Phil PenmanPhil Penman is the MD of the independent label, Drumfire Records, and all-round good bloke with years of experience in the music business. We were really pleased that he was able to contribute to this year’s High Fives and we’re happy to say that he’s going to double Drumfire’s 2015 output very early in 2016; we’ll be bringing you some news about that in the very near future. It’s just possible that Phil Burdett could be involved.

 

 

Into the SeaAlbum of the Year (aka I Love My Label)

In the literal sense Dean Owens’Into the Sea” was my album of the year because it was the one and only release on my label Drumfire Records. It occupied my time, endeavour and thoughts for much of the time, but most importantly of all, it is indeed a great album – Dean’s best to date – and due to his indefatigable manager Morag Neil and my own efforts as well as Dean’s, he’s had a really good year, including supporting Rosanne Cash at London’s Union Chapel, a Bob Harris Country session, 3 consecutive BBC Radio Scotland playlists, and now deserved appearances in a slew of end-of-year best-of lists.

 DartsI Love My Job Sometimes

Last year in this category I talked about how proud I was of my work on the first box set by The Sound. Volume 2 followed and was equally brilliant. I worked on a number of special projects, but the one I would call a labour of love is the 6 CD boxset “The Complete Collection” by my wonderful friends Darts. I managed to bring together all their released recordings for Magnet Records, alongside their self-released Choice Cuts records, and dozens of unreleased studio recordings. Huge Fun.

Sleaford ModsKeeping The Fires Burning (aka One That Nearly Got Away)

Every year I trawl around trying to hear something new; something different; something exciting; something challenging. I am always dismayed by the endless stream of predictability and mediocrity in so-called ‘new’ music. I had resisted listening to this band, convinced by their name, image, and hype, that I wouldn’t like them.  Controversial choice I’m sure, but when I finally stopped to listen to Sleaford Mods, I was hit in the face with the stark aggression, simplistic beats and total listenability.  Honourable mention here also to the folk band Stick in the Wheel for doing it their way.

 Hannah Rose PlattBright Young Thing

One nomination for this category of mine this year.  I met the lovely Hannah Rose Platt in 2014, and in 2015 she released her debut album “Portraits” and we were delighted to welcome her in Twickenham as support for a show we hosted with Martin Stephenson. Her album is well worth getting a copy of. Oh yes, and she also got married this year.

 

Death Cab for CutieReturn to Form

Several albums that I enjoyed this year were I thought not quite as good as previous releases:  John Grant, Jason Isbell, Ron Sexsmith, Patty Griffin – all very good but just a little disappointing. The one I saw as a return to form was Death Cab for Cutie’sKintsugi”.

 

The next contributor to 2015’s High Fives is on one of my favourite independent UK labels, Drumfire Records, along with Dean Owens and Phil Burdett. Ags Connolly has had a pretty good year as word has spread about his 2014 debut “How About Now” and he’s played just about everywhere. As Ags hasn’t said anything about this in his contribution, I’ll just mention that he supported Rosanne Cash and John Leventhal in Leeds earlier this year.

Doug SeegersDoug Seegers – Live at Southern Fried Festival, Perth, 1st August

I’d already been enjoying Doug’s album “Down to The River’” so I was glad to see his UK debut would be at Southern Fried, a few hours after my set opening for Dean Owens. Doug’s live show was, in my view, even better than his star-heavy, Nashville-produced album. An interesting line-up of bass, drums and fiddle behind vocal and guitar gave a surprisingly big sound and Doug’s vocals were excellent. Doug is absolutely huge in Sweden and I tried to persuade him and the band to try the rest of the UK soon. Let’s hope they do.

J1545closed_GLUEohn Moreland – “High On Tulsa Heat”

I’ve been aware of John Moreland since his album “In the Throes” began to bubble under in 2013. He is easily one of the best new songwriters I’ve heard in years. I was excited to hear his new effort, “High on Tulsa Heat” and it didn’t disappoint. It’s filled with strong melodies and excellent lyrics. I do think his previous album was marginally better, but that’s a bit like comparing a massive box of sweets with another massive box of sweets. Looking forward to seeing John open for Jason Isbell over here in January.

Grand Ole OpryGrand Ole Opry show, 27th February

In February I made my first trip to the Grand Ole Opry and I picked a pretty good date. A country radio seminar was keeping a lot of the more modern acts busy that week so we were treated to a show including older legends such as Ralph Stanley, Vince Gill, Ricky Skaggs, John Conlee, Bill Anderson, The Oak Ridge Boys and Jim Lauderdale. It was a very enjoyable experience and showed, reassuringly, that country music as we used to know it is still alive in some corners of Nashville.

Justin TrevinoJustin Trevino – “Sings Johnny Bush

If you put a gun to my head and asked me to name the best traditional country singer alive today I’d say Justin Trevino. I’d probably say it without the gun, to be honest. This new album of him singing songs he learned from his hero, Texas legend Johnny Bush, is possibly his best. The opening track is the self-penned “One Night at a Johnny Bush Dance” and it fits perfectly with classics like “Whiskey River”. Trevino is about as staunchly traditional as you can get, and this album is one of my favourites this year.

Jeremy Pinnell and Max FenderJeremy Pinnell and Max Fender – UK tour, October

This October I had the pleasure of hosting and playing two shows with Ohio/Kentucky artists Jeremy Pinnell and Max Fender (lead singer of the band Alone at 3am) on their UK and Europe tour. I was already a fan of both guys but seeing them live was special. Jeremy reminded me of Guy Clark while Max was somewhere between Jon Dee Graham and REM. Both deserve a wider audience and I hope they make it back soon: credit to their road manager and label owner Mike Montgomery for getting them over here this time.

Every year we seem have another ‘death of the album’ story as the established music business struggles to keep up with (or buy in to) services trying to maximise profit for the industry at the expense of the artist. But this year something strange has happened; sales of vinyl and record decks have risen dramatically. OK, the baseline’s still low but as CD sales plummet, it’s a good sign that people are investing in the hardware to play an analogue album format. Meanwhile, thousands of artists and bands are ignoring the established music business, funding their own recordings and using whatever methods they can to get their music out there. All of my High Five albums this year have been self-funded by artists who are making music because they believe in what they do and hoping that they can find an audience. I had seven albums on the shortlist for this selection, so there are a couple of honourable mentions as well.

A Life Unlimited Title“A Life Unlimited” – Stone Foundation

It’s been another good year for Stone Foundation. They’ve signed up to a couple of overseas labels, toured Japan again and released “A Life Unlimited”, an album that moves their search for the new soul vision onward and upward with hints of jazz, house and Latin disco (and even guest vocal performances from Graham Parker and Doctor Robert). Songwriters Neil Jones and Neil Sheasby have produced another set of classic songs while the band line-up has evolved with the permanent addition of congas and baritone sax replacing trombone in the horn section to give a slightly harder sound. This album (like its predecessor “To Find the Spirit”) is all about a group of musicians working together to create a very British soul sound; no egos, no big solos, just a bunch of guys pumping out perfect grooves. You can read the original review here.

Soultime Title“Soultime!” – Southside Johnny and the Asbury Jukes

You have to admire someone who’s been singing for over forty years, come through some difficult times and still gets fired up about recording and performing songs. Since cutting his ties with the corporate music business, and setting up his own label around fifteen years ago, Southside Johnny has undergone a creative renaissance, becoming more involved in songwriting (with co-writer Jeff Kazee) and exploring new musical areas (including Americana with his second band The Poor Fools). “Soultime!” is the work of an artist who isn’t bound by a release schedule and a cycle of album and tour. This album is inspired by some of the soul and rhythm and blues greats of the sixties and seventies, and evokes the era joyously without ever becoming a pastiche. It’s an album that’s great fun to listen to and sounds like it was fun to make. It’s essential listening and you can read the original review here.

Pete_Kennedy_4PAN1TAPK_FINAL_outlined.indd“Heart of Gotham” – Pete Kennedy

This is an album that had a long gestation period. Pete has been working on it for about ten years and there are a couple of reasons why the album took so long to make. Pete and Maura Kennedy have a very busy schedule with their other projects but, more importantly, this album could only be released when everything was absolutely perfect. “Heart of Gotham” is a song cycle about Pete’s love for New York City, delving into the city’s history, geography and ambience against a backdrop of Pete’s outstanding musicianship (playing all the instruments on the album) and some beautifully-realised arrangements. Pete’s multi-layered guitars and gravelly vocal delivery create an atmosphere that’s unlike anything else I’ve heard this year. You can read the original review here and you should also read Pete’s contribution to this year’s High Fives, which links in to the album.

Hannah Aldridge Title“Razor Wire” – Hannah Aldridge

This was a debut album with instant impact. Hannah puts together all of the classic singer-songwriter elements perfectly; she has a powerful, clear voice and she sings intensely personal songs with conviction and emotion. Everything on the album is inspired by life events, apart from “Parchman”, the story of a woman on death row, who has no regrets about the crime which put her there. There are songs about jealousy, revenge, addiction and inappropriate relationships, but there’s also a counterbalance, particularly with the nostalgia of “Black and White”. The album visits some very dark places but there are enough positive moments to create balance between the dark and the light. Hannah’s always been inspired by Jackson Browne; I’m sure he’d be pleased to hear the fruits of his influence. You can read a live review from Hannah’s Green Note gig in July here.

Black Casino Scroller“Until the Water Runs Clear” – Black Casino and the Ghost

Black Casino and the Ghost (can we just say BCATG from now on) are a four-piece based in London and Essex and “Until the Water Runs Clear” is their second album. They’ve been Riot Squad favourites since their first album was released over two years ago. It would be easy to focus on the stupendous voice of singer Elisa Zoot and the guitar virtuosity of Ariel Lerner, but bass player Gary Kilminster and drummer Paul Winter-Hart play their part as well, with Elisa’s keyboards adding even more possibilities. “Until the Water Runs Clear” has drawn in many influences from sixties pop to trip-hop, mutated them and thrown them in the blender to create something that alternately sounds familiar and completely original. There’s also a lyrical dark side that runs through the album, creating sinister undertones and a hint of paranoia; maybe you shouldn’t skin up before listening to this one. The end result is an album which keeps you guessing; you’re never quite sure where it’s going, but you don’t want to miss a second of it. You can read the review here and see a few photos of the band at The Finsbury here.

And there are a couple of honourable mentions for the Dean Owens album “Into the Sea”, which was recorded in Nashville and packed with memorable and very personal tunes, and Bob Malone’s “Mojo Deluxe” featuring some keyboard virtuosity and a bunch of great tunes across a wide range of musical styles.

 

As you can see from the piece below, Dean Owens has had a pretty eventful 2015 (including four London gigs, the release of his album “Into the Sea” and the two major events at the end of the piece). We’re pleased he’s had a chance to slow down a little and tell us about some of his personal highlights this year. Dean’s also given us a substitute for his five-a-side team, so we’ve decided to include that as well.

 

All the Light we Cannot See“All the Light we Cannot See” by Anthony Doerr. A really poignant and moving story, beautifully written.

 

 

 

 

Doug SeegersA gig I really enjoyed was Doug Seegers at the Southern Fried Festival in Perth. Kind of took me by surprise. His is a great story of survival. Check out his debut album “Going Down to The River” which was produced by my friend Will Kimbrough.

 

 

HeartsA big highlight for me was seeing my team Heart of Midlothian win the league and promotion. It was great to be at the matches with my dad (the inspiration for Dean’s beautiful song “The Man from Leith”).

 

 

 

Ambrose SalvonaVisiting the grave of my great, great Grandfather Ambrose Salvona (the lion tamer) with my dad in the Scottish Highlands. Ambrose features in the song “Dora” from my new album “Into the Sea”. It’s a great story.

 

 

Bob HarrisFinally doing a session for legendary presenter Bob Harris at BBC Radio 2 was special. It was kind of strange sitting opposite the great man and singing a couple of songs for him. Strange in a nice way.

 

 

 

Dean  ScrollerOpening for Roseanne Cash at Union Chapel in London was one of the best shows I’ve ever played. Such a beautiful venue. It was a magical evening. (This event also got a mention in one of Allan’s High Fives this year).

It’s not so long since this feature would have been ‘Top Five Singles’, but the concept of a single seems almost irrelevant outside the Radio 1 bubble and my friends in real radio call them ‘lead tracks’ now, so I’m picking my own lead tracks from some of the albums I’ve reviewed this year. These are five songs that grabbed me at the first listen and left me either elated or emotionally drained. If you don’t listen to anything else I’ve recommended, give these a spin; they all come from good or great albums, but they’re standout examples of superb songwriting, performance and production. They aren’t in any particular order, so where do we start?

Simon Murphy Title“Not in My Name” – Simon Murphy

Simon Murphy’s debut album, “Let it Be”, was released in September of this year and it’s packed with songs that are well-crafted musically and lyrically. “Not in My Name” stands out as one of the simpler songs on the album, but it packs an emotional punch made even more potent by the events of the last few weeks. It could easily be a very angry song, but Simon’s delivery has a much more world-weary feel, hinting at fatigue rather than anger. This is a song that could easily be an anthem but works so well because it doesn’t go down that route.

Hannah Aldridge Title“Parchman” – Hannah Aldridge

This is another song from a debut album. Hannah is from Muscle Shoals, Alabama and her stunning debut album, “Razor Wire” is packed with autobiographical, emotive and often harrowing songs; “Parchman” is an exception. It was inspired by a TV documentary about a woman on death row in Mississippi State Penitentiary (or Parchman Farm) awaiting execution for the murder of her abusive husband. For the first time, her life has a structure and she knows how it will end. I won’t pretend it’s an easy listen, but it’s a superb song. When Hannah played it live at Green Note in July, she told the audience the back story and went on to say that she would probably have taken the same way out of the situation; how many of us would say exactly the same?

Pete_Kennedy_4PAN1TAPK_FINAL_outlined.indd“Union Square” – Pete Kennedy

Pete’s much-anticipated masterpiece “Heart of Gotham” was released this year; the album took about ten years to make as Pete worked on it between various other projects, including albums by The Kennedys, his own guitar album “Tone, Twang and Taste” and work with Nanci Griffith’s Blue Moon Orchestra. The entire album is a fabulous piece of work, and “Union Square”, as the opening song, is a perfect example of Pete’s work. If you can imagine The Byrds fronted by Springsteen, then you probably have a good idea how this sounds. Pete’s crystal-clean guitars contrast beautifully with his rasping vocal delivery as he sings a song packed with literary and historical references to his favourite city. Although the song has an immediate musical impact, each subsequent listen will reveal a lyric that passed you by originally; I can listen to this again and again.

Ed Dupas - 'A Good American Life' - Title“Flag” – Ed Dupas

From the album “A Good American Life”, this is a classic example of a turnaround song (I’m going to admit here that the final two songs will both pull on your heartstrings if you have a heart). Musically, “Flag” is pretty straightforward and the lyrics appear to tell the story of an idyllic American town overlooked by the flag and a hint of patriotism with the refrain ‘red, white and blue till their dying day’. The sting is in the final verse; as soon as Ed sings about the flag being folded, the tone changes and you know that it’s about a dead serviceman and a bereaved family. It still brings a tear to my eye every time I hear it.

Into the Sea“Sally’s Song (I Dreamed of Michael Marra) – Dean Owens

Dean’s latest album, “Into the Sea”, is an intensely personal and nostalgic piece of work, looking back to more innocent times and plotting the erratic courses (sometimes happy, sometimes tragic) of old school friends. “Sally’s Song”, over a Pachelbel’s Canon-style backing, uses the demolition of an old housing scheme as a trigger for memories of old friends doing well and badly. It’s a particularly Scottish song, making references to Billy Mackenzie and Michael Marra and it pushes all of my buttons, every time.

I’ve picked out individual tracks from five albums, but, honestly, you should have a listen to all five albums as well.

 

2014 wasn’t a great gig year for me, so I decided to catch up in 2015 by getting my cameras along to every gig I could possibly get to. It obviously worked; when I had to pick my favourite five photos of the year, I had difficulty narrowing it down, so I decided to cheat. I’ve seen a lot of female singers this year, so I decided to create a High Five dedicated to them. As always, in no particular order.

05) Mollie

Mollie Marriott at The Half Moon – By the time I saw this gig, it felt a bit like I was stalking Mollie. I’d seen her play live three times in three months. This gig was her second at The Half Moon with her full band and it wasn’t quite as busy as the first so there was a bit of space to pick some nice angles and just wait for Mollie to get completely absorbed in her songs and try to catch some special moments. She’s a singer who totally commits herself to the song and all you have to do is press the shutter release at the right time.

 

Elisa ScrollerElisa Zoot of Black Casino & the Ghost at The Finsbury – I’ve loved this band since I was introduced to them by John O’Sullivan of Red Adore Music. They’re totally original and Elisa has a phenomenal voice. It’s a little bit weird when you suddenly transform from two people talking in a pub beer garden to a photographer and a performer within fifteen minutes, but it’s always good to get a chance to get to know the artist. The lighting wasn’t great, but there was a lot of contrast, so black and white was the way to go. It’s good to know that Elisa likes this photo as well.

 

05) RosanneRosanne Cash at The Union Chapel – I have to say I got a very lucky break here. When I discovered that Dean Owens was playing as support to Rosanne Cash, it was full-on grovel mode with Dean’s manager, Morag to try to get a photo pass but, as always, Morag came up with the goods. It’s always an interesting shot at this venue if you can get the stained glass window in, but Rosanne Cash happened to look heavenward at exactly the right time to make this work. Maybe I need to rethink the atheism thing.

 

Amy

Amy

Nova Twins at FTFH, Birthdays, Dalston – FTFH is a monthly event at Birthdays promoting female performers and Nova Twins were topping the bill with their intriguing and eclectic mash-up of rock, hip-hop and punk attitudes. The lighting was decent and Amy and Georgia’s style and stage presence made it pretty much impossible to take a bad shot. I finally settled on this picture of Amy because of the attitude and power and the nice mix of colours in the background, but I could have chosen any one of a dozen shots from this gig.

 

 

05) 3300-0010Hannah Aldridge at Green Note – Green Note’s a venue where you have to put in a bit of effort to get a good shot. I went along to this gig on the strength of Hannah’s stunning debut album, “Razor Wire” and I wasn’t disappointed. I had just moved around the stage to get a slightly different viewpoint when Hannah introduced a new song “Gold Rush” which was incredibly powerful and completely enthralled the audience. I think the shot just about captures the emotion she was pouring in to that song.

Just click on any of the thumbnails to see the picture at full size.

In December 2014, I made a conscious decision that I would get to as many gigs as I possibly could during 2015. Not all of those gigs became reviews or picture galleries, but I certainly broke my previous record, which has stood since my second year at university. I love those moments at gigs when something happens which is either so unexpected or so exceptional that the hair stands up on the back of your neck and you know that you’ll remember it forever. Here are five of those from 2015:

Interview ScrollerSound of the Sirens – In mid-March this year I was at The Half Moon in Putney to see Mad Dog Mcrea. I’d just reviewed their “Almost Home” album and thought they would be good to see live. I hadn’t heard of the support band, Sound of the Sirens, but I like to see support bands because you never know when you’ll make a great discovery; this was one of those nights. Abbe Martin and Hannah Wood grabbed my attention from the opening notes with superb songs, perfect harmonies and counterpoint and a huge dynamic range combining to create a set of acoustic anthems for the twenty-first century, all of it completely new to me. The entire set was stunning, but “Faith in Fire” had me transfixed; I had to just stand and watch, open-mouthed as the song progressed from the quiet intro to a rousing finale. Just perfect.

Union Chapel 050515

Union Chapel 050515

Graham Parker & Brinsley Schwarz at The Union Chapel – My first visit to the lovely Union Chapel and I was there with Phil Burdett to see one of my teenage heroes play a stripped-down set with Brinsley Schwarz (who was in the first proper band I saw live). Graham Parker has such a huge catalogue of songs that it’s impossible to predict which ones would make the cut on the night. Over the pre-gig pint, I came up with a small wish-list; one of which was almost a certainty, and the other a bit of an outsider. The opening song “Watch the Moon Come Down” ticked the certainty box, but it wasn’t until much later in the set that the harrowing “You Can’t be Too Strong” completed the list. The audience reaction of awed silence throughout the song and an explosion of applause at the end showed that I wasn’t the only person waiting to hear that one. I think I may have had something in my eye at that point.

Hannah Gallery ScrollerHannah Aldridge at Green Note – This is another gig that came out of hearing an album and deciding that I had to see the artist. Hannah’s debut, “Razor Wire”, is a wonderful piece of work featuring some brutally honest and sincere depictions of her life and I was keen to hear how these songs would strip down to an acoustic format. As expected, the songs worked perfectly in their original forms with Hannah’s pure, clear voice and acoustic guitar; Hannah was engaging between songs, giving some background to each piece, explaining the inspiration behind it. The song which completely silenced the full house at Green Note was “Parchman”, a song that, uncharacteristically, isn’t autobiographical; it’s the story of a woman on death row for murdering her abusive husband. I swear you couldn’t even hear anyone breathe as Hannah pulled the maximum emotion from the song by playing it completely straight; no vocal tricks or adornments, just a perfect song and a beautiful delivery, leaving the audience emotionally drained.

02) DeanDean Owens at The Union Chapel – It’s fair to say that Dean Owens is a bit of a Riot Squad favourite and it’s great to see that he’s having some very well-deserved success this year. Landing the support slot for Rosanne Cash at The Union Chapel gave Dean a chance to play in front of a full house and an appreciative audience in London with only his guitar and a bunch of great songs. He had the audience with him from the start and got a great response for the whole set but saved something very special for the end. He went completely unplugged; no amplification for guitar or voice. I’ve seen this done in smaller venues (Hannah Aldridge did it at Green Note) but it was big moment in a venue this size, however good the acoustics are. Dean hit the ball out of the park; he pulled out a rip-roaring version of Buck Owens’ “Love’s Gonna Live Here” which rightly earned him a huge response from a slightly stunned audience. A magical moment.

Rosanne Review TitleRosanne Cash & John Leventhal at The Union Chapel – I know, I’m just being greedy here; two epiphanies on the same night. Rosanne Cash featured a lot of songs from the award-winning “The River and the Thread” and, with husband John Leventhal, was superb throughout, taking time to tell some of the stories behind the songs and establish a warm rapport with the audience. Strangely enough, the entire set seemed to come into sharp focus on someone else’s song, Bobbie Gentry’s enigmatic “Ode to Billy Joe”, which pulled all of the other threads together. A very simple arrangement and heartfelt performances pulled the audience into the song and generated a response that was part acclamation and part relief at escape from the song’s interwoven strands of tragedy and banality.

And I suppose that’s one reason that we go to gigs; we always hope that we’ll see those moments that you can’t capture on film or record/CD/MP3; the things that only happen once. I think five in one year’s pretty good going. Thanks to Sound of the Sirens, Graham Parker, Hannah Aldridge, Dean Owens and Rosanne Cash for those fabulous memories.

Rosanne Review Title

Rosanne Cash and John Leventhal supported by Dean Owens at The Union Chapel; now there’s one that ticks all the boxes. The sound in the venue is outstanding for acoustic performances (it is a working church after all), the audience is receptive and the atmosphere’s always warm and friendly; even the security staff are pleasant. If ever there was a perfect venue for Dean Owens to play his biggest London show so far, this was the one and he wasn’t about to disappoint.

He opened with “Shine like the Road after the Rain” and immediately had the audience on his side; none of this polite applause nonsense, this was a crowd that immediately recognised great songwriting and performance. With only a thirty minute slot, Dean chose his songs carefully with four from his new album, the intensely personal “Into the Sea”, which we reviewed earlier this year. The gentle longing of “Valentine’s Day in New York” set a few toes tapping before the triple emotional whammy of “Virginia Street”, “Evergreen” and “The Only One”. The last song should have suffered from the loss of Will Kimbrough’s studio harmonies, but it didn’t; the audience listened entranced and gave the song the best response so far. Which left enough time to fit in “Raining in Glasgow” (just one of Dean’s anthems) and a completely unplugged crowd-pleasing romp through Buck Owens’ “Love’s Gonna Live Here”. And leave them wanting more…

Rosanne Cash is a bona fide country legend, regularly bracketed with Emmylou Harris and Dolly Parton and with good reason; she’s written some superb songs and also recorded some fine interpretations. The current European tour, with her husband, guitarist and songwriter John Leventhal, is nominally in support of her last album, the double Grammy winner “The River & the Thread” but it’s obvious that the show is much more than that. It’s about the links between that album, the delta, the blues and the history of the Southern states, and the various tributaries gradually joined up as the set progressed.

So, not surprisingly, songs from the latest album were heavily featured, particularly at the start of the set, which opened with “Modern Blue” and featured “Etta’s Tune”, “The Sunken Lands” and “The Long Way Home”. “The River & the Thread” featured again towards the end of the set as we heard “When the Master Calls the Roll”, “World of Strange Design” and “Money Road”, while the middle section featured some of the greatest hits including “Tennessee Flat Top Box”, “ Sea of Heartbreak” and “The Way we Make a Broken Heart”. The obligatory “Seven Year Ache” made an appearance towards the end of the set after many audience requests (and there’s a very personal story behind that one which I’ll share with you another day) but the focal point of the entire set, where the rivers and threads were gathered together, was a Bobbie Gentry song.

Rosanne and John’s performance of “Ode to Billie Joe” was heart-rending, the minimalist guitar picking underpinning the lyrical contrast between domestic banality and sensational events which are never fully explained. The song silenced the audience and drew the best response of the night while joining the dots in the overall picture the duo created; if you need a definition of tour de force, this was it.

Predictably enough, there were a couple of (well-deserved) standing ovations to round off an evening of powerful songs delivered by three gifted performers and everyone left happy and emotionally drained. Doesn’t that just define a great gig?

 

Part One

It’s unbelievable, really. We’re already halfway through 2015; how did that happen? Well, however it happened, there’s been an awful lot of it. At the start of the year, we made a few predictions about bands and artists to keep an eye on in 2015 and this seems like a pretty good time to have a look at how they’re getting on and maybe add a few more to the mix. So why don’t we start at the beginning because, apparently, that’s a very good place to start.

BWB Hockley ScrollerThe first of our hot picks to shake some action in 2015 was the Billy Walton Band with “Wish for what You Want”, their first release on American independent label Vizztone in February 2015 after a series of self-released albums. We’ve been watching Billy Walton live since 2010 and he’s been steadily edging up the rankings. The band’s increased in size as well, from a power trio to a six-piece on the latest UK tour and the addition of sax, trombone and keyboards has emphasised their awesome live power while allowing them to move in new directions. Like his fellow New Jersey artists Springsteen and Southside Johnny (Billy has toured as an Asbury Juke in the UK a couple of times), Billy’s fond of taking the show in unexpected directions and these guys are easily good enough to follow him. They should be back in the UK later in the year, so watch out for them in your area.

DSC_0007Dean Owens is another artist the Riot Squad has been following for some time; well since the release of his 2012 album “New York Hummingbird” anyway. Dean has deservedly been acclaimed by those in the know (including Irvine Welsh) for some time now as a singer/songwriter but hasn’t ever managed to get the wider attention he really deserves; it looks like his 2015 album “Into the Sea” on Drumfire Records may have changed that. It’s generated a huge amount of media attention including a Bob Harris interview and live session for Radio 2 and an appearance on the cult BBC Radio Scotland football show “Off the Ball” presented by Stuart Cosgrove and Tam Cowan. The album’s probably his best yet with some highly personal lyrics and memorable melodies backed up by a great group of Nashville musicians.

Kennedys Gallery ScrollerNext up was The Kennedys; Maura and Pete Kennedy are also from the East coast of the USA; New York City is their adopted home. They decided to celebrate their twentieth anniversary by releasing not one, not two, but three albums this year and to tour in support of the albums. Two of the albums have already been released, The Kennedys album “West” and Maura’s solo album (with lyrics from poet B.D. Love), “Villanelle” and they’re both exceptionally beautiful pieces of work. Still to come (in September) is Pete’s long-awaited solo piece “Heart of Gotham” a suite of songs inspired by New York City and its inhabitants. Pete’s poetic sensibilities, huge knowledge of the history of American music and quiet mastery of his instrument (or more accurately, instruments) make this another one to look out for.

04) Gary RollinsWell that’s the story so far, but there’s more to come later in the year. Stone Foundation were obviously on the way up in 2014 when we reviewed their album “To Find the Spirit”, but 2015 has seen them providing the title track for the wonderful short film “Beverley”, trekking across Europe, signing record deals in Japan and the USA and recording the superb “A Life Unlimited” album which is released in the UK on August 7 this year. There’s a UK tour to promote the album, followed by a Japanese tour and some festival appearances over the summer. Pre-sales on the album have been very impressive and this looks like the year that Stone Foundation finally become an overnight success. Keeping the faith seems to finally be paying dividends.

Part Two coming soon…