Live Review: Stroud Folk Festival 2015

Stroud Folk Festival, Stroud Subscription Rooms, Saturday 19^th 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

 

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

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

Album Review: Positve Songs For Negative People by Frank Turner

Album Review

Positive Songs For Negative People (Deluxe Edition) by Frank Turner – Released Friday 7^th August 2015

Since releasing his first album Sleep Is For The Week in 2007 Frank Turner has released five studio and three Best Ofs albums. Frank’s mixture of punk, folk and rock on topics including: politics, love, death, war, and social injustice has taken audiences by storm worldwide.

As the title of his sixth album suggests the songs take negative influences and transform them into positive outlooks. Five of the tracks clock in at three minutes or less; like life itself they rush by in a blink of an eye. Get Better speaks about still having time to fix past wrongs. The Next Storm is an upbeat song about overcoming troubles; everyone goes through bad times but that it is important to face them head-on. The Opening Act Of Spring is an irresistible ditty of asking for forgiveness after hurting someone you love, surrounded by metaphors of nature and awakening. Mittens laments unrequited love: “…we used it fit like mittens, but never like gloves.” The fast-paced and relentless Out Of Breath is about not knowing how much time you have left, making the most of your life; it is the only one you’ll have. A similar theme is echoed in Demons’ honest lyrics: “Doesn’t it just break your heart to know that none of this will last?” and “… it’s great to be alive”; sadness juxtaposed with optimism. The tennis metaphor laden Love Forty Down, about fighting back against defeat and not letting life get you down, is deeper than the first listen suggests. Final track, Song For Josh, recalls the memories of a friend’s suicide; questioning why they never asked for help. Tear-jerking and heartfelt, it strengthens the message of the album: you never know when you or a loved-one will leave this world forever.

The Sleeping Souls band brings extra breadth with a range if instruments including: piano, electric guitar, organ, mandolin, and percussion.

The deluxe edition has an extra disc with acoustic versions for ten of the twelve songs. They show that, even with a different accompaniment, Frank’s lyrics remain prolific, life affirming and true.

Frank has delivered another album of purpose, intelligence and meaning. While many of the songs focus on death, it is an album very much about life. They are not just Positive Songs For Negative People but Positive Songs For All People.

Key Tracks: The Next Storm, The Opening Act Of Spring, Demons, Song For Josh

 

8/10

Album Reviw: Blood by Lianne La Havas

Album Review:

Blood by Lianne La Havas- Released Friday 31^st July 2015

Lianne La Havas released her debut album Is Your Love Big Enough? in 2012. The album went into the top five, received critical acclaim and was nominated for the Mercury Prize later that year. The twenty-five year old has released her second album, but will it stand up to the success of the first?

Legendary music superstar Prince is a big fan of her work, clearly hearing something special about her voice and noticing her star quality. They performed together for American television on Saturday Night Live in 2014. 

Matt Hales who, under the name Aqualung, achieved top ten success with Strange And Beautiful back in 2002, co-writes and produces many of the tracks. He has also worked with established artists such as Leona Lewis and Paloma Faith; he brings a wealth of experience. Lianne started her musical career as a backing vocalist for Paloma; now life has come full circle.

The album’s main theme is one of personal identity and discovering your true self.

On Green & Gold Lianne explores taking a look at her life and how far she has come since childhood with both refection and perception; an autobiographical coming of age song. What You Don’t Do has bouncy piano chords, drum beats and lyrical optimism; it’s about appreciating a person for who they are. The beautiful Tokyo has some very poignant lyrics: “Grew a thicker skin but now it’s wearing thin. You can see right into me.” The (literally) haunting Ghost laments the circle of blame in a relationship and trying to find a way out. Never Get Enough has a much rockier, electric feel; while it shows the diversity of her sound, it feels a little out of place.

Blood is a very cohesive and often consistent record; however it takes a few listens for the songs to stay with you and for the lyrics to be fully appreciated. Lianne has grown in strength vocally and the songs have more purpose and direction than her previous album. Her honey-sweet yet well executed vocals make her one of the best soul singers of her generation. Blood has honesty in its veins, giving it life and pumping it right to its heart.

