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

 

www.bellahardy.com

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

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

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

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

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

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

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

www.deanowens.com

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

www.janiceandjon.com

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

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

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

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

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

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

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

www.agsconnolly.com

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

 

www.lewisbarfoot.com 

"Is Eileen in the room?"

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

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

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

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

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

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

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

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

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

 

www.lukepauljackson.com

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

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

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

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

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

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

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

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

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

 Pre-order

Gig Review: Hannah Scott - Kitchen Garden, Kings Heath, Birmingham. Tuesday 5th November 2024

 

www.hannahscott.co.uk 

Sometimes you instantly know a right choice has been made. Within the measured tone of Hannah Scott's opening song, a sense of being in a special place took root. Her cultured vocals succulently purveyed a piece of melodic bliss, all scented with a sound pitch perfect. This was a singer-songwriter at ease in new surroundings, and indeed a new town. The Birmingham debut for Hannah Scott has been a long time coming. The moment to impress wasn't wasted with the ultimate trump card of relatable themes waiting to be played. 

There is a wealth of experience behind this south-east based artist, equally at home in both folk and Americana-lite circles. The impetus for this inaugural Kitchen Garden visit - a venue heaven sent for her serenely listenable songs - was the release of ABSENCE OF DOUBT, her latest full length album. Early listens revealed a fuller more produced sound than what was heard tonight. Whatever the motivation and mode, a stripped back approach gave a raft of songs the space to simmer and flourish. Eighteen delectable tunes and an equal number of affable introductions seamlessly flowed either side of a short ten-minute break. No fireworks required in this quaint and blissful environment.

Hannah Scott is one of those artists who you have been aware of for years without diverted engagement. Racking the brain and checking the records unveiled a few words describing her performance opening for David Ramirez in Tingewick in 2016. A reference to the family inspiration behind her songs couldn't have been more pertinent eight years later. Hopefully there isn't the same lengthy interlude between shows attended.

There weren't many transfixed souls in the room who couldn't identify with at least a portion of the songs. Mother, father, siblings, step kids, love, grief, gratitude and isolation were all brought to musical light in the desirable medium of the well-constructed song. Leaving the room knowing a lot more about Hannah Scott the person was a given. Elegantly displayed alongside a deliberately succinct guitar and piano playing style enhancing every syllable of the poignant lyrics. The whole singer-songwriter package was on display.

As impressive as the new songs were including: show opener 'Bigger Than My Body', a personal favourite in 'San Francisco' and the tear-inducing 'Carry Me Out', the knockout moment of the gig was an absolutely stunning rendition of 'Skimming Stones' in the second set. A three minutes encapsulating the magic of live intimate music.  

From the periphery of a busy music horizon, the treasure of Hannah Scott wonderfully exhibiting her music artistry grasped the mantel of centre stage. No hyperbole, just a classy performer singing emotive songs in a calm and sincere manner. A concoction of traits that wonderfully blended in a room immaculately built for listening. If a truly satisfied and engrossed audience is an artist's aim, mission accomplished for one night.