Gig Review: Demi Marriner - Thimblemill Library, Smethwick. Friday 13th December 2024

 

There is something quite special about Thimblemill Library as a gig venue, and Demi Marriner wholly concurs. On multiple occasions, she gushed about the unique surroundings and thoroughly enjoyed her first performance on its adaptable stage. Look up and ahead to see a piercing night sky flood through the arc of windows. Look straight up to catch a sight of multiple quirky light shades adding fine touches to the art decor. Look all around and packed book shelves provide a cultural backdrop to the welcome frequent invasion of nighttime music. This arts hotbed at a junction where outer city issues blend into phases of vibrant suburbia epitomises everything innovative about grassroots venues mixing and matching multiple diverse events adding buoyancy to a thriving operation.

For the second week running, tickets for the music side of the Thimblemill offering poured out to around the three figure mark. It was a tough road getting people back to live music especially as weekends tend to be the preferred time here where so many alternative pursuits compete. Strong hopes remain for a prosperous future, although music will always have to find its place among theatre and directed community engagement events vital for funding streams. No doubt submissions to play far outweigh capacity, so the chosen few can wallow a little in flexing their creative artistry in such an in-demand setting. This will always fall in line with the importance of core daily library activities. 

Demi Marriner has previously found Birmingham a welcoming place to play music. The audience for this show just over the border in Sandwell was swelled by many fans fully conversant in her music. This set the scene for a successful evening where she strode to share a lengthy bunch of songs along a timeline of past, current and future records. While the flickering to and fro was a touch difficult to follow at times, there was clear evidence of an artist in a rich productive vein of creating music anchored by the meaningful song. Stories interspersed a raft of mainly full band backed numbers lifting the decibels considerably higher than your usual library gig sounds. Feel good end of year vibes embraced the levels attained and compliments morphed into a lengthy merch queue snapping up goodies unique to gig goers. 

The music of Demi Marriner is malleable enough to find ears in country pop, hardened Americana and eclectic folk circles. She is certainly working hard to polish her craft and now has a secure base to preserve and nurture. There was clear mutual love from many in attendance. Working with Joe Coombs (electric and acoustic guitar), Scott Warman (electric and stand up bass) and Gary Kroll (drums) possesses considerable benefits and their influential presence adds layers to songs rinsed in personal feelings and experiences. 

For this, and a few other shows on the tour, Sean Duggan from Steady Habits has played the opening slot. This solo format sheds a different light on a performer strong in seeking an identity. Coincidentally, both featured artists share the exhilarating talents of Joe Coombs in their band. Mind you several Stateside touring artists turn to his guitar skills, notably Sara Petite in the past and Carter Sampson coming up for 2025. The latter is scheduled to play a band show at Thimblemill Library in March next year.

It was almost the curtain call on music events for 2024 at the venue when the encore song finished. A local band has the honour of closing the year next week and a tough act following Demi Marriner as a fitting finale. The real winner is a flourishing grassroots venue and many music fans leaving their armchairs to seek out new and familiar artists during the year. Demi Marriner will also concur to their importance.

Gig Review: The Unthanks - Birmingham Town Hall Monday 9th December 2024

 

The Unthanks are contemporary folk royalty in the UK. Led by sisters Rachel and Becky, they and their countless collaborators have reached far and wide from a north east base to fill many halls and venues throughout the land. At the end of 2024, they have struck a significant seasonal note by both releasing a double winter album and touring its entirety. IN WINTER hit the shelves in November, but a record of this essence really comes to the fore on the turn of advent. On its various formats (vinyl, disc and digital), the running time of 19 tracks runs to 72 minutes. Over the course of a brace of 45 minutes sets, the 8-piece onstage ensemble allowed a little time for inter song chat and introductions. The jury was out on the value for money side of a slim set for a pricey outlay, but never in doubt is the quality of arrangement and musicianship on offer. 