Key Tracks: Green & Gold, What You Don’t Do, Tokyo, Ghost

7.5/10

Album Review: Communion (Deluxe Edition) by Years & Years

Album Review

Communion (Deluxe Edition) by Years & Years – Released Friday 10^th July 2015

Years & Years started off 2015 in a wave of publicity when they were announced as the winners of the BBC’s Sound Of… poll in January. Former winners of the accolade include: Keane, Adele, and Ellie Goulding who have all gone on to enjoy successful careers and produce high quality albums. The wave of publicity became one of tidal proportions in February when they were nominated for the Critics Choice award at the Brits, narrowly missing out to James Bay. A number one single, King, soon followed and earlier this month they missed out on another when Shine entered the chart at number two. Now the band has released their debut album to a similar level of expectation. No pressure then.

The band is amongst the first to take advantage of the new Friday global release date, the long term effect of this remains to be seen, but it may be another talking point when considering the potential success of the album.

The trio is fronted by former actor Olly Alexander, Emre Turkmen provides synths and Australian Michael Goldsworthy adds bass, drums and percussion to the band’s sound.

Opening track Foundation has a darker, more minimalist feel to most of the tracks on the album with the musical score bubbling gently under the surface. The majority of the tracks are up-tempo with only Eyes Shut and Without drifting into piano balladry. It is not necessarily a bad thing; the lyrics are some of the most poignant on the record, both songs show the versatility and range of the band’s sound without diversifying to far from the path of the album. However the band is at their strongest on the energy driven tracks such as the addictive King and their most recent single Shine is irresistible.  

Lyrically honest, although not taxingly complicated, the songs are fairly well constructed with synths and beats offsetting yet complimenting the vocals; Olly’s falsetto provides emotion to the songs by being gentle but powerful.

The deluxe edition has four additional tracks including 1977 which is slow-burning and sensual, and two acoustic songs bring the album to a slower but satisfying conclusion.

It is a record which does not overly surprise the listener but rarely fails to delight. The album is nothing more or nothing less than it pretends to be: bright, uplifting electro-pop. However, it is unclear whether the band will stick to the more hard hitting sounds or enter into a slower paced vibe; for this they must be cautious; there is a fine line between credible pop and clichéd boyband territory.

Years & Years have produced one of the most joyous albums of 2015 so far. In a sea of overly serious singer-songwriters and R&B blandness they are a breath of fresh air. Hopefully they can maintain this momentum for Years & Years to come. 

Key Tracks: Shine, Take Shelter, King, 1977            

 

7/10

Live Review: Hattie Briggs' Trio at Nailsworth Festival 2015

Live Review: Hattie Briggs’ Trio, Nailsworth Subscription Rooms, 17^th May 2015

Tonight’s concert forms part of the Nailsworth Festival: a week of art, crafts and music events situated in and around the small picturesque Gloucestershire town. On arrival there is already a small crowd gathered around the entrance; Hattie and her band are still sound checking, the emerging sounds indicating the audience are in for a treat. Soon the crowd pour into the room, the gig appears to be a sell-out; festival staff put out more chairs at the back of the hall. The chairs themselves are more familiar sight in school classrooms; the audience are about to have a masterclass from a star pupil.

Hattie opens with Tilly’s Song, taken from 2013’s EP My Shepherd’s Hut, written for her friend’s twenty-first birthday. It is a delightfully sweet song, the eponymous Tilly must be proud of her friend. A Beautiful Mind, a tribute to late folk singer Pete Seeger, is sung with meaning and sincerity. It is not hard to see (and hear) why the song has received air play on Radio 2 and become album Red & Gold’s lead single. The high ceiling of the Subscription Rooms allow Hattie’s voice, though quiet in volume, to have maximum impact and is acoustically stunning.

On Your Way, the first of four new songs performed during the evening, indicates a more positive state of mind for the theme of the next album. The next song Autumn Leaves, previously covered by artists such as Eva Cassidy and Edith Piaf, is mesmerising. As the song finishes a member of the audience behind me sums up the feeling in the whole room by exclaiming, “Oh wow”. Wow indeed.

