As I stand among the sold out crowd awaiting the arrival of Lucy Dacus, I hear a polite voice behind me saying ‘excuse me’. I apologise, move out of the way and see Lucy herself cradling a cup of tea as she walks past me onto the stage. She steps up to the mic and says ‘Shall we’, her quietly unassuming stage presence only adding to the appeal of this very special young artist. Continue reading “Live Review: Lucy Dacus with Liz Lawrence @ Voodoo Rooms, Edinburgh”
When I reviewed Jade Bird’s EP Something American back in 2017 I admired her talent and was intrigued to see what direction her career would take. She was being marketed at the time as ‘country’ – which seemed like a bit of a stretch for a girl from England singing soft rock/pop. However Yola recently proved that it is possible to take such influences and make them sound authentic. Both artists have now been nominated as ‘Emerging Artist of the Year’ at the 2019 Americana awards, the first Brits to gain nominations in that category since Mumford & Sons in 2011. Continue reading “Album Review: Jade Bird”
If I could design my own festival then it would look much like High Water Festival in Charleston, South Carolina. Compact and curated by local legends Shovels and Rope it appeals to grown ups who want a blissful weekend of diverse music. The joy of this well-organised festival is that staggered stage times allow you to see every artist on the bill – meaning there’s not a lull in proceedings the whole weekend. The site lay out is simple, easily navigated and offering space for everyone. Even the VIP section, which I am naturally opposed to, was set up in such a way as not to affect the rest of the crowd. Continue reading “Live Review: High Water Festival 2019, Charleston, SC”
A few weeks back I listened to Zane Lowe interview Jenny Lewis about her new album On The Line – an interview in which he spent most of the time discussing the men featured on this record, rather than Jenny herself. Even after everything Jenny Lewis had achieved she was still being considered in terms of who she was working with, rather than on her own merits. The recent revelations about one of the producers of this record have threatened to further overshadow this release. So it is pretty wonderful to report that most of the reviews and features written about On The Line have focused on Jenny’s music, life and legacy (unsurprisingly most of these have been written by women).
The fact that Jenny’s music has been so universally celebrated is important. Not every women artist gets that recognition and attention. What then can the humble blogger really contribute to this discussion you might wonder, when there are so many incisive and illuminating discussions of this album already out there? To be honest I have spent the last week wondering the same thing myself. I recently reviewed the new album by The Wild Reeds (whose music owes a debt to Jenny for sure) and I felt confident that it was important I wrote about an album that had received few other online reviews. In contrast there doesn’t seem much more I can add to the already determined facts about On The Line: this is indeed a brilliant album and some of the best work of Jenny’s career. But then I heard Jenny’s voice singing to me ‘do something, while your heart is thumping’ so I decided just to write anyway. Continue reading “Album Review: Jenny Lewis – On The Line”
The Wild Reeds released one of my favourites songs of 2017 – an ode to how music can save your life. The three voices and songwriters which make up the band are Kinsey Lee, Mackenzie Howe and Sharon Silva, all of whom understand how to convey a special kind of melancholic euphoria. Their terrific new album Cheers continues in this same vein, exploring anxiety, illness and how to cope with the crushing reality of life. Continue reading “Album Review: The Wild Reeds – Cheers”
Rock music is dead they say, and one glance at the charts or a festival lineup might lead you to believe the same thing. Funny that when I look for a rock album to listen to I can always find loads of good stuff, usually sung by women – from Honeyblood to Bully to Lucy Dacus to this new album SNAFU from alternative punk pop queens Potty Mouth. Rock music is alive and it still sounds fucking great. Continue reading “Album Review: Potty Mouth – Snafu”
I first started listening to Juliana Hatfield when I was thirteen, when I didn’t know who I was quite yet but I knew who I didn’t want to be, and what kind of music I didn’t want to listen to. I hated anything perfect, anything normal – I gravitated towards the damaged, the delicate, the fragile, the odd. I heard something in Juliana’s music that spoke to that loner soul I had inside of me. Twenty five years later and I still feel the same.
In the last two years we’ve been lucky enough to have two brilliant new Juliana albums released – the politically charged Pussycat and her tribute to her own childhood idol Olivia Newton John. The third album in as many years is more personal, concerned with what it means to be a little Weird. Continue reading “Album Review: Juliana Hatfield – Weird”
The last time I saw Sharon Van Etten play live she hid behind her hair and sang a set filled with brutally honest songs, many of which detailed the reality of an abusive relationship and its aftermath. To get on stage and share this kind of pain was visibly difficult for her. Not long after she announced a shift in focus away from music – she went to college, began acting and recently became a mother. The break became the inspiration behind her new album Remind Me Tomorrow, a step away from the shadows of her past into a different light. Continue reading “Album Review: Sharon Van Etten – Remind Me Tomorrow”
On Rosanne Cash’s first album in five years, She Remembers Everything, the Grammy winning songwriter explores themes of time, death and suffering. Her world-weary wisdom is channeled into songs of unflinching realism and stark truths. Continue reading “Album Review: Rosanne Cash – She Remembers Everything”