“Gold Rush” is Hannah Aldridge’s second album and it moves Hannah in a slightly different direction. Her debut “Razor Wire” (and an excellent debut too) was built around a set of country-inflected, mainly acoustic, guitar songs with the emphasis on personal experiences. That emphasis is still there on the second album but Hannah’s added a rockier edge which is evident in her switch from acoustic to electric guitar (Telecaster if you must know) and her description of her newer songs as Southern rock. “Razor Wire” was a huge favourite with the Riot Squad, so how does “Gold Rush” compare?

The title song, which closes the album, is a work of rare beauty; it’s more delicate than most of the new songs and deals with the idea of being at a point in time when looking forward and looking back are equally painful. When a writer can create the line ‘I don’t know if this is living or slow motion suicide’, you know you’re hearing a special talent. But “Gold Rush” isn’t about one song, there are nine more and they’re little firecrackers. The album’s first song “Aftermath” kicks open the doors with tribal drums and a tight rhythm section dragging “Jumping Jack Flash” into the twenty-first century. “Dark-Heated Woman” is sinister and menacing with a guitar solo that Neil Young would be proud of and “Living on Lonely” is plaintive, almost heart-breaking, with huge choral backing vocals. “Burning down Birmingham” is Southern rock with the trademark slide guitar hook and an insanely catchy chorus while “Shouldn’t Hurt So Bad” draws heavily on the Merseybeat/Byrds/Tom Petty jangly guitar stylings. And so it goes on, there are ten very good songs and a huge dynamic range.

Everything fits into place perfectly as Hannah moves effortlessly from the slower, more controlled, vocals to the raw and raunchy rockers. She ticks all the boxes; the songs are powerful, heart-rending, even harrowing at times, her voice is stunningly good and she has tremendous live presence. “Gold Rush” is an album created by someone who has seen and done too many things in a short life; it’s shot through with substance abuse references and some regrets, but no self-pity. The overall message is that this a testament from a survivor and we should all feel grateful for that. And one final great line for you, from “I Know Too Much”: ‘I don’t need another reason to hate myself, I don’t need another bad tattoo’.

This is a beautiful album that you will go back to again and again.

“Gold Rush” is released in the UK on Friday June 16 and you can find Hannah’s July UK tour dates here.

I had the opportunity to meet up with MusicRiot favourite Hannah Aldridge just before her sold-out show at Green Note in Camden which is part of her current tour with Lilly Hiatt, taking in Northern Europe, England and Scotland. We talked about her new album, her previous album “Razor Wire” and a lot of other things along the way:

 

 

Allan – Good to see you again, Hannah.

Hannah – Good to see you too.

Allan – Back in the UK and you’ve been doing a European tour as well.

Hannah – I have, yes.

Allan – How did that go?

Hannah – It’s been really good actually. We did the Netherlands; I went back to Hamburg and played and I’ll be doing Norway at the end of it. It’s always fun to do Europe in general but it was fun this time because I explored a new market, which was the Netherlands. I haven’t played there before; it’s definitely different and it’s good to keep moving forward and forge new territories, so that was the goal this time.

Allan – I think Northern Europe really gets Americana doesn’t it?

Hannah – Well, I think from my perspective, the people who really appreciate what I do are people who can speak English well enough to understand the lyrics because, as much as I don’t want to admit this, my music is not quite as interesting without the lyrics. I wouldn’t call myself a really interesting guitar player or anything and I wouldn’t want to listen to me if I couldn’t understand what I was saying. That’s such a big part of it, and what I’ve noticed is that people who speak English fluently are the ones that gravitate towards what I’m doing.

Allan – And you’re doing a mini tour of Scotland this time.

Hannah – I am doing Scotland. I was trying to think if I’ve ever done a show in Scotland. I’ve been there, but I don’t think I’ve ever played there.

Allan – I think, like Northern Europe, Scotland really gets Americana as well and I don’t think country ever really went away in Scotland.

Hannah – It’s really interesting the UK how every country has subtle differences in the music they like. Ireland is very different than England in terms of musical taste and Scotland I assume would be the same, but I’m not really sure what to expect because I haven’t played there.

Allan – Well I grew up in Scotland, and Scots like good songs. They like a good melody but they like a message as well.

Hannah – Well that’s good to know; hopefully they’ll like what we’re doing.

Allan – And I think the rooms that you’re playing tend to attract appreciative crowds.

Hannah – I’ll look forward to it; that makes me feel good about it.

Allan – Just to go back in time a bit, which artists would you say influenced you when you were growing up.

