Gig Review: David Ford - Hare and Hounds, Kings Heath, Birmingham. Wednesday 29th October 2025

 

The test of a good album is endurance and an ability to eternally pack a powerful punch. A timeless asset also helps so new listeners can tap into it at anytime and grasp its relevance. There was no indication from the floor of the Hare and Hounds venue 2 to when folks first listened to David Fords’s seminal 2005 album. An attentive and polite gathering offered minimal verbal engagement so some may have been there at its birth while others wrapped their ears around it for the first time in the run up to the gig. In extreme circumstances the album may be a totally new experience in a whirl of untested gig intent. One certainty was that David Ford would give the 20th anniversary of I SINCERELY APOLOGISE FOR ALL THE TROUBLE I’VE CAUSED a prized and precious update. 

In recent years, David Ford’s career has been more in collaboration than focussing on the solo presence. His work with Jarrod Dickenson, Annie Dressner and Michele Stodart are three recent examples and exposure with them at least helped in a small part to boost the attendance past the three figure mark and pack the venue’s smaller room. Colleagues and friends have formed the stage line up for the tour. Birmingham originally had three guests lined up but Ed Blunt withdrew leaving his keyboard parts vacant. Not a problem for the multi-innovative Ford whose sound often exceeds the sum of its parts. This left a trio format with Demi Marriner offering backing vocals and guitar and Beth Rowley also backing vocals and harmonica. 

The forever humble Ford played compere at the start introducing both guests to share three of their own songs to fill the support slot. He played guitar on a couple of Rowley’s blues-inspired numbers and stood on the sideline sparring with Marriner’s wit. The main event grew with anticipation during a short break. 

When a show explicitly evolves around a featured album it’s interesting to see how it pans out. The running time for I SINCERELY… is around 50 minutes. Throw in a hidden track from the original CD version and swathes of engaging chat led to the album part of the show pushing the 80-minute mark. We weren’t done then as four further songs extended the evening beginning with ‘Pour a Little Poison’ and ending with a cover of George Michael’s ‘Freedom’.

While the album remains available to listen to in its original guise at anytime (wider now in this streaming age), there is a definite ‘in the moment’ feel to how an artist like David Ford interprets it on any given night. The uniqueness adds to the mystique of the present. 

The performance in Birmingham shook with an idiosyncratic verve as a cognitive intensity transmitted the eminence from stage to floor. Ford buried himself deep into each song mindful to admit that something is always left for listener interpretation. A reflective light was shone on a state of mind when the songs were written and recorded. Ford showed the dexterity of his instrument application periodically using loops and a drum machine in addition to multiples guitars and occasional keyboard. The ability to conjure a lavish sound from a sleek base is one of his key attributes alongside pouring profound emotion into the vocals at opportune moments. The songs breathed a new existence for this snapshot and standing back to admire the creative nous was an easy place to be, even if you felt your senses a little worked.

Elements to David Ford’s stagecraft remain an enigma but multiple guises piece together what a fine musician and songwriter he is. This remarkable album is basking under fresh light and a community gathered in an appropriate setting to give it their respect. 

Gig Review: Rod Picott - Thimblemill Library, Smethwick. Saturday 25th October 2025

 

‘So long it’s been good to know you’ is the promotional tagline as Rod Picott brings the curtain down on the touring phase of his life. A sentiment shared by legions of fans who have embraced his music for a long time. The irony is that twenty-five years since hitting the road new venues and new fans are still being found. They are seeing an artist in a good place savouring every moment of this extended last dance.

Thimblemill Library is located in the Smethwick/Bearwood area on the Sandwell side of the Birmingham border and hosts a vibrant array of arts events. It was a new and fitting setting for one of the final shows before Picott heads home to pursue his literary passion. 

With no support on the evening, the focus was on a pair of sets highlighting what has made Rod Picott such a well-respected figure on the touring circuit. Clad in a trademark denim shirt and through the gruff tone of well-tested vocals, he announced his arrival with ‘Digging Ditches’, almost a metaphor for the hard working persona blending tough toil with perception and moments of tenderness. The opening set proceeded to approach the hour mark with humour and reverence interspersing nine songs. 

Amongst these were two live staples in ‘Elbow Grease’ and ‘Rust Belt Fields’, the latter eternally associated with Rod Picott strumming an acoustic guitar. Positive love songs are a rarer occurrence though ‘Angels and Acrobats’ showed they were in his locker. Hailed a “wedding song”, this was also cut by Amanda Shires, a regular touring partner for Picott before she sailed into different waters. He referred to her a couple of times during the show. Regular fans, of which a few made a long journey to the West Midlands, enjoyed the Brian Koppelman story attached to ‘Puncher’s Chance’ once again, with Picott’s long term songwriting buddy Slaid Cleaves featuring in the punchline.

