Monday 27 June 2016

Album Review- Young Runaway by Hattie Briggs


Young Runaway by Hattie Briggs, Released 8th July 2016

The last two and half years have been a significant time for Sussex born, but now Stroud based, singer-songwriter Hattie Briggs. Since January 2014, when she decided to quit her Oxford University degree course, she has been nominated for the Radio 2 Young Folk Award; played more than 200 gigs; and released relatively unknown, but critically acclaimed debut album Red & Gold. Now, fifteen months on from her debut, she is poised to release the follow up: Young Runaway.
Hattie at the Young Runaway launch, March 2016


Once again the album is produced by Peter Waterman who at 28 and still a relative newcomer in the music industry; is proof that it is not always age and experience but ideas and innovation which achieve the greatest results. Whilst Young Runaway is not a drastic departure from Red & Gold there has been progression in both depth and breadth of content and instrumentation.

The title is a reference to the James Taylor song My Travelling Star; in a similar way that the title of Hattie’s debut was taken from the Eva Cassidy song Autumn Leaves. Both singers are a clear influence on this album. The title of Young Runaway reflects the theme of the album: breaking free from the past and making the most of life.

The opening song The Lake is beautiful and atmospheric; gentle swaying cellos and flickering ukulele strings are layered to perfection. They bring to life the feeling of gliding on a placid lake, cleansing of the soul and awakening to a new beginning.

The lyrics of her previous album focused on times of uncertainty, soul searching and sadness. Now her glass is half full rather than half empty. This is directly addressed in the words of Here’s To Hoping; “… kept up the struggle and now I have won…” The instrumentation too matches the lyrics; guitar, piano and cellos remain but the introduction of ukulele and pedal steel adds buoyancy to the songs. This is most notable on Summertime Man which the listener is transported to sun-kissed beaches, palm tree lined avenues and cloudless skies. It is perfect for the album’s July release.

The theme of transition is relayed on Lift Me Up representing the journey Hattie has been on, places she has seen and moving on to the next phase of her life. The lyrics of On Your Way and You Only Live Once focus on putting worries aside and seizing the moment, “ … no regrets is a great place to be…”  and “… so make this life your kind, I intend to live mine…” . Talk To Me feels like Hattie is reciting a letter to herself and the listener “…start your healing here…” giving others hope that if everything worked out for her then there is light at the end of the tunnel in dark times.

Those listening out for the mournful sentiment of Hattie’s previous album will discover them in Castle On The Sand, a tale of a friend’s repeated heartbreak. The sorrow takes its toll on its subject, as her life crumbles away like a ruined sand castle, “…watch as the grains fall softly through my hands…” The strength in Hattie’s words feels like they can rebuild even the most fragmented soul. 

One of the strongest tracks is Have We Met Before? ; based on the notion that fate can intervene in the strangest but best of ways. It is co-written and performed with recent Young Folk Award nominee Jack Cookson. As stand alone singers they are impressive but Jack’s spine-tingly voice and Hattie’s pure vocals harmonise perfectly.   

Final track The River is similar to The Lake because it creates the feeling of water, refreshing and renewing life. The sound of waterfalls and birds at the end of the song were possibly inspired by indie-folk band Stornoway; they use sounds of nature and wildlife in their music and whom Hattie supported on tour at the end of last year.  It draws to a cohesive conclusion to a more concise collection of songs.

Although she is now a quarter of the way through her 20’s at 23 (22 at time of writing and recording) Hattie Briggs is far from a quarter life crisis. She has been through struggle and emerged with a clearer direction and sense of determination than ever before. Comparisons can even be drawn to Adele’s 25, not in vocal style; but when listening to Young Runaway you feel like you are sharing a defining period of Hattie’s life. Hattie could have almost named the album “22”.  Young Runaway is accessible for all ages but for young women in their twenties trying to find their way in life it is both aspirational and inspirational.

For an album which begins with The Lake and ends with The River Hattie Briggs is no longer lost at sea; she is sailing on, to oceans of opportunities.

Key Tracks: The Lake, Here’s To Hoping, Have We Met Before?, You Only Live Once

 8/10

Friday 1 April 2016

Live Review: Hattie Briggs, Young Runaway Tour & Album Launch with support from The Black Feathers


Hattie Briggs: Young Runaway Tour & Album Launch Night, with support act The Black Feathers, Stroud Subscription Rooms, Saturday 26th March 2016

Entering the Subscription Rooms’ ballroom this evening you are greeted by the crowds streaming in to find their seats. The stage is partially set up; a variety of musical instruments are balanced in their stands; a large projector screen at the back of the stage displays “Hattie Briggs Young Runaway Tour”; at the back of the room the merchandise table has organised piles of CDs, vinyl and signed photographs. The room is buzzing with excitement, anticipation and conversation. The time reaches 8:00pm; it is time for tonight proceedings to begin.

The Black Feathers

The support act this evening is Cirencester based duo The Black Feathers. Sian Chandler and Ray Hughes have been performing together for around four years. Deciding to open with a song entitled Goodbye Tomorrow, a gentle song about putting worries aside, it sets the mood perfectly with vocals harmonising and gentle guitar. Their next song is a cover of Spirit In The Sky. Bouncy guitar chords, a slower tempo and gorgeous haunting vocals separate this entirely from the light-hearted version by Gareth Gates & The Kumars. The Black Feathers have brought originality to the song whilst still maintaining familiarity. They complete the song with finger clicking and a change in melody; an innovative transition to The Addams Family theme tune: a clever, humourous twist.

When they introduce themselves as husband and wife, it comes as no surprise; there is an undeniable chemistry between the pair which shows in their performance. Homesick, from their debut album Soaked To The Bone, is a beautiful song about being far away from where you come from and longing to be with the person you love. Life on the road as a band can be a lonely place and they clearly count their blessings that they are able to do this together.

Sian describes Down By The River as a “drinking song”. The tune is more up-tempo than their previous songs, conjuring images of drinking your cares away but with an underlying sense of helplessness. This song has more of a country feel, emphasising the duo’s blend of Americana Folk-Rock.

As they introduce All For You they jokingly remark that you only need to write a happy song once every thirty-five years and that Disney films are shown on repeat for inspiration. The song itself is a story of an undeniably strong relationship between two people; performed with genuine sincerity.
 
 
The Black Feathers: Sian Chandler & Ray Hughes
As they ironically chose to start with Goodbye Tomorrow their closing song is Open Book, the first song they wrote together. The song is from their EP Strangers We Meet and further summarises the duo’s strength both personally and professionally.

Ray continues to tune his guitar and Sian remarks that “there will not be tuning on the album”, the humour is greeted warmly by the crowd.

The Black Feathers leave the stage to well deserved applause. For both established fans and those discovering their music for the first time, there is no doubt that they have not only got the evening off to a fine start, but that future audience will seek out the heartfelt, haunting harmonies of this intriguing, inseparable duo.

7/10

Set List

  • Goodbye Tomorrow
  • Spirit In The Sky (Cover)
  • Homesick
  • Arclight
  • Down By The River
  • All For You
  • Open Book
Hattie Briggs & Band
 
During the interval the large screen at the back of the stage comes to life; showing photographs from Hattie’s recent recording sessions, promotional photo-shoots, stills from her music videos and various recent gigs. A tall, cuddly giraffe, identical to one in a photograph of a busking session at Stroud Framers’ Market has been placed on the front left corner of the stage. It is an amusing and bemusing addition, perhaps it is Hattie’s lucky mascot? A programme given out at the start of the evening reveals details of Hattie’s achievements so far. Set out on two pages of A5 sized paper, in just over two years, the list of achievements is incredible. From airplay on local radio and BBC Radio 2; to high-rated reviews in established music magazines Q and Maverick; to playing an impressive 104 tour dates in 2015, Hattie has already laid a strong foundation for her music career. When Hattie launched her debut EP in November 2013 she had an audience of just twenty, tonight she has an audience of three hundred and fifty.
 