Hannah – That’s interesting, because I didn’t really start writing music until my early twenties, so nobody really influenced me growing up because I didn’t want to be a musician until my twenties. That being said, there were a lot of artists that I listened to growing up that now influence me, Bonnie Raitt being one of them and Tom Petty being another. I was thinking earlier, someone asked me in an interview what three artists have shaped me as a musician and I looked at him and said Gillian Welch, Bonnie Raitt and Tom Petty.

It’s interesting because sometimes I actually feel like I’m writing something that sounds like a mix of those things, so I do think those people do heavily influence me but, at the same time, there’s so much I’ve listened to since that really shaped me too. I think Gillian Welch gave me permission as a female to write like a man and I didn’t discover her until later; she was very influential. And Bonnie Raitt gave me permission to play with the boys too and to stand up and be respected the same way that a man is and if there are any female musicians I can think of that men are shamelessly devoted to in terms of musicality, it would be Bonnie Raitt and Gillian Welch, and that’s pretty cool because a lot of the time you’ll hear ‘I don’t know, it’s a girl, I don’t like girls with a guitar’, but Gillian Welch and Bonnie Raitt seemed to break out of that, so that was cool for me too.

Allan – And what about your Dad (Walt Aldridge, Muscle Shoals songwriter and performer), did he influence you either way?

Hannah – In my decision to be a musician or in my musical pedigree…

Allan – In your decision to be a musician…

Hannah – He strongly tried to influence me not to be a musician and, because of the personality I am, that actually pushed me in the other direction very hard and I thought ‘OK, we’ll see’. He’s really tough about that kind of stuff – he’s not easy to impress and it’s a different level when it’s your kid. It’s really hard to be objective about what they’re doing so he really, to this day, he calls and says ‘Why are you doing this? You can do things that pay a lot more’ and I say ‘The same reason you did it’.

It’s really interesting that what I’ve learned with him is that we function better when we don’t talk about music because we have such different opinions on it and we’re in such different markets. He was making music at a time that it was just totally different.

Allan – So, if you had to put a label on your music, what would you call it?

Hannah – I wouldn’t call it Americana, because I don’t really know what Americana is and it’s really hard for me to justify putting myself in a genre where I go ‘I don’t know what this is’, but in the same way, whatever genre you would put Ryan Adams and Bonnie Raitt and Gillian Welch in, whatever box you put them in, I guess I would fit in the same box. I think my description of my music is probably very different than other people’s, which is strange too. My description of it would be Southern rock, something like that. Singer/songwriter, Southern Rock; I’m a confused person. I’m confused when I walk out of the house every day about what to wear because I don’t know who I am half the time, so maybe some days I look like this and some days I look like that and it’s the same with writing. I think I’m constantly on a journey to figure out who I am in general but also as a musician so that makes it really hard for me to say ’This is what kind of music I do’.

Allan – I noticed you’ve created a lot of different visual identities over the years…

Hannah – I have, and think it’s become a part of the whole thing in that I‘m constantly trying to figure out what works for me as a person, and I think, more than any kind of steady identity I could give, that’s actually more reflective of me as a person than anything, that I’m constantly trying to figure out who I am and where I fit in to the world and I think that does change a lot for me. I played a show in Nashville a while ago and a big booking agent came out and they said to me ‘You know, I really, really like your music, but the look just doesn’t go with the music.’ And I laughed and said ‘Really, what is the look supposed to be, because I’ve been trying to figure that out for twenty-eight years.’ (Laughs). I think I’m just always going to be trying to reinvent myself, and I think Ryan Adams gave me permission to do that. He’s made it work, musically, and I hope to do the same.

Allan – Do you see more as a writer or a performer?

Hannah – A writer, absolutely a writer because what I really wanted to be was a staff writer. What I really wanted to do when I started this whole thing was to be a writer for film and TV. I wanted to be the person that sat in my room in my pyjamas and a bowl of cereal and made really dark music for horror movies, you know. It’s really interesting how fate, or whatever you may call it, pushed me down this path of being an artist and I reluctantly was like ‘I don’t wanna do this. I hate being on stage’. I was joking with Lilly (Hiatt) that, literally, before big shows for the first couple of years performing, I would watch Michael McDonald videos before to keep me from having anxiety, because you can’t have anxiety while you’re watching “Ya Mo Be There”, you just can’t. I would really have to push myself to do these things because I felt uncomfortable. Now, I love performing, I think it’s great and I see all the wonderful things about it, but it was definitely not something that just came naturally to me. I felt very intimated buy it and really I‘ve always enjoyed the process of being creative. So, I think in that way, I’m definitely more of a writer than a performer, you know.

