Album Review : Kip Moore - Solitary Tracks

 

www.kipmoore.net

The danger of releasing a 23-track album when seeking a reset is a perceived lack of tightness required to appeal to a fresh listener base. Of course in this digital age a personal playlist in listenable chunks is one route though that requires initial intent. SOLITARY TRACKS frequently leans in a roots/heartland rock direction differentiating from what a lot of contemporaries churn out. You can comfortably lift an average album length number of tracks to successfully lure those not previously touched by the music of Kip Moore. An option that would work if chosen thus rewarding the endeavour. 

Gig Review: Chuck Prophet and His Cumbia Shoes - The International, Leicester. Tuesday 25th February 2025

Prowling, peering, posing. Stand a few feet from Chuck Prophet in full charismatic flow and you feel his kinetic aura. Silver boots and band matching Nudie suit add to an effect driven by blistering rock ‘n’ roll and insightful songwriting. We are in the midst of a new identity. Likely borrowed but fitting for an artist where style nestles alongside substance. From Green on Red to Mission Express, the flavour is now an immersion into Cumbia influences. We bring you Chuck Prophet and His Cumbia Shoes. First a 2024 album and now a 2025 UK tour. 

Chuck commented on the demise of The Musician in Leicester while acknowledging that it’s been a few years since visiting the city. To amend that omission, The International stepped up to play host and form a Midlands triangle with Nottingham and Birmingham. Whatever the overall impact in terms of attendance, a beguiled assembly of devotees and curious onlookers were locked into an hour and three quarter riveting set. 

Cumbia music is stacked with Latino rhythms and popular from Columbia to Mexico. This extends to communities across Pacific USA, and from one such hotbed, Salinas California, come ¿Qiensave?. Together with Chuck Prophet, the album WAKE THE DEAD was born. Rock ‘n’ roll in a new light. 

For touring purposes, his Cumbia Shoes are an hybrid outfit. Long standing Mission Express members James DePrato (electric guitar/lap steel) and Vicente Rodriguez (drums) are joined by core ¿Qiensave? players Mario Cortez (multiple rhythm instruments) and Alejandro Gomez (guitar/keys). Toss in bassist Joaquin Zamudio Garcia from Mexico City and you have an exciting combo ready to enact a pulsating performance. 

With a new band in tow, it was unsurprising for the near-entirety of the collaborative album to feature. Following the familiar chimes of ‘C'mon Everybody / Avientense Todos’ opening the set, the cut and thrust of WAKE THE DEAD took hold to intermingle with a handful of old fan favourites. A redeeming trait of the current incarnation is an irresistible urge to swing the hips and tap the feet. In other words, the maximum movement from your average Chuck Prophet fan. In an ideal world, you sense our favourite San Franciscan would love to view from the stage a multi-cultural throng buying into his music. Sometimes you just have to look after what you’ve got. 

The faithful were looked after very well. ‘Jesus Was a Social Drinker’, ‘Ford Econoline’ and ‘You Did (Bomp Shooby Dooby Bomp)’ represented the past with panache; ‘Wake the Dead’, ‘Sugar in the Water’ and ‘First Came the Thunder’ showed the present in fine fettle. The encore was a blast with the alt-country charm of ‘Time Ain’t Nothing’ thrilling real oldies,  and others, while the lot newer ‘Glad to be Alive’ said all that was needed in a few words; poignant on many fronts. Mid-set when the frenzied pace relented, the missing Stephanie Finch was serenaded 8,000 miles away with the glorious ‘One Lie for Me, One for You’. 

Chuck Prophet was in imperious form. Bursting with brashness though politically restrained bar a one off Musk-orange one rant, the guitar playing always electrifying. Most of all life was good, both onstage and off. It will always be rock ’n’ roll but nothing is off limits, least of all tapping into a roots sound perfectly embedded within an established identity. His Cumbia Shoes wooed Leicester. Chuck Prophet was just the arch performer many love. 

