Three Chords and the Truth UK

Here it comes, the only album list that really matters.That moment when art shakes off its subjective shackles and joins the scientific world of objectivity. The word 'best' is left to those who are well-equipped to judge, so 'favourite' will remain the chosen moniker here. Full apologies to the thousands of albums that didn't make the list; though some got a lot closer than others. In essence, this list is the indulgent product of a personal vanity project but if you have got this far, one detects a small degree of interest. Just as any artist needs the oxygen of publicity, this project gets its timely boost from engagement, and every bit is appreciated, even in its virtual form. Artists have made great music in the past and will continue to make so in the future, just occasionally it is pertinent to reflect on a brief moment in time. Au revoir 2017. #1 Caroline Spence - Spades & Roses Some records are just meant to be and this album had my name on it w...

Maybe it is the scar of Bono’s infamous 1984 line healing or a timely visit from one of those Dickensian spirits, but a record clambering for room in the crowded seasonal market has burrowed into one’s mind to conjure up a few end of year thoughts. Original Christmas music can often present a crossroads for those artists tempted to indulge in it, either pop down the safe populist route or score some points with an alternative stab. It does not take too much deduction to expect someone from a folk-Americana slant to adopt the second stance and this collection from Sofia Talvik resides firmly in this camp. Regardless to where you stand on this type of themed music, the offering from this Swedish singer-songwriter is rather impressive and well equipped to soothe any cynics in the room. This album has been a project ten years in the making, with Sofia maintaining a self-pact to write a new song each winter that attempts to throw a light on some of the less salubrious issues associat...

United by a record label; united by the rhetoric of song and now united in planting the roots firmly in the ever-popular songwriters’ round. Robert Vincent and Dean Owens are far from novices on a UK circuit that branches out from a core of Springsteen, Dylan and Young. Their latest venture is to team up with the Worry Dolls for a Roots in the Round tour that leaves Nashville out of the title, but is forever tinged with the song writing spirit that epitomises Music City. Midway through this string of early winter UK dates, the guys set about appearing in a couple of duo-only gigs; more roots in the semi-circle than the round. Birmingham’s Kitchen Garden has seen its fair share of highly crafted singer-songwriters pass through the brick-walled interior in 2017 alone, but sufficient room was made for a couple more, and our two protagonists perfectly fitted the bill. At The Helm Records is the operation responsible for Robert’s award nominated 2017 album I’LL MAKE THE MOST OF MY SINS...

The first advisable rule for making an album grab a listener’s attention is to toss in a memorable opening track. Obviously, this needs to be followed up with the remainder of the content being of a similar quality; a feat that has been achieved with the brand new album from Scottish –based singer-songwriter Willie Campbell. Along with the assembled ensemble billed as The Open Day Rotation, this artist -more specifically from the Outer Hebrides- has produced an extremely engaging and accessible album that never veers off a high plane highway. NEW CLOUDS IN MOTION greets the listener with a striking sky image on the cover before unleashing a dozen original tracks in a mature transition from artist to listener. Perhaps by design, not an album for genre purists, but definitely one for those possessing an open ear. For descriptive purposes, take this record as a fringed-pop piece of adult contemporary rock, moulded into a package that would appeal to fans exploring the outer edges o...

Back in January, the gig year began with a show featuring Emily Barker, and it was a pleasure to welcome her back to the Midlands area as part of a tour that has formally put a seal on her latest album. Although songs from SWEET KIND OF BLUE were previewed on that last visit to the nearby Worcestershire town of Bewdley, which was in a duo format with Lukas Drinkwater, the assembled band format for this Glee Club date gave the tracks the deeper sound that they warranted. Emily Barker is more than the sum of any record she has released and remains one of the most fascinating artists on any circuit that embraces her style. This may be a style forever tinkered with, but a gold leaf streak has been consistently threaded within her releases. Emily is no stranger to The Glee Club and wasted little time in reminding folks how she has become a valued artist who constantly seeks to explore the wider canvas of contemporary roots music. ‘ Dear River’ opened her ninety-minute set and still si...

Regardless of what has happened in the past or may do in the future, 2017 will go down as the year Lucy Rose released the most adorable album and took all its divine beauty on the road with her. SOMETHING’S CHANGING also possessed an intriguing backdrop fuelled by an artist asking some of the most fundamental questions as to their creative existence. Therefore, it was no surprise to see Lucy in a candid frame of mind as she set about sharing some of her craft with a packed Glee Club audience. Amidst the lucid concerns and musings, the subliminal art of serving a record in a format that defined its personal intensity was plain to see. It helped that the couple of hundred souls cramming into the venue’s main room created the pin drop atmosphere required to savour the album’s subtle brilliance. However, this presented the evening’s first conundrum as Lucy came across between songs as being slightly unnerved by the surroundings. This did not affect any of the songs’ pristine delivery,...

Rhiannon Giddens has to be one of the most vibrant and dedicated advocates of American roots music currently active in the public eye. Throw in an extraordinary talent that spans the artistic spectrum and you have a sure fire way of ensuring your message gets across to expanding audiences. Spare seats were at a minimum in the Town Hall this evening as Rhiannon and her band set about ensuring this return to a Birmingham venue ended up a resounding success. In contrast to a recently seen gig at this venue, this show went beyond the ninety minutes set mark, thus maximising the diversity that bubbled in the musical presentation. Whether celebrating original British Isles emigration to the Carolinas or a revival of Cajun/Creole culture in the sixties, the quality and absorbing nature of the music beamed in harmony with the venue’s ever manoeuvring lights. The crowning moment of Rhiannon’s post-Carolina Chocolate Drops work has been her latest album FREEDOM HIGHWAY, and the fruits of th...