It’s about a year since we first picked up on Mollie Marriot, when she popped up doing backing vocals (with Izzy Chase-Phillmore) for Jim Stapley on his debut album and at a London gig last year. It was obvious to anyone who didn’t have tin ears that she had an outstanding voice. What we didn’t know at the time, but discovered after a few gigs, was that she also has at least an album’s worth of great songs which she’s worked on with a bunch of co-writers that includes Jim Stapley, Sam Tanner of Brother Strut and Judie Tzuke. Lyrically, it’s not always comfortable because it deals with some troubled times in Mollie’s life, but the arrangements and performances create positive feelings from negative experiences. And she’s put a phenomenal live band together as well.

“A Million Miles” is her third solo single (following “Ship of Fools” and “Transformer”) and it might just be the one to make the breakthrough, ahead of her debut album “The Truth is a Wolf” which is due for release in early 2016. The song opens with Johnson-Jay’s shimmering guitar weaving in and out of Sam Tanner’s trickling keyboards evoking a seventies Californian drivetime feel before Mollie’s voice comes in, gently at first, with just a suggestion of Stevie Nicks and the story of an unravelling relationship. As the instrumental intensity builds, the vocal goes up through the gears from pure and clear to powerful and emotional, building to a climax before fading to a gentle finish. It’s a song that takes you on an emotional journey, so buckle up and enjoy the ride.

Mollie Marriott’s made a lot of great decisions in the last couple of years; she’s surrounded herself with superb musicians and collaborators who happen to be lovely people, and she’s created a very tight little family that just happens to be a musical powerhouse. If anyone can achieve popular success while pursuing their own artistic vision in today’s music business, my money’s on Mollie.

“A Million Miles” is out on MITA Records on October 23^rd.

 

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.

As ways to start the night go, having a chinwag with Joe Brown in the toilets at The Half Moon is a pretty good, if slightly surreal, one. So what’s he doing there on a Monday night? Perfectly obvious really; both Mollie Marriott and her support act Mo Evans are family and Joe’s there to support them. And he’s not the only one. Judie Tzuke (one of Mollie’s writing partners) has shown up as well. There’s a bit of a buzz around this show because it’s the debut for Mollie’s full band, and most of the audience is anticipating some new material as well.

But before we get to that, there’s a short set from Mollie’s nephew, Mo Evans, who’s a singer-songwriter in the confessional mould. Armed with only an acoustic guitar, a capo and some interesting tunings, he manages to grab the audience from the start. It’s a difficult job at the best of times, particularly when your songs don’t have too many happy moments, but they’re a pretty good crowd and he gets them onside. There’s a particularly nice moment at the end of the set when his guitar amp gives up and he reacts by jumping down from the stage and gathering the audience around him to finish the set completely unplugged.

Mollie’s been doing acoustic gigs and radio appearances recently with Johnson-Jay Medwik-Daley (guitar and backing vocals) and Izzy Chase-Phillmore (backing vocals) and this line-up is augmented for the album material by Sam Tanner, Alex Reeves and Henrik Irgens (keyboards, drums and bass). There’s an assurance about the band’s performance that only comes from putting in the hours in rehearsal; there should be some nerves showing on the first outing with new material but they’re well hidden. The band are all great individual musicians but this is about working together to showcase the songs and Mollie’s voice. Oh yes, that voice; it’s powerful and pure and strong (which you would expect from someone who’s worked extensively as a backing singer) but when she pushes it towards the limit, there’s a raw emotional edge there that you only find in the truly great blues and soul singers. On top of all that, she’s a genuinely engaging stage personality who has a great rapport with her band and the audience.

The set features the two singles “Ship of Fools” and “Transformer”, the Alanis Morissette cover “Mary Jane” and a selection of new material from the album, including “Give Me a Reason” which features some lovely harmonies from Izzy and Johnson-Jay; the audience loves it. There’s a huge amount of love and mutual respect on stage but also between the band and the audience, which all helps to create a perfect live music experience. The Half Moon isn’t full by any means, but anyone who was there will be spreading the word.

So, is 2015 the breakthrough year for Mollie Marriott? It certainly looks like this is the right time for the big push; she’s been around the music business for a few years now and she’s highly respected as a backing vocalist, but she now has an album’s worth of songs, a tremendous band behind her, a label and a good support team. And, in case I hadn’t mentioned this already, a phenomenal voice. “Transformer” is already generating media attention and picking up local radio playlistings, and with the album coming out later this year, this just might be Mollie’s time; I really hope so.