Three Chords and the Truth UK

Emma Jane leaves nothing on the table as she pours a hefty dose of Caledonian soul into her latest record. LOST AT LAST comes across as one of those defining albums packed with organic verve and a strong desire to claim the narrative. Feeling is at the heart of the sound this Scottish singer-songwriter generates, whether plugging into a semi rock punchy groove or slipping into the considered slipstream of a mellower number. A challenge is set from its extensive structural ambience, yielding top marks from those in tune with the mood.   Like any 56-minute 15-track effort, there are moments when you wait for things to happen and other times when you reel from a knockout effect. The regional lilt to Emma Jane’s vocals keeps things grounded throughout. Valuable studio time has moulded an effective release where Emma Jane secures a home for her driven songs and honed in on how different facets keep her writing tight and brimming with opportunist mettle.   There are three distinct s...

  On their new album A NEW ALCHEMY, the chemistry of East Nashville-based duo Brand New Heartache shines through. The husband and wife team of Eleese and Matthew Meschery guide the listener through a relationship timeline never veering away from al facets of a shared journey. A dozen tracks blend infectious pop with the folky charm of collaborative country shaping Americana through the lens of the classic duet. A vocal spread of lead off interchange, contrasting tones and harnessed harmonies flavour a pot underpinned by love and an charged intent to weave emotion into a alluring soundscape.   If a strong opening gambit is a must to seize the initiative, the buoyant beat of ‘ New Alchemy ’ delivers as a bout of intelligent pop laced with lavish hooks and connective melodies. A surefire playlist candidate. Not to settle on their laurels, the Meschery’s cast a vocal spell with follow-on track ‘ Montreal’ , packed with a yearning appeal aligning nostalgia with a folk leaning. A co...

  Danni Nicholls ascends onto a new plateau reflecting movement in many forms. A key constant to capture the moment is still intact after many years seeking the sweet spot where artist curation and audience reception meet. MAKING MOVES represents change where polished building blocks raise the stature without removing the trusty foundation formed over time. The wait between defining studio releases evaporates in an instant when the luscious tone of the new album sweeps you away. A renewed spark ignites a soundscape where a combination of influences and inputters carve a record packed with resonating, relatable poignancy.   The strength of Danni Nicholls’ writing is to crack the mirror and piece together the order of existence into meaningful assertions. Some writers thrive on character, others on place, here we have one immersed in experience and expressing the utterly personal. The eleven songs forming this exceptional body of work drool with esteemed class. They represent a ...

  Friday Maverick fizzed into life on the stroke of five o'clock. A brace of options lay in front of early Easton Farm Park arrivals, both resident festival favourites. Violin-playing Chris Murphy got the nod over hard rocking Jon Langford on the basis of a couple of interesting releases this year. Murphy was once again appointed Artist-at-Large, meaning he could literally pop up playing on anyone’s set, and his own ignited an evening of fine music on The Peacock Stage with an improvised solo performance. Loops, vocals, audience ventures and virtuoso violin playing gave substance to this LA-based musician’s set. From a fresh off the press record produced by fellow fiddle player Seth Lakeman, an engaged crowd enjoyed ‘ Clean Break ’ and heartily joined in on ‘ Never Learned to Drive ’ dedicated to that marginalised LA community- non drivers. A great start to the weekend. The Peacock Stage, with its barn location and iconic backdrop, proved the major chosen space for the evening w...

  Duo music never stands still, and while we often celebrate iconic names from the past where two voices melt into one, there is nothing more refreshing than hailing a new act to carry the artform forward. The Glass Hours are more newish than new but the latest album CHAPEL GLASS is getting a lift to find fresh ears.   Within a few bars and an opening verse, you sense a winning ticket is in your possession. Fast forward 35 minutes (or more likely slowly savour the playing time), a sensuous charm with front porch solace holds together a patchwork of tender songs. American songwriters Megan Barbera and Brad Armstrong, originally from Colorado and Alabama, conjure something special to mould into a keeper. The ten tracks capture facets of love through a multitude of lens - past, passing, passion and place. Acoustic grace is threaded by a country lilt and you are invited into an intimate space where integrity is intact. The songs seamlessly drift from the enticing impact of opener ...