Following the break, a slightly shorter second set saw the end of an era for some present whom Rod Picott has been a firm fixture on the touring horizon. Stories about his dad epitomising the tough Maine man have often featured in shows and two opening songs from the second set, ‘Your Father’s Tattoo’ and ‘Welding Burns’ , reflected his admiration. The latter will linger long after the touring dust has settled. 

Rod Picott’s blue collar rhetoric has forged an identity. His records ooze with grit and the live show embodies every ounce of a working struggle. He bashfully remarks about “not learning a lot”. The truth is the way he conveys a way of life into the art of song has informed many. In a setting packed with books and knowledge, a further page of insight was offered from this esteemed songwriter. 

The stories continued to flow from hanging plaster for a living to playing awful shows in a brewery in Iowa. Luckily, a library in Smethwick was more to his approval. We even had a request in ‘You’re Not Missing Anything’ as a final chance to bond with fans was grasped.  Ultimately, Rod Picott is a solo songwriter, though his work with Slaid Cleaves is well documented. This evening we also had one he wrote with Fred Eaglesmith in ‘Getting to Me’.

Cover songs are not usually part of a Rod Picott show but one acted as a parting gift to a West Midlands fanbase. A version of Bob Dylan’s ‘I Want You’ was dedicated to his girlfriend Ashley who he was due to pick up from Heathrow the following morning. The emotion was obvious and thoughts turned to how much sacrifice had been made playing around 3750 shows over twenty-five years.

Thimblemill Library drew a line for many in the audience. A night sealing countless memories came to a close. “So long it’s been good to know you,” echoed from the floor as the crowd bade farewell to Rod Picott. 

Gig Review: Brandy Clark - Institute, Birmingham. Friday 24th October 2025

Brandy Clark’s recent shows have been under the banner ‘The Art of the Storyteller’ but this only paints half a picture From small town Washington through the cut and thrust world of commercial Nashville to a gentler place for pursuing a craft, the art of telling a story full of melodic twists in a narrow three-minute window is nailed. Songs are the currency for Brandy Clark’s rich musical existence. The pleasure of listening live unfiltered in a shared space will always retain a special feel. The Institute’s second room is not normally on Birmingham’s intimate venue list but a pin drop exposure to around eighteen meticulously presented Brandy Clark songs turned it into one.

This was Clark’s third visit to Birmingham. The Glee Club in 2016 welcomed an artist who had just broke into the mainstream with recognition shifting from writer to performer. By the time she returned to the Town Hall a year later ambitions were on a different level. Sadly, that evening was marred by a ridiculously short 50-minute set. No such issues eight years later as she nearly doubled the time on stage without veering into long winding chat. With four albums of material, a brace of penned hits for others and a new record nearing completion, there is no shortage of prime pickings. The beauty of seeing Brandy Clark live is that you can return home and play at least a dozen stellar songs that didn’t make the setlist. 

This current run of UK dates is part of a wider European tour climaxing at the Take Root festival in the Netherlands. The services of Amanda McCoy have been secured for guitar accompaniment on this trip. She is a recent bassist addition for the full band but impressively lends her hand to regular acoustic guitar for these shows adding a third dimension to vocals and song. The switch from behind the scenes writer to up front performer was a given in light of how such poise and assured posture accompanies the stage presence. Clark knows her performing lane and those platformed boots weren’t made for serious movement. 

A thesis could accompany the source, relevance and structural eminence of each song played. This show was about stripping down some of the numbers possessing a poppier sheen in the recorded format. Just listening to the guile and carefully curated components to songs like ‘Mama’s Broken Heart’ (a massive hit for Miranda Lambert) and ‘Follow Your Arrow’ (an anthem for its co-writer Kacey Musgraves) exhibits a different perspective. Even Clark’s own pumped up crowd pleaser ‘Stripes’ echoes with lines and quips sewn with a golden thread. 

Brandy Clark has recently worked with her alternately spelled namesake Brandi Carlile. For this show, we enjoyed their 2020 effort ‘Same Devil’, one of the evening’s punchier sounds, and ‘Dear Insecurity’, a beautiful confessional piece of writing off the most recent album. A thriving singer-songwriter won’t stand still and three new songs were played whetting the appetite for a fifth Brandy Clark album due for release in mid 2026. All had an instant appeal and the usual kitemarked standard. The names of two will come to light in good time with ‘American Roots’ set to make its mark as a unifying anthem. The only reservation is the possible twisting of its chorus by certain factions a million miles from Brandy Clark’s ideals. It has been done before, just chart the history of ‘Independence Day’. 