Gig Review: Alex Hart - Stourbridge Town Hall (Wollaston Studio). Saturday 15th February 2025

www.alexhart.com

Sometimes schedule alignment and a return visit can reap rewards. Alex Hart is the beneficiary and carving a mark in Stourbridge's limited live music scene is the result. Last May the Plymouth-based singer-songwriter made a surprise appearance at the day-long One Heart One Way Festival, an event held in multiple venues revolving around local favourites Neds Atomic Dustbin's Town Hall gig. Hart headlined a well attended evening in the now mothballed Talbot hotel alongside a few local acts and created sufficient impression to attract some returnees. In the wake of a full band booking on the Friday evening of Southport's popular Love Folk Festival, it was a smart move to seek an opportunity in Stourbridge on the way back to the south-west. This time the solo format was upgraded to a four-piece band and an availability in an upstairs room at the Town Hall proved an ideal location to play a show.

Like most entertainment in Stourbridge Town Hall, whether in the main auditorium or smaller studio spaces, live music has to compete with the other performing arts. Even rarer is the opportunity for independent original music to appear as the council-led operation prefer the instant appeal of the familiar. The Wollaston Studio is a spacious setting for a performance with an excellent sound system and comfortably housing the 80-odd tickets sold for the show. A number that many venues in nearby Birmingham would crave for.

The intimated support slot didn't materialise so the evening panned out as a main act two set show with the second an extended one featuring the obligatory encore. Hart (vocals and acoustic guitar) was joined by Adam Sweet (mainly electric guitar), Paddy Blight (stand-up bass) and Joe Harris (drums). This full line up doesn't get many outings as solo, duo and occasional trio formats are often dictated by budgets and bookings. This is just one side of Alex Hart's musical career as she is a regular member of Seth Lakeman's band and is recently working with Martin Barre of Jethro Tull fame. The solo career has to find its own place in a busy work schedule and to date there has been a label release ten years ago, an interim EP and 2023's VISIONS album. Songs from each record featured chronologically in the show as we began to learn about Alex Hart - the musician alongside snippets of the person.

The music style is loose and fluid. On the surface, it's fairly standard singer-songwriter fare with traces of country, folk and pop. Hart is a talented performer with a polished approach. The vocals possess a clear cut prominence and her band-leading credentials are easy to detect. The musical prowess is self-explanatory in the wake of her associations. The mainly self-penned songs are largely of a personal nature with common themes of love, heartbreak and close-to-home anecdotes prevailing. 

The band gave an accomplished performance. Sweet frequently excelled on lead guitar and it wasn't surprising to learn that he heads his own blues band. Blight on bass gave impeccable rhythm and Harris is an in-demand drummer. They were an above average combo capable of seamlessly switching on when asked to back Alex Hart for a show.

Two contrasting covers featured. Neil Young's 'Old Man' filled the pre-encore slot , while Angie Stone's 'Wish I Didn't Miss You', on which she collaborated on a worldwide radio hit, is definitely in the pop camp. Also in a similar vein from the latest album is 'Fix This', a track on which Seth Lakeman adds his famed fiddle. Tracks from VISIONS featured prominently in the second half including memorable pieces 'Tilly's Song' (a tribute to her beloved dog), 'Wild' (inspired by David Attenborough) and 'Blackbird' (with its local dialect origins). 

The show opened with Hart taking you back to the debut album in the company of songs like 'Orange Van', 'Bad Boy Bill' and 'Onside'. Chat between songs focussed on the challenges female singer-songwriters face in the music industry. One inspiration shared in both Stourbridge shows was Chris Stapleton and in places you can detect a country sound with song construction and the guitar slipping into twang mode.

Alex Hart is an astute artist capable of manoeuvring her career onto bigger platforms. Her style courts popular appeal while retaining a strong level of authenticity. The band set-up was a definite upgrade but versatility is key when operating on an independent basis. Stourbridge and Alex Hart have become an unlikely alliance. The town may even be mentioned when she breaks the big time. 

Album Review: Dan Raza - Wayfarer

 

www.danraza.com 

One of the UK's 'best kept secrets' was quoted in the press blurb. Never has an assertion been so accurate for an artist. On the evidence of Dan Raza's third album, it's quite amazing that vast swathes of a relevant music landscape won't have come across him despite a couple of releases and being active for over a decade. I will partially join the list as being faintly aware but nothing to prepare me for the stunning array of songs on WAYFARER. Check this album out and a dozen tracks of immense quality will spring forth. This is seriously good songwriting wrapped in a classy musical package. What more could you ask for from a British artist intent on raising his profile.

The title is another apt component of the record as it reflects Raza's nomadic experiences that proved the driver for this fine collection of songs. Good art often comes from its creator seeking different surroundings. Some take it to extremes and completely uproot their lives to seek a creative nirvana. The release of a record brings back a sense of normality as the songs cease to be remnants of an imagination and now reside in the heads of everyday normal folk. These efforts certainly spice up a listening regime and placing Dan Raza in serious company is not a far fetched conclusion. 

A key feature is being grabbed from the start. 'Behold the Night' is a stunning opener with enhanced piano and an overall style reminiscent of Ben Glover. A fine association. Over the next half a dozen tracks, stand-out candidates spill out. 'Wasn't That Enough' has a great opening line and like so many of its counterparts, a killer chorus. The groovy soulful 'Water Reflects (What it's Shown)' is a warm and satisfying tune and was one of the key preview tracks. A metaphoric title reveals a theme of populist politics. The writing overall takes both a critical and reflective angle to some of society's ills. With the album's songwriting roots being a period of personal reflection and change, 'In My Own Time' speaks the words of a dreamer and a drifter. By now the hooks of an inspiring record have secured the connection.

From early listens, the melodic beauty embedded into the chorus of 'Me and My Lady' melted me and kept this song at the summit. A first among equals to toss in a political analogy. Surely this would have been a No.1 in the early seventies. Fifty years later it has to work a little harder to find the right ears. A slice of accordion adorns the lighter and more positive 'Nothing Like a Woman' bringing the first half to a breathtaking close. 

By now the smooth production and slightly rough edged vocals have sunk into a song collection that has already paid for itself. The second half leads with an observational piece inspired by witnessing first hand the desperate plight of Central American refugees passing through Tijauna onto the promised land. 'Only a Stones Throw Away' is a smart and perceptive piece of songwriting. The narrative streak continues with 'The Truth Will Heal You' and 'New Born Man'. The latter is the story of Tom Techman and his fight for a normal life despite being born with Cerebral Palsy. A track showing the dexterity of Raza's songwriting skills. The album started with an association and nine tracks later another is thrown up in the guise of Dylan LeBlanc whose presence is felt in 'Like Strangers Again'. Probably just my listening sphere, but a definite virtue.

At this point a caveat appears. 'We All Have to Dream' and 'Still a Song to Sing' are fine inclusions on merit, but appear somewhat in the shadow of the raft of big beasts that have gone before. From a listening perspective, cutting these two and placing them in another project would have made the record a little more succinct. A ten-track-forty five minute effort is my optimum. A minor point that doesn't bring the album down a mark. 

If WAYFARER doesn't boost the profile of Dan Raza, injustice will prevail. It's a majestically quality assured release featuring one voice among a plethora of instruments ushering in a full sound. Songwriting at its best and on this occasion justice will prevail.

Album Review: Dean Owens - Spirit Ridge

www.deanowens.com 

Dean Owens is one the most innovative and explorative musicians around. Championed by the UK Americana scene merely scratches the surface. His previous eleven albums have flirted with many musical facets from straight up country infused folk to sweeping brass-led cinematic sounds capturing the spirit of south-west USA and its border influences. A constant underpin is perceptive songwriting spun from personal and observational themes. SPIRIT RIDGE adds another dimension with a strong Italian input through working alongside acclaimed producer Don Antonio and recording it in the hills of Emilia Romagna. The result is a tantalising album that courts the listener with creative clarity while diving deep into sonic alliances and decorating personal messages with fetching tunes.

The precursor for this album was a trio of EP releases in 2024 incorporating demos, floor cuttings and preview pieces. Whatever the merits of this commercial activity, there is no substitute for a fully fledged release and the twelve-track perpetual mini-epic meets an active listener halfway with lashings of musical artistry and a sprinkling of alluring hooks.

For the record, the introduction of performer and producer was enabled by John Convertino of Calexico, and borrowed sounds from that band's armoury feature prominently to infill the desert theme. What probably differentiates this from the bulk of the back catalogue is a panoramic breadth and added dynamism culminating in a couple of high class groovin' numbers even with club credentials. 

