Album Review: Mary Chapin Carpenter, Julie Fowlis and Karine Polwart – Looking for the Thread 

It’s fitting that this collaborative album is being released in January, the traditional month of Celtic Connections festival where these three artists first performed together. In the spirit of Transatlantic Sessions these three women, two Scottish and one American come together to show that more unites us than divides us.

Individually Julie Fowlis and Karine Polwart have blazed a trail for women in Scottish folk music, helping to light a clear path forward for other artists to follow. Mary Chapin Carpenter has done the same in her own Americana/country sphere. 

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E.P. Review: Yola – My Way 

For many Yola’s unique selling point was that she was a black British artist who had vintage soul and country influences – she stood out in a good way, genre-fluid but gaining Americana awards and Grammy award nominations in the roots categories. There was an appetite to hear a powerful black female voice like hers sing the kind of soulful music that so many white men like Chris Stapleton etc were having success with.

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Live Review: Madison Cunningham @ Celtic Connections 17/01/25 

This week Karine Polwart shared a cover version of Madison Cunningham’s ‘Life According to Raechel’ and encouraged her followers to go see the young musician live at this Celtic Connections show.

Before the gig itself began, I spotted no less than three well-known Scottish musicians taking their seats in the stalls.

Later the excellent support act Louis Abbott would ask if there were any musicians in the audience and it seemed like more than half the crowd raised their hand (incidentally Louis confessed he had already bought a ticket for the gig before he was added as support). 

So it seems then that Madison Cunningham is your favourite musician’s favourite musician. 

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Album Review: Kim Deal – Nobody Loves You More

As a teenager growing up in the 90s I thought Kim Deal was cool in the best way – talented, fun and like she just didn’t give a fuck about anything. In the early 00s I met her while I was working at a venue she was playing at and she was super nice, even if a little out of it. She spoke of her addiction troubles during that time in a recent Guardian interview, saying ‘I would like to do those years again. I. Did. Not. Like. Them.” 

What also resonated with me about that interview was how she spoke about the beauty of failure saying ‘…there’s something about trying to do something and then just getting utterly clobbered by life.’ If you’re not afraid of fucking up then you can do the unpredictable, like releasing your debut solo album at 63. In the end that fearless attitude has made ‘Nobody Loves You More’ a little triumph. 

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Album Review: Lindi Ortega – From the Ether

A few years back I went to see Lindi Ortega play live in Glasgow, hoping to write a review of the show. I loved all her previous albums, especially the last one Liberty, and was looking forward to seeing her talent on stage. 

Unfortunately a few songs into the show I realised something was off. At first it seemed like an issue with the sound mix, Lindi’s vocals being too high or perhaps she couldn’t hear herself sing. When she played acoustic or quieter songs her voice was perfect, beautiful. At other times, she sounded strained, a little out of time and tune. I felt unable to write any kind of review of the show, considering how much she was struggling. 

The issue, it turned out, wasn’t confined to that one evening. Later she admitted to having issues with her in-ear monitors, which caused her to overcompensate and damage her voice. Soon she was terrified to play live and quit music altogether for four years.

But then after dealing with some difficult personal circumstances, she began writing songs again. With so much new music to share, she worked with vocal coaches to regain her confidence performing live.  

The result of this work is ‘From the Ether’, an album of haunting, unusual songs on a ghostly theme. Somewhat surprisingly considering her issues, there’s a stripped back, sparse sound to the record. Her vocals are given time to breathe, to work their quiet magic again without the crushing sound of a full band. 

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Album Review: Mindy Smith – Quiet Town

Susan Cain, in her brilliant book ‘Quiet’, celebrated introverts and argued ‘culture is biased against quiet and reserved people, but introverts are responsible for some of humanity’s greatest achievements.’ 

The problem with being ‘quiet’ unfortunately is that sometimes you don’t get noticed for what you’ve achieved. Those who can shout and dance and sell themselves, or who can pay others who can do this for them, grab most of the attention. 

Twenty years have passed since Mindy Smith won the ‘Emerging Artist of the Year’ trophy at the Americana Awards, and twelve years since her last album. She’s been busy in that time, writing for others, working on songs, searching for herself in other ways by reconnecting with her birth family. This new album ‘Quiet Town’ is a welcome return and a chance to celebrate her quietly powerful artistic achievements.

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