Dori Freeman’s previous albums have established her a musician with understated charm and soft country styling. Her new record Ten Thousand Roses takes a step further into the spotlight, with more confidence and personality than before. The cover art shows an artist meeting our eye, with a self-assured stare. Continue reading “Album Review: Dori Freeman – Ten Thousand Roses”
In her recent New York Times interview Kacey Musgraves joked that she ‘wasn’t going to be a real country artist without at least one divorce under my belt’. That’s the kind of self deprecating, knowing humour which she sprinkled through her first three albums, culminating in her triumphant success at the Grammys in 2019.
Golden Hour was strikingly original, hugely influential and every single song on that album could have been a radio hit. The fact the Grammys understood its power more than country radio tells you why she had to leave that genre behind. Mainstream country is a lost cause, more so now than ever – it’s become such a difficult place for most progressive female artists I’m just glad that some of them get out of there alive. Take country with you but dear god don’t look back.
star-crossed works best when listened to as a whole and indeed as a sequel – a splintering to what came before. Despite the light modern production this album strangely feels less commercial, with fewer big hooks and melodies. After the Golden Hour faded Kacey sounds like she got high and disappeared into the clouds. Blur the pain away. Continue reading “Album Review: Kacey Musgraves – star-crossed”
Doesn’t everyone at some point dream of going back in time to their youth? Who wouldn’t want to experience life again without the crushing reality of adult human existence weighing us all down?
After the last eighteen months of coronavirus hell, I was craving such a moment. So when I saw the chance to get tickets to see two bands I had loved as a teenager – Britpop legends Sleeper and the Bluetones – it felt like a strange kind of serendipity. Restrictions had just been lifted in Scotland. I was double jagged and desperate to get some kind of normality back to my flatlined existence. Continue reading “Slight Return”
Hailing from West Virginia, Sierra Ferrell spent her youth busking across the States before moving to Nashville and signing to Rounder Records. She describes her sound as ‘past life’ music, which nicely encapsulates her mix of country, gypsy-jazz, folk and ragtime. Continue reading “Album Review: Sierra Ferrell – Long Time Coming”
After the string of abuse allegations against Ryan Adams were published by the New York Times I was one of the first fans to write my cancellation statement. As far as I was concerned we were done. I didn’t want to hear his music again. Life was too short to put any more of my personal energy into supporting his career.
Two and a half years later the reality of what ‘cancelled’ means as a music fan is actually way more complex than I ever imagined. Continue reading “The Other Side of ‘Cancelled’”
In creating this second album Yola aimed to write classic pop songs that crossed genre, time, spaces, continents and palettes. Her excellent last album was mainly written collaboratively in the studio with producer Dan Auerbach bringing in different musicians to write with, a strategy which brought her much success in the Americana music world. Due to to the pandemic Stand For Myself began in isolation, allowing for Yola to write from a more personal perspective. Continue reading “Album Review: Yola – Stand For Myself”
In her memoir ‘Pilgrimage to Dollywood’ writer Helen Morales sums up the appeal of Dolly’s theme park concluding that it ‘has taken elements of America and distilled them into their essences: God, family, patriotic pride, country, nature, memory and optimism.’* Here we also find a perfect list to sum up the values of Dolly herself which have allowed her to maintain a strong core fan base in America’s rural and conservative heartlands despite her concurrent foray into glitz, glamour, Hollywood, pop music, cosmetic augmentation and progressive causes.
And so this album Precious Memories is one designed for her heartland base and in fact could only be purchased at Dollywood itself, with all proceeds going to the Dollywood foundation (it can be heard on YouTube for those who have not made the trek to Tennessee). Consisting of spirituals the album follows The Golden Streets of Glory as her second full gospel collection. Musically the production has a similar traditional tone to her bluegrass trilogy, which she would record immediately following this album. Continue reading “Dolly Parton’s Discography: Precious Memories (1999)”
I once heard about a comedy night where people read out their teenage diaries verbatim, finding humour in the shared horror, innocence and stupidity of youth. The event seemed to tap into that instinct we have to laugh at our younger selves, while also letting us envy the openness which only teenagers have. Lucy Dacus’s new album Home Video draws heavily on her own teenage journals and the title refers to her rewatching childhood videos. By looking at the past her music draws power in the universality of life’s specific memories. Continue reading “Album Review: Lucy Dacus – Home Video”
A few years back I was lucky to see Amythyst Kiah play at the Edinburgh Jazz and Blues festival where she wowed the crowd with her impressive banjo skills, distinctive voice and engaging stories. Her collaboration with Our Native Daughters was one of my favourite albums of the last few years and Kiah gained a richly deserved Grammy nomination for Black Myself, her brilliant contribution to that outstanding project. She follows that up with this powerful new album Wary + Strange, produced by Tony Berg.