Gig Review: Sorrel Nation - Temperance, Leamington Spa. Sunday 27th October 2024

 www.sorrelnationmusic.com

If this was the start, the endpoint will be something else. The journey in-between will likely be one not to miss. 'Start' may be a loose word to attach as many miles, hours and endeavour have gone into the craft of Sorrel Nation to reach a point where things are beginning to happen. A debut album launch tour reached its conclusion in Leamington Spa to cap a period of increased awareness and accrued praise. Whispers and  local recognition are morphing into a larger entity where the name and music of Sorrel Nation is considerably growing its presence. Diving deep into a gorgeous album and subsequently listening to the songs in an intimate setting completes a mini circle of engagement and one to derive heaps of satisfaction.

LOST EN ROUTE is literally only weeks old to the wider world and, in the vein of smart artists, its entirety was shared in the cosy surroundings of the basement performing space in the Temperance. We learnt for this final date of the tour that the band format was slimmed down with the drums and bass departing early. However the strength and malleability of the songs brushed them up for a stripped back airing, though after the break an extra vibe was added with guest cello and keyboards.

The vocals held up after a busy period and there were several significant moments where some extreme notes were conquered. This side of Sorrel Nation's musical artistry is one of her key assets, neatly nestled next to an ability to match meaningful lyrics with enticing melodies. A diversity to sweetly serenade in a softly spun folk style and rock out in an absorbing manner shows the breadth of talent. 'The Way the Wind Blows' and 'Dead Man's Road' from the new album perfectly exemplified this. 

The evening's headline performance first set saw guitarist Sam Anderson join up in a duo format. His playing skills were a feature of the show, showcasing the full range of an electric repertoire within the confines of a small space. He also offered support on acoustic guitar complementing Sorrel on her own take with the instrument. One key moment in the first half was when she ditched the guitar and poured her heart into a version of 'Who Knows Where the Time Goes'. A staple of folk rock pretence slowing things down, though only ever borrowing it from Sandy Denny. Other features of an impressive start were opening track 'Old Man' and dipping back into the pre-album stack of songs with 'Slow it Down'.

After the break Theo Holder, Sorrel's partner, turned the duo into a trio via the cello. We got the impression this aspect of the live set up is a newish venture. The added dimension brought extra vibes to tracks such as 'Lost En Route', 'Eggshells' and 'Crazy For You'. The latter is the closest yet to a Sorrel Nation signature tune. A slice of recording gold sounding as good live as from the studio.

The high quality studio production is one of the album's highest merits. For a grassroots artist, adaptability is the key when taking to the road. A skill securely held in the band's locker. We later gleaned that further full band tours and a slate of solo dates are in the pipeline. No time like the present to exploit the talents in multiple and practical settings. 

Two other covers defined the influences. Straight after the break, support artist Clare Portman accepted the invite to play keyboard on a blessed version of the Gillian Welch classic 'Look at Miss Ohio'. While unequivocally English in her creative outlook, the style of Sorrel Nation blends into Americana-tinged sounds. Portman returned for the encore when the now-assembled quartet sent a sold out Temperance home in the Leamington Spa rain with a rip roaring version of the Marshall Tucker Band's addictive tune 'Can't You See'. Cue some final top playing from Anderson let loose on electric. 

Clare Portman, a Midlands based singer-writer and associate of Sorrel Nation from her days in the south east, played a short opening set of mainly personal songs. The pick of these was one described as a 'long burner' and written in honour of her late father. From the keyboards it sounded hugely emotive and endearingly good.

The Temperance proved a fitting attentive setting for this final show of the tour. It provided a close up exposure of what Sorrel Nation is about. Folks entering the room with high expectations had them matched. Those taking a lucky punt pulled out a gem. The start of this singer-songwriter-cum-invigorating performer raising her profile has eased quickly through the gears. Plans are afoot and inspiration seems plentiful. Catching a piece of the action is a no brainer in the near and mid future. 

Gig Review: Robert Vincent - Actress and Bishop, Birmingham. Thursday 24th October 2024

 

Robert Vincent is the voice, pen and soul of this thing we call UK Americana. 2024 is his purple patch year. The new album has proved worth the wait to lead while others follow. Shows are beginning to multiply and two festival appearances dealt a couple of hours of exhibitive guile. Adaptability is the key at this semi-grassroots level, full band, solo and various duo formats match the venue and the moment. Each performance adds to the memory bank, one requiring extra capacity as we are now over a decade into following the career of this singer-songwriter.

Hiccups are part of the journey and finding a niche on the Birmingham gig scene has proved elusive. A reduced songwriter's round with Dean Owens at the back end of 2017 didn't kickstart the listening rooms and few shows emerge from The Sunflower Lounge as life affirming. Although that night in 2019 unveiled a liaison with Matt Owens that has gone from strength to strength. A Moseley night was mentioned, but that passed me by and hasn't been repeated. Curiously a Stourbridge date was announced earlier this year. Having lived in the town for 28 years, the venue wasn't convincing and another gig won a head-to-head clash. The latest venture accrued a booking at another city centre location, with the Actress and Bishop in the heart of the Jewellery Quarter providing a setting for this section of the Barriers Tour.