Allan – “Razor Wire” (Hannah’s debut album) felt like a really personal album and it felt like there was a lot of autobiography in there as well…

Hannah – “Razor Wire” was an autobiography of where I was in my love life in a lot of ways. At that point in my life I was going through a divorce and I was trying to find out if I was capable of ever loving again and what that meant and if was a complete screw-up and all of these things and meanwhile also writing about my experiences with these other guys I was going out and dating and then at the same time. Songs like “Black and White” were what was going on in my personal life with Jackson (Hannah’s son), being a young mom, those kind of things. “Razor Wire” was definitely very autobiographical.

My new record that I’ve been writing also is, but in a very different way. I kind of went backwards and started writing about my life before that when I was a really heavy drug user and a really bad drunk and everything that led me to that point and trying to sort through all those feelings, growing up super-religious and feeling alienated by that and also fast-forwarding a bit to the age that I am now, approaching my thirties and being fearful of that. So that chunk of time was “Razor Wire” and I think the new record is a bit of a prequel to that. I think it’s what I write best; I’m not good at that third person stuff, so it was definitely a very personal record.

Allan – I played a copy of “Razor Wire” to a friend in radio and he said that there were three hits, if you could actually get them out there.

Hannah – That’s the thing that’s tough about it. It’s all about PR when you get to the point that I’m at now. It’s about somebody recognising that you’re worth putting money into because you’ve got the songs and you’re slowly building up to that point, but I watch it happen with people all around me and you go ‘Well, I’ve got good songs too’. All you can do is just (Lilly and I have talked about this a lot since we’ve been on the road together) stay focused and say ‘I’m gonna keep writing good songs’ and know that it’s not about me, whether or not it’s a hit. It’s about the fact that I don’t have millions of dollars to put into promotion. One day maybe I will, but until then all I can do is continue to write great songs.

Allan – If the catalogue of songs is there and the break comes…

Hannah – Absolutely. You can have the publicity but without the songs it doesn’t work very well. I’ve seen that happen a lot with people around me too where they get that shot and they don’t have the material to back it up. I’m not saying I absolutely have the material, but I think that it’s important to really focus, until you get your shot, on working up to that so that you’re ready for it. If I had the opportunities I wanted when I first released “Razor Wire”, I probably wouldn’t have performed well on Conan O’Brien or performed very well at The Ryman, which are the dreams that I have, but I have to recognise that I have to put in the time to get there so that when I do have those shots, I really kill it and that takes time. All of this takes a lot of patience.

Allan – I guess Maverick (festival in Suffolk) is one of those opportunities isn’t it?

Hannah – Sure. Maverick is really cool. I love playing there because it’s one of those things where I get to connect with a lot of different artists and the other thing that’s really cool about is that everybody that I see around England, I can see them all in the same place and that’s really cool. I see some really devoted fans, the promoters that have helped me so much, the Americana UK people and artists and it’s really neat for me because it’s everyone in one vicinity and I really enjoy Maverick Festival every single year.

Allan – You mentioned the new album briefly. How’s that going at the moment?

Hannah – It’s going awesome. I’ve got everything written and I’ll be recording as soon as I get home and I’ll be done by July 30^th and from there it’ll just be setting a release date. I think it’s gonna be great; it’s funny because the producer the producer that’s doing the record this time around, I wrote “Save Yourself” with, he’s someone I’ve played with and he’s someone I’ve written a lot of songs about as well. We grew up together actually and he’s so in tune with my music that it just made sense to get him to produce the record and he’s taken the songs and shaped them in a way that I can’t do. That’s really cool because I’ve never had that before where I wrote a song and gave it to somebody else and let them manicure it a little bit. It’s like adding a whole new level to the songs and that’s really cool. I’m really excited to hear how they all end up.

Allan – Well the one that I’ve heard, that you played here last time, “Goldrush”, hit me instantly and it’s rare that a song does that.

Hannah – I’m glad that you like that. I really like that song. Usually I have a good gut feeling about a song when I like one or, if it makes me a bit teary when I sing it the first couple of times, I know it’s good. Actually I had two killer co-writers on that song and that concept was so complicated for me to sort through in my mind that I called two people that I thought ‘I know they can help me’ because I don’t want to take that song idea to just anybody because I knew it could be a really cool song, so I called up two people I knew could really help me tie up the loose ends on it. I sat and talked to them about the idea and said ‘This is what I’ve got written and I don’t know how to tie this in’ and they helped me put that together so I’m really grateful for them helping me do that. I do love that song. I think it’s a good one, I think it’s meaningful and I think it approaches a topic that people don’t wanna talk about, which is getting older, so I’m glad that you like that one.