Hattie switches to the keyboard and a brief moment of panic crosses her face when no audible sound emerges; thankfully it is sorted out within seconds and Hattie maintains her composure with good humour. Share Your Heart, one of the stand-out tracks from Red & Gold, is next. The song, about learning to love yourself in order to share your heart with others, seems to tell the tale of a Hattie from long ago, still present but gradually fading into the past. After it finishes Hattie ironically remarks, “You can tell I was feeling really good when I wrote that one, I wonder what changed”. A sharp contrast to new song Lift Me Up, a complete step change; a Hattie now looking towards the future.

Without A Smile, the first song Hattie wrote aged 17, shows that even at a young age there was potential and talent waiting to be discovered. Hattie likens the song to an old jacket, ready to be taken out and worn again. With just piano and voice on this song the cellos which have hitherto been provided by Asha McCarthy and Barney Morse-Brown, are notable in their absence; this is the Hattie Briggs’ Trio after all. Hattie says that the motto when recording the album was if in doubt add more cello; Asha and Barney certainly do this in spades. The songs throughout the evening are enhanced from those of the album versions; further deepening the richness and emotional core of the originals. This is no more evident on the final song of the first half, All About Love, which Hattie dedicates to a couple celebrating their second wedding anniversary. Considering the song’s optimism and romanticism it is a seemingly appropriate gesture.

The second half continues to show Hattie, Asha and Barney’s incredible talents. Sacred Heart, a Civil Wars cover, is sung entirely in French. Hattie admits to being the most nervous about this song; her former French teacher is in the audience. However, Hattie delivers an A* performance.

Despite the more positive vibe to her new material, the lyrics to Happy In Your Arms, “…poison in your lips and in your fingertips…” show, that at times, dark undertones are ever present. Nevertheless, new song You Only Live Once suggests living in the moment seems to be Hattie’s goal. She says that she resisted calling the song “YOLO”; it is easy to forget that she is only 22; lyrically, vocally and in person she is already wise beyond her years.

Fields Of Gold receives the biggest applause of the night, plus an extra well-deserved appreciation for Asha and Barney’s cello playing. The spirit of Eva Cassidy is surely looking down on Hattie with a smile. The version is a testament to the significant influence which the late singer had on Hattie, so much so Eva’s brother Dan produced and played violin on the track for the album.

Hattie finishes with Pull Me Down, a slow-burning song about resisting the perils of the music industry’s way of changing artists into something they are not. Hattie is true to her words; her songs and performance speak nothing but honesty. Called back for an encore the trio perform Leonard Cohen’s Hallelujah. The audience needs no encouragement to join in; they openly rejoice at an evening of a 19-song spectacular. Indeed Hattie, Asha and Barney’s performance must be credited with high praise.

The most wondrous element is Hattie herself. Both her performance and persona seems a world away from that at the Stroud Fringe Festival in August 2014. The transformation in a mere nine months is astounding. Sharing anecdotes about her older brother, vintage suitcases, and her beloved fifteen-year-old dog Panda, her confidence with audiences has expanded ten-fold. She seems to be gradually unlocking the shackles of her past, her heart set free from the uncertainty which, in her own words, “…have haunted her for years…” The experience of her recent five week tour supporting duo Kathryn Roberts & Sean Lakeman has paid off handsomely and has given the exposure her music richly deserves. The new songs have set a president for greater things to come. If this is what nine months can do, it is most certainly Still With Hope I See an ever brighter future for Hattie Briggs.

8.5/10

Set List

• Tilly’s Song (from My Shepherd’s Hut EP)
• A Beautiful Mind
• On Your Way (new song)
• Autumn Leaves (Jo Stafford/Eva Cassidy cover)
• Godspeed
• Share Your Heart
• Lift Me Up (new song)
• Without A Smile
• All About Love

Interval

 

• Old Eyes
• Sacred Heart (The Civil Wars cover)
• Happy In Your Arms
• Your Song (Elton John cover)
• You Only Live Once (new song)
• Fields Of Gold (Sting/Eva Cassidy cover)
• Still With Hope I See
• Castle On The Sand (new song)
• Pull Me Down

Encore

• Hallelujah (Leonard Cohen cover)

Live Review: Coco And The Butterfields at Prema Arts Centre, Uley, Gloucestershire

Live Review: Coco And The Butterfields at Prema Arts Centre, Uley, Gloucestershire 25^th April 2015

 

Prema, an Arts Centre situated in rural Gloucestershire, is the setting for Canterbury five-piece Coco And The Butterfields’ second date of their Say Hello Tour. The venue, a formal Baptist Chapel, is currently undergoing renovation. Despite the scaffolding on the outside encasing its Cotswold Stone beauty, the inside has the right mix of quirkiness and warmth. On the top floor wooden beams stretch over the high ceiling, artwork adorns the walls, and the low hum of voices from the popular Prema Arts Café drifts up the stairs.