Over the last few years a handful of potential gigs have cropped up at the Actress and Bishop, but this was a first visit. It will likely be the last as the venue was totally unsuitable to what makes my gig journey purr. An awkward configuration leaves the stage as a non-focal point. The outer rim of the room acts as a magnet when the crowd numbers around fifty (ideal in the listening venues) leaving the artist playing into a void. The sound engineers have a perpetual battle and other niggles played their part. The venue is pleasant enough and ideal for a packed Friday night experience where idle chatter fills the air and an inconsequential band plays in the background. Singer-songwriters should steer clear of this place.

The fear of any vocal performer is voice impairment. The conundrum is when to resume in the middle of a tour. Robert Vincent marginally landed on the positive side of resumption. Nights have been spent in the company of artists who should be nowhere near a stage. The crowd were largely at one and a communal feel pulled things through. The songs were still there if the majestic vocals needed an extra dose of R and R. We were promised a different show next time. Please don't make this the Actress and Bishop.

The last Robert Vincent duo show seen was an absolute gorgeous set at The Long Road Festival with Anna Corcoran on keyboards. This evening Danny Williams, a regular band member, on upright bass was the partner. Whatever the stature of the musician, the effect of bass and keys on the audience is incomparable. My view on bass is it makes the artist tick. The chemistry between the pair was on the mark. 

For a reasonable city centre outlay, we had two hours of music. The opening act Leah Wilcox played for half an hour before Vincent and Williams took to the stage just before nine to play a well-stacked hour and half set. There was a notable switch in set material from the other two recent Robert Vincent live performances seen. Both The Long Road and the more recent full band effort at The 7 Hills Festival featured a trio of songs that have cracked the writing code in 2024. Strangely, 'The Insider', 'Burden' and 'Follow What You Love and Love Will Follow' were all missing, alongside the staple 'So in Love', admittedly the latter is better with a full band. Whatever the reason, and artistic setlist control remains an imperative, not giving these three gems oxygen at this moment in time is like finding three jigsaw pieces missing. 

Ultimately, gig reflections should focus on what sounds filled the air. The picks of a growing catalogue for Birmingham 20024 were 'Keeper of the Heart', 'The Beast Inside', 'The Kids Don't Do God Anymore' and 'All for You'. Maybe the new songs aren't omnipresent yet, a statement you can't attach to 'I'll Make the Most of My Sins' and 'Demons'. They would only be missing when the ravens escape!

Robert Vincent makes and plays music that dreams are made of. However, there is a need to find venues where those dreams can be fulfilled. The stars don't always align, but you should never cease the search to find the perfect gig. One day the full band will play a scintillating show on a platform worthy of the eminent talent. At the other of the scale, Robert Vincent, the stripped back singer-songwriter, will find the ideal space in Birmingham. Over to the movers and shakers to make the Kitchen Garden or Thimblemill Library work. You won't need to issue a 'fuck off' at the end of the first song.

Album Review: Amy Speace - The American Dream

 www.amyspeace.com

Amy Speace possesses a distinctive sound and style. Moments into her 8th solo record, you sense the warmth of familiar territory. Arrive at the end of THE AMERICAN DREAM and the urge to repeat is too strong to resist. Every artist's desire to make their latest record the best yet, few achieve it. We may be in the midst of the exception here. Through an inspiring collection of a dozen tracks, Speace fuses the head and the heart, knowing full well that the team around her will turn her raw songs into recorded gems. If this album does settle in the legacy spot, then a mighty fine body of work is enshrined.

Neilson Hubbard has been the wizard of the production process for heaps of great albums over the years. He has worked with Amy Speace before. Here, his stamp lies as the undercurrent, while perfecting the art of ensuring the right voice is up front. 

It is a brave move to place two of the likely stronger tracks at the start of an album. 'The American Dream' and 'Homecoming Queen' set the high bar and the tone. They remain at the summit throughout the listen, but the others push them to the limit. The title track is pure vintage for folks of a certain age. Over here in the UK, 1976 will forever be remembered for the hot summer. These are staple in the US so memories of the Bi-centenary and Carter versus Ford hover in the background. Speace wonderfully evokes the beauty of youthful dreaming among the era indicators. The underlying message is as strong as the references. Following this opening piece of unabated nostalgia, a delightful character story takes centre stage. A killer melody and a chorus to die for serenades a twisting story. A hint of innuendo spices the tale and a resounding final line captures the meaning - 'she still looks like 1985'. 

A quick leap to the final track reveals Amy Speace the smart listener. When I first heard Jaimee Harris sing 'Love is Gonna Come Again', it melted me. The cover version here doesn't own the song, but borrows it beautifully. When you leave space for one non-original on a record, make it a stellar belter like this.

One song glowing with personal pride is 'First United Methodist Day Care Christmas Show'. Happy memories of the event transcend from writer to listener. The detail is evident, though the notes inform of a video of the occasion that will never be shared. Writing from a personal perspective is a strength of Amy Speace. A view backed up in the early placed track 'In New York City'. This is a candid, fascinating and gutsy piece of strong narrative. Her days in the Big Apple's art scene have been well-documented and this autobiographical account cramming a lot in provides a flavour and is delivered in a trademark theatrical style. 

A lot of Amy Speace's work would easily transfer to the stage or screen. You can envisage 'Already Gone' in a late night lounge bar. Definitely a song to capture a moment. This was co-written with one of her favourite collaborators Robbie Hecht. Among the other co-writes is 'Glad I'm Gone', where Gary Nicholson lends a hand wrapped in a sound with a touch of soul in the bones.