Allan – And you’re going electric this time round…

Hannah – I am going electric this time round. I was nervous as could be. I had dreams before this tour that I got out on the road and my electric didn’t work, because I’m so comfortable with my acoustic guitar, but I’m making a point with this record to really push myself and I’m trying to push out of that box that people are putting Americana in because I don’t have to be this certain thing because you’re put in Americana, it’s so broad, you know, and I really wanted to push the boundaries of what people thought of me as an artist and maybe what they think I’m gonna put out musically. I wanna stay within reason and not get too crazy, but try to get myself out of my comfort zone. I felt like a lot of these songs are meant to be played on electric and it doesn’t make sense to go out with an acoustic and try to play them; they just don’t translate so I’m literally learning in front of people on this tour how to deal with this electric guitar because I play it at home and I write on it, but I don’t go on tour with it very often, and if I do, I have a band behind me, it’s not just me standing up there with an electric. At this point in the tour, I feel really comfortable. The first day or two, I was sweatin’ bullets up on stage trying to figure out how to do everything, but it’s fun and it adds something interesting for me because it’s so easy to get bored when you play songs hundreds and thousands of times and you think ‘I don’t wanna play this song anymore’, but it’s been fun to revisit “Razor Wire” on the electric.

Allan – One final question. Have you got a song, yours or someone else’s that makes you cry?

Hannah – I have some of mine that make me cry. Other people’s songs? Pretty much any John Moreland song ever written; those make me cry. “God’s Medicine”, “Cherokee”; pretty much all of his songs are so damned good, I would say every John Moreland song and “Hallelujah” does as well; that song always gets to me too because there’s a couple of lines in there that really speak to me on a lot of levels.

Allan – Thanks very much Hannah.

Hannah and Lilly will be playing the Voodoo Rooms in Edinburgh on June 21^st, The Blue Lamp in Aberdeen on the 22^nd and Music in the Suburbs in Glasgow on the 23^rd.

 

It would be so easy to make this a rant about the music business and how terrible it is these days; not like when we were younger and any artist could get multi-album deals. Here’s the reality check; there are a couple of generations out there who don’t even get the concept of paying for music and the only artists with contracts are the homogenised and ultra-safe packaged pop and stadium fillers. The music industry is just about irrelevant to anyone making genuinely creative music today and it’s sad that it’s not even contentious to make that observation.

But the world moves on and people are still making music and trying to work out the best ways of getting that music to an audience. If you can make a living from it as well, then that’s a bonus. If you want to make an album, you can self-fund it (maybe calling in favours from other musicians) or maybe go down the crowdfunding route, offering fans the opportunity to make an investment in your work in return for a reward. This is the route that Hannah Aldridge has taken to bring her second album to the world.

In 2014, Hannah released her magnificent debut album “Razor Wire”, packed with powerful, sometimes painful, autobiographical songs and impassioned vocal performances. It was one of the best albums I heard in 2015. Hannah toured the US and Europe with the songs, playing with a band when she could, but not afraid to strip the songs back to voice and acoustic guitar when performing smaller venues in the UK. On that tour, she introduced one new song, “Goldrush”. It didn’t need any incubation time; I was hooked straight away by the stark beauty of the solo performance and I knew instantly that Hannah Aldridge was no one-album-wonder. I’ve heard a few more songs since and this second album is sounding like a great piece of work.

Have a look at Hannah’s Indiegogo site for more information on the project and a list of perks. You can contribute anything from $15 to $5,000 for a wide range of rewards, and the knowledge that you’ve helped to launch a great album.

Me, I’ll be putting my money where my mouth is.

 

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” – 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!” – 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.

“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.

“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.

“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.

 

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?

“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.

“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?

“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.

“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.

“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.

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 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.

 

Rosanne 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.

 

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.

 

 

Hannah 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.

It’s such a good feeling when you hear a new artist breaking through with an original and powerful songwriting style. Hannah Aldridge’s debut album, “Razor Wire” is an astonishingly accomplished piece of work, and her solo UK live performances this year were perfect examples of the one voice/one guitar approach. We were really pleased when she agreed to contribute not one, but two sets of High Fives from a travelling musician’s perspective. We’re really looking forward to seeing you again next year, Hannah.

