has supported an excursion into UK music communities. Two full albums, a career anthology, shorter releases and a couple of trips overseas have cropped up since 2020 when his name first appeared for many. In contrast, Taylor has been making music for over 25 years in his homeland accruing much acclaim and tangible recognition. Now the catalogue is expanded further with the release of PATHWAYS, an eight-track album of original compositions from both solo and collaborative writing set ups.

As is the current trend, half the songs have strategically hit the digital market in a six-month pre-release period culminating in a title track attractively featuring the talents of fellow Canadian Allison Russell. 'Pathways' holds court at the mid-point of this concise release where not an inch of space is wasted. It sedately proceeds in a dreamy haze with a subtle message to 'follow your heart'. A relatable chorus repeats to embed a pleasing mode of soothing music into your bones. 

Most of the album strolls along at a contemplative pace, the exception being 'Running Away' where a toe tapping beat induces the odd hip shuffle. The track possesses a rock 'n' soul feel to the vocal style with the theme posing questions like 'am I just running away'. A nifty guitar solo adds to the track's credence in the latter stages. 

Faint hints of pedal steel adorn the album in the opening and closing salvos. The pensive 'Weighing Down' introduces the record with Taylor's richly toned vocals catching the ear. The song evolves around hope and self-love exemplified in 'you've been hard on yourself/That's time to let things soften now.' Around half an hour later the softly spun closer 'Into the Waves' exudes melodic and therapeutic qualities, while succinctly and satisfyingly sealing the deal.

Among a handful of co-writes is 'See This Thing Through' a return to a slower pace with a stellar chorus brimming with a similar effect from listening to classic West Coast soft rock. This is a developing standout as you help yourself to extra helpings of an album tempting you into repeat hits. From a personal perspective, 'Love Letters' edges past its contemporaries into the top spot with a sound echoing the basics of love in the realm of a country lullaby. A gentle roots interlude courtesy of mandolin and background atmospheric accordion project the appeal.

The final two tracks hone in on musical diversity. 'Sixth Line Road' is a bluesy sauntering number with a rhythmic bass line. A soulful segment towards the end ups the ante and a clever lyrical structure boosts a message ripe in social commentary. A first class soundtrack from the assorted players adds value to 'Ain't Life Strange'. One of Taylor's solo compositions where a slight vocal deviation accompanies a thinking song seemingly sought from the writer's inner most thoughts. 

Julian Taylor comes across as an artist oozing with talent. Writing, playing, singing or interpreting styles proves no obstacle, or at least that's how it transmits to the listener. PATHWAYS may be a small piece in a larger career but its big heart captures the mood of a seriously good musician. 

Gig Review: Jill Andrews - Kitchen Garden, Birmingham. Sunday 22nd September 2024

 

www.jillandrews.com

For around half an hour in the second set, Jill Andrews hit a purple patch delivering near faultless music. A pitch, note or chord were hardly out of place as an artist sitting comfortably in their zone thrived on a compatible and supportive platform. A fan experience never to be taken lightly whether up close and personal at the grassroots or lavishly savoured on a grander stage. Of course imperfections can connectively bring live music into a sense of reality and towards the end of the show invited audience  backing vocals to 'Joy Ride' suitably provided this. Ah, the magic of being at one in a small room.

Nashville-based Andrews was making a second visit to Birmingham after playing a show at the nearby Hare and Hounds in November 2022. For many present that night, she was a new name on the block, although mainly from a UK live touring circuit perspective as there is a fully stocked twenty year career in her music locker. Positive impressions brought many back for a second helping at the Kitchen Garden and they were set to be rewarded. The interim period saw a different side to Jill Andrews when she brought the band to the Long Road Festival in 2023 where a fuller sound added a different dimension to acutely crafted songs.

While the Hare and Hounds and Kitchen Garden complement each other on the Kings Heath music scene, the latter wins hands down when a cultured singer-songwriter plays to forty pairs of tuned-in ears. The intimate environment creates the perfect atmosphere for such nights to impeccably flourish. Within this scenario, the Birmingham return saw an off-the -scale upgrade and a performance leaving the head scratching of a similar experience in the flawless category. 

The evening was part of a short UK tour promoting an upcoming EP titled THE BIG FEELINGS. It is good that Andrews has this side of the pond on her touring horizon at the moment and long may it continue. Scanning her solo back catalogue reveals several short releases nestled alongside full length albums, so it is not surprising that an EP follows last year's MODERN AGE record. The set list featured a handful of new songs including the title track, the aforementioned 'Joy Ride', which was the first single release, and 'Old Scars' - a song inspired by a friendship with a homeless person.

We didn't have to wait long in the first set for a couple of fan favourites to feature. 'Sorry Now' opened the evening and a few songs later we were treated to the utterly gorgeous 'Sanctuary', a co-written song soaring to fame in the UK via the TV show Nashville. Among the many exposures into the music mind of Jill Andrews we learned of her thrill for co-writing and how writing for the small screen had boosted her solo career. Deep in the second set, she played 'Tell That Devil', chosen as the theme tune for Wynonna Earp.

The latter showed a different style to Jill Andrews' 'repertoire', a darker punchier sound in contrast to a trademark soft spin on a triangular axis of country, folk and Americana. Underpinning her craft is a high  calibre singer-songwriter with an effortless delivery poise, who you feel with a prevailing wind could light up some of the UK's grander venues. Probably more lucrative than the Kitchen Garden, though never supplanting that special feel of connectivity. 

The first set contained more chatty nuggets than the second, which rolled out as a song continuation. Inevitable touring quips about the UK filtered out, pertinent on an evening when heavy rain lashed down on the nearby patio roof adding at least some element of rhythmic percussion. More enlightening were comments on the echo qualities surrounding her Parthenon Sessions release where some of her popular songs were given a regal and ancient makeover in a Nashville replica.

The song that rose to prominence for me was 'Drive Away With You'. One of several second set numbers that seamlessly flowed when in the zone. This was lifted from another EP titled ELLEN. There is a whole raft of solo Jill Andrews work to check out online, and if you want to delve further then a trio of albums from the early 2000s exist when she was part of the highly acclaimed duo Everybodyfields. As rich is her past, the future looks well-stocked and ready to plough on in a similar vein. Good news for UK fans buying into her touring shows.

Jill Andrews' previous visit to Birmingham was anxiously spent wondering if a fan comment that Robert Plant would turn up was true. Maybe more likely if playing his neighbouring Worcestershire where he is regularly seen checking out first rate Americana talent. Alas, he didn't appear again this evening, but there were forty superstars present, attentively locked into a talented artist playing supremely delightful music that matters.