Tonight she will be performing with six other musicians, a sort of “Folk Club 7”, if you will. One by one they file onto the stage, poised in place for a few seconds; then Hattie enters to rapturous applause.

Hattie Briggs
Opening with new song Here’s To Hoping Hattie plays a ukulele, beautifully painted with a blue and white crashing wave design. It adds lightness to the words; from what could have been a potentially sad song to one of optimism about the future. On Your Way, first previewed at last year’s Nailsworth Festival with cellists Barney Morse-Brown and Asha McCarthy, is now performed with a full range of instruments. Their musical underpinning remains but backing vocals by Henry Fraser add richness to the song.

Hattie introduces the next song by talking about the importance of friendship; someone who has supported her from the start, her best friend Tilly. Apparently, they did not like each other when they first met aged six, until Hattie found they both liked playing football. The two have been firm friends ever since, so as a thank you Hattie composed and performed Tilly’s Song for her friend’s twenty-first Birthday party. Tilly is in the audience this evening and glows with both embarrassment and pride; especially when other members of the audience point out where she is. The song was first recorded on Hattie’s debut EP My Shepherds Hut, but it was reworked last year to incorporate banjo and backing vocals by Henry Fraser, and double bass by Jack Cookson. The song is better for it and is an ultimate tribute to a long-lasting friendship.

Guitar: Henry Fraser; Ukulele: Hattie Briggs
The next song has a bitter-sweet story. Old Eyes featured on debut album Red & Gold is about Hattie’s dog Panda. In September he very sadly he passed away aged 16. She had written the song a couple of years before to symbolise how much she valued his company, and although he would not remember her she would always remember him. The music video is Hattie’s most viewed on YouTube, with over 15,000 views. It shows Hattie taking Panda for a walk around Stroud based locations including Selsley, Rodborough, and Painswick. As you listen to the song you can really imagine the large, cuddly bear-like dog curled up at the front of the stage; a heart-warming tribute to an unforgettable companion.

After performing You Only Live Once Hattie says that she recently performed the song at a care home. However the residents did not seem that impressed; clearly failing to grasp the unintentional irony.

For Castle On The Sand Hattie walks to the back of the stage and takes a seat at the grand piano. This song is about a friend of hers who repeatedly had their heart broken and has reduced people who have heard it to tears. Tonight is no exception. The grand piano and sweeping cellos add to the melancholy heartbreak.

Hattie introduces the final two band members: Jon Green on percussion and Matt Park on pedal steel, a multi-stringed electric steel guitar which lies horizontally on a stand in front of him. The instrument is a brand new addition to this album. It left the rest of the team opened mouthed during the pre-production stage. It really does add an airy, light feel to the songs; including Share Your Heart, the final song of the first half. Hattie remarks that this is the first song she wrote that she was really proud of. As one of the stand-out tracks from her first album, its lyrics seem more significant than ever before; the Hattie who wrote this song has now truly been able to share her heart.
Double Bass: Jack Cookson; Pedal Steel: Matt Park
Jon Green on Percussion










The second half begins and Hattie comes back to the stage wearing a stunning blue and white dress. The colours fit well with the next song, The Lake, whose lyrics symbolise the freedom and movement of water. Travelling is also the theme of Lift Me Up; filling a vintage suitcase with possessions and preparing for life on the road.

Hattie wishes that the next song, All About Love, could become part of a soundtrack to a Romantic Comedy.  She played it at a friends’ wedding last year with both the bride and groom expecting her to perform but each had planned it as a surprise for the other. The couple are in the audience (and still married) so clearly everything worked out in the end. It is perhaps the most romantic of all her songs; the cellos and grand piano are rightly prominent.
 
A holiday in Italy last summer provided invaluable inspiration as many of the songs have a summery feel. Summertime Man has an uplifting, sunshine vibe enhanced by ukulele, banjo and pedal steel. When Hattie mentions audience participation for the next song there is a slight groan from the audience but they have nothing to fear; Digging To Australia has an instantly likeable, bright sing-along chorus. The gentle shaking, maraca-like sound is in fact a jar of coffee granules, an unusual but rather ingenious way of creating the exact ambience they wanted.
Jack Cookson & Hattie Briggs


Double bassist Jack steps from the back of the stage to stand alongside Hattie to perform Have We Met Before? Hattie wrote the song as a thank you to all the people who have helped her get the point in her career which she is today. Jack provides guitar, harmonica and vocals. He has a rich, deep tone to his voice; it complements Hattie’s vocals perfectly. Although cellist Barney and Asha remain on the stage, just for a moment you for get they are there; all eyes and ears remain engaged on the two singers, who are very much centre stage. Jack has just been nominated for the Radio 2 Young Folk Award, just as Hattie was a mere two years ago. He is a definite talent to look out for in the future.

Cellos: Barney Morse-Brown & Asha McCarthy
Still With Hope I See, with just grand piano and cellos is a minimalist approach, but it is all the song needs; capitalising on the acoustics of the ballroom. The audience is so silent you could hear a pin fall to the ground. It is conceivably the strongest song from Red & Gold and never fails to capture the hearts and souls of audiences. It is mesmerising.

Hattie comes to the front of the stage and announces that the next song will be the last of the evening, a cover of Sting’s Fields Of Gold. A very important song in her life; she grew up listening to Eva Cassidy’s version. It provided influence and inspiration for her desire to write and perform songs. It was therefore a great honour when Eva’s brother Dan played violin on the track for her first album. She admits that this is the song she has performed the most yet, far from being tired and clichéd, she sings like the words have woven themselves into her heart. As she strums the last guitar string the audience erupts into thunderous applause.

The band line up and after a few slightly awkward bows take position once more for the encore. Hattie takes this opportunity to thank everyone for coming, for those involved with the album and the organisers of tonight’s concert. She says thanks most of all to her Mum, who throughout the evening worked tirelessly; showing people to their seats and working on the merchandise stall. It is on this note that she dedicates the final song, Godspeed, to all her supporters. To all the people who have helped her along the way, from her parents, her friend Tilly, the couple from the wedding anecdote, music industry experts, and fans she has inspired along the way. Godspeed was written about her brother leaving home and the sense of nostalgia Hattie felt about the travels and adventures they would no longer share together.

Tonight’s performance, with the exception of a few minor technical issues, felt like a live recording of the album, with all seven musicians utilised perfectly. The tracks from Red & Gold are the strongest from that album and Hattie performed them better than she ever has before. The transition onto the next stage of her career is now clear. However, rather than travelling alone, it is a case of “Godspeed with you on the road”, with arrival of better things to come. Here’s To Hoping Hattie Briggs continues to be a (Young) Runaway success.