Set highlights spilled over like an overfilled glass of fine wine. ‘Northwest’ is soaked with home state nostalgia focussing on the importance of place. ‘She Smoked in the House’ does likewise for person. Two songs that really stood out from a precious pile were ‘Best Ones’ and ‘Who You Thought I Was’. You wouldn’t normally see them featured in a top 10 but they could easily be placed in the top 5 from Birmingham 2025.

The evening began with a half hour support set from British singer-songwriter Maya Lane. She used a fine voice and personally inspired themes to project her performing skills, while possessing the potential to move through the gears as an artist leaving a favourable impression with first time listeners. The evening ended with Brandy Clark dismissing the encore charade by announcing her two final songs within the allotted slot.

If you can make it through Nashville’s choppy waters and take your songs away from steering influences to a wider platform then songwriting credibility will soar. Brandy Clark is at that point. One faction of her repertoire was explicitly on show at the Institute in Birmingham; the most important one, the art of the song. 

Gig Review: Larkin Poe - Institute, Birmingham. Wednesday 22nd October 2025

Larkin Poe is a band who know how to stitch together an identity. They have gravitated from the roots-infused bluegrass-inspired Lovell sisters to a fully fledged electric outfit pile driving ornate-styled blues rock spiced with the organic tastes of the Deep South. Rebecca shreds a mean guitar and lifts the roof off venues with her soaring rock vocals. Megan plays a multitude of lap guitars with grit and guile applying posture and animation alongside backing and harmony vocals.

The band’s growth from playing the Hare and Hounds in Birmingham’s Kings Heath suburb in 2014 to almost selling out the large room of the city centre-located Institute eleven years later is a testimony to a smart evolution. Along the way they have accrued a rock audience but if you spend an hour and half watching the stage show they weave in so many influences. Larkin Poe is a sharp band reaching out far from a barrage of amped up electrification. 

The Birmingham show was the latest stop on the Bloom tour. This is in support of an album released in January before later joined by a stripped back accompaniment showing the structural elegance of top songwriters. Plenty of the album featured in the early phase, and throughout, of a set extending just past the ninety-minute mark. ‘Mockingbird’, ‘Easy Love’ and  ‘Bluephoria’ shone like amplified jewels as the band hit the volume button from the start. 

Backing the Lovell sisters was a trio of musicians on keys, bass and drums. All you need to make good honest southern rock when a pair of quality pickers head the band. The five-piece merged into one for a priceless twenty-minute segment midway through the set when acoustic instruments and a single mic hushed a packed room. Megan politely quipped, “the audience would win in a sound battle.” During this four-song back-to-basics interlude ‘Little Bit’ from the new album stole the show in its raw form alongside a nod to the old Larkin Poe in ‘Mad as a Hatter’. Rebecca effortlessly switched between acoustic guitar, banjo and mandolin as this tender part of the show ended with a nod to blues folklore and  pleasing the locals with a homage to Ozzy. 

This was the cue to return to the loud and robust rock style guiding the show to its encore. The nature of the evening kept Rebecca and Megan’s chat to a minimum but when added between songs it expressed the good place the band are in, namely making a style of music they love and fully embracing the love pouring from the floor.

Son Little opened the show in a trio format and brought a lighter yet wholly authentic bout of soulful blues to the evening. Hailing from Nashville, they showed the diverse nature of that city’s music scene playing an effective role in whetting the appetite for the main event.

Larkin Poe never lose that glint in the eye that has enthused fans around the world for fifteen years. Behind the southern rock facade forming the band’s present stance lies two Georgia siblings born to share the fruits of their harmonious talent. Birmingham (UK) felt privileged once again to host the Lovell sisters.

Gig Review: Toria Wooff - Dead Wax, Digbeth, Birmingham. Friday 17th October 2025

 

On one plane, the music of Toria Wooff serenely drifts across the misty West Lancashire Moors. On another, she is playing Dead Wax in an inner city district of Birmingham on a Friday night. In one world her gorgeous ethereal sound permeates the skin of an attentive listener. In another, it has to compete with sound gremlins turning a speaker into a Neil Young tribute. Good music wins the day as this singer-songwriter from Horwich near Bolton accrued a new posse of fans in the midst of a debut show in Birmingham.