Neilson Hubbard joins the writing fray on 'Where Did You Go?', where he also assists in giving the overall sound an epic feel with strings kicking in. Two other tracks that are as effective in the feelings they generate as the sentiments expressed are 'Something Bout a Town' and 'I Break Things'.

A pair of songs framing the astute writing are 'This February Day' and 'Margot's Wall'. The former is a contemplative number cleverly reflecting on a pivotal day. The latter is inspired by visiting Anne Frank's house in Amsterdam and viewing the adorned wall of her sister Margot. An exquisite slice of observational writing that links with events occurring back home. 

AMERICAN DREAM is the latest in a lengthening line of cracking albums from Amy Speace. A reflective body of work capable of fuelling the future. Lush, expressive and unmistakable sums up the listening experience. Conclusively, it feels real and leaves you at one with the writer. Let it settle and breathe, and the sparkling quality will illuminate. 

Album Review: Beau Jennings and the Tigers - American Stories Major Chords

 www.beaujennings.com

The latest album from Beau Jennings and the Tigers rates highly on two approaches. Pursue a lighter route of using it as a soundtrack to routine activities and its undulating rock 'n' roll score will encircle an environment punctuating moments with enticing melodies. When space is made to dive deep, fascinating lyrics await unravelling where real and fictional storytelling jostle to fill blank pages with poignant memories. AMERICAN STORIES MAJOR CHORDS sums up in four words what the album is about. Expect tender reminiscing awash with the raw sentiment of a tight band playing with the freedom to rock out and own the room they're filling.

This is the 3rd album in five years from an Oklahoma native, now back in his home state after spending time in Brooklyn. You get a sense of what to expect from the title and Jennings duly matches anticipation with a fully stocked package. Eleven songs keep you entertained from the majestically written opener 'Oklahoma Heat', which is gently strummed and strong in recount, to the curiously titled closer 'Sooner Superette'. Awareness of the term 'Sooner' in relation to Oklahoma sport is expanded when further researching its origin, while 'Superette' is a term for a small supermarket not used this side of the pond to my knowledge. Couple the song notes with the lyrics and more real world nuggets and experiences are revealed.

The outlier track is a frenetic exposition of garage-infused punk-inspired rock 'n' roll. The intensity of 'Rubberburn' blows away any dusty malaise as Jennings attempts to recreate the sound of his wife's college band. This track is paired in the running order with the lighter moderate rock tinge to 'Lookin' for a Way' that emits fragrances of post-punk new wave. 

The geographical span of Jennings' career is highlighted in two tracks. 'Broken Angel' is a solid focal track harking back to his Brooklyn days with references to 'tickets for a Mets game'. This track possesses radio friendly credentials and you can't go wrong with a harmonica blowing exterior. 'Boston Avenue' heads a few thousand miles west and back home to Tulsa where childhood grief is dealt with. This latter song contains the strong lines: 'Donnie I still have dreams/Where you’ve come back to get me/Oh you were my hero back then'

Another cracking lyric crops up in 'The People's Porch', where impactful piano plays a backdrop to 'There’s the dreams we have, and the dreams we get/And then there’s the waking up'. This song refers to a lost friend and links up with 'Norman Nights', a song about life in a college town. A decent piece rinsed with nostalgia. 

The title track 'American Stories Major Chords' turns up the heat in the early stages and is a quality full band effort after the temperate opener. Later in the album 'Driving Around' houses a mid tempo beat caressing fictional lyrics, although with a weird sounding ending. More piano and a memorable chorus feature in the final assessed track 'Knockin''.

Beau Jennings cordially invites you into the world of an insightful songwriter and a straight down the middle old school rocker. No frills just honesty, an assortment of chords and stories to be told. AMERICAN STORIES MAJOR CHORDS is swift, sincere and sold to discerning ears. A record to learn from and ultimately enjoy. 

Gig Review: Salt House - Thimblemill Library, Smethwick. Saturday 12th October 2024

 www.salthousemusic.com

Back in 2021 Salt House played a gig in the area under difficult circumstances. The team behind the music at Thimblemill Library were not still unable to host live music in their home venue due to post-pandemic restrictions. In a valiant attempt to get things underway they hired the upstairs room at The Bear Tavern in nearby Bearwood to host shows. At least those tricky days are behind us and it was wonderful to invite this folk trio to play a return show in less turbulent times. The tag Scottish used to geographically describe the trio but in a recent personnel change Anna Hughes from north-east England has replaced the hugely acclaimed north of the border fiddle player Lauren MacColl. Big shoes to fill but on the evidence of this show progressing neatly. 

The original pairing of Jenny Sturgeon on keyboards and Ewan Macpherson guitar are still in place guiding Salt House to fresh pastures of recorded music in a style that elegantly blends traditional sounds with contemporary themes. The songs evolve from multiple inspirations many from the natural world. The key takes from seeing Salt House live is the harmonious therapeutic music drifting across pin drop venues such as Thimblemill Library. The fiddle breathes most serenity while the voice of Jenny Sturgeon adds some Celtic gloss. In combo, the new line up oozes with uncomplicated grace and the softly spun stories add extra flavour to the mix. 

Further enhancing the Thimblemill folk experience was an opening thirty minute rendition of unaccompanied song by local vocalist and musician Michelle Holloway. She launched this solo venture in addition to fronting raucous band Bonfire Radicals at the Library a year or so ago, and the evidence now suggests something improving in finesse and delivery. 