As you would expect, the presentation was slick and plush. The sound choreography was seamless with brass, strings, percussion and piano all playing a key part. Cementing The Unthanks is the breathtaking vocal acumen of the sisters, excelling in harmony and equally compelling on their own. The lush setting of Birmingham Town Hall, plus an appreciative audience probably filling two-thirds of this 900-seater venue was conducive to hosting an eminent sound interwoven with many facets of a northern hemisphere winter. From a faith angle, familiar chimes of 'O Come All Ye Faithful', 'The Holly and the Ivy' and 'God Rest Ye Merry Gentlemen' were primed for innovation or subtly sampled, while folk staples like 'The Snow it Melts the Soonest' and 'Dark December' headed the secular segment. 

Carols of many forms prove a backbone to the record with perhaps the pick on disc and live being the refreshingly atmospheric 'Coventry Carol'. A beautifully sung hairs on the arm moment. Original compositions were not left out with the pandemic inspired 'Nurse Emmanuel' accruing much applause for its introduction and playing. 

The audience came to life in the final stages with a communal singing of The Unthanks family favourite 'Tar Barrel in Dale' and in line with the album the closing moment of the show was a special parting song 'Dear Companions'. This was a real high.

Music from The Unthanks is stamped with the highest quality mark from beginning to end. The unfiltered experience of listening live added value. Perhaps there was moments of racing through a pre-ordained album listening party with maybe room for a little more stage adaption extending into other areas of a strong back catalogue. It said IN WINTER on the tin and that is what we got. A gig for the moment with a likely fading effect.

Gig Review: Dylan LeBlanc - Kitchen Garden, Kings Heath, Birmingham. Tuesday 10th December 2024

 

www.dylanleblanc.com

The Kitchen Garden was looking and feeling its quirky best. Christmas lights ever present since lockdown resumed a status of seasonal presence. Surreal Brummie paintings adorned the wall behind the artist including two iconic bulls locking horns. The infamous mirror adding depth to the side view. The 'L' shaped configuration testing a performer's dexterity. But most importantly, a packed house hooked onto the every word and musical note. There's no hiding place in a sold out Kitchen. Dylan LeBlanc knew the feeling as he ambled down the wooden stairs to the performing space. Just over a year ago, his full band had commandeered and conquered the tight playing confines to deliver a masterful show for the ages - arguably the venue's finest moment of recent times. For the return, the comfort blanket of familiar sidekicks was stripped. This was just one man, a guitar and a heart blasted open. The rest was history.

8:15 and the call went out, where's Dylan LeBlanc? 8:30 the protagonist sheepishly appeared with an apology. You sensed things being a little different this evening. By 10:45, seventy minds were blown. Profound beauty blossoms from unconventional waters. The voice, the stories, the songs, the anecdotes - they came at pace as the cog revolutions intensified. There can be no formal schooling in how Dylan LeBlanc portrays his music. Innate brilliance eases a gut coated sound to circulate an intense listening room. Soulful with a tender raspy edge that both smooths the words and blends seamlessly with degrees of instrument amplification. The acoustic guitar weaved its magic on a show escalating in eminence from an unplanned pool. 

9:30 and a commercial break ensued. Not from the floor, he would have played for ever. Two hours on the hard chairs requires a bum shuffle for even the hardiest of gig goers, and small venues need to sell their beer. After a short break and minimal merch perusal (2024 is a year for touring after 2023's release of COYOTE), it was business as usual. Sheer randomness, great tunes, stories best kept in-house and more insight into an interesting world co-existing alongside somebody born to make music followed. The main upshot is Dylan LeBlanc likes this room and the room likes him back. Mutual appreciation hung thickly in the air.

Escaping alligators, youthful chaos, dodging cops and eventful flights all filled lengthy but engaging gaps between songs that draw little explanation, just evolving in their own bubble of effect. Maybe we weren't shown the best side of Shreveport Louisiana. For the record, songs like 'Coyote', 'Dark Waters', 'Hate' and 'Stranger Things' represented recent times, but for overall tenacity and resolve, older numbers in 'Cautionary Tale' and 'Easy Way Out' retained a prominence during post-gig reflections.

Perhaps it is aura that breaks Dylan Leblanc away from the more grounded singer-songwriters with a similar level of fine compositions. A gene garnering strength from the odd flaw. Great art often flourishes from a bout of imperfection. A trait separating the jobbing from the inspirational artist. The result induces a seamless bond between performer and listener, locked tighter within the enclosed boundaries of an intimate venue.