Dead Wax is one of those places that has re-invented Digbeth as a burgeoning hub in Birmingham’s nightlife scene. Live music spills out of multiple spaces inside the venue with Toria Wooff offered an outside covered yard warmed by the odd heater dotted around. Following an inauspicious entry, a spacious setting comfortably accommodated those seeking a new artist whose ripples have increased since the release of a self-titled debut album. The show served affirmation of an emerging talent alongside the odd surprise. All in an evening’s pursuit of flourishing music away from the often superficial bright lights.

This gig was part of a short nationwide tour aimed at further spreading the word of an artist pulling her gothic tendencies in a folky direction while inadvertently attracting the acute ears of Americana followers. From a similar pool of aspiring talent, David Gorman was invited to open each show and instantly demonstrated what a fine singer-songwriter he is. The biggest compliment is a cover of Blink-182’s ‘All the Same Things’ was inferior to most of his originals. All the parts of an enjoyable set were in place including the crucial knack of keeping you engaged for three and a half minutes with appealing songs ‘Hourglass’ was the pick from the opening few numbers, with new single ‘Darlin’’ shaping up well as the half hour set came to a close. No albums yet but plenty of songs available on the streaming channels. An artist to watch out for and no powerpoint in sight from this David Gorman.

Toria Wooff came on stage around a quarter to nine and luckily didn’t have to compete too much with the anticipated loud rock bands elsewhere in the venue. Apart from the odd weird noise from her right hand speaker, the style, sound and emotively packaged songs came across well. The turnout swelled to a reasonable gathering for an unknown artist in a big city on a Friday night, and it would be tough for anyone with a spark of interest leaving without a good impression.

The 70-minute set was filled with two phases of a career to date. From the debut album released in March on Sloe Flower Records, a stunning version of ‘Lefty’s Motel Room’ was an early standout. The divine ‘Mountains’ expressed the depth of its eminence mid-performance as a song born to send shivers. The final three tracks mirrored the way the album closes and you will travel a long way to hear such a sublime trio as ‘That’s What Falling in Love Will Do’, ‘See Things Through’ and ‘Estuaries’ sending you sweetly into the evening air.

The other phase is the exciting prospect of a new album nearing completion. The strength of songs off the first album meant the new ones will take time to bed in but they wholeheartedly contain the Toria Wooff trademark craft and will weave their own magic over time. ‘House on the Hill’ was the pick from those heard and demonstrated the breadth of theme inspiration. Anything ghostly, dark and evocative fires the writing bug while feeding into an identity and the way the songs filter to audiences. Solo is the current stage format for Toria Wooff but ample potential exists to expand and bring some of the enhanced production sounds evident on the record to the stage especially the haunting pedal steel.

Fine music lurks in the backwaters of any music scene with artists like Toria Wooff and David Gorman awaiting discovery. Anyone choosing a live music fix at Dead Wax in Digbeth this Friday found a couple of gems parading a slice of esteemed songwriting.

Gig Review: Kirsten Adamson & the Tanagers - Kitchen Garden, Kings Heath, Birmingham. Thursday 16th October 2025

 

Kirsten Adamson’s return to Birmingham possessed an extra zest and injected a fresh dose of energy. The two previous visits to the Kitchen Garden were in a duo format accompanied by guitarist Jon Mackenzie, a stripped back convention in common with most of the acts passing through this intimate venue accessed on an evening through the bustling Fletcher’s Bar in the eclectic suburb of Kings Heath. This time it was all guns blazing with drums, bass and keys pushing the line up to a five-piece squeezing into the tight performance space. A poor band would demolish the special acoustics of this brick walled confined venue; the Tanagers navigated the challenge to deliver an escalating accomplished performance nailing an optimum sound. From a neatly wrapped fairly lo-fi first set the show adopted a different sheen after the break with the band turning up the volume to match the endeavour of an enthusiastically packed audience. 

Adamson brought the full band down from Scotland this time to support the release of her new album. DREAMVIEWER is little over a month old and the centrepiece of a prolific period of songwriting. 2025 has also seen a trio of EPs containing songs not making the album cut, so this extended double set opportunity saw the night almost entirely full of new material. 

An evening of two halves cliche played out to a tee with an advance warning that the calm tranquility of a tempered opening would give way to something considerably louder. This culminated in a supreme encore consisting of a new live anthem ‘In My Next Life’, one of the standout track off the new record, and a spirited version of ‘Harvest Home’ made famous by her late father, Stuart of Big Country fame. Previous visits to the Kitchen Garden saw Adamson and Mackenzie delicately strip down ‘In a Big Country’. This time an alternative cover was fully stacked with the latter imitating some of the trademark guitar licks. 