Salt House's return to West Midlands proved a far more fulfilling experience. Obviously the class has always been there but this time a more conducive environment played its part in allowing unrestrained musical entertainment to run its course. 

Festival Review: The 7 Hills Blues and Roots Festival, Komedia, Bath. Sunday 13th October 2024

Matt Owens

Was it Hannah White shedding layers of country vulnerability in ‘Car Crash’? Was it Danny and the Champs reminding us to ‘never stop building that old space rocket’? Was it Robert Vincent pleading for us ‘to find a better way'? You could look wider afield and lay it at the feet of Matt Owens for his vision, passion, craft and sense of community. The sweet spot of The 7 Hills Blues and Roots Festival spawned from countless moments, but ultimately coalesced around the power of grass roots music to bring people together. 

There was a laudable motive of boosting the profile of UK Americana music in the good city of Bath. The knock on effect saw a multitude of folks from ‘out of town' descend on North Somerset’s regency gem to savour a line up right on the pulse of what’s happening at the back end of 2024.

Keiron Marshall

The evocative old cinema setting of the modern sounding Komedia proved an ideal location for this one day festival. The main auditorium hosted the big stage for half dozen full band performances and a makeshift space for a similar number of supplementary sets, purely defined by space not stature or impact. 

From a personal perspective, I was stoked to see seven acts wholeheartedly adored and respected get the call to play. Deal sold before reasonably priced tickets and accessible travel arrangements kicked in making this the wisest of music trips. The whole day was in credit before a chord strummed or new act seen. 

There was a third dimension to The 7 Hills; a stage in a separate location within the venue hosting local acts. The success of this side of the venture will need to be gleaned elsewhere but the aim is in sync with growing grass roots music. 

Paul Lush and Danny Wilson

The acts filling the main auditorium from just after half twelve to the stroke of ten o’clock possessed a wide degree of experience with most currently on top of their game. The common bond was a style inked into what we know as blues or roots music, though Americana is a useful catch-all phrase. 

Danny and the Champions of the World were as experienced as any and had the honour of headlining this inaugural event. The Champs may flitter in and out these days, often sparring for a place among the many other activities of Danny Wilson. However they are set be a prominent part over the next six months with a brand new album imminent and a full UK tour planned for next spring. This Bath appearance was one of a handful of pop up high profile autumn shows. We had the full current line up in place with a couple of guests joining for the finale. There is no such thing as ex-Champs, so let’s just call the invited Geoff Widdowson and Robin Bennett currently non-active Champs. The core line up of Henry Senior (pedal steel), Paul Lush (guitar), Joe Bennett (bass), Steve Brookes (drums) and Thomas Collison (keyboard) quickly found the groove and Wilson led in his usual convivial manner. The new songs will need time to bed in and it was left to a trio of old favourites to get a sturdy band of devotees dancing their socks off. ‘Clear Water’, ‘(Never Stop Building)  That Old Space Rocket’ and ‘Every Beat of My Heart’ sweetly brought back fabulous memories of many Champs nights. A happy place indeed. 

Our Man in the Field

The first full set seen on the day was Keiron Marshall Blues Band who played as a trio on the main stage. There hasn’t been many opportunities to see this exciting combo outside their South London base, but those present at this year’s Ramblin’ Roots Revue were blown away by a pulsating performance. A few present that evening made the trek to Bath and the treat of Marshall’s blistering guitar playing was lavishly repeated. On a day where original songs held sway, a handful of covers found a niche led by outstanding versions of ‘Will the Circle Be Unbroken’ and ‘All Along the Watchtower’. 

Keiron Marshall is widely known around the UK music scene as guitarist (and husband) for the increasingly popular Hannah White. To re-enforce the camaraderie among the acts, White borrowed his bass player and drummer when her time to shine came. The set included some of the singles put out this year as part of a release-a-month project. The performance sparked into life with a trio of exceptional numbers led by the ultra-emotive ‘Car Crash’. The country drenched ‘Broken Bird’ may be a couple of years old but matures as a vintage with each listen. The jewel of the set was the finale with the killer melody of ‘Chain of Ours’ soaring into ‘song of the year’ territory accompanied by a scintillating electric guitar outro courtesy of Marshall. Hannah White is now growing her live presence around the UK outside supporting big names, so many opportunities to see an extended performance can be sought.

Robert Vincent

Regarding the aforementioned artists on top of their game comment, this tagline surely applies to Robert Vincent. There was a case for his band show headlining, but an evening engagement cleared the way for the Champs to claim that spot. A late afternoon hour of the Robert Vincent Band complete with event host Matt Owens on lead guitar was no bad thing. His set is almost becoming overrun with anthems. The staples of ‘Demons’, ‘I’ll Make the Most of My Sins’ and ‘So in Love’ are now joined by burgeoning newbies ‘The Insider’, ‘Burden’ and  'Follow What You Love and Love Will Follow’. This amazing trio from an equally amazing new album is blowing away all 2024 song contenders and taking the ever entertaining Vincent into new realms of stellar songwriting. 