8.5/10

Set List

  • Here’s To Hoping
  • On Your Way
  • Tilly’s Song
  • Old Eyes
  • You Only Live Once
  • The River
  • Castle On The Sand
  • Share Your Heart
Interval
 
  • The Lake
  • Lift Me Up
  • All About Love
  • Summertime Man
  • Digging To Australia
  • Have We Met Before?
  • Still With Hope I See
  • Fields Of Gold 
Encore
  • Godspeed

 

Friday 1 January 2016

The Best 20 Albums Of The Year: 2015



The Best 20 Albums of the Year: 2015


Get To Heaven by Everything Everything, Released June 2015
Everything Everything’s sound has always been on the alternative side of indie; most notably their debut album, 2010’s Man Alive, was a bizarre collection of sounds and ideas. Their second album Arc was a slightly more refined affair. Now on their third album they reinvent themselves once more. There are ideas aplenty: guitar riffs, synths, chanting choruses and Jonathon Higgs’ varying yet charismatic vocal style. The singer became obsessed with news stories of violence and world troubles, channelling his concerns into his songs. Lyrics depict regrets, mortality and death, and ultimately society’s apocalyptic impending doom. Despite the dark undertones, the album is a warm, joyous listen. Innovative and reaching stratospheric proportions, Everything Everything are still bizarre but now utterly brilliant.    
Key Tracks: To The Blade, Distant Past, Regret, Spring/Sun/Winter/Dread

 8.5/10

Whispers II (Deluxe Edition) by Passenger, Released April 2015
Mike Rosenberg, the Brighton based folk singer-songwriter who has recorded under the name Passenger since 2007, returns with his seventh album and the sequel to 2014’s stunning Whispers I. As with most sequels it does not quite live up to its predecessor, but as Whispers I was the best album of his career it was going to be hard to follow. This album also has an added benefit; the profits will be donated to UNICEF, helping to end malnutrition in Liberia. As with his previous album, the deluxe edition features beautiful pop-up artwork and illustrations; the attention to detail, thought and care is phenomenal. Whist it is not a great departure from his other albums the musicality still remains strong; mainly featuring just acoustic guitar, but also strings, piano, woodwind, brass, and traditional folk instruments such as mandolin and bouzouki are all used to maximum effect. The lyrics continue the theme of life, love, heartbreak and mortality. His vocal are as fragile but as strong as they have been and he sings each song as though he truly understands the story of the people behind them. Like the best stories, Whispers II keeps you engaged, enthralled, and emotionally enchanted until the very last page.
Key Tracks: Catch In The Dark, Travelling Alone, David, Settled (Deluxe only)

8.5/10

Froot by Marina And The Diamonds, Released April 2015

Marina Diamandis first came to the public’s attention in 2010 with her debut album The Family Jewels, a collection innovative, bubbly pop songs made even more special by Marina’s unique, operatic-like vocals. However her second album Electra Heart felt constrained; as though she was being forced into a musical corner. On her third album she returns to her best plus a bit more. The songs even reference a change in personality; discovering the person she really is. There are songs about broken hearts, jealousy, mortality, and Marina’s philosophy on the current world situation. They are far from shallow; the lyrics are intelligent and well thought out; as Marina proves she is as talented at writing songs as she at singing them. It is one of the best, yet underrated pop albums of the year. At twenty-nine years old she is able to stand up to what she believes in; creating an album which bears the Froot of its title.
Key Tracks: Happy, Forget, Savages, Immortal

8/10

Wilder Minds by Mumford & Sons, Released May 2015
The saying, “if it ain’t broke, don’t fix it” is usually sound advice but very often it’s a trap that musicians fall into. First emerging in 2008, Mumford & Sons were hailed as pioneers and trailblazers of the nu-folk genre. After two critically acclaimed albums, Grammy and Brit Awards wins and a headline slot at Glastonbury 2013 the band went on an indefinite hiatus to take stock of the previous six years. During that time they took what was perhaps the biggest risk of their career; to bin the banjos and replace them with electric guitar and drums. They realised that they were not being entirely true to themselves and took the appropriate course of action. However the songs are not entirely unrecognisable; the surging choruses, thoughtful lyrics and Marcus Mumford’s trade mark vocals still remain. This year’s most spectacular musical transformation has worked wonders. Mumford & Sons will remain a love them or hate them band but with a fresh outlook audiences will listen with open ears and Wilder Minds.
Key Tracks: Tomkins Square Park, Believe, The Wolf, Ditmus

8/10

How Big, How Blue, How Beautiful by Florence + The Machine, Released May 2015
For Florence Welch and her band 2015 will be remembered for their spectacular Glastonbury performance after scheduled headliners, Foo Fighters, pulled out due to Dave Grohl breaking his leg just two weeks before. Their third album, follow-up to 2011’s Ceremonials, sees them take influence of their time spent in America. It does not quite reach the experimental glory of their previous album; however orchestral strings and brass lift the songs, lyrically it is more soulful and Florence’s vocals are as stunning as ever. Florence + The Machine have once again produced and album which is Big, often Blue but always Beautiful.
Key Tracks: Ship To Wreck, How Big How Blue How Beautiful, Queen Of Peace, Delilah.

8/10




Positive Songs For Negative People by Frank Turner, Released August 2015
Frank Turner’s sixth album turned away from his previous album of heartbreak to focus on living life to the full. Once again The Sleeping Souls Band adds a rich musical underscore with piano, electric guitar and percussion. Topics such as forgiveness, death, and personal courage are sung with both sensitivity and conviction; his approach is just as relentless and determined than ever before. Whist he has not touched on the social and political areas which made his name, Positive Songs For Negative People is one of 2015 most life affirming albums and provides more than enough lyrical food for thought until his next dose of intelligent punk-folk-rock.
Key Tracks: The Next Storm, The Opening Act Of Spring, Demons, Song For Josh

8/10

25 by Adele, Released November 2015
It is estimated that approximately one in six households in the UK own Adele’s second album 21 since its release in 2011. In the four years since Adele has recorded a Bond Theme, won eight Grammy Awards and started a family. It was hard to see if her return with 25 would even come close to the success of its predecessor, however in its first week it sold a staggering 800 000 copies; becoming the fastest selling album ever. 25, as with her previous albums, focuses on her experiences during that age. Nostalgia, mortality, past relationships, learning, and self-acceptance are all covered; they are felt by everyone in their mid to late twenties as they move on into adulthood. This is the main strength of the album; Adele’s down-to earth persona means that the listener can truly emphasise and relate to its lyrics. The only downside is that although the subject has more of a focus there is not much of a departure from her previous work. The most incredible female vocalist to emerge this century, with a little more diversity, she has the power to become one of the greatest artists ever. At twenty-seven she has achieved so much, only time will tell which age will be the title of Adele’s next album.   
Key Tracks: Hello, Send My Love (To Your New Lover), When We Were Young, Million Years Ago

8/10

Delirium by Ellie Goulding, Released November 2015
Hereford born Ellie Goulding was twenty-three when she released her debut single Starry Eyed and ever since she has continued to grow as a lyricist and vocalist. Developing from the gentle, wide-eyed naivety of 2010’s Lights to the beautiful but bitter-sweet heartbreak of 2012’s Halcyon. The mood took a slight upswing when the album was reissued a year later as Halcyon Days with eight additional much more upbeat songs; an indication Ellie had started to move on from the sorrow and heartache. Previously Ellie’s soft, fragile vocals have suited her more emotional, down-tempo lyrics. However she finds her strength on these brilliant, buoyant pop songs. It is hard to believe she has only been on the music scene for five years; at twenty-eight it feels like she has completed the album she was destined to make all along.
Key Tracks: On My Mind, Codes, Love Me Like You Do, Lost And Found

8/10

English Graffiti by The Vaccines, Released May 2015
The Vaccines returned with third album, English Graffiti, the follow up to Come Of Age. After suffering from the “difficult second album syndrome”; though far from a let-down, they struggled to live up to their fantastic debut, What Did You Expect From The Vaccines. Happily they seem to have regained their momentum and produced a collection of energised indie with a twist. Once again it is Justin Young’s charismatic approach which puts them ahead of their nearest rivals. Those who were first to write them off must surely reconsider; The Vaccines give you the injection of musical vitality you need.
Key Tracks: Handsome, Dream Lover, 20/20, Give Me A Sign