Adamson’s relationship with her father’s songs formed a new identity in lockdown ultimately shaped by the emotive award nominated ‘My Father’s Songs’. You sense this is a Kirsten Adamson staple in all her shows and found its prime position in the pre-encore slot as the band exemplified a tight unit in full flow. The rhythm duo of Richard Anderson (bass) and Scott Forsyth (drums) came into their own in the second set after short periods of inactivity in the first. The guest keyboard playing of Andy Barbour was introduced a couple of songs into the opening set adding an extra dimension to a sound falling into the camp of cultured Americana rock, or to older ears plain alt-country. Central to all of Adamson’s work including her own refined vocals and dual guitar playing is the tasty picking from Jon Mackenzie. 

There were several other highlights to the setlist in addition to the aforementioned songs. ‘Slow Train’, one of the EP tracks, possessed a memorable melody leaving you wondering why it didn’t make the extra exposure of the album. ‘The Heart’ is a well-tested crowd participation number and did make the cut as well as remembered from the last show here in 2024. Just before the interval there was seismic switch in proceedings usually reserved for the end of a show. All band members stepped out form behind the mics armed with acoustic guitars and played an unplugged rousing version of ‘Live, Love, Cry’, a song cut by Adamson’s other project The Marriage with Dave Burn that occasionally pops up from time to time.

You don’t have many mass stand-up moments at the Kitchen Garden but the climax to Kirsten Adamson and The Tanagers was one of them. The aftermath considered whether the show would have benefited from a little more space as there was a higher than usual degree of animation from the stage. The second half would also have been memorable in a wider festival setting However the performance was greeted with universal appeal and beams of upbeat positivity flowed from an artist thrilled to be sharing the wealth of her songs to an appreciative audience. Kirsten Adamson is in a fine vein of form keeping music fans at the grass roots wholly entertained.

The Future 3.0

Another twist as a new normal is sought for this blog. Gig reviews will continue to be published as per usual to maintain an extensive archive of over 13 years of writing about the experience of live music. However some will have been published elsewhere on external music sites. This is because this blog is not being actively used for promotional purposes and a preference is for this be taken up by other outlets. Also it is a fresh approach to write in some sort of collaborative capacity. The alternative existence of a review will be indicated and linked. Social media will be scant for the blog used only when this is the sole outlet for a review and then moderately through a personal Instagram, Bluesky and Substack account. I am more than happy to still work with PRs, promoters, venues and artists to support live music through a review and will seek ways in how this can be facilitated. A stack of reviews lined up for November and December will be available on alternative outlets. The door remains closed for album reviews. 

For more, check back on the blog periodically or find me elsewhere:

Instagram @davidtcatt

Bluesky @davidmhughes.bsk.social

Substack @davidhughestcatt 

The Future 2.0

Further to my decision to continue to write in some capacity, the gig review page on the blog header will be maintained for the foreseeable future. Each gig attended will be listed with a link to where it can be read online. 

A consideration is being made to hit the publish button on all the reviews written each quarter, subject to any exclusivity arrangement, to maintain the archive on the site. This is purely personal with no intent of promotion but be more of a periodic reflective  tool. The best way to track my writing in the short-term is follow me on social media for links to where they are published. By the way, the album review ship has sailed. 

As long as blogger retains its free platform, this archive of 1500 reviews will be available. 

Instagram @davidtcatt

Bluesky @davidmhughes.bsk.social

Substack @davidhughestcatt 

The Future

After running this blog for nearly 14 years my music writing is heading in a new direction. I'm stepping back from album reviews because they've run their course as the fulfilment doesn't match the endeavour. However gig reflections come so easy and will continue in two different forms. Any formal gig reviews will be written exclusively for other websites. The arrangement is kicking off in November with at least half a dozen planned for the rest of the year. Any gig not formally reviewed will get a few reflections added to my newly created Substack @davidhughestcatt 

All writing will be signposted by the two remaining active social media accounts:

Instagram @davidtcatt

Bluesky @davidmhughes.bsk.social

If you have gained anything from reading what's been written, follow me on any of the above. The Substack has an activated email notification facility though will only get a small sample of my music writing. 

Final plug, I'm open to writing gig reviews for any publication so if you have connections or ideas contact me on social media to arrange further discussion. 

Gig Review: Katie Spencer - Kitchen Garden, Kings Heath, Birmingham. Wednesday 8th October 2025

 

The holy trinity of artist, audience and venue were impeccably in place to create a wondrous moment of unfiltered music. Songs, sounds and guitar playing melted into an intimate air. The fixated attentive gaze of each audience member absorbed a pulse evoking a mindful retreat. Some are grounded, intoxicated by every movement whether caressing a string or sharing a lyric, others drift into an alternate state serenaded by the sweet murmur of a softly spun piece of performative art. 