Dylan LeBlanc - the band- and the Kitchen Garden: the perfect fit. Dylan LeBlanc - solo - evoking the ethereal emotion of a room's spirit. If good things come in threes, get the booking in now. Whether band or solo, the  welcome mat will be rolled open and vibes of ingrained intimacy will wring every ounce of nuance from musicians who matter and know how to connect. 

Gig Review: My Darling Clementine - Kitchen Garden, Kings Heath, Birmingham. Sunday 8th December 2024

Since the summer, each My Darling Clementine show has likely been a poignant and moving experience. Yet from the darkness of despair, music has the power to light up the road to better times. 

Over the last eleven years, these pages have been filled with many reflections and accounts from the My Darling Clementine music experience, both live and on record. In a case of art inspiring art, the Kitchen Garden Christmas 2024 show is captured in a few stanzas of self-penned verse extolling the worth of music.

Seeking strength in the song

Grappling grief with the guitar

Honing in on the healing highway

Hour by hour

Each note piecing together a shattered mind

Each lyric sowing the seeds of recovery

Each beat showing the resilience of time

Day by day

Tracks signalling a brighter place

Grooves etching a road to reality 

Words working wonders

Week by week

The sanctuary of a musical harbour

Tuneful, melodic, cathartic 

A broken soul soothed

Bring on 2025 and more My Darling Clementine. 

Gig Review: Ramblin' Roots Revue Christmas Party - Bucks Student Union, High Wycombe. Saturday 7th December 2024

 www.ramblinrootsrevue.co.uk

Ramblin' Roots brings a fine array of artists to High Wycombe across a long weekend each April. These artists represent their status and niche with exceptional class and commitment. When the surprise announcement came that there would be a mini extension into a busy December of seasonal events, you could be sure the fare served up would be top notch and up to the usual standard. So instead of entering the dual rooms of the Bucks Student Union on a Friday for a full weekend slate of sets, it was a cosy gathering in the main room on a Saturday evening for three home-based acts to showcase how they transmit their music so well.

On a day where travel was severely hampered by Storm Darragh, it was a testament to commitment that artists travelled from the north, west and east of England alongside those of us ditching the Chiltern Line for the more reliable M40. Once settled it was a case of Annie Dressner, Steady Habits and Matt Owens and the Delusional Vanity Project taking the reins to duly entertain us from just before eight to the stroke of eleven.

Collaboration is a key tool bringing cost effective innovation to the grassroots. For the second half of Annie Dressner's opening set, she invited Matt Owens and Sean Duggan from Steady Habits to join her on guitar and vocals to glide through a sample of her well received 2024 album I THOUGHT IT WOULD BE EASIER. Rehearsals ranged from limited to non-existent though quality artists can quickly adapt. Annie herself appears in a very good place musically. Her unique and slightly quirky style is building an identity and cutting through to more fans on the roots and Americana circuit. There is a touch of indie cinematic sheen to her vocals, the type of low budget productions that accrue widespread acclaim and cult status. A New York background forms a scenic delivery extending into a volley of varying paced songs laced with an interesting perspective and melodies that ease into open ears. The next exciting phase is an invitation to open for Danny and the Champions of the World on an extensive tour next spring. New fans and increased merch sales a desired aim. At the same time a new album will start to take shape under the production control of Peter Bruntnell. All adding up to the good place assertion.

Upcoming albums proved a theme of the evening. Sean Duggan returned to the stage for the second set with guitarist Joe Coombs, drummer Jamie Dawson and bassist Cathy Ife joining forces to become Steady Habits. Like Annie Dressner, Sean is an American who has settled long term in the UK. To further the similarities, a new album is getting close to completion. This debut album is probably long overdue because it can prove frustrating for folks to really buy into the live performance without taking a meaningful slice of the music home. On the evidence of tonight, and a couple of other viewings including The Long Road Festival in 2023 and here at Ramblin' Root Revue earlier this year, the songs are strong and sounding stellar with immense personal emotion adding luscious layers. The band arrangements are straight out of the Americana playbook, adaptable for small and larger settings. 'Deviate' has the potential to become an identity anthem across multiple spectrums and a new song called 'After Light' (or something similar) is certainly in playlist territory for those choosing representative tracks. More to follow from Sean and his Steady Habits band, but for now a hugely enjoyable middle set at the Ramblin' Roots Revue Christmas Party. 