Anchoring the record is a funky feel to 'Burn It All' showing an alternative light on Owens' musical direction. Lyrically, it hones in on a theme of the displaced and dispossessed. Pushing this track close in the groove stakes is the similarly catchy 'Light This World'. Both these focal songs could have a lease of life away from the clutches of SPIRIT RIDGE. The third pick from an early listen is the more homely and reflective 'My Beloved Hills', where the brass really takes hold. Amongst the Italian and Tex-Mex flavourings you are never far from the central belt of Scotland. It wouldn't be a Dean Owens album without it.

The latter track is third in the running order after 'Eden is Here' opening followed by a minute-long instrumental 'Spirito'. Spirit is whatever language is embedded into the record's soul. We are informed that 'eden' refers to Crinale where the record was made. The start is more scene setting than ear grabbing, and to briefly refer to a moment where things are perhaps not fully grasped is the fuzzy sound attached to 'The Buzzard and the Crow'. Passing on this effort early on doesn't impede the wealth of the entity.

Another reference to the animal world works a lot better in 'Face the Storm (The Buffalo)' where a mesmeric slow plodding beat mirrors that of the beast in question moving slowly through the snow. A exemplary case of mood matching the lyric. 

The remaining five tracks beef up the album's rear. 'Tame the Lion' is a wonderful closer bringing the story of Owens' lion taming- Italian based great great grandfather to life within a constant spiritual theme of always feeling a presence. 'The lion tamer by my side' and 'walked with his ghost' capture this in the lyrics. The track ultimately seals the Italian-Scottish connection, while possessing a finely crafted groove. A couple of contrasting numbers in tempo are placed together with the mellow 'Sinner of Sinners' leading into the more upbeat 'Wall of Death'.

The melancholic 'A Divine Tragedy' was the last track to really click as opposed to the 'Spirit of Us'. This is actually an older song  but an adorably uplifting quality proves a perfect fit. The standout lyric 'the spirit of us will never die' encapsulates the message embedded in the album.

SPIRIT RIDGE is a cross cultural connection. Collaborative and immersive to the core while satisfyingly stimulating. Dean Owens' ambitious approach buoyantly unwraps a delightful meaningful record, both tender and invigorating in places. 

Gig Review: Campbell Jensen - Kitchen Garden, Kings Heath, Birmingham. Friday 7th February 2025

 

www.campbelljensenmusic.com

Fifteen months after Ashley Campbell and Thor Jensen made their Kings Heath debut, the couple popped back to the Kitchen Garden to establish their duo act as a serious proposition on the UK live circuit. A healthy attendance pushing towards capacity passed through Fletcher's to take root in a venue not known for its Friday evening gigs. Music tends to be a Sunday to Thursday operation at the Kitchen so it was interesting to see whether an incursion into the weekend changed the dynamics. Plenty of familiar faces gave one answer but a straw poll conducted from the stage revealed plenty seeing the duo for the first time. Therefore a general turnover in crowd from an equally well-attended event in November 2023.

Whether you went to one or both of the shows, the impact, delivery and composition were similar. Two sets, two guitars, plenty of added banjo and a raft of songs spawning from multiple sources. The previous show was around the time of the first Campbell Jensen album. The ensuing period has allowed TURTLE COTTAGE to gain traction with many show opportunities to sell copies to interested punters in the aftermath of an exquisite performance. One such occasion was a super display of musicianship on the Friday evening at The Long Road festival in August. 

The setlist comprised of most of the album with a handful of choice covers slotted in to show awareness, interpretation and inject a slice of familiarity. Maybe there were some in the audience keenly waiting for a couple of well-known songs and Campbell Jensen responded with 'Blue Eyes Crying in the Rain' and 'Gentle on My Mind'. 

The latter presents something of a dilemma for me. In the previous Kitchen Garden appearance, it was omitted from the set. This enhanced a perception, from an admittedly small sample, that the Campbell Jensen incarnation was a serious stab at forming a new musical identity for Ashley Campbell. Having followed her career for ten years, the factor of being Glen Campbell's daughter strongly flavoured things. That night I was up close and personal to an artist in a period of change in the midst of incredible chemistry with her astute guitar playing partner, Leaving out a signature tune seemed symbolic.

On the other hand, the version shared tonight was absolutely stunning and it indeed is one of the best songs ever written. Never let it go but frame it as a beautifully curated Ashley Campbell version. Maybe for me there was the difference of being seated on one of the elevated stools at the back for this show.  What you lose in artist intimacy is compensated by a different and improved sound quality. Therein lies a debate whether the best gigs require sound perfection or an immersive experience that can't be enjoyed elsewhere.