The age range of tonight’s audience is as diverse as the band's sound: an indicator that Coco And The Butterfields appeal to both the age-old folkie and the younger listener wanting a more contemporary sound.  

The band approach the stage from the back of the room to moderate applause, perhaps the audience is not entirely sure what they are in for. Singer and guitarist Tom Twyman immediately answers that question by simply saying, “this is what we’re all about”, before launching into a cover of Gym Class Heroes’ Cupid’s Chokehold. It is a rousing performance and certainly warms up the crowd.  At the end of the song Tom admits they have played the whole song without the mic on the guitar being turned on; the band plays the chorus once again, this time with the guitar.

They go on to play a selection of covers and original songs selected from four EPs, not bad for a group which have only been together since 2011. The first original song of the evening, Walls, begins by the band saying that “we aren’t really used to seated venues, so for the next one we need to sway in your seats”. No instruction was really needed because the song alone is enough to get the audience moving to the irresistible beat.

If the audience aren’t won over already, an incredible version of Nina Simone’s Feeling Good  which is familiar to both old and young; showcases Dulcima Showan’s soulful, powerful vocals and proving that any genre of music holds no bounds.

An anecdote about the nursery rhyme Jack & Jill segways into the closing performance of the first half, a mash-up of Flo Rida’s Low and Jay Z’s Encore, with band members shimmying down on stage as they play: a band not afraid to really let go and let their fun-loving personalities come through. However, as with all of the evening’s hip hop covers, older members of the audience may not be familiar with the original songs and therefore not fully appreciative of the re-working.

Two songs into the second half Tom makes the announcement that Dulcima is recovering from bronchitis. If this is how she is when she is ill it is astonishing to think what she is like with full vocal power. The next song, a relatively new addition to the set, is Britney Spears’ Toxic. Once again vocally and instrumentally, particularly the violin’s glissando, not only recreate but enhance the original version.

New song Hello is a beam of sunshine: a loop pedal replicates Dulcima’s voice; it echoes around the room, radiating in its beauty and creating an undeniably joyous reaction.

Three songs before the end the audience members who have been dancing at the side of the room are invited to dance in front of the band. Warriors seems to be the most well known song; the audience instantly joins in with its anthemic sing-along chorus. With the dancing now at the front the atmosphere changes to reflect the vibrancy which the band has been emitting all along: an indication of what the band could be capable of at a larger, outdoor venue. Hip Hop Song maintains this energy. The theme from The Fresh Prince Of Bel Air follows before the Hip Hop Song is reprised to rapturous applause.

As the band draw the night to a close each has a chance to perform individually to show off what they can do. BeatBoxer Jamie showcases his incredible talent with his voice-box-of-tricks, a highlight of this section. The audience cries out for more and the band happily agree with House of Pain’s Jump Around, encouraging everyone to get to their feet for the last thirty seconds, most are happy to oblige.

All in all Coco And The Butterfields are a fascinating spectacle. Their style, attitude and music was well matched to Prema but their extrovertiveness is probably best suited to an outdoor or festival stage. Their set is slightly reliant on covers; although innovatively inspired, it is their original songs that are of an equally, if not better standard and should have more pride of place in what they do. The diverse equation of Banjo and BeatBox shouldn’t work, but it does: it is a winning formula. Future audiences will want more than to just Say Hello; they will greet Coco And The Butterfields with wide smiles and open arms, time after time.