8/10

On The Inside by Wildflowers, Released August 2015
Bristol/Brighton based Wildflowers combine alternative country-pop and indie-folk. This collection of songs focuses mainly on the themes of family, friendship, travelling and belonging. The songs are cleverly crafted with piano, mandolin, accordion, guitar and harmonica effectively used to enhance Siddy Bennett’s gravelly vocals. Their new single Chemistry has just made the Radio 2 playlist; many more people will be listening to Wildflowers’ music. They may have spent their lives moving around the country but right now they are in the place they’re meant to be.
Key Tracks: Take Me Home, Another Million Miles, Friends, Let It Go

7.5/10





The Desired Effect by Brandon Flowers, Released May 2015
Brandon Flowers’ 2010 debut album, Flamingo, focused on the themes of religion, home and romantic desires, but it seemed very much like an afterthought album for The Killers’ frontman. His second solo album draws influence from 1980’s electro-pop and has bigger choruses, introspective lyrics and a bolder direction. The songs reference climate change, forgotten dreams, and looking towards the future. It is anything but a stop-gap between working with his main band; continuing to establish himself as one of this century’s best lyrists and performers. Brandon Flowers has produced an album of equal quality rather than sound to The Killers; it most definitely achieves The Desired Effect.
Key Tracks: Dreams Come True, Can’t Deny My Love, Still Want You, Diggin’ Up The Heart

7.5/10

Bonxie by Stornoway, Released April 2015
Oxford indie-folk four piece Stornoway released their third album in 2015. Their sound is not quite Fleet Foxes and not quite British Sea Power; brass and strings add layers to the electric guitars and percussion whilst teamed with soft, dreamy vocals. What is most striking is the use of nature soundscapes; crashing waves, howling winds, and bird song on every track. Lyrically there are also bird metaphors in abundance; lead song-writer Brian Briggs is a trained ornithologist. Bonxie takes the band soaring from the counties of middle England to places far beyond their namesake island.
Key Tracks: Between The Saltmarsh And The Sea, Man On Wire, The Road You Didn’t Take, Sing With Our Senses

7.5/10

I Love You, Honeybear by Father John Misty, Released February 2015
A former drummer of American indie-folk group Fleet Foxes, Josh Tillman released his second album under the name Father John Misty. The album mostly focuses on his marriage and the songs play out like a series of love letters to his wife. Lyrically honest; at some points his soul and life are, quite literally, laid bare. Its musical underscore takes its cue very much from Fleet Foxes’ orchestral folk but the songs channel many other influences. The real strength of this album lies in its daring, wickedly inspired words.
Key Tracks: I Love You Honeybear, Chateau Lobby #4 (In C For Two Virgins), Bored In The USA

 7.5/10

My Love Is Cool by Wolf Alice, Released June 2015
Shortlisted for the BBC Sound Poll and a staple on this year’s festival circuit; 2015 has been a fantastic year for Wolf Alice, the four piece London guitar band. Originally conceived as a duo in 2010 and recruiting the final two members in 2012, they spent the past three years touring, releasing EPs and singles independently before finally being signed last year. Their sound successfully combines indie, pop, rock, grunge and a smattering of folk across songs of youth and self-discovery. Ellie Roswell’s vocals are just as diverse; varying from chanting, to sweet and soft, to full on rock-chick. It is hard to know which direction Wolf Alice will find themselves in the future but wherever they end up they are one of the most innovative and electric bands of 2015.
Key Tracks: Bros, You’re A Germ, Silk, Giant Peach

 7.5/10

Blood by Lianne La Havas, Released July 2015
For her second album Lianne went back to her roots; basing many of the songs around her Greek/Jamaican heritage and self-discovery. Teaming up with Aqualung’s Matt Hales for a second time, with more purpose and direction, she has produced a more consistent set of songs. An album of lyrical reflection and proof that home is really where the heart is.   
Key Tracks: Green & Gold, What You Don’t Do, Tokyo, Ghost

7.5/10





Marks To Prove It by The Maccabees, Released July 2015
Four years since their third album Given To The Wild, The Maccabees fourth album has been a long time in the making. The band experimented with different sounds, virtually scrapping an entire albums worth of songs until they were happy. Sounds of strings, piano and brass were introduced. Their determined efforts and attention to detail meant that the group have produced their best record to date; reflected when they went to the top of the UK album chart in August. Recorded in London’s Elephant & Castle district, The Maccabees are now also placed firmly on the map.
Key Tracks: Marks To Prove It, Spit It Out, Slow Sun, Something Like Happiness

7/10

Red & Gold by Hattie Briggs, Released April 2015
The decision to carry on with her Oxford University degree or embark on a music career was the conundrum which Hattie Briggs faced in early 2014. Almost two years later her risk paid off handsomely. A Radio 2 Young Folk Award Nomination and a national tour supporting Kathryn Roberts & Sean Lakeman helped to propel this album to number one on the Amazon Folk chart. While the album itself doesn’t break any musical boundaries it is Hattie’s pure vocals, piano and cello underscore, and heartfelt lyrics which make Red & Gold one of 2015’s best debut albums by a female solo singer.
Key Tracks: Still With Hope I See, A Beautiful Mind, Share Your Heart, Fields Of Gold

7/10

Every Open Eye by Chvrches, Released September 2015
Scottish electro-pop trio Chvrches returned with the follow-up to 2013’s The Bones Of What You Believe. While their style has not changed greatly the lyrics seem deeper and Lauren Mayberry’s vocals have matured. This resulted in a strong collection of synth-laden, power pop.
Key Tracks: Never Ending Circles, Make Them Gold, Empty Threat, Downside Of Me.

7/10

Communion by Years & Years, Released July 2015
Years & Years started 2015 by winning the BBC Sound Of Poll and were shortlisted for the Critics Choice award at this year’s Brits. Their infectious sound of synth-pop teamed with Olly Alexander’s falsetto and intelligent lyrics of lost love and desire made them one of the most sort-after bands of 2015. 
Key Tracks: Shine, Take Shelter, King, Desire

7/10

Unguarded by Rae Morris, Released January 2015
2015 started well for Blackpool born Rae Morris when she was shortlisted for the BBC Sound Of poll. However, she was not a total novice; previously a guest vocalist on tracks by Bombay Bicycle Club and Clean Bandit. Her debut album was released all the way back in January, achieving a place in the top ten of the UK album charts. Nevertheless, with the abundance of female solo singers releasing albums this year, she almost got lost in the crowd. The album is a diary of compelling, coming of age electro piano ballads enhanced by her towering vocals. Those who forgot about Rae Morris should not have such an unguarded attitude.
Key Tracks: Closer, Love Again, This Time, Not Knowing

7/10

 

Thursday 24 December 2015

Live Review: Stroud Folk Festival 2015



Stroud Folk Festival, Stroud Subscription Rooms, Saturday 19th September 2015

The following is a review of the Saturday night concert during the 2015 Stroud Folk Festival.


Hattie Briggs

Opening proceedings this is evening is Stroud-based singer Hattie Briggs. With only 40 minutes to perform, her set list is mostly derived from her debut album Red & Gold, which was released in April. A Beautiful Mind, her tribute to folk singer Pete Seeger, is well received; undoubtedly there would have been fans of his in the audience. Tilly’s Song, originally from EP My Shepherd’s Hut, is a story of friendship and childhood memories. The song has recently been reworked (with added banjo, double bass and backing vocals) and was available as a limited CD single after Hattie’s set. Just before the performance an audience member notices them and is heard remarking that her Granddaughter is named Tilly. When Hattie completes her performance this lady is witnessed buying the CD, a first hand example of Hattie’s ability to create lyrics of real meaning to others. A new song entitled You Only Live Once speaks of living for the moment and echoes Hattie’s decision to quit her Oxford University degree in early 2014 to pursue her music career.