 

Top 5 Must See Cities:

 

Venice, Italy

 

 

 

Brighton, England

 

 

 

Oslo, Norway

 

 

 

Deauville, France

 

 

 

Asheville, North Carolina

 

 

 

Top 5 European Traveling Tips for Musicians:

Pack one week of clothes no matter how long the tour is.

Bring strings and picks overseas. They are triple the price in some countries.

Don’t fly your guitar. It will cost you money and in Europe they have no laws requiring them to valet it.

When you arrive,  go to sleep early and wake up very early the next day. You should then push your wake up time by one hour every morning. This will help will jetlag. Also give yourself two days before starting the tour to adjust.

Wash your hands every couple hours. You will encounter a lot of foreign viruses and bugs that you aren’t used to.

 

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:

Sound 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.

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 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.

Dean 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 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.

To round off the mid-term report for 2015, we thought it would be good to have a look at some of the people we’ve discovered this year. Some of them are relatively new and some have been around for a while but they have one thing in common; they’re all very good.

We heard about Mollie Marriott last year when she did backing vocals (along with Izzy Chase-Phillmore) on Jim Stapley’s debut album “Long Time Coming”. She’s had a couple of singles out (“Ship of Fools” and “Transformer”) and the first album’s just about ready to go. She’s been collaborating with some exceptional songwriters and her live band (Johnson-Jay Medwik-Daley, Sam Tanner, Alex Reeves and Henrik Irgens) sounds stunning. Top that off with a voice which can do the pure pop, but has a raw, soulful edge as well and you’ve got something a little bit special. The only way is up.

Discovering Sound of the Sirens earlier this year was proof that turning up for the support band can pay off. They supported Mad Dog Mcrea on a few dates earlier this year, including The Half Moon in Putney and they were superb. Abbe Martin and Hannah Wood create a huge sound with two voices, two guitars (or guitar and mandolin) and two stompboxes. If you insist on attaching a genre tag to Sound of the Sirens, ‘twenty-first century acoustic anthems’, is pretty close to the mark; it works for us anyway. But don’t just take our word for it, in the last couple of months, Abbe and Hannah have played at Glastonbury, have secured a BBC Introducing slot and are appearing at Carfest. And they’ve got a new EP out.

The guys in Jupe are Dublin-based and they’ve been together for a while, but now that their line-up has settled they’re just starting to get the attention that their anthemic soul/pop/rock really deserves. The Riot Squad saw Jupe at a showcase gig at The Garage in Islington a few weeks ago and they were the band that got the entire audience on their side. The sound is contemporary and commercial but it’s backed up with rock-solid musicianship and a charismatic singer who knows how to work a live crowd. The single “Rocket” is out on August 3.

Hannah Aldridge released her jaw-droppingly good debut album, “Razor Wire” in 2014; it’s a collection of intensely personal songs written from the perspective of a writer who has walked the darker side of the street. She toured the UK recently in support of the album and won over audiences with her stripped-down solo versions of the album material, including a storming version of “Howlin’ Bones”. The album and the live performances of the “Razor Wire” material alone would secure Hannah’s inclusion in this feature, but there’s even more. During the show at Green Note, Hannah played a new song called “Gold Rush” which held the audience in hushed awe. If the rest of the next album is even close to the standard of “Gold Rush” it’s going to be an album to grace anyone’s collection.

Three years ago, we were seriously impressed by Natalie Duncan’s debut album “Devil in Me” and her stunning live performances. Things went a bit quiet following the initial promotion for the album and the major label deal didn’t really work out, but Natalie’s a strong character and a formidable talent; she’s been working on new material and, over the last year or so, she’s been playing to a mixture of album material and new songs to appreciative audiences all over London. The new songs from her “Black and White” EP are much more edgy than her earlier material, using vocal loops and samples as part of the backing tracks and they seem to be attracting a new audience to augment her original following. Anyway, she’s sounding better than ever and you should give her a listen.

And, if that’s not enough to be going on with, there are a few other bands that you should keep an eye on. Black Casino and the Ghost release their second album later this year, Space Elevator’s brand of theatrical melodic rock is attracting wider attention, The Jar Family are reaching wider live audiences with their well-crafted songs and energetic gigs and Jim Stapley (Mollie Marriott collaborator and astonishingly powerful rock singer) is working in New Orleans on new material for that difficult second album. By the time you’ve checked out all of those, we’ll be doing the year-end review.