8/10  

Set List

• Cupid’s Chokehold (Gym Class Heroes Cover)
• Walls
• Astronauts
• Feeling Good (Nina Simone Cover)
• Five Bells
• Low/Encore (Flo Rida/Jay Z Cover)

Interval

• Instrumental
• Shadows
• Toxic (Britney Spears Cover)
• Hello
• Hard Knock Life (Jay Z Cover)
• Mother
• Warriors
• Hip Hop Song
• Fresh Prince Of Bel Air (Will Smith Cover)
• Hip Hop Song Reprise

Encore

• Jump Around (House of Pain Cover)

Album Review: Red & Gold by Hattie Briggs

Album Review:

Red & Gold by Hattie Briggs – Released 6^th April 2015   

Having been fortunate to see Hattie perform live on a couple of occasions and with her 2013 debut EP My Shepherd’s Hut earning her a nomination at last year’s Radio 2 Young Folk Awards, great anticipation comes with release of the Stroud based singer’s debut album.

Three tracks from her EP feature here: opening track Pull Me Down is about resisting life’s pressures to change you; Still With Hope I See relates to having the belief that despite a bleak outlook that there is light at the end of the tunnel, and Share Your Heart is a beautiful, heartfelt ballad about wanting to fall in love but being afraid to accept yourself.

Most recent single A Beautiful Mind, a tribute to folk singer Pete Seeger, suggests that Hattie understands the value of words and honesty in song writing; a theme she carries throughout the album. There is also a cover of Fields Of Gold, echoing the late Eva Cassidy’s version; an obvious influence on Hattie. All the tracks are multi-layered with piano, sweeping strings and guitar adding to the emotional fragility of the lyrics. 

This is not an album which attempts to rewrite the music rulebook and the untrained ear may think her too similar to other female singer-songwriters. It is, however, Hattie’s voice which is as effortless as breathing but as pure as water, that gives authenticity to her songs and sets her apart from the rest. If she continues within this vein she is sure to succeed. Thank you, Hattie, for sharing your heart with us.

Key tracks: Still With Hope I See, A Beautiful Mind, Share Your Heart, Fields Of Gold

 7/10  

Blog Easy, Blog Often or Blog Off? How to write a music blog.

Writing your first blog


Welcome to my first ever blog! I am not a trained writer so if you are still reading this thank you for sticking with me so far.

I have always been interesting in writing but never found a medium for which I could put ideas from pen to paper, or in this case, from fingers to QWERTY keyboard. I have many interests which I could write about but one of my biggest loves is music. The idea of creating a music blog came to me some years ago but never had the time to write one despite having been listening to, thinking about and discussing various songs, artists and music news since I was a child. So a few weeks ago, I spent an afternoon creating a new email address, Twitter and Blogger accounts.

There were three issues which arose from this new venture. Firstly I had to come up with a name for my blog. I mind-mapped all the music related words which I could think of. Staring down at the page of seemingly random ideas, the words leapt off the page like the words of a song: “Heart”, “Sleeve” and “Notes”. I have often turned to songs when I am going through a difficult time and I can also pick up on the emotions of other people. I am also rather traditional in my record purchasing habits; I buy physical copies of albums, and reading the sleeve notes (more on this in a later blog) and, of course I enjoy writing. Therefore, “Heart On My Sleeve Notes” seemed the perfect name. It was a deliberately ambiguous reference to all of these: being able to be honest and true about what I feel and think, whilst referring to album sleeves, and musical and written notes.

The second problem to consider was: what do I write about? I made a list of music related issues, debates and talking points that had been in the media, things I had discussed with friends or things that had just entered my mind. There were many music related issues that I liked but also things that had annoyed me, even angered me. I hope to include some of these topics in this blog.

Thirdly I had to consider: how often should I blog? If I do it too frequently I run the risk of becoming preachy, annoying and, the ultimate sin, an internet troll. Conversely, if I don’t blog enough people will lose interest and go elsewhere. I lost several Twitter followers within the first week of creating the account, probably due to waiting two weeks to post this first blog. Not that I minded too much; I was happy that anyone had decided to follow me at all. I just hope I can deliver what people want. For the record, I will try to post a blog every two weeks. Please be patient; remember I am new to this.

So through this blog I will be posting opinions on various music topics, reviewing albums and other music paraphernalia, and reviewing live gigs/ festivals that I go to. You may not agree with everything I say but that is what is great about music; everyone has their own story to tell. Feel free to comment on my posts, but be warned, offensive comments will be deleted. I don’t promise that all the blog posts will be word-perfect, but I will always try to be true to its name and to wear (and write) my heart on my sleeve notes.

 

Grace Notes, 2^nd March 2015