For the next four songs Hattie puts down her guitar and switches to the piano. Share Your Heart contrasts with the previous song as it speaks of times where Hattie had a bleaker outlook on life. All About Love is sung either side of an anecdote about a friend’s wedding which Hattie had played at earlier that day. She said both the bride and the groom had secretly arranged her to play the song, causing slight confusion when she arrived without the other realising. Lyrically it is the perfect choice for such a romantic occasion.

Still With Hope I See remains one of her best songs with its emotionally crafted poignancy. Pull Me Down is Hattie’s words of wisdom to herself about not falling into the pitfalls of changing due to fame and success. She has never performed the song with more determination and purpose than tonight; as a result it is the strongest part of this set. Her final song is a cover of Fields Of Gold. It draws heavily from Eva Cassidy’s version and is of an equally high standard. It is even more fitting that Eva’s brother Dan performs violin on the album version of this song.

Despite being on stage for the shortest time this evening Hattie continues to deliver performances which stay in the audience’s hearts and minds long after she leaves the stage.

8/10

Set List

  • A Beautiful Mind
  • Tilly’s Song
  • You Only Live Once
  • Share Your Heart
  • All About Love
  • Still With Hope I See
  • Pull Me Down
  • Fields Of Gold

Lisbee Stainton

London based singer-songwriter Lisbee Stainton has already released four albums and toured with the likes of Seth Lakeman; at 27 years old still has many albums and tours ahead of her. Her unique selling point is that she plays both eight string and ten string guitars, a pleasant change from the omnipresent six string.

Opening song Is Whispering has a gentle ambience, but backed by fellow musicians James and Andy on guitar and drums, who throughout the evening give an extra layer to the songs. Eloise, from Lisbee’s most recent album Word Games, tells the story of a person’s life falling apart but desperately trying to stay strong. The album’s string laden version is sadly missing but lyrically it shines with positivity. Girl On An Unmade Bed, taken from the 2010 album of the same name, was written when Lisbee was still in her final year at university; feeling confused and unsure about the future. Anyone who has been in a similar situation will emphasise with the uncertainty and expectation of this crossroads in life. Around six years have passed since this song was written and Lisbee seems to have overcome these barriers as she performs with ease and confidence.

For her next song, Go, Lisbee attempts to split the audience into three so they can sing the chorus in a sort of “round”. Whilst this does engage the audience to a certain extent it doesn’t work as well as it should, mainly because the audience is not familiar with the song and numbers wise the parts are slightly unbalanced.

Red invokes memories of Lisbee’s time growing up in Basingstoke and spending time in her garden. This is one the best songs of the set and the ten string guitar really adds to the gentleness of the lyrics. New song Leaving is about her decision to move from Hampshire to London to pursue her musical career. Its drums are heavy, perhaps indicating the direction for the next album. In contrast, Sidekick is the only song she performs solo. The music video for the song, which she advises the audience check out on You Tube, involves Lisbee dressing as a superhero and looking for her “sidekick”. The song’s lyrics are about looking for that person to share your life with. It is one of the best elements of her set because without the other instruments her guitar and vocals shine through.

On Red Dog Running the audience joins in with part of the chorus, she finally achieves their backing. The song is very melodic, memorable and gives and insight into Lisbee’s view of “…the red dog leading the hounds”. It has a strong moral lesson for those who choose to take part in such activities. The final song, Find Me Here, is a lovely end to her set; the audience clap along.

Overall Lisbee is a very competent and confident performer. However throughout the set for both her and her musicians, the volume level is set too high. It is a great shame that this tended to overshadow the sound of the eight and ten string guitars. This should have been the most fundamental element of her performance The ballroom at Stroud Subscription Rooms has a beautiful raised ceiling and as a relatively small venue is perfectly equipped to provide the natural acoustics required. Perhaps she is more used to noisy pubs or festival stages where a higher level of audio is needed. Whilst her style of contemporary folk- pop may not have been appreciated by the more traditional musical tastes in the audience she is a very talented lyricist, vocalist and musician and her songs do hold relevance for the younger listener. Next time, an acoustic performance would allow the intricacy and delicacy of her guitars to shine through. The Girl On An Unmade Bed may still have some mountains to climb but for Lisbee Stainton may all her dreams continue to come true.

6.5/10

Set List

  • Is Whispering
  • Wrench
  • Eloise
  • Girl On An Unmade Bed
  • Go
  • Navigating
  • Red
  • Leaving
  • Sidekick
  • After Every Try
  • Red Dog Running
  • Wait For Me

Steve Tilston

Born in Liverpool but raised in Leicestershire Steve Tilston released his first album, An Acoustic Confusion, in 1971. An impressive career of forty five years includes over twenty critically acclaimed albums, Radio 2 Folk Award nominations/wins and appearances on Later With Jools Holland. He has become one of Britain’s most admired folk singer-songwriters. Having never heard his songs, but being a fan of his daughter Martha Tilston, there was much expectation preceding his performance.

His opening song, Weeping Willow Replanted, is a rewrite of an older song. The bluesy guitar lifts the song just like the wind lifting the tips of the tree’s branches as they skim the surface of a river.

Yorkshire’s Fisherlad Of Whitby is a song which Steve found in a book in his local library. Set in the Napoleonic Wars; it tells the tale of a fair young maiden awaiting the return of her lover, a local fisher boy. It is clearly familiar to the audience, because without prompting; they join in with the chorus.

The Way It Was is dedicated to former member of The Steve Tilston Trio, Stuart Gordon, who last year lost his battle with cancer aged 63. Steve admits that a sign of getting older is that sadly the number of departing friends is increasing. The song’s poignant lyrics are a fitting tribute and those in the audience who knew Stuart would have shed a tear or two.

 Steve introduces Jacaranda as the token happy song. Originally from Australia it sings the praises of the blossom of the Jacaranda tree, and is made even more uplifting by the jumping guitar chords.

The Road When I Was Young is Steve’s journey through the past forty five years, from telling his father he wanted to be a folk singer up to the present day. Grass Days, taken from his current album Truth To Tell, is a thank you too all the people who helped him move to London to start his music career in 1970. For this song he uses a ten string guitar; adding further dynamics to the song. Yo Me Voy (Spanish for “I Am Going) receives the biggest applause of the evening.

Steve then recites an anecdote about his daughter Sophie’s wedding. She had asked him to sing Jacaranda after the wedding speech, but that he had decided to sing something else; launching into a version of Let’s Face The Music And Dance. The audience roar with delight. After the song he remarks that she still hasn’t forgiven him.

Steve leaves the stage to rapturous applause.  He is invited back for an encore, Oil And Water, which he has previously performed on the Jools Holland programme. It consolidates his set and for his many fans in the audience it has been an enjoyable evening. Although his music may appeal most to the more traditional folk fan; his songs have kept a similar style and sound throughout his career; there is much to admire about Steve Tilston. The songs are lyrically reflective and his skilled guitar playing is the testament to the longevity of his career. No matter what your opinion of his music, forty five years after he perused his music dreams, Steve Tilston will continue to entertain audiences for a long time to come.

7/10

Set List

  • Weeping Willow Replanted
  • Fisherlad Of Whitby
  • That Man Is Running Out Of Road
  • The Way It Was
  • Jacaranda
  • The Road When I Was Young
  • Grass Days
  • Yo Me Voy
  • Let’s Face The Music And Dance
Encore
       ·         Oil And Water

 
New Rope String Band

Comedy folk trio New Rope String Band, previously Old Rope String Band, are embarking on their farewell tour. Since 1988 they have gone through various guises but after its founding member Joe Scurfield died 2005 they wanted to continue in his memory. The group now consists of: founding member Pete Challoner, accordionist Tim Dalling and violinist Jock Tydeley.
 
They enter the stage dressed as stage hands, moving scenery and props into place before swiftly exiting. Once more they enter the stage playing instruments: two violins and an accordion, stomping in time to the music. The first act is “The West Coast Of Scotland”. The violin makes the sound of rain and a long plastic tube is used to create a howling wind. Jock climbs behind a large screen, his head appears above it. Then, unbeknown to the other two he presses a large sea shell to his lips and blows through it. Similarly he holds up a large bell; despite a certain level of expectation the audience jumps with surprise as the sonorous tone breaks the tranquillity of the hitherto calm underscore. They have only been on the stage a matter of minutes yet the audience are already transfixed.

A key to this type of performance is creating the perfect deliberate mistake, for example when the rainstick’s ball-bearings cascade all over the floor. Another element is the ability to push the boundaries between shock value and comedy value. Scotsman Tim sheepishly raises his hand asking to go to the toilet, like a six year old asking a teacher to be excused from a lesson. Desperation ensues and he “relieves” himself into a pint glass conveniently hidden under his kilt. He tells his fellow band-mates it is a new ale named “Old Speckled Hen”, which is drank to gasps of disbelief and disgust.

Their second act is based on the very English tradition of Morris dancing, already the subject of many a jibe. The sketch begins with the trio performing a traditional circle dance to a backing track. This starts as expected with the gentle sound of violins and the trio dancing around in the circle; however the audience should expect the unexpected. The pace of the music increases; the dancing becomes more frantic; all before launching into Stayin’ Alive by the Bee Gees; then returns to the original tune as if nothing extraordinary has taken place. New Rope String Band successfully brings new laughs and a totally fresh take on a clichéd joke.

Technology is also used to innovative effect during their show; they use a video camera and projector as for the next section. After a few “failed” attempts of trying to get the camera to work (magnification, focus in/out) is another example of the well planned deliberate mistakes. What appears on the screen next is astounding. The trio appear in silhouette standing on a music stave. The music playing is depicted by the musical notes on the screen. As the music continues the bars of the stave divides, the time signature changes to an increasingly more complicated tune. They each grab onto a crochet note and ride it along the stave like a horses galloping to the end of the music. The end of a quaver is lit, and like a fuse fizzes until it reaches the black, circular “bomb”. It explodes scattering musical notes, bars and rests cascading across the screen.

Following this the trio return to a seaside theme with a rendition of “I Do Like To Be Beside The Seaside”, whilst wearing sailor’s hats. More inventive instrumentation is present when fish bones are transformed into a wind chime; including a melody which sounds suspiciously like the Nokia default ringtone. A Scottish jig entitled “Seagull From Scotland” has no Bagpipes but the trio have another trick up their sleeves. The drainpipes are used to create a complex melody, spectacularly exploding in colour and confetti. By now the audience should expect the unexpected; when Peter emerges from the back of the stage dressed as a mermaid; the audience once again fall into hysterics. 

They leave the stage to cheers and stomping feet of stampede level. The encore is received with the same appreciation. The trio begin to imagine life after the group has disbanded. Technology is brought to the forefront once more; the projector screen shows a line of ZZZZZZs; Tim has fallen asleep. He dreams of lying on an airbed, a flying airbed. He fly’s past the Statue Of Liberty, finally landing in Newcastle-Upon-Tyne. His new show “Time Live” is about to begin. The fictional audience are enjoying it; but then is all goes wrong; they start to boo and jeer. The hilariously inevitable cliché of wearing your underwear in public comes true and he runs off stage with embarrassment. Back in the real world Tim wakes up; but is still in his underwear. The audience laugh with a mixture of sympathy, awkwardness and amusement.

So with a tremendous of applause, enough to raise the roof of its rafters, the trio level the stage for almost the final time. Their farewell tour will conclude at the end of October and only time will tell in what guise they will return, if any. The trio have produced an incredible and unforgettable twenty seven years of intelligent and inspiring comedy. They have explored the intricacies; often bizarre traditions of the folk world, whilst never fearing to make fun of themselves. Their departure will leave a gaping hole in the folk arts scene. There are few who are able to entwine the theatrics, humour and consistency of The New Rope String Band.

9/10

 

Monday 14 September 2015

Live Review: Stroud Fringe Festival- Saturday 29th August & Sunday 30th August 2015

Live Review: Stroud Fringe Festival- Saturday 29th August & Sunday 30th August 2015

For almost two decades the Cotswold town of Stroud has held its annual Fringe Festival. In 2009 it took on a new-look with a main stage in the town’s Bank Gardens and a few years later moved to the Summer Bank Holiday weekend; the popularity of the festival continued to grow year-on-year. After the festival in 2014 it was announced that the current committee would be resigning and the search began to find a new set of organisers.  

Thankfully, a new committee was found, bringing a host of new ideas and experiences. The 2015 Stroud Fringe Festival promised a vastly expanded line-up including: The Bank Garden Stage, The Cornhill Stage, The Canal Stage, The Alternative Stage, The Electronic Stage, Block Party Stage, Street Stage, and an Emerging Talent Stage. If this wasn’t enough there were: Spoken Word, Comedy, and Theatre performances, Art Exhibitions, family entertainment and a procession. The music line-up alone was extremely diverse and with so much to choose from here are five performances from across the established Cornhill Stage, and the brand new Canal Stage: situated alongside the historically-significant, rejuvenated Stroud canal.

The Honeyfire at Stroud Fringe Festival, Canal Stage, Saturday 29th August 2015

Bristol female trio The Honeyfire formed in 2012 when drummer Anja Quinn teamed up with sisters Natalie and Sally Joiner. Formally known as Wolfhound they changed their name to The Honeyfire in 2014. At first look they seem reminiscent of 90’s/00’s girlbands Hepburn and The Faders but with haunting vocals and deeper lyrics they are much more similar to indie-folk band Daughter and sister duo The Unthanks. As their name suggests The HoneyFire’s sound has sweet vocals under-pinned by heavier electric guitar, bass and drums. A closer listen to their lyrics reveals deeply personal and really quite dark subject matter.

Their songs focus around the themes of fear, death, self-doubt and relationships. Opening song Delusions, mourns a dying relationship, whilst Parallel’s lyrics speak of another universe with the portal of light and hope diminishing.
Waiting For Orpheus pays homage to the eponymous demi-God and vocally it is one of their strongest songs. Closing song, Dreams, starts with gentle guitars but contains some of their darkest lyrics, “…they blame you for the lies, Nobody can hear you when you’re screaming…”

They also performed their new single: double a-side What Is Left and Come Undone.  The former has a progressive chorus, it is performed with gritty determination and heavy guitar riffs. The latter is much more chilled-out with apocalyptic lyrics, “…Who will save us from the monsters? While we hide away we live in fear…” Physical copies of the single were available on a pre-release after the performance. Limited to fifty copies, signed and with individual, beautifully hand-painted covers; an indication of how the band is prepared to go the extra-mile for their fans.

Several times the band state how grateful they are to be here, which you can sense from their performance but this isn’t always reciprocated by the audience as much as it should be. In some incidences their songs seem to transfer better on record than live, mainly because the instruments overshadow the lyrics and vocals. These form the strength of their sound and this is sadly a missed opportunity for those watching the band for the first time. Perhaps a smaller venue would give their harmonies and intricacy of their songs more prominence.