The Christmas party moniker was a stretch. Put these three performances on in July and you wouldn't tell the difference, minus Annie Dressner's sparkling dress. Absolutely fine for us more motivated by what the three acts are best doing and leaving the frivolity elsewhere. Was headline act Matt Owens going to leave us with a seasonal treat? Tom Petty's 'You Wreck Me' sufficed.

Probably the biggest challenge of the day was Matt Owens and the Delusional Vanity Project making the precarious journey from Bath. The fact they successfully did was gratefully received by those organising Ramblin' Roots, and those attending. The result was a super slick hour and ten minute set of finely tuned rock and roll. The DVT are an exceptional outfit in full flow. James Jack on electric guitar and Geoff Widdowson on keys bring the shine, the rhythm combo of drums and bass build the substance. At the core, curating and channelling an innate talent is the irrepressible and hugely experienced Matt Owens. A veteran of a distinct stint on a different plane in the rump of acclaimed outfit Noah and the Whale, now fully embedded in the concept of organic grassroots development. From a three-strong recent album catalogue, he dictates the pace whether rocking out to 'Beer for the Horses' and shining a light in the sincere ballad 'Cargo for the Road'. The purpose and role of the DVT means full stage slots are at a premium. The upshot is each live appearance witnessed is a moment to capture. Full kudos to the the band for their endeavour and exceptional performance.

We all return to the Bucks Student Union in April for the next instalment of the Ramblin' Roots Revue. At time of writing, the line up is unknown, but trust with the organisers is locked in. Matching the quality and authenticity of this interim gathering would be a great starting point. Whatever lies in store for the future of this early December renewal, the memory of three acts and a sturdy audience battling the elements on a truly awful weather day keeps a strong bond intact. 

Gig Review: Chris Cleverley - Hare and Hounds, Kings Heath, Birmingham. Sunday 1st December 2024

 

www.chriscleverley.com

What is the earliest date for a 'Christmas' show? To be fair, this 1st of December gathering was generally low key on the festive front leaving space for things to gather pace as the month bounds towards the 'big day'. A quick trawl through the archives revealed a much deeper into December gig for Chris Cleverley when he teamed up with Kelly Oliver to play a duo show at the Kitchen Garden in 2017. The abiding memory from that night was signing off with 'Wombling Merry Christmas'. Now that's a festive banger deserving more airing. Seven years on from that appearance, the evolution was marked by growing the stage presence from two to six and doubling the audience. The second room in the Hare and Hounds was packed to its near capacity for a full band show and the formal launch of a new seasonal EP. In the Shadow of John the Divine is available to the wider public on December 6th, but the good folks of Kings Heath had live versions and album copies on offer for what proved to be a highly successful homecoming. 

The Chris Cleverley Trio is the next step up from the solo performer. Kathy Pilkington and Kim Lowings provide instrumental and vocal pillars to the combo and were the likely first picks to bring their esteemed musicianship and voice prowess to the festive party. The real rabbit out the hat was persuading long term friend and in-demand folk musician Sam Kelly to offer his guitar skills and arranging nous to an all round accomplished evening. Completing the line up was renowned solo performer Minnie Birch and guest clarinet player Katie Stevens, who is best known for her role in Birmingham band Bonfire Radicals. 

The evening began with a short set from Kathy Pilkington and Minnie Birch who have formed a new duo playing under the name Awake Mother. Some gorgeous vocals and gently spun songs ideally set the scene for the main fare which saw the pair return for slightly different roles. 

Over a performing career now into its second decade, Chris Cleverley has cultivated his own style. Low fi with a hint of mischief binding together a wealth of strongly executed songs, which evoke alternative moods and inspired innovation. While the set this evening was primarily the base for half a dozen new songs, a few snippets from the back catalogue filled the stocking. These included 'Rachael' from a 2019 album and 'But Thinking Makes It So', which formed part of the Shakespeare song project - The Company of Players.

