Olivia Lynn’s single might have been late to its own release party but its eventual appearance has been worth the wait. Through no fault of its own, ‘Little Miss Nightmare’ was taken down from Spotify (along with the rest of Lynn’s material) and only reinstalled after the tenacious work of Lynn and her parents. The kind of resolve seen in the protagonist of this song. Borrowing from ‘Jolene’ by Dolly Parton, the track is suitably sassy, confident, and full of bravado. The woman at its centre warding off, in no uncertain terms, the advances of another towards her man. Lynn channels the spirit of Lauren Alaina in her powerful vocals which shine through an electrified country-pop composition. It is a very different tone to her most well-known tune, ‘Open’. But it’s no less memorable and deserving of as much recognition.
There is something undeniably tasty about Amy-Jo’s latest release. Not just the riff of its chorus, playing so delectably on its title, ‘Dumb’, but the assured put-downs and playful interludes too. This is her response to the mansplainers and misogynists who would have her “sat on my phone in the dark”. The kind that like “a girl who agrees”. But in the vein of Katy Hurt and Annie Dressner, Amy-Jo rejects this coercive male desire through a series of wonderfully subversive lines wrapped in a most beguiling composition. Even the ever-present encouragement displayed in her songs has a spicy irony:
“I’m sure you’ll meet your someone… / who’ll march to your own drum”.
The result is a track that garners real anticipation for her forthcoming debut album. The excitement for which is really building now.
Bronnie delivers what you might expect on her sophomore album ‘Sedona Sunrise’. An enticing mix of country-pop-punk feature across twelve tracks to mark a now-signature style. These are blended with well-written choruses and trademark themes that can only stand her in good stead as she settles over in Nashville.
The title track illudes to this move across the Pond. It’s all about chasing dreams and “starting to feel complete” in doing so. ‘Own Girl Own World’ is of similar ilk. Both songs featuring pop and rock elements respectively for which the latter conveys a sense of freedom and self-assurance that is plastered over this record. Not that heartbreak and hardship don’t feature. ‘Out of the Blue’ and ‘Mockingbird’ are devastating in their narrative, with the latter turning into a ballad to express the pain of knowing “you’ve got me in one hand / while the other’s safe with her”.
The influence of her relocation Stateside is most evident on ‘Memory Lane’. This duet with Mason Levi is straight-up contemporary country of the highest order. It could easily rival its namesake by Old Dominion. With an infectious beat and striking lyrics, it is one of a number of songs that play to an anthemic chorus. ‘Unfamiliar Places’ and ‘That’s Why I Hate You’ stand out in large part due to their central refrain. Made all the better by that familiar pop-punk combination.
‘If We Never Met’ reveals that Bronnie hasn’t abandoned a British sensibility. The simplest musical arrangement on the album affords a Celtic lilt and Folk-like beat which is reminiscent of acoustic-driven artists like Sarah Louise. It offers a softness that is in sweet contrast to the rest of the tracks on this record; which feels emergent from the green fields of her Wirral home rather than the dirt roads of Southern states.
This helps give ‘Sedona Sunrise’ an identity that is distinctly Bronnie. One which is unafraid to borrow from different places to create something that melds them effortlessly. Her move to Music City can only strengthen what is already a growing reputation. Joining Twinnie as one of our foremost female exports.
The celebration of Good Company’s first anniversary was rather understated. At least in terms of sound. For rather than some of the punchy country and acoustic rock that have been a staple so far, this songwriters’ round leant heavily into whimsical folk. Not that the genre that host Katy Hurtis known for took a backseat entirely. Owen Mortonchampