Humour me for a minute. Every so often, a piece of work like this comes along (it’s not just an album it’s a project, maybe even a concept) where every aspect and detail is absolutely perfect. The humouring bit concerns my particular slant on the project. MusicRiot’s gig team, The Riot Squad, are big fans of Dean Owens, the UK representative on the project, so forgive me if I spend a bit of time on Dean’s contribution. It’s fair to say that Dean’s solo material has a strong sense of location; he writes about the area and the people he knows, just like Ian Rankin and Irvine Welsh in their novels and short stories. It’s also fair to say that he’s always been willing to push the boundaries in his collaborations, spreading out into traditional Scottish folk ballads as Redwood Mountain with Amy Geddes, rockier material with his occasional band Deer Lake and his consistently excellent work with Will Kimbrough (more about that later).

Buffalo Blood is something else indeed. Dean teamed up with his Nashville friends and collaborators Neilson Hubbard, Audrey Spillman and Joshua Britt, along with sound engineer and photographer Jim DeMain to spend two weeks deep in the New Mexico desert feeling the forces of previous lives played out there while writing and recording  fifteen songs that tap into the echoes of centuries of betrayal, exploitation and alienation of the Native American peoples. And it’s not just the songs; there’s video and photography as well. The incredibly ambitious aim of the project is to immerse the listener in five hundred years of Native American experience. What’s truly incredible is that they actually succeeded. “Buffalo Blood” is an album that will entrance you, engage you and enrage you; maybe it will even make you take a serious look at the history of the indigenous peoples of the American continent. That’s what can happen when creative artists follow their instincts and beliefs and just create; I can’t imagine any of the major music providers bankrolling this project, but I believe “Buffalo Blood” has a real shot at commercial success; it’s that powerful.

The songs were recorded live outdoors in the desert, the wind and animal noises contributing to the feeling of immersion in an environment that retains echoes of centuries of struggle. The quality of the songwriting is consistently high across the album as Celtic, European and Native American influences combine to create a perfect musical backdrop for a message that is still relevant (Standing Rock ring any bells?).

The album has a narrative flow; it moves from the original contact with European settlers through time to the closing lament “Vanishing World”, which is perfectly suited to Dean Owens’ plaintive voice. This album is a classic, carrying a very potent message through the medium of haunting melodies and flawless performances; get it on your wishlist.

If you needed the album to be ground-breaking in any more ways, it’s the first UK release on the Eel Pie Records label and it’s available as a vinyl gatefold double album or digitally from Friday February 15 (EPRLP001)

Breaking news – Dean Owens won UK Song of the Year at the UK Americana Awards 2019 for the title track from his 2018 “Southern Wind” collaboration with Will Kimbrough. And that’s not the only good news from the Buffalo Blood camp; Neilson Hubbard produced “Southern Wind” and also Ben Glover’s “Shorebound” (UK Album of the Year winner) and “Rifles and Rosary Beads” for Mary Gauthier, who won International Artist of the Year and is up for a Grammy this year. Not a bad haul, and that’s before “Buffalo Blood” is released.

If you need any more recommendations for Buffalo Blood, try this:

First impressions; sometimes you can stake your life on them and sometimes… Well, this was one of those. The opening song, “Let’s Go Back in Time, Man”, screamed out ‘Rockabilly Revival – again’, and we’ve all seen too many of those built around mediocre pop bands. But the album’s twelve songs long, so let’s not be too hasty. Guess what? By the second song I’d admitted to being a bit premature and by the end of the album, the message had hit home; the title of the first song’s ironic and this is about viewing a mid-twentieth century musical phenomenon through a twenty-first century lens. Forget the revival, this is how Rob’s rockabilly rolls in 2019.

Now, with the best will in the world, some of the original UK rockabilly bands were characterised more by enthusiasm than expertise; that’s definitely not the case with Rob Heron and the Tea Pad Orchestra. These people can play and what they are is much, much more than a skiffle band with better gear. And maybe rockabilly isn’t really a wide enough description for the scope of their work. Just look at all the incongruous elements.

The second song, “There’s a Hole Where my Pocket Used to Be” combines  a Spaghetti Western ambience and choral refrain with a Theremin and a clever lyric built around the number six. Don’t look for too many predictable where Rob Heron’s concerned. Song number three, “Life is a Drag”, combines lyrics about the joys of cross-dressing with a jazz arrangement, an accordion solo and lead guitar that wouldn’t sound out of place on a Les Paul record. And so it goes on – “Une Bouteille de Beaujolais” evokes a Paris café with an accordion solo, a gypsy Django feel and wine references. You wouldn’t find either of those two songs in a Crazy Cavan set.

That’s not the end of the invention by a long way. “Fool Talkin’ Man” has a Gallic Jacques Brel feel with some atonal touches creating a slightly menacing feel while the title song has the feel of a seventies American TV theme married to a lyric about unwanted gentrification in our cities. And even if the album’s closer, “Double Meaning, Double Entendre”, is based on a fairly thin premise, it’s still good fun and there’s always a place for that. Give it a listen; even better, go out and watch them on their upcoming tour.

“Soul of My City” is released on Tea Pad Recordings (TPCD006) on Friday February 1st, 2019.

 

A few words about MusicRiot before we get underway. You won’t find any negative reviews here. There’s way too much negativity everywhere around us; why add to that? We pick music that we like, live or recorded and we tell you about it; nice and simple. Well, it is most of the time, until you bump up against an album like “Trouble Holding Back”. It’s Helen Rose’s debut album, it’s a labour of love and she’s poured a lot of herself into it. Which brings us back to negativity and how we try to avoid it.

There are some truly outstanding songs on this album but (and here’s my subjectivity cop-out kicking in) there are a couple that I just don’t get. I’m not dwelling on them, but I can’t see the need for another cover of “When the Levee Breaks” and the title track, to my ears, is an over-cooked glam rock stomper. So let’s look at the positives.

The album’s second song “Flatlands of North Dakota” is a little classic, combining echoes of Bobbie Gentry with sweeping string arrangements and a nod in the direction of Roy Budd’s “Get Carter” theme. Match that up with a message about mothers doing what they have to do to bring up a family and you have a great song. “Mississippi Moon” is subtle, lush and atmospheric with a tasteful close-miked sax solo and not too many frills and “Oh Glory Be” is a full-on rock ‘n’ soul production with a horn section and a call and response gospel refrain. And let’s not forget the beautiful stripped-back version of Steve Earle’s powerful indictment of strip-mining, “The Mountain”. There’s more than enough good material here to make this well worth listening to.

“Trouble Holding Back” is released on Friday January 25th 2019 on Monkey Room Music (MRM 0008).

Allan was a bit chuffed to get his first big festival photo accreditation this summer for Cornbury Festival in Oxfordshire. It was perfectly timed to coincide with a complete weekend shutdown of rail services through Oxford during the hottest weekend but it takes a lot more than that to stop a determined photographer. When he eventually made it there, well, we’ll let him tell you about it.

 

OK, Friday night and the first band to play in the dark with stage lights was Stereo MCs. Had to be done really. It was a bit of a nostalgia thing; loads of memories of my DJ days in the late eighties/early nineties. From the outset, it was obvious that Rob Birch is still a hugely charismatic and dynamic frontman. I think this just about captures it:

Last set on Friday night was UB40. I saw UB40 on their first national tour when they supported The Pretenders on tour across the UK in 1980. They were fired up, they wanted to succeed and they sounded amazing. Nearly forty years on, it’s a very different story; there are two UB40s touring and neither’s convincing. This version is pretty pedestrian, but they have one secret weapon – Brian Travers. I’m sure he wouldn’t claim to be the best sax player in the world, but he knows how to sell it:

Saturday night was busy (although Alanis Morissette decided not to allow any press access for her set) and the Songbird Stage was the place to be. Obviously Mavis Staples was a do-not-miss, but PP Arnold was another. You would think she’d never been away; she sounded fabulous and looked like this:

Sunday afternoon on the Pleasant Valley Stage; anyone for a bit of Deacon Blue? Definitely; I saw them a couple of times in the very early days and I loved them. It’s partly a Scottish thing, but it’s mainly a music thing. They have great songs and they have the experience to sell them on a festival stage. You never know, Ricky might do a bit of politics. Actually you do know, he will. Anyway, he’s looking pretty pumped these days:

Sunday evening headliners – Squeeze. We go back a long way; I saw Squeeze for the first time at Dundee University Students’ Association; there were more people on stage than in the audience and it was still a great gig. I’ve photographed them on occasions forty years apart (I know, I don’t look that old) and I still love those Difford/Tilbrook songs. This time, it was Yolanda Charles that really caught my eye:

As ever; songs, not singles. These songs are all from albums that we’ve reviewed this year (that’s Stone Foundation ruled out again – sorry guys). There’s something else, apart from greatness, that links all these choices; they’re not the only songs from the albums they feature on that could have made this list. The albums are all wonderful pieces of work taken as a whole, but they all feature at least two standout tracks that would have been seen as singles in a different musical era. There were difficult choices but ultimately it had to be whittled down to five songs. In no particular order, here are Allan’s favourite five songs of the year; the songs that made his heart soar or made him cry, but definitely made him hit the repeat button.

 

“The Last Song” – Dean Owens

Just to be contrary, it’s actually the first song on the album, ”Southern Wind”, which was a collaboration with Will Kimbrough. One of the things Dean and Will bonded over was their love of Ronnie Lane, whose influence is all over this one. Having heard it live a few times, where it tends to appear towards the end of the set, confirms the power of the song and allows Dean to riff on repeated choruses by throwing in lines from, for example, “Ooh La La”. It’s fun and it’s memorable; if you don’t love this, you’ve got icicles for ventricles.

 

“Love in Wartime” – Birds of Chicago

Absolutely gorgeous. This clocks in at about the six minute mark but you just want it to keep going. It’s one of those that seduces you in with a gentle intro then builds and builds to the first chorus. And by that time, you’re hooked; you’re there for the duration. Maybe there’s a nostalgia thing there; the feel, the chord progressions are a lot like classic mid-seventies era Bob Seger. The melody’s hummable, the harmonies are superb and it’s hugely uplifting. I dare you not to be moved by this.

 

“Out from Under” – Michael McDermott

This is a song where you just have to accept the Bruce Springsteen comparison because this is a stadium rocker in the mould of “Born to Run”. It’s a monstrous ‘wall of sound’ production driving along by pounding, relentless floor toms and a huge full band arrangement. In the context of the album, it’s the song that represents the start of the upward turn in Michael’s rehabilitation and the uplifting lyrical message is carried along on the tide of a widescreen musical setting. Taken out of the context of the album, it’s a song that FM radio in the States would have been all over in the 80s – not just a powerhouse arrangement, a potent message as well.

 

“Son of an Immigrant” – Gerry Spehar

A perfect example of the song that leads you in a certain direction before pulling the rug from under you and twisting the point of the narrative. It’s not just an example of a clever narrative trick; like the rest of the album, this is a powerful commentary on the current state of the USA, and its current leader. The song has a very clear message; if you go back far enough almost everyone’s an immigrant in the land of the free. Like “Out from Under”, it sits perfectly within the context of the album without needing that context to shine as a great song.

 

“The Shape of You” – Rod Picott

Sometimes a song just needs to find the point in your life where it fits. This one happened for me on the Tube on the way back from a gig at Green Note. I’d already heard it a few times but this time it suddenly hit home. It’s about the realisation that someone has become a part of you. In this case because that person has gone, but I guess the image works if they’re still around. The song opens with the image in the title, then develops that image. It’s a really simple idea but beautifully effective. The arrangement’s sparse, with mainly acoustic guitar and vocal with some very subtle Will Kimbrough guitar atmospherics just lurking in the background. Delicate and gorgeous.

There are many other songs that could have been on this list; there’s so much incredible music out there, but these were the ones that were buzzing around my consciousness when I put this together. Have a listen, and I hope you enjoy.

I know, I know; we’ve said this before. The Riot Squad loves the way that artists taking part in this piece stamp their individuality on their contributions – you never know what you’re going to get. We’ve had a huge variety already this year including Dean Owens’ American tour highlights and Track Dogs’ UK tour discoveries and we’re just over halfway through December. In this particular piece, Gerry Spehar, whose “Anger Management” album blew Allan away this year, has taken the opportunity to say thank you to some of the people that have made a difference for him in 2018. Gerry’s kept this very simple, so we’re going to respect that by not including any distracting visual images. And thank you Gerry.

 

Thank You High Fives  2018

 

Robert Mueller and the American justice system for giving me hope.

My kids, grandkids and other family for giving me roots.

Ellen for mending my broken wings.

Paul, Tommy and the other fine musicians for polishing my soul.

Geraint, Allan, Bill, Kim, Mike and other promoters, reviewers and stations for making it smile.

 

We’re really pleased that Lynne Hanson made this contribution to this year’s High Fives. She came to our attention with the gorgeous album “Heartbreak Song for the Radio” which she made with Lynn Miles; we loved it at Riot Towers. Not surprisingly, Lynn and Lynne also turned out to be lovely people and it was love at first sight (and hearing) for the Riot Squad. Have a listen to the album and to anything by Lynn and Lynne individually and make sure you look out for any live dates near you. We’re looking forward to welcoming her back to the UK in 2019.

 

CANADIAN FOLK MUSIC AWARDS

I released an album this year with my longtime friend and songwriting mentor Lynn Miles. Our band name is “The LYNNeS” and our album “Heartbreak Song for the Radio” was nominated for 5 Canadian Folk Music Awards.  It was a huge honour to hear our name called out for English Songwriter and Ensemble of the Year and definitely the biggest highlight of 2018 for me.  

 

MOUNTAINS

Nothing will make you feel smaller than standing at the base of a mountain in the middle of the Canadian Rockies and looking up before spending a hours scrambling up the side of it.   I recorded an impromptu demo of a song I had JUST written at the base of a mountain, sitting next to a glacier lake, while the sun came up and the birds sang.  I’m not sure any single moment can compare to the beauty of that one in all of 2018.

 

GIANT PANDAS

I am such a fan of the Giant Pandas, and finally got to visit them in person at the Calgary Zoo this summer while on tour in Alberta, Canada.   Highly recommend Toronto Zoo giant panda cub fall compilation for any and all who may be having a bad day.  Guaranteed to lift your spirits: 

 

 https://www.youtube.com/watch?v=RLQiAqc1MI8

 

SWEET SWEETS

I love touring England … and managed to fit in not one but TWO tours this year.  I have to admit the weather was a bit friendlier the second time around, with the first go-round taking place while England was under seige from The Beast From The East.  White-out conditions that definitely made me think I was back in Canada.  But I digress.  I admit I have a bit of a sweet tooth so have been known to partake in a round of sticky toffee pudding or two.  However, I have NEVER encountered anything quite as spectacular as the sticky toffee pudding at the Bull’s Head in Alton.  Seriously it was so good it should probably be illegal.   

 

FRANCE

I got to play some shows in France for the very first time. This was a serious highlight for me, as I grew up in Ottawa, Canada and speak French. I am a lover of languages so getting to sing a song in my second language was a wee bit of a thrill, albeit nerve wracking as well! One of the real perks of being a touring musician is getting to see so much of the world while travelling around playing my songs and having a chance to see the engineering feat that is the Chunnel was also a serious highlight. Humans can be pretty ingenious and getting to ride on THAT train was pretty cool.

 

I first met Ray Jones about three years ago at a Time Out gig Mollie Marriott was playing. Two years later, Ray was fronting up a company (Talentbanq) promoting live performances by unsigned artists. It must have been quite a journey to make this happen; the reason it worked is that Ray and his fellow directors are absolutely passionate about music, live music particularly and that’s the reason the company’s working so well. Ray’s nominated a combination of favourite venues and events for his High Fives and given us carte blanche to add some narrative and photos. Let’s hope this works.

 

229 Great Portland Street 24/01/18

This venue hosts some really interesting events, including low-key warm-up gigs for artists preparing for arena tours. On the night of the Talentbanq launch, the action started in the small room before moving to the main auditorium (which was packed to the rafters) for the big stage action. Quite a launch event for a new company. The photo is Rebecca from Anavae.

26 Leake Street 10/05/18

Another first. The inaugural live music event at 26 Leake Street in the arches under Waterloo Station. You got the initial feeling from the audience that it was more about the occasion than the music, but that attitude evaporated as soon as Belle Roscoe (with the full band line-up) took the stage. And then on to Lisa Canny, again playing a full band set featuring the show-stopping laser harp. The photo is Lisa Canny.

Caffe Nero Brighton, The Chill Out Sessions 17-18/05/18

Let’s take a small Caffe Nero branch just off Brighton seafront and have a mini-festival there just as The Great Escape is kicking off. And, over two days, let’s have three artists playing every hour between ten in the morning and six in the evening. It sounds crazy and it probably was, but it worked, it ran to time and featured thirty-six artists (pretty much the entire Talentbanq roster at that time). The opening day was everything you could wish for at the coast – gorgeous sunshine and loads of delighted Caffe Nero customers listening to superb performers for free. The photo is Clint Nelson playing cajon while backing Mark Sullivan.

The Jazz Café, Camden – Hollie Rogers, Joe Slater, Dan Owen 29/05/18

A more traditional venue that has benefitted hugely from a refit that pretty much rectified all of the original layout problems. This was a cracking triple bill featuring two of the Talentbanq powerhouses, Hollie Rogers and Joe Slater with blues prodigy Dan Owen topping the bill. Joe and Hollie were both enthusiastically received by a knowledgeable and respectful audience before Dan Owen took centre stage and blew the roof off. The photo is Joe Slater.

L’Escargot – The Soho Music Festival 16/06/18

Another interesting and iconic venue and even more interesting concept; three sessions (morning, afternoon and evening) in three rooms, with audiences moving from room to room while the performers play three sets in the same place. The event was hugely eclectic, I honestly can’t recall a gig where I’ve seen a crooner, a classical pianist and a rapping Celtic harpist (that’s Gary Williams, Genia and the inimitable Lisa Canny) and will be back in 2019. I suspect it will be bigger. The photo is Gary Williams.

On a personal note, it’s been a pleasure to be involved with all of these Talentbanq gigs and to work with a team who really look after the gig photographers. We all appreciate it – Allan.

2018 was a bit of a year, really. There was a strong showing in the first few months of the year and it felt like the early albums would be difficult to beat. Maybe it was a self-fulfilling prophecy or the fact that, for one reason or another, I wasn’t able to review too many albums in the latter part of the year but the early albums were very difficult to beat. I’m only featuring albums that I reviewed here, so great pieces of work like the magnificent Stone Foundation album “Everybody, Anyone” doesn’t get a mention. Oops, it just did. Anyway, as always in no particular order, here are my five favourite albums of the year.

“Southern Wind” – Dean Owens & Will Kimbrough

I’ve been a fan of Dean Owens since my introduction to “New York Hummingbird” six years ago. Dean’s a consistently great performer whose songs cleverly combine universal themes like love and loss with a particularly Scottish outlook. Over the last few years he’s been increasingly involved in collaborations (with Amy Geddes as Redwood Mountain and the upcoming Buffalo Blood album with Neilson Hubbard and Joshua Britt) and “Southern Wind” was a joint project with the superb and in-demand guitarist Will Kimbrough. The album is a classic; there’s no filler and lots of killer and you can clearly hear the influence of the wonderful Ronnie Lane, particularly in “Last Song”. I wasn’t going to single any particular song out, so how come that just happened. It’s a meeting in the mid-Atlantic between Leith and Nashville and it’s a Thing of Beauty.

Here’s the original review.

“Psychopastoral” – Phil Burdett

Coincidentally, I first met Phil Burdett on the same night I met Dean for the first time (this stuff isn’t just thrown together, you know) and they’ve both had very different journeys since then. If I had to pick one word for Phil’s attitude to his music, it’s uncompromising, and I mean that in a very, very good way. His back catalogue is all worth checking out, but his latest project “Psychopastoral” is something else. It’s a song cycle which tells the story of the journey home spread out over 24 hours. Sounds simple? This Phil Burdett. The songs are linked by spoken-word interludes and (courtesy of Lyndon ‘Songdog’ Morgan) and musical fragments created mainly by Senor ‘Al’ Franklinos. I know, it sounds like it could be a bit pretentious, as I said, this is Phil Burdett; it works perfectly. And Phil’s gone one step further than Pink Floyd by making the whole project one massive track nearly an hour long to force listeners to hear the project the way it was intended to be heard. Didn’t think I’d ever write a sentence with Phil Burdett and Pink Floyd in it.

Here’s the original review.

“Out from Under” – Michael McDermott

We can link this back to Dean Owens as well, because Will Kimbrough plays on this, as he does on a lot of Michael’s recent material. Told you he was in demand. The title song is big in an E Street Band style and, let’s face it, Michael will always get those Springsteen/Dylan comparisons and for all the right reasons. He’s a superb songwriter who understands the American songbook and its highways and byways and isn’t afraid to take a trip down any one of them. The album shifts seamlessly from the pathos of “This World Will Break Your Heart” to the joyful Motown exuberance of “Rubber Band Ring”. I said back in May that I hadn’t heard a better album this year and I stand by that now.

Here’s the original review.

“Anger Management” – Gerry Spehar

I loved Gerry Spehar’s previous album “I hold Gravity”. He’s a natural songwriter with a gift for a telling image. So just combine that gift with an exploration of the state of modern America following the election of Kurious Oranj. It’s political in less direct ways as well; “Bitch Heaven” digs into the story of Woody Guthrie’s campaign against Trump Senior and the Beach Haven property, while “Son of an Immigrant” double-underlines the blindingly obvious truth that the vast majority of Americans are immigrants if you go back far enough, including the current occupant of the White House. It’s an angry album, but Gerry is managing the anger by diverting it into creative channels. This is an important album and we should all listen to it.

Here’s the original review.

“Out Past the Wires” – Rod Picott

OK, quantity isn’t everything, but Rod Picott defied the current trend for shorter albums and EPs by releasing a double album (twenty-two songs in total). If you have the material and it’s good enough, get it out there. It’s good enough, it’s more than good enough. Will Kimbrough plays on it and also Neilson Hubbard (notice a theme here) but it’s not just about the playing arrangements, it’s also about the stories and that’s what Rod Picott is really good at. In fact, the stories are so important that Rod’s also publishing a book following the lives of some of the characters appearing in the songs and that should really be worth reading.

Here’s the original review.

 

Let’s be honest about this, I’m just using this to buy time until a few more guest contributions start to come in and I’m seriously hoping that’s going to happen some time soon. What we have in this selection is some shots that managed to be left out of the original selections for various reasons that I’ll explain as we go along. Anyway, I like them and they’re pretty much all we’ve got for today, so let’s just run with it, shall we?

 

Basia (Dana Immanuel and the Stolen Band) @The Vaults, Leake Street

The only reason this one didn’t make the cut for the original monochrome set is that it was only shot on Saturday December 10th.I don’t know what it would have displaced, but it would have been there. I’m a huge fan of this band; musically they’re superb, they’re great fun and there’s always something very visual going on. There aren’t many bands with five visually striking characters, but these guys are always great to photograph and they always throw some interesting shapes. The biggest problem is knowing where to look; there’s always so much going on. This is Barbara, or Basia, whichever you prefer.

Sound of the Sirens and Samantics at The Slaughtered Lamb

Did I ever mention that I love Abbe Martin and Hannah Wood, or Sound of the Sirens, as they’re better known? Yep, thought so. The Holy Grail of Sirens photography is to get a shot with Hannah and Abba facing you, but without microphones in front of their mouths. Sounds easy, yeah? I beg to differ. Myself and fellow gig photographer Richard Bolwell have been trying for years without success. I’m still not sure that this qualifies, because it’s between songs during the encore, but it captures the spirit of a great night and the dynamic between the three people on stage.

Red Berryn (Dominic Cooper) at Leek Blues & Americana Festival

I decided to escape from London for a few days to head Up North to Leek in Staffordshire, where I worked for a while in an earlier incarnation. I was heading for a Graham Parker gig in Holmfirth on a Sunday, but it coincided with the festival. In for a penny then. The format of the Festival is lots of pubs putting on gigs of various sizes over three days and you never quite know what you’re going to get. What we got early doors on Friday was Red Berryn who did Chuck Berry. So, all the usual duck walk shots, but then I got that brief moment of complicity between performer and photographer that just worked.

Julian Eccleston (Houndstooth)

The band formerly known as Coffeepot Drive; are you still with me? OK. Whichever name they go by, this band is hot, hot, hot. I took Mrs M along to see them and told her that if she didn’t love them, I would sell all my guitars. Well, the Les Paul and its poor relations are still with me and Houndstooth are still the funkiest rock (or rockiest funk) band I know. And they are lovely people. One of the many times I saw them play this year was in the Caffe Nero tent at Cornbury Festival. The lighting was, well, daylight filtered through canvas basically, so the challenge was to find some visual interest. Julian saved the day by wearing mirrored shades that nicely reflected the framework of the tent. I owe you one Julian.

Kathryn Williams (supporting Stone Foundation at Islington Assembly Hall)

Time to ‘fess up. When I picked the original High Five black and whites, I completely forgot about this one, which is pretty dim given that Kathryn really liked it. As always at The Assembly Hall, the lighting was variable but OK if you picked your moments. If you’ve seen more than half a dozen of my photos you probably realise that I tend to get in quite close and crop quite tight. This one needed the space isolating Kathryn and emphasising the apparently pensive mood of her stance. I was really happy with this one, even on a night when I shot Paul Weller and Graham Parker, as well as Stone Foundation.