I would definitely recommend seeing The Honeyfire again. There are not many female indie-folk bands around at the moment so there is definitely a gap in the market for them, although they will need to continue to harvest their potential to find the success they are capable of. Drummer Anja is leaving the band at the beginning of September, with sisters Sally and Natalie carrying on as a duo. However their embers are far from extinguished.  If they continue to add fuel to their harmonies, lyrics and instrumentation, The Honeyfire’s flame will burn brighter than ever.

7/10

Set List

  • Delusions
  • Parallel
  • What Is Left (new single)
  • The Siren
  • Wolves
  • Waiting For Orpheus
  • Come Undone (new single)
  • Road Signs
  • Dreams
Sophronie at Stroud Fringe Festival, Canal Stage, Sunday 30th August 2015

It’s Sunday morning, 11am, at the Canal Stage on the last day of Stroud Fringe Festival. The sky is grey, the slow patter of drizzle steadily increasing. The Big Red Bus Bar’s frontage is crowded; those who were lucky enough to get there earlier have taken advantage of the bar’s tarpaulin, providing some shelter at least from the dismal weather. An audience of around twenty has battled the elements to watch the first artist of the day: Sophronie Edwards. There is quite a delay to the start whilst the stage is set up and sound checks take place, the audience waits patiently and after thirty-five minutes Sophronie takes to the stage; thanking everyone for staying.

The first thing that strikes you is Sophronie’s age, the sixteen-year-old finished studying for her GCSEs just a couple of months ago. Originally from London she moved to Stroud three years ago. She has recently performed at Wychwood Festival and provided support for local artists such as Emily Barker. She often travels with her own band but today it is just her, her guitar and a violin accompaniment.

Sophronie’s opening song, Fire In The Heavens, is the title track from her debut album. Lyrically poignant and with deep personal meaning; looking into Sophronie’s past this meaning is clear. In 2010 Sophronie’s father lost his two-year battle with cancer. As a way of coping with the grief and loss she picked up his guitar, taught herself to play, and began to write songs: songs which inspired her to write an entire album. The themes of loss, life and family feature heavily throughout. Eyes Wide is about looking into the darkness but searching for the life that still remains, while Sofa centres around her brothers and missing their company when they’re not around.  On People Pass Sophronie sings about making the most of every day as she sets out on a journey of loneliness. New World’s lyrics: “…I don’t know where I am, I don’t know who I am…” highlights trying to re-establish a sense of meaning and being after significant personal loss. Her final song, Lighthouse, she refers to her father as a lighthouse: like looking for the beam of hope: “…say you’re not lost you’re just searching”.  

At the end of the performance Sophronie reveals that she has been unwell over the last few months and that this is the first occasion she has been able to stand. This adds more emphasis to the point that Sophronie has overcome many obstacles with tremendous courage. Vocally similar to Birdy, she has a real talent for lyrically deep songs with genuine sadness. Her performance does come across a little stilted; perhaps there are some emotional barriers still remaining. The further development of stage presence and performance dynamics can only come with age and experience; and because she is still so young I am certain she can achieve this. Next time, with a larger audience who will come with ears open, Eyes Wide, and very much like a Lighthouse herself: searching for this promising, inspirational, emerging talent.

6.5/10

Set List

  • Fire In The Heavens
  • Burning
  • Eyes Wide
  • Sofa
  • Strangers
  • People Pass
  • New World
  • Photographs
  • Lighthouse
Clutching At Straws at Stroud Fringe Festival, Canal Stage, Sunday 30th August 2015

Staffordshire alternative folk band Clutching At Straws return to Stroud Fringe for a second time after last year’s triumphant performance on the Bank Gardens Stage. It has been a turbulent year for the band. In January, after over three years as a quartet, founding member James Wheeler left the band. A multi-instrumentalist and lead vocalist on many of the songs, it left the remaining members having to deconstruct then reconstruct the majority of their material. Then, in April, vocalist/guitarist/pianist Tom Simm fell seriously ill with a deadly virus which almost proved fatal. The band was forced to cancel a string of performances, including a Scottish tour, whilst Tom began the slow road to recovery. Luckily he pulled through; in more ways than one it is miraculous that Clutching At Straws are able to perform today.

Starting a little later than billed, through no fault of their own but due to some unexpected site maintenance and previous artists on the stage running late. However the rain stopped and the sun comes out just in time for the start of the Straws’ set.

Their opening song, Through Your Eyes, from 2013’s Come What May EP, is the first example of a recent reworking. Originally the lead vocals were sung by their departed member; now Tom has taken this on. The vocals are sung with more clout than before, however the other new addition of cello, performed by James Baskett, softens the sound. Perhaps the most noticeable difference is the vocally is the absence of the three-part vocal blend; the contrast in tone of Tom, James and James’s voices complimented each other perfectly. However, the remaining two-part harmony still works well.

Percussionist Jake Mahal introduces the band and gives the audience a warn welcome. The second song, This Table Changes Everything, is one of the first songs the band has written as a trio. It is quite a powerful performance, the percussion and cello fit well but vocally it needs reining in slightly. The song has quite a different sound and structure to most of their other songs and will probably need a few more listens for it to settle into their set.

Ho Hey by The Lumineers follows next, with its sing-along anthemic chorus; it is a very good version of the song but would have had more impact with a larger audience. Just as the song finishes more and more people venture down to the Canal Stage area.

Another brand new song, Connection Lost, focuses on how exploitation; in particular pornography, is gradually killing love, marriages and society. Tom takes on lead vocals and piano. The pace is melodic and ear-catching, the lyrics relevant and topical, and vocally it is pretty incredible. As they perform this song a group of young children start to dance and tap their hands in time to the music. Although though they may not understand the meaning behind the words, age holds no bounds for those tuning into Clutching At Straws’ message. Connection Lost: connections most definitely gained.

Love Lost Sold, the stand-out track from their Come What May EP follows next. This song was originally sung by Tom so doesn’t differ too much from previous versions, other than the loss of James Wheeler’s violin. The song starts gently, with slow rhythmic beats and sweeping cello simmering under the surface. Then, unexpectedly, it unleashes into a fast-paced, well executed, powerful protest about corruption and the circle of making money.

The audience continues to grow in numbers when, abruptly, due to time constraints, the band are asked to make the next song their last. Drummer Jake is very apologetic and the band are entirely with out blame; sadly the decision is out of their and the audience’s hands.

Their concluding song, War Song (also known as Freedom), is about the band’s determination to put an end to exploitation, people trafficking, and slavery which still effects 27 million people around the world. Again, with the exception of the absence of violin, it does not differ too much from the original. The vocals are performed by cellist/bassist James Baskett, who hitherto has been under utilised vocally; perhaps there will be more opportunities for him in the future as he has a lot to offer. He has a richer, deeper, more gravelly tone to his voice. This is the song’s main strength; it brings authenticity and is sung with passion and conviction. The audience responds really well; the majority are engaged and focused on the song’s message. With references to William Wilberforce and Martin Luther King the lyrics exude intelligence and are an education for all. The children I mentioned earlier are still smiling and clapping along to the rhythm.

As the band leave the stage there is a sense of disappointment; just as they got into their stride, their performance becoming stronger with each step; they were prevented from continuing. They still had so much more to give. During the sound-check they performed their version of Mumford & Sons' Little Lion Man; along with the other songs they had planned it is a great pity that the audience didn’t get to hear it. Considering that, in the last eight months, as a band they have been through more than other groups experience in a twenty year career. Their standard of performance is still high and they remain the epitome of perseverance and professionalism throughout.