A place - warm, friendly and comfortably populated - providing a realm to enable raw music to flourish. Tens of pairs of listening ears tuned to a performer crystallising the space afforded them. A musician-writer- purveyor of sonic emotion maximising the heights of a calling. The stage a natural domain. Stories told through words - sung and spoken, feelings conveyed through a pair of lightly touched guitars breathing a life in unison with their player.

The Kitchen Garden, an enabler of organic music for nearly twenty years. Katie Spencer, casting spells with her ingrained music in places like this for nearly ten years. An audience, loyal to a tee and providing the means for both host and guest to operate in their chosen worlds.

An evening like so many others floated into a darkened suburban sky in the company of two finely crafted parting shots. 'Cold Stone' journeys from the burning soul of a guitarist saying more in an array of mesmeric touches and strokes than any cacophony of instruments. 'Goodbye' closed one chapter and opened another.

The perfect ending to a gracious evening and a momentous personal voyage. So, goodbye from a person both compelled and impelled to write nearly 1500 reviews in nearly 14 years. The writing continues though in an offline real world with music still playing its part to inspire and conjure moments while cajoling creative instincts lurking beyond the surface of a mere mortal. 

Album Review: Stephen Simmons - Hunch

 

www.stephensimmonsmusic.com

Stephen Simmons epitomises the striving singer-songwriter. The perfect song will never be found but each effort is an elevated stepping stone to a fictional place of resigned contentment. The Courtney Marie Andrews lyric 'Is this the journey or the destination/Is this love or is this addiction.' often brings to mind those who pursue a lengthy career in music. The journey holds true to artists like Stephen Simmons especially when as a fan you have been in the possession of a virtual ticket for around a decade, effectively half the career span. Only the artist would testify to the balance between love and addiction when making music. A likely mixture of both goes into the pot to serve music drenched in truth and flavoured with shots of humble integrity.  HUNCH is the twelfth stopping off point for a proud Tennessean never afraid of shedding home tinted blinkers and view an horizon of challenge. Across the ten tracks of this staunchly idealistic record, all the traits of an esteemed artist flower from an amenable persuasion through enchanting melodies wealthily loaded with meaningful words painting a portrait. 

The album kicks off with the wonderful title track bringing the whole calling of being a musician to life. 'Hunch' is a great introduction to the work of Stephen Simmons and an effective reminder if you've slept on his music. 'Decoration Day' blossoms with implicit clarity as Simmons pulls close to heart actions steeped in a community and identity. You feel at one with the sentiment dripping out of  'Song of Us' where reflective thoughts hit hard especially in the final line 'I didn't care where it was going as long as it was away from us.' 

Family features strongly in the work of Stephen Simmons, most pertinently in the title and theme of his lockdown album. When defining his music, it won't be far away and 'Grandpa's Jacket' fits the bill here alongside some decent guitar and assorted instrument parts. The album reaches the halfway mark with the delightful tones of 'Early Rising Moon' where the dial points in the direction of love, a staple of sincere songwriter music in light of its personal connection. 

'Dresden Doll' is indicative of the perceptive travelling side to Stephen Simmons where a song potential exists around every corner and occasionally lights the fuse to grow into something meaningful to share on a record. You sense this pearl emerging from a comfort zone of pulling inspiration from the road. This leads into 'Amsterdam' unequivocally one of the finest songs to emerge from the pen, mind and heart of Stephen Simmons. The chorus possesses bite and power  strengthening considerably in 'there ain't never been any joy in any profession that just chases a coin' and 'like a singer that ain't ever lived his song.' Pure song writing gold to well-worn ears or anyone with a miniscule of interest in how words can convey feelings within the cloak of a three-minute song. 'Tomorrow is Another Day' has the tough task of following the album standout but Stephen Simmons is seasoned enough to maintain a standard to his body of work and delicately deploys the additional vocals of others to usher the song into the world.

The mood and pace remains constant across the 39-minute running time with 'Boy Before the Man' playing its part with the reflective nature moving onto a different plane in the guise of learning and accepting that some things were probably meant to be with or without the influence of others. A lengthy outtake allows thinking time and for the song to settle. This chapter of Stephen Simmons' career closes in the capable arms of 'Someone Like You' where a tenderness drifts across the airwaves as the connection between artist and audience is sealed. 

HUNCH captures the singer-songwriter spirit and steers the ripe fruits of a musician's harvest right to the table of hungry listeners. Stephen Simmons doesn't hide behind his music and its openness is core to the appeal. If the aim is to build and nurture a garland of progressive art and retain an element of calmness in a sea of chaos then the body, bones and blood of this album lay out affirmative proof of achievement. When words of appreciation flow, a state of resonation is reached. 