From the covers selection, Tom Waits' 'Long Way Home' appeared in both shows, while Dolly Parton's 'Do I Ever Cross Your Mind?' was a new one. The pick of the tracks from the debut Campbell Jensen record included 'Tank and Babe', 'Perfectly Alright' and 'Waiting on the Summertime'. The style of music eases between country, revivalist folk and jazz of both a late night lounge and guitar-inspired gypsy sound. 

In between songs, the patter is warm and irreverent. Not too many nuggets but stacked with an appeal that can only be replicated in an informal live setting. Musically, Jensen's acoustic guitar playing is impeccable and jaw dropping. Campbell's silky vocals and complementing banjo add the cream. Together they harmonise with the best.

Ashley Campbell and Thor Jensen continue to gain a foothold in the UK live music scene where they seem most active at the present. The future may be informed by other ventures but this incarnation has worked a treat for those seeking something new with traces of familiarity. 

Gig Review: Colby T Helms - Muthers Studio, Birmingham. Wednesday 5th February 2025

www.colbyhelms.com

It is not unusual for an American old time-traditional bluegrass influenced country artist to gain traction overseas and attract a decent following, often transcending genre devotees. Over the last 20 years, Old Crow Medicine show come to mind and just before lockdown Tyler Childers came to the fore. The latest hit is Billy Strings who attracts a huge audience for a frenetic old time roots style sound. It is early days to predict a trajectory for Colby T. Helms and so much is down to luck, influential backers plus an innate ability to reach out and connect. It would be a coup to think that humble beginnings among twenty-or so astute observers in a hidden city centre Birmingham studio was the start of something big. Yet there was so much assuredness, a composed style and flat out exported authenticity that just maybe, the trajectory will follow a similar path to the aforementioned peers.

The Muthers Studio is not one of Birmingham’s most well-known  venues. Few assembling for this gig knew little of the place located away from nearby nightlife. Word had got round  that something special was set to happen and hasty online sampling started to form a picture. There was a helping hand that increasingly well known Dom Glynn in independent Americana circles was opening to at least flag up a buried show. 50 minutes of the ever impressive Glynn and 65 minutes of the inimitable Helms turned heads to the extent that something special had indeed occurred.

Colby T. Helms hails from Franklin County, Virginia. He draws on a rural experience to carry forward a centuries old sound refreshed by contemporary songs, honest and reflective to the core. Flat picking was his style. On record, you get the full band sound. On tour, it’s just one man and guitar. Simple in delivery but executed to magnify its impact. For someone relatively young, Helms had the composure of a veteran and the stature of someone born to carry the mantle of a heritage. It was so good. Clear, informative, emotive and packaged into what lures fans across musical divides to a framed traditional country sound.

To date, there is a single eight track release out there to enjoy. 33 minutes of listening bliss that doesn’t just give you a slice of rural Virginia but literally takes you to the foothills of the Appalachians. Up to date news is Helms has been in the studio with David Ferguson (Sturgill Simpson/Tyler Childers) and a second release is set to be unleashed. Look out for songs like ‘Welcome to the Freak Show,' ‘Clouds’ and ‘Possum’. On the setlist in Birmingham and on the forthcoming release.

While on the topic of new records, and a slight diversion, London-based/exiled Brummie Dom Glynn is almost ready to go with a debut release. He has been ripping up festivals and the local London scene for a while with his superb self-penned traditional country songs. Once again the delivery is spot on and an impish humour embedded. His band set up is top notch but economics imposed the solo format this evening. Still the source of an entertaining extended set with exemplary finger picking drawing praise from his new acquired American acquaintance. Look out for a Dom Glynn record soonish.

Dom Glynn

The rest of Colby T. Helms’ set was split between tracks off the existing record titled TALES OF MISFORTUNE and a few choice covers. Two favourites from it working well just as good live as on record were ‘Mountain Brandy’ and ‘Higher Ground’. Two exceeding their impact live were ‘First Snow’ and ‘Daddy’s Pocket Knife’. Helms opened up a lot of his world with numerous stories and anecdotes. The difference between a review and being there is cast in the die of the nuggets in the chat. 