Clutching At Straws have an incredibly devoted, dedicated desire to transform and change the lives of others through their music. In an open-minded, forward-thinking place like Stroud this should have been their stage.

The Big Bad Wolf of circumstance may have dealt Clutching At Straws another blow, but in the words of their song Home “…strong foundations still hold fast…” the House Of Straw will prove to be the strongest of all.

7.5/10

Set List

  • Through Your Eyes
  • This Table Changes Everything
  • Ho Hey (The Lumineers cover)
  • Connection Lost
  • Love Lost Sold
  • War Song/Freedom
Wildflowers at Stroud Fringe Festival, Canal Stage, Sunday 30th August 2015

It’s early evening at Stroud Fringe’s Canal Stage; after a day where rain very much delayed play, the sun is shining and the audience has swelled in numbers: exactly how it should have been all day.

Formed in 2012, Bristol-Brighton quartet Wildflowers bridge the gap between alternative country-pop and indie-folk. The band is made up by vocalist Siddy Bennett, her sister Kit Bennett who plays piano and accordion, guitarist/harmonica player Kendal Sant, and James Ashbury who performs guitar and mandolin. The band has released two EPs: Where The Flowers Don’t Grow in 2013 and Let It Go in 2014. Just two days prior to this performance saw the much anticipated release of debut album On The Inside. This evening’s features songs from all three releases. Siddy and Kit spent part of the childhoods in Stroud, so this evening’s performance is very much a homecoming for them.

Opening with Take Me Home, whose lyrics include: “…you're the place where I belong… this is where I’m meant to be…” The song’s bright and breezy words certainly make the audience feel at home straightaway. Edge Of The Road features mandolin and accordion which give the song and extra lightness, like butterflies fluttering between the long grasses in a meadow. Another Million Miles conjures images of a journey across America on a road trip adventure with your friends and enjoying the enriching experiences.

Lead singer Siddy doesn’t use a mic stand during the set which means she can move freely about the stage; on several occasions she interacts with other band members and is she able to move closer to the audience. It gives fluidity and accessibility to the performance rather than the classic trap of just standing still, which many bands fall into.

Where The Flowers Don’t Grow has an edgier, rockier feeling where Siddy’s soft yet gravelly vocals come into their own. Friends is inspired by sisters Kit and Siddy moving around a lot during childhood: making friends and then having to lead them behind. The song has quite a sad air to it but their experiences have lead Wildflowers’ songs to be even more down-to earth. Many old friends have come to watch this performance and are “…raising their glass to this…” Wildflowers will have certainly gained a great many more friends this evening. On Tell Me I’m Your Woman Siddy’s vocals are more prominent, she is able to tell the story about persuading a guy to ignore all the other women, and that she is the girl for him.  Nobody Loves My Baby’s gentle “…whooh whooh…”, which the audience replicate and gently sway from side to side, embracing the undeniable pull of charisma which Wildflowers have achieved throughout the entire performance.

When Siddy announces that the next song is called Let It Go, there is the inevitable feeling that it will be a cover of that song from 2013 Disney film Frozen. She quickly adds that this song was written a long time before the film was released. There is an inaudible sigh of relief from the audience. The song is in fact about feeling like you are not being loved but trying to put those feelings aside. Once again sad subject matter is disguised with optimism: “…got used to living week-by-week…” /“…everybody’s happy, everybody’s glass half full…” After hear this song the audience are most definitely glass half full.

Wildflowers’ last song is Skyscrapers is an uplifting, inspiring song about rebuilding yourself from the ashes of despair. Indeed Wildflowers have delivered a sky high performance. Those who attempted to purchase an EP afterwards, with the exception of the lucky four who got to the front of the queue, would have been left disappointed; on audience reception alone they would have sold a shed full. However, it is an excuse to see the band again, the real new-music find of this year’s festival.

As the sun began to set on the penultimate day of Summer the garden of Wildflowers blooms with beauty and vibrancy.

8/10

Set List
 
  • Take Me Home
  • Edge Of The Road
  • Where The Flowers Don’t Grow
  • Another Million Miles
  • 100 Personalities
  • Friends
  • Tell Them I’m Your Woman
  • Nobody Loves My Baby
  • Let It Go
  • Skyscrapers     
 
Emily Barker at Stroud Fringe Festival, Cornhill Stage, Sunday 30th August 2015
 
Stroud’s Cornhill area, usually home to Stroud Farmers Market with its local, high quality produce is always a popular destination; this weekend has been home to The Cornhill Stage. Tonight is no exception as the place is buzzing with people and conversation; there is barely a place to sit or stand.

Originally from Western Australia but now based in Stroud, Americana country-folk singer Emily Barker has received critical acclaim for her albums; three of which she recorded with The Red Clay Halo band. She has also written and recorded the theme songs to television programmes Wallander and The Shadow Line.

Emily’s first song, Little Deaths, from the album Almanac, is stripped back from the original version and her vocals shine through. On Nostalgia, soundtrack to crime-drama Wallander, Emily sings of a place far away. Listening to the lyrics you can picture the sparse landscapes of Scandinavia, perfect for the television show it accompanied. For the next song, Blackbird, Emily is joined by The Red Clay Halo’s Jo Silverston. The addition of cello on this song compliments Emily’s vocals beautifully.

The lyrics of Lord I Want An Exit are truly heartbreaking. In the song a terminally ill man begs God for him to be reunited with his wife, “…is there an angel in the hallway to take me to her side…” The song demonstrates Emily’s talent for poignant song writing. New song Stockholm Down Below gives an indication of what could be expected from her next album.

Anywhere Anyway is a new song which will form the soundtrack to new film Hec McAdam. The lyrics are about escapism and wanting to be free. The song receives the biggest applause of the evening.

Disappear, Emily’s final song tonight, Jo Silverston returns to play cello. Once again this adds warmth and depth to the performance. The song’s lyrics, “If a picture paints a thousand words, then a song paints a thousand pictures…” highlights perhaps the most profound element of Emily’s music: her ability for her lyrics to conjure strong visual imagery.

So it is a relatively short set from Emily Barker but by no means a bad one at all. Many of her songs are quite similar to each other, her voice is gentle but her main talent is using her voice to tell the story of her beautiful, honest lyrics. It is regretful that her words couldn’t always be heard over the noise of the crowd. Those wanting to hear more should invest in Emily’s recent album, The Toerag Sessions, a record of live recordings. Listening to it feels like Emily is in the room with you, and in the Americana country-folk arena, she produces lyrical artistry like no other.

7/10

Set List

  • Little Deaths
  • Nostalgia
  • Blackbird (with Jo Silverston)
  • Lord I Want An Exit
  • Stockholm Down Below
  • Anywhere Anyway
  • Disappear (with Jo Silverston)

Stroud Fringe Festival 2015: A Summary

After a weekend of music, poetry, comedy and theatrics the 2015 Stroud Fringe Festival drew to a close. In many ways the festival has achieved exactly what it set out to do: create an event which represents the diversity, liveliness and uniqueness of the town. In some ways there was too much choice, enough to fill a week rather than just three days.

However, problems with the fundamental issues of timings and technical difficulties disrupted some of the performances, particularly at The Canal Stage; will need to be addressed for next year. Hopefully these will not discourage the artists themselves or audience members from returning to the festival in the future.
 
The organisers of this year’s Fringe have done an exceptional job in what was only their first year in the role. The sheer joy, colour and atmosphere; which many are calling this year’s festival, “the best Fringe ever”, has never been experienced to this extent. By learning the lessons of what went right and what went wrong, the greatest challenge will not be to equal the success of this year’s Fringe, but to better it. A challenge that could result in people exclaiming: “best ever Fringe Festival” for many years to come.