This album is released to the world on October 24th.

Album Review: Scott Anchor and the Heavyweights - Strange Weather

 

The latest offering from Scott Anchor and the Heavyweights is packed with dreamy jangle vibes pulling several strands together in a haze of riveting tasteful melodic guitar rock. Nestled in the hinterland of Americana, STRANGE WEATHER is a buoyant collection of supercharged tunes masterly created and primed for ears preferring a refined sound from exerted guitars. 

Anchors exploits the connective craft of DIY production to never lose sight what resonates and hooks in a varied crowd.There are nods to Ryan Adams and Tom Petty stateside while entrenched in homeland sensibilities. It distances itself from a niche zone uniting all comers from multiple scenes. 

The essence of STRANGE WEATHER is quintessentially English, specifically Devonian, yet universal in outlook. Scott Anchors and the Heavyweights present a  record to banish the blues and lose yourself in songs high on passion and smart on sound.  

The album is scheduled for release on October 17th on vinyl and streaming. 

The vinyl is available to pre-order/buy from the online shop  www.scottanchors.bigcartel.com

Album Review: Holly Carter Leave Your Mark

 www.hollycartermusic.com

Holly Carter’s reputation as a talented in-demand instrumentalist is well documented and evidenced in industry-wide acclaim. The flip side to blossoming in the shadows is bravely moving up front and taking your turn to present a bunch of largely self-written songs. Applied adept guitar and award-winning pedal steel retain a charm at the heart of Carter’s armoury but this time homely spun vocals accompany themes packaged up in the sentiment of the album title. LEAVE YOUR MARK unveils as eight smartly paraded original songs honing in on micro and macro positive effects that effectively leave a mark; a special historical re-interpretation deepening the quality of the fare and a parting instrumental reaffirming the breadth of Carter’s appeal.

Holly Carter is embedded in socially conscious causes of the past and present as well as shining a light on some modern-day stigmas. She writes with care and compassion elegantly conveying her thoughts in enticingly appealing songs. A tight package emerges from evocative production techniques and commandeering every inch of a limited time space. Rich guitar tones frequent the room laying the path for the lyrics to weave into the listening fabric and create an ambient zone to enjoy the delights of a gratifying debut full length record.

The first outlying track is an exemplary re-recording of ‘Where the Fraser River Flows’ where iconic labour activist Joe Hill penned some lyrics in 1912. Carter’s version extols a memorable melody and captures the emotive resilience of the fight against injustice. The other deviation is the delicately executed instrumental ‘Morewen’ closing proceedings by bringing all the elements of the band input together to share the beauty of music.

Three singles have launched this phase of Holly Carter’s career including the temptingly addictive ‘What You See’ giving the album a sprightly start with a subtle dig to how things are seen. The writing here is wrapped in an implicit cloak in contrast to the following track where ‘Stetson Kennedy’ tells the story of an activist and folklorist who infiltrated the KKK in the 60s.

The running order subsequently reveals the other two singles starting with the thought provoking and waltz-evoking ‘Bear With Me’ adorned with snippets of trademark steel. This leads into the snappy foot tapping ‘He’s a Man’ adding a vibrant touch to the sound appeal.

‘Follow Your Lead’ reveals a sultrier sound while poignantly evaluating some of life’s conundrums and seeking guidance. A timeless feel flows from the mood induced ‘Idle Eyes’ containing an agreeable guitar solo as you feel an inane connection between vocals, lyrics and sound.

‘Waiting for You’ reveals a tranquil depth to the work and perhaps a pensive side to how Holly Carter purveys her craft. This is repeated in ‘Out to Sea’ which leans on a dreamy quality exhibited by faint strains of steel.

LEAVE YOUR MARK exposes a deep sincerity to the music of Holly Carter. It harnesses pools of esteemed musicianship with intelligently crafted songs. Ultimately it puts the listener in a better place reiterating belief with honest credence.

Album Review: Katie Spencer - What Love Is

 

www.katiespencer.net

The music career of Katie Spencer is set to get its biggest boost yet with the release of her latest album. WHAT LOVE IS encompasses all the attributes making this Yorkshire-based artist an articulate purveyor of intricately crafted softly spun guitar music. The major development is the platform afforded starting with a high quality studio and production team coupled with a promotional presence befitting an artist primed for a bigger stage. An unassuming innocence still decorates the sound and a grounded essence blends a DIY past with tinges of enhanced sophistication. The ten tracks throw a comfort blanket over the listening experience with a tender warmth radiating from finely etched vocals. Katie Spencer is a mood maker with a deft touch connecting seamlessly through her adhering music.