Leading the covers, admittedly unknown, were a rousing reference to Birmingham in ‘Ride a Ramblin’ Man’ — a traditional song- and the memorable ‘Highway 52’. Whether interpreting the past or proudly representing the future, Colby T. Helms was on the mark as a performer.

I have known to be totally off the mark when predicting big things for an artist viewed in small settings. If our guest tonight doesn’t get anywhere near the stature of the names mentioned at the start of this review, the consolation of hooking up with the music of an exceptional artist will sit just fine with those present. On the other hand, check out the music of Colby T. Helms. He’s special. 

Album Review: Massy Ferguson - You Can't Tell Me I'm Not What I Used To Be

 

www.massyfergusonband.com

The number seven can have connotations of change and Massy Ferguson have fully embraced the notion. Across six albums, many shows and numerous overseas trips, this Seattle band cut a familiar and straight up sound flowing right to the core of fans smitten by good quality country rock. Maybe they have earned the right for an experimental delve that certainly provokes a reaction from established ears. Eleven tracks entering the world as the entity of YOU CAN’T TELL ME I’M NOT WHAT I USED TO BE rarely settle on a defining pivot and immediately rip up the Massy playbook. Preconception does play a part in forming an early evaluation and thus time may be required to fully align with the rhythm and mood of the record.

By pure numbers, January is not the meatiest month for album releases and the record benefited from a clearer listening path. Previous Massy albums can thrive in light touch situations when a suitable backdrop is sought such as driving. Early listens thought this may need a more intense approach such was the aural retuning from type. Yet in the end what made Massy Ferguson such a big hit was always lingering under the surface, just camouflaged by some effective production steering. This album will always be different, engaging with the idiosyncratic services of Damian Jurado saw to that. Ethan Anderson’s distinctive tones still patrol the vocal zone and the core quartet are still in place underpinning with a similar verve to what made the past tick. 

Followers of Massy Ferguson are not likely to be souls afraid of a musical challenge. The new record will require a bout of endeavour to grasp and redefining the listening boundaries will help. On the other hand, new markets may spring up, but that is down to movers, shakers and channels pursued. 

The heartbeat of the album didn’t become apparent at first. Eventually the pieces clicked into place when the value of ‘So Long, Carry On’ emerged. Gospel vibes enable a decisive mood to embed the song and its position in the centre of the running order gives the album balance. This juxtaposition of the assigned stand out with its predecessor - the rootsy strummer ‘Seaside Town’ - almost proves a bridge from the past to the present. The latter is the one moment when you feel in familiar territory. 

Ears will be pricked from the slow backbeat bringing opener ‘Early in the Morning’ into the world. Slightly grungy guitars in the latter stages inject a greater presence, but this song hasn’t clicked yet. The piano intro to ‘Headlights & Highbeams’ implies a fresh start and this track settles as one of the key components. As in its theme, it does transcend to a song enjoyed on a long trip. ‘When You’re Not Around’ completes the opening trio with its vaguely psychedelic tendencies evoking a late sixties/early seventies sound. 

Following the two earlier mentioned tracks that probably jostle for the peak comes the album’s midway point with the pleading strains of ‘I’m Almost There’. We then start getting a touch weird in ‘You Were So High’. Some will get it; others may pass. Either way the mood meets the content. 

‘Lights Get Low’ launches the final quarter of the album seeing the sound enter a more raucous phase with the brash vocals blending with a more conventional rock style of thrashing guitars. ‘Shrunken Head’ returns to a twangy guitar as all the bands credentials of combined strings, keys and percussion play a part. Penultimate track ‘Lovely Lad’ is a piano led slow number showcasing Anderson’s impactful vocals and a potential poignant moment at live shows. ‘Angels in Heaven’ is a definitive closer in terms of embossing the architecture of Massy Ferguson pursuing a new path. This song leaves you in no doubt that 2025 is a going to be a year like no other for this long established band.

YOU CAN’T TELL ME I’M NOT WHAT I USED TO BE is a brave record. It’s about a band following their instinct to make something fresh and different. Massy Ferguson fans will likely find the wherewithal to tap into the required frequency. There may be a changing of the guard in terms of who is casually attracted to the record. The risk is likely a calculated one and what shines through is a band in control of what they do and executing alterations in a classy and meaningful way.