However the most purposeful moments came from the new songs. To be more accurate 'The Ringing of Bells' is a rework of a co-write several years ago with the aforementioned Kelly Oliver though sounding fresh and revitalised. Another twist on the term 'new' is a cover of Sufjan Stevens' 'Sister Winter', maybe accurate with the Chris Clevereley adaption and to anybody previously unaware of it. No such variation on 'fresh out the wrapper' songs like 'Vespers' based on the EPs title referring to a cathedral in Manhattan, the sensitive 'For a Winter Angel' with an unmistakeable blending of 'The First Noel' and the poignantly philosophical 'Snowfall, My Evergreen'. You'll never a see a snowman in the same light again.

The beautiful pin drop moment on the night was a merging of three voices into an unaccompanied rendition of 'The Coventry Carol'. Kathy's and Kim's parts were utterly divine. Kim also accepted the invite to share a festive tune of her own in 'You are Always Welcome Here'. The magic of discovering her talent on the local Stourbridge scene over ten years ago never wanes on the brief occasions you get to hear her live these days. Consistently, the gilt-edged musicianship of Sam Kelly added a dynamic to raise the quality to another level.

So no Wombles, but plenty of other delights to launch a lengthy month of festive fun. While mainstream Christmas music can be tiresome, the folk, alternative and even Americana worlds repeatedly dig up plenty of seasonal gems this time of the year. Chris Cleverley was on safe ground with his friends in the band and a largely familiar audience. He also knows the streets of Kings Heath well. Where he does break away is seeking alternative slants of presentation and arrangement. He is far from a pigeon holed folk artist, more an highly creative free thinker seeking a deeper platform. Matching his guitar playing and writing skills is leading to increased acclaim and delivering entertaining nights like this Birmingham return.

Gig Review: Martin Simpson - Midlands Arts Centre, Birmingham Friday 29th November 2024

 www.martinsimpson.com

One certainty is that you leave an evening with Martin Simpson with a stretched and enhanced mind. It may take a few braincell exertions to fully absorb the breadth of stories, links and lyric-laden songs, yet when accompanied by the finest of folk blues picking you can expect to see on the UK circuit, everything clicks into place for a rewarding experience. Even the wintry blue MAC lighting emanating tranquilliser-like vibes couldn't quell the wealth of two hours exceptional music. This Sheffield-based musician is still as active as ever, dashing around the country for shows and exploiting any opportunity to further a musical odyssey. After a period of the Midland Arts Centre being unable to host events in its main theatre due to well documented construction issues, it was good to re-frequent a space the scene of many fine folk performance over the years. A few more customers would have matched the quality of the music, but experienced musicians aren't fazed by the odd empty seat. Still it was a reasonable turnout.

Simpson has a double edged appeal of interpreting roots music from both sides of the Atlantic with equal panache. When playing the Craig Johnson song 'New Harmony', a comment regarding its pure Americana credentials resonated strongly. This was the second song of his covered joining the story piece 'Damned Old Pinney Mountain' , a song taking your mind to Galax Virginia with all its hardships. Two other numbers with an American twist were from more familiar names - Dylan's 'Don't Think Twice' and the Joni Mitchell write 'Cactus Tree'.

Social commentary moments are part of Martin Simpson's DNA. Woody Guthrie's 'Deportees' is as relevant in 2024 as when written. Links to Grenfell accompanied a take on 'Palace's of Gold' from the repertoire of the influential Leon Rosselson. Lengthy environmental stories made an impact with 'Skydancers' being an original on the subject of swift migratory patterns. 

A lengthy defining story was based around 'Ken Small' and the subject's discovery of a tank in the waters off Slapton Sands in Dorset. The names Linda Thompson, Anne Briggs and Anne Lister cropped up when the radar turned on the English folk scene. This was further exemplified in traditional songs such as 'The Cherry Tree Carol' and 'Alan Tyne of Harrow'. In terms of popularity, 'Icarus' continually surfaces as a fan's favourite when put to the vote and duly found a place in Birmingham's set list.

At the heart of the show is a person raised in Scunthorpe who found a calling through an acoustic guitar. The rest is history. Martin Simpson's appeal is locked into the folk community. Exceptional playing and a gig packed to the hilt with discovered nuggets pose as the redeeming feature. Wherever he plays, folks will hang onto every word, lyric and note picked. They know their stuff as much as one of England's leading folk lights.