Lauren Housley shared her admiration for Robert Vincent when playing immediately before her fellow northerner, albeit hailing from the other side of the Pennines. The dovetailed stages meant the music was seamless all day. Therefore an opportunity to avoid taking a breather if so desired. Housley brought her full Northern Cowboys contingent south with bass and drums joining guitarist/husband Thomas Dibb. She is in a good place at the moment. Bringing her young family to shows is a boost and these are becoming more prevalent despite being in a clear space between album releases. Housley and her band have nailed the country soul sound within the UK Americana community. A colourful attire and bouncy personality complement the far reaching vocal acumen. Recording a Candi Staton song in Muscle Shoals is enough to inspire any artist and the pride was brimming throughout a sparkling forty-minute exhibition.

Hannah White

Musicians playing multiple sets during festivals is a feature of grass roots music. Among those extra active today were Jim Godfrey (keyboard for both Robert Vincent and Matt Owens) and Henry Senior (long term pedal steel player for The Champs and now an integral part of Our Man in the Field). OMITF to give them an increasingly familiar acronym were another outfit to bring a full complement to 7 Hills. Drums, bass, cello and steel joined front man Alex Ellis to power a bunch of songs rich in tone and mesmeric in rhythm. Get onto the wavelength of OMITF and a satisfying zone of hypnotic music can be found. Prominent upfront bass plays its part alongside the alluring vocal and writing style of Ellis. ‘Go on Easy’ was a classy closer. 

The ‘magnificent seven’ who proved the initial draw was completed by Matt Owens and the Delusional Vanity Project. Forever the courteous host, Owens sacrificed a slice of his set when the tight running schedule hit a glitch. However, in the time permitted his band rocked and vibes reverberated around the Komedia displaying what a fine performer this ex-member of Noah and the Whale is. Songs from his latest album filled the air joined by older numbers such as the mellower ‘Cargo for the Road’ accompanied by the complementary Hannah White. While it was no doubt a stressful day for Matt Owens, the release of playing a storming set among friends must have been awesome. 

Of course the event wasn’t confined to these long term favourites. Unfortunately, a bus and coach trip from Stourbridge to Bath via Birmingham and Bristol meant only the tail end of Phil Hooley’s set was caught. Maybe next time will be more convenient as support for his music has been provided in the past. Another early performance partially witnessed was Sweet Giant. This style of indie-rock once defined my youth, but now only briefly features at eclectic festivals attended ie folky ones inserting a bit of oomph. A new act to me in Supalong was another rock-infused affair with the front man being a familiar name in Sam Brookes. Definitely a different sound to what was heard from him before, but still a performance to take something from. 

Lauren Housley

Leading the blues segment as prescribed in the festival name was Mississippi Macdonald, a recent UK award recipient. This set was enjoyed by a sizeable gathering, and aficionados of the genre present gave their approval. ‘Headlining’ the smaller space was Gary Stringer from 90s Brit rockers Reef - a nearby Somerset resident offering a local flavour. The songs clearly resonated with a select assortment at the front of the stage. 

Having floated several potential stars of The 7 Hills Blues and Roots Festival, you have to settle on the spirited desire of Matt Owens to promote and play an event so warningly received. He will no doubt pay homage to all the assistance provided as no one person can single handedly run an event, even on a moderate scale. If this festival, whose name could only refer to the home of its architect, retains a one off status, a fully appreciated day will linger long in the memories of those in attendance. On the other hand, folks from the Midlands, the North and the South-East may well just be prepared to keep their busy gig diaries free for a renewal in October 2025. Either way the soul of wider grassroots music and more genre-defined UK Americana is safe in the hands of inspirational enablers, aspirational artists and dedicated fans. 

Gig Review: Frankie Archer - Kitchen Garden, Kings Heath, Birmingham. Friday 11th October 2024

 

www.frankiearchermusic.com

Eleven months ago Frankie Archer opened the minds of a curious band of Birmingham gig goers. Plenty more had a brief exposure a few months later when this north-east based musician played a short opening set for Jim Moray, also at the Kitchen Garden. The style of blending trad folk with eclectic electro sounds was still exhibited, though in a slimmer content. The first turn of the annual cycle is almost complete and over the ensuing period Frankie Archer has grown an audience to just fall short of selling out the venue. Rough observation deduced a healthy mix of returnees, so there must also have been a contingent getting their first experience of something unique and intoxicating with respect to the staple folk circuit fare.

Where Frankie Archer's natural audience lies remains a conundrum. Twenty-minute opening sets for The Last Dinner Party offer one side, as opposed to frequenting venues healthily inhabited by folk stalwarts. Exquisite fiddle playing, sumptuous vocals and extensive trad songbook sourcing form one part of the equation: analogue synthesiser, sound tracking recordings, loops and innovative song building takes the listener and audience into an alternative stratosphere. Re-tune your mind, dust off preconceptions and therein lies a potential reach far and wide.

At the heart of Frankie Archer's cultural guidance is to re-imagine the role of women in traditional song. Challenging convention, pursuing a different approach to legions of archivists and revivalists reveals a headstrong artisan. You can deduce a lot about Frankie Archer - the person - by her stage presence, and where her musical path leads. Flexible mindsets will inevitably be coaxed to latch onto this innovative performer, yet the choice to retain a degree of convention may always choke off some curious observers.

The strength of her trajectory resides in a buzzing and connective live presence. The recorded content has recently been expanded to now two four-track EPs. Samplers when compared to the vast cannon of contemporary folk music, yet small seeds grow quickly in fertile soil. The eventual release of a debut Frankie Archer album will yield wider acclaim to capitalise on the existing media exposure secured from a limited base.