Four singles have formed a lengthy run up to the release date with the final one proving the most interesting lyrically. ‘It Was Then That I Knew Love’ deals with the positive side to an adoption and will resonate with the hoards experiencing a similar feeling. ‘Come Back and Find Me’ was the introductory part of the fruits of this endeavour and its tuneful chorus line embeds neatly into the record’s psyche. Another single, the title track ‘What Love Is’, opens the album and instantly reveals what Spencer and her team have been conjuring up, namely making delightful music. ‘Cold Stone’ completed the single collection with a haunting lengthy instrumental intro giving way to faint vocals applying a fine touch to the canvas. The sonic landscape is repeatedly adorned with the subtle application of clarinet, pedal steel, synth and assorted percussion, all leaving space for the integral guitar to blossom in centre stage. 

Outside the singles, the outlier is the instrumental ‘Back to the Brightness Above’ highlighting a capability to tempt cool vibes from precision filtered musicianship leading to a cathartic sound bath exhibition. Although there are stark differences in the vocals, there is much akin to the music made by Laura Marling, perhaps the simmering quality of temptingly crafted slow tunes. ‘Forget Me Not’ immerses the album into a delicate pool of mindfulness, in the same realm as ‘Stranger’, likewise the sensory majesty of 'Home'. ‘Goodbye’ paves the way for a graceful exit before ‘Carry It All’ tenderly closes this chapter in a perpetual haze of gilded effortless guitar replicating a trait that continues to define Katie Spencer’s music. 

Katie Spencer is now the architect of five records, three full albums and two EPs, since entering the recording world in 2017. The progression has been steady, punctured by that awful blip that stumped most artists in 20-21. Even in the early post-pandemic days you felt enhanced recognition was only around the corner, and now that promise is being fulfilled by international bookings supplementing a burgeoning domestic appreciation. WHAT LOVE IS is a supreme extension to what drives Katie Spencer creatively. The needle is delicately moved forward retaining the intimacy and charm that invigorates the live show. Tasteful progression is a testament to an artist anchored in an ideal but willing to explore new places for their undisputed talent to prosper.  

Album Review: Ninebarrow - The Hour of the Blackbird

 

www.ninebarrow.co.uk

 

Dorset-based folk duo Ninebarrow have ambitiously reshaped the past on a new record adorned with choral splendour. Five albums across a dozen years kept Jon Whitley and Jay LaBouchardiere busy in the studio alongside countless other ventures and career advancing activities. The pair’s sixth album is somewhat of a greatest hits with a twist. THE HOUR OF THE BLACKBIRD not only enjoys the multiple talents of Jon and Jay but the voices of two choirs - Hampshire’s Hart Voices and Surrey’s Chantry Singers. The crux of the album is that thirteen previously recorded songs (a mix of originals, covers and traditional pieces) open in the conventional way of their original format before layers of choral voices are weaved in injecting a sense of grandeur - both stirring and deeply emotive. The result is an innovative aural massage breathing fresh life into well-rehearsed material. 

All bar one of the tracks appear on previous Ninebarrow albums, the odd one out being the title track ‘The Hour of the Blackbird’, which was a lockdown charity single. This was the template for the approach defying enforced distance by taking a bunch of remotely digitally recorded voices and melding them into a finished product of finesse. Five years later the same song reappears though this time the beneficiary of enhanced studio work blending the choirs input with the core skills of Jon and Jay. Fans of Ninebarrow can experience a sense of familiarity by comparing the originals and these re-interpreted efforts. They largely stand side-by-side in a state of beauty with a difference. Curious new observers get the double edged joy of part-conventional Ninebarrow and the pleasure of a lavish topping of multi-toned exquisite voices displaying strength in numbers. 

Ninebarrow draw on many themes for their work from a broad celebration of nature to intrinsic humane acts of marvel. They have a penchant for modernising old stories and borrow select songs of personal appeal. Seduced by folk convention, they also deal in good old rousing traditional songs and the odd shanty. These have defined the narrative for the first dozen years of Ninebarrow’s professional music career and pull together in this new collection driven by the duo’s flare to explore and push the boundaries of what fans usually expect.

THE HOUR OF THE BLACKBIRD captures Ninebarrow’s mission to etch the joy of song onto a widespread landscape and exploit the presence that more is better when fine voices reinvigorate the texture. The choral adaption is novel and expertly crafted. The result is an embracing listening experience caressing the mind with cloudless music.