Pitfalls and bumps present themselves to all independent artists. Maybe things that don't quite go right can embolden performers. Having seen Frankie Archer on each of her three Birmingham visits, the one to enhance the listener experience is to avoid short second sets like the one delivered this evening. Four songs, though eloquently explained, plus a work-in-progress tune created an abrupt ending. Gig perceptions are often formed by lasting finales. A vague memory suggested it was different in 2023 with perhaps 'O Bonny Fisher Lad' being part of a climax. 

Everything else about the year discovering the music of this talented and perceptively evocative musician has been a treat. Electro-trad is a riveting concept and when presented so well is a compulsive listen. Frankie Archer remains one to watch. An engaging artist pressing new pulses to move boundaries and raise important issues of historical interpretation. 

Album Review: Lucy Isabel - All the Light

www.lucyisabelmusic.com

ALL THE LIGHT sees Nashville-based singer-songwriter Lucy Isabel re-board the recording train and set about engaging new and old listeners with a folk-inspired sound. Through ten original songs, the album's essence quickly finds its groove, smoothing out any noticeable dips or artificial highs. A consistent measured and articulate approach to songwriting, and its ultimate delivery, lures the listener into a comfortable zone. From this place, a theme of snapshot thoughts and pondering about the present guide the album into a sweet listening spot. 

Life and its many distractions had temporarily pulled away this New Jersey native from the spotlight. The return has played the modern game of digital drips, with four singles landing across the wires ahead of an October 11th full album release. The focussed quartet go a long way to defining the sound of Lucy Isabel with 2nd single 'A Hero's Welcome' probably the pick of the early offerings. The tender start is in line with the mood of the record and you really feel the longing in the lyrics. 'I’ve got time on my hands/ I’ve got no place to go/ I’m just sitting here/ waiting, by the open window.' 

What actually seals the deal is planting a cracking song in the closing spot. 'The Right Choice' is a stellar parting shot and moves things up a notch on the tempo scale. For those who like a touch of twang in their folk-Americana, a blast of steel at the end satisfies the soul. This side to the instrumentation occasionally pops up and faint tones drift in during the enticing second track 'Magpie' 

The pre-album release period began with the launch of 'Miles From Home', a track where the full breadth of a subtle band sound is used combined with a notable change of tempo mid-song. Probably more ubiquitous than the steel is the violin, in line with folk sentiments that tend to dominate the record. Third and fourth single 'Blind Ambition' and 'My Memory' exemplify this. The latter hones in on the personal moments with the phrases - 'my mother', 'my father', 'my partner', 'my daughter' - beginning lines in the lyrics. 

'The Edge' is another violin-soundtracked song, although like all its contemporaries, the overarching genial trait is the classy vocal style skilfully adopted. This is one of the later tracks, a collection opening several songs earlier with 'A Better Life', containing mellow vibes and philosophical leanings in 'So you’ve still got time/ to promise a better life.'

Of the remaining two tracks, 'Best Efforts' sees the album in its most upbeat tempo, with mixed messages come from the lyrics. 'Where it Lies' is probably the album's mellowest moment and the piano accompaniment puts a theatrical edge to the song, which you could envisage being part of a show. 

Cathartic undertones add to the identity of ALL THE LIGHT and Lucy Isabel has definitely made the 'right choice' to let loose her creative talents. Kicking your feet back to savour an artist find their voice from many angles sums up the response. Contemporary folk is in safe hands with albums like this. 

Gig Review: Hannah Aldridge - Kitchen Garden, Kings Heath, Birmingham. Tuesday 8th October 2024

As inferred by RC Robertson-Glasgow - the esteemed cricket writer - great theatre enhances the comfort of its surroundings. Tonight, the Kitchen Garden's wooden dining chairs have never felt more comfortable for a near two-hour main set.

As inferred by Willie Nelson - you probably know him - once a song is out, it's yours. A sentiment echoed from Hannah Aldridge in the show's closing moments.

Razor Wire first surfaced on these pages May 18th 2014; the initial live festival experience six weeks later. Within a year the first gig, and the unforgettable Parchman slow dance in Bromsgrove. Who are we to judge?

2024, and the anniversary tour. No two Hannah Aldridge gigs are alike. Tonight, a new duo format with Katie Bates, whose guitar skills exquisitely complement the songs, coating a fresh identity. This evening is about reflection - ten years.

A Decade

A decade of evolving imagery. Decorating a blank canvas 

with the water colours of perceptive music. 

Creating a collage of poignant songs born of fluidity.

Gifts carved from the heart. 

A decade of connecting, bonding and matching 

the dedication of a distinct band of followers toe to toe. 

Threading the tiers of life through both a peripheral and focussed lens. 

Craft touching souls. 

A decade of change. For good, For necessity. Exploring 

shade from alternate angles. Turning dark into the light of meaningful 

creations. Old faces. New faces that may become old faces. 

Echoes of country, metal, noir.

A decade of shedding layers, baring bones. Growing a 

fresh exterior providing shelter for those moments of insecurity. 

Reflecting and pondering the journey. What next, who next, where next?

Forever forging alliances.

A decade of caressing a precious gift. The ability to move others. 

To make occasions special. To spice familiarity with fresh droplets 

of candid expression. From Razor Wire to Dream of America via Gold Rush.

Sealing the art of interaction.

The poem structure is best viewed on desk/laptops rather than mobiles.

Gig Review: Karen Jonas - Kitchen Garden, Kings Heath, Birmingham. Wednesday 2nd October 2024

 www.karenjonasmusic.com

Two shows into her latest UK tour and Karen Jonas has wasted no time in rising to the task of sharing her qualities as a music performer. Lavishly accompanied by her established band members Tim Bray (electric guitar) and Seth Morrissey (bass), the trio honed in on their individual talents to emit a collective sound that skirts around various genres of American music. Fredericksburg, Virgina may be the southern base, but the hinterland expanded out west as far as Hawaii and east across the ocean to the streets of Paris. The imagination and creative nous of Karen Jonas fuels where she takes her music with a pleasing trend that more people are joining her on the journey.

This was the trio's second appearance at the Kitchen Garden. Birmingham and the West Midlands wasn't able to find a spot on the late summer 2023 tour. No mishaps this time though, and like in 2022, the Kitchen appearance featured among the early dates. If Karen Jonas and the band hit greater heights later in the tour, folks choosing them for their live music fix will be in for a real treat.

The cornerstone for this 2024 visit is the August release of THE RISE AND FALL OF AMERICAN KITSCH, the 7th studio album since 2014, and the 6th to get some UK press that began with COUNTRY SONGS. Evidence strongly suggests there has been considerable growth with each album released and several trusted sources not only acclaim the latest as the best yet, but high on several favourites of the year list. Across the two sets played this evening, many tracks were included, kicking things off with 'Four Cadillacs' and decorating the pre-encore slot with 'Rich Man's Valley'. The latter has the honour of opening the album and it was fitting to close its presentation this evening as it came across as one of the songs of the show.

It transpires that 'Let's Go to Hawaii' is not only a fan favourite off the record but Karen Jonas' too. Maybe it was difficult to replicate the full studio twang in a three-piece, but the live version contained all the panache of its recorded counterpart. With the playing and the storytelling behind 'Shake Bump and Grind Show', 'Pink Flamingoes' and 'Gold in the Sand', you started to get a sense of the theme and its concept tendencies. You also got a taste of some of the sardonic wit in 'Online Shopping', a song more than a singalong ditty. 

The only thing the live show doesn't do is reveal the intricacies and the sharp writing within the songs. Listen to the album armed with the lyrics and an inquisitive mind to really dig deep into the songs and the poignant narration in the record's final throes. 

Away from the new album, five other Jonas originals were shared. The oldest track was the requested 'The Garden' from 2016's COUNTRY SONGS. A song dusted down a couple of years ago and one the band now enjoy playing. THE SOUTHWEST SKY AND OTHER DREAMS provided two of its most popular tracks 'The Last Cowboy (At the Bowling Alley)' and 'Pink Leather Boots'. The lively latter was among tonight's highlights. 

Last year's album (you get the picture we are in a prolific Karen Jonas period) THE RESTLESS was an underrated release, and the band admitted it hasn't been played so much. This oversight is starting to be rectified with 'Elegantly Wasted' and 'Paris Breeze' featuring in the Kitchen Garden setlist. The former is a firm favourite here and one of the highlights of the evening to hear the live version up close and personal. 

Perhaps the part of the show up for debate is the extensive inclusion of covers. They definitely aren't fillers as there are many other Karen Jonas songs that could be fitted in. They are also wonderfully executed and are sufficiently popular to raise the ears of any casual audience member preferring bouts of something they know. On the other hand, six, in my view, was a couple too many and could have gave way to further original numbers. There is also the implied situation that Karen Jonas attracts an intense listening audience in the UK, one who buys into the concept of being exposed to new songs. Others views may prevail and it is always the prerogative of the artist to share what they are comfortable with. Of the six played this evening, 'Boys of Summer' is a shoe-in as they have made it part of their DNA, and 'Can't Help (Falling in Love With You)' perfectly fitted the theme of the evening. The intro to Stevie Nicks’ 'Silver Springs' also added value to the show. Replacing all or a couple of 'Dancing in the Dark', 'Son of a Preacher Man' and 'Big River' with originals would have slightly upwardly altered the show's dynamics from an already lofty position.

No Karen Jonas live reflection is complete without the awe and appreciation of Tim Bray's exceptional guitar playing. He brings so much to the studio and live work that the partnership is almost inseparable. Bassist Seth Morrissey also has his moments in the spotlight, but like all players in the rhythmic backfield they can just grin and sit back knowing things up front wouldn't be half as good without them.

Karen Jonas continues to wonderfully evolve as a complete artist. Her studio albums thrive on innovation and expansion, and the commitment to widen a touring environment will only fuel future development. It has been a pleasure to follow her for over eight years on record and now a couple of years live. No doubt there is a plenty more to come, and plenty of new fans to court in the UK. 

Album Review: Jesse Terry - Arcadia

 

www.jesseterrymusic.com

If there was always a rock 'n' roll side to Jesse Terry restlessly itching to break through, the thin veil of a lo-fi folk singer-songwriter has been breached with the carefully injected impetus surrounding his latest album. Co-produced with in-demand Nashville operator Dylan Alldredge, ARCADIA opens a door on both sides of an artist's duality and leads to a record primed to excite new and old ears. This is the seventh album from Nashville-based Terry and its eleven tracks have a marked impact to show an alternative dimension. 

From the pumping beat and ramped up electric guitar to opening and title track 'Arcadia', you are truly in scratchy good ole rock 'n' roll territory. Throw in a rousing chorus anthem - 'off to find Arcadia' - and we are well underway on a journey to relish. Strong choruses are a feature of the album and one is found in 'Burn the Boats' as we start to get a feel for what Terry wants to create. This second track is in more placid waters than the opener, but still built for the big stage. The next couple of tunes marginally differ within the template. 'Gunpowder Days' possesses a more soulful edge with a lyrical feature of pairing 'gunpowder' with days, blaze, past and sky. Clever writing with a spicy guitar solo added. 'Poison Arrow' is similar to its predecessor with a definable sound bedded in. 

The latter is one of four co-writes on the album, a writing activity with Craig Bickhardt. The rest are all Jesse Terry solos. The second co-write to appear falls back into familiar ballad territory when 'Someone in Repair' appears. This tenderer offering is devoid of a memorable chorus yet still stacked with meaningful lyrics. The remaining co-writes are 'Headline', which pulls together a sophisticated tempered rock sound and the outstanding 'Waiting Out The Hurricane'. The latter is likely to be the pick of the album for many through its thumping soulful intro and a significant flashback brought to life in song.

'Native Child' is a track that rises to the summit for me on the basis of a return to the core beat and an extensive repeated chorus with a desirable melody. Mind you, the more you play 'River Town'. the more its value to the album increases. This song with a a top chorus about realising your roots brings all of Terry's qualities to the table. 

The final two tracks under the microscope have a similar feel and more resemblant of Jesse Terry's previous work. 'Strong' begins with an acoustically strummed solo before submersing into a deeply personal effective writing style. From a different chorus structure to what we hear before ‘I swear with all my might, it’s gonna be alright’ is a touching parting shot. In a similar vein, the piano-led ballad 'Where You Came From' ends this largely buoyant record on a quieter note with a poignant chorus sentiment. 

Jesse Terry has delivered an album of uptempo Americana beauty. ARCADIA rocks when you want it and soothes when needed. An exceptionally rounded album packed with smart writing and leaves the listener at one with what an artist has desired. 

Album Review: Sorrel Nation - Lost En Route

www.sorrelnationmusic.com

Sorrel Nation flexes her vocal repertoire on a debut album rich in breakout qualities. Traces of pop, rock and folk meld into an enticing body of work. LOST EN ROUTE is a 9-track pleasue launching a new name to many on the UK acoustic, roots and Americana scene. Those descriptive monikers are pinpointers to where this record is likely to be picked up, though its likeable qualities will offer no bounds to suitors. It has been a bubbling pre-album period for this Kent-raised singer-songwriter. Snippets of information and the odd video slipped out with word of mouth taking hold in tight communities. The first major push was the release of the THIRTY SUMMERS LIVE EP in the summer. This was an ideal release for an existing fanbase as it was bestowed with intimate qualities. On the other hand, the new album splendidly welcomes all-comers, and few who dip their toe in are likely to be disappointed. 

We are reliably informed that Sorrel Nation is her real name; a distinct feature can play a large part in raising a profile. Name regardless, the upshot of the music is a style twisting the early 70s Laurel Canyon cliche into something quintessentially English, and thoroughly individualistic. A satiable voice smoothes the path for the songs to simmer and occasionally bubble into something livelier. The sound glides along an emotive highway picking up opportune moments to inject a slice of intensity. 

Memorable albums are often characterised with opening tracks that seal the deal from the off. Sorrel Nation hits the jackpot with a piece of pure class in lead off track 'Crazy For You'. Sultry vibes ooze from this primed tune set to frequent many a playlist. To end on a high point, a decisive electric blast illuminates the closing. Building on a stunning start, the exotic piano intro to 'Old Man' launches another track to savour. A solid gold saloon song. Add some pedal steel and it would be a country classic. However it falls in line with the folk sentiments running through the seam of the album. Three songs in and cloud drifting musings kick in with the dreamy and effectually idealistic 'Living Free'. If you can't dream in songs, when can you dream. One that hooks you into its message. 

Songs can be great vehicles for seeking solace and losing yourself in low moments. 'The Way The Moment Blows' opens the heart to grief and like all valued songs possesses a giving presence allowing the listener to take something personal from it. Once again a recurring theme of a superb band influenced soundtrack takes root. 'Eggshells' simmers in a light rock intro before settling at a careful pace allowing the lyrics to flesh out. Repetition can work well in a lyrical structure and here is a good example. 'Trouble Again' is a sprightly retro stroller injecting some feel good vibes via an instrumental assortment including fiddle et al. 

You always a feel that a folk rock element is around the corner and it duly arrives in the track, 'Dead Man's Road'. An evolving beat leans in a rock direction taking the vocal style with it. Another story song adding to the narrative of the album. 'Wild Solitude' glitters in the penultimate slot. It possesses a mild opening with multiple strings heralding a gorgeous ballad that could become Sorrel Nation's trademark sound. The curtain for now is drawn in the company of the rousing title track. 'Lost En Route' finds its home as the perfect conduit for reconnecting with those things lost on the way.  

LOST EN ROUTE significantly builds on the groundwork laid, both in tangible actions and likely lifelong dreams. A knockout cover captures the anticipated sound by visually signposting you to the aural pastures of serene music. Sorrel Nation is a name to remember for many reasons. Most notably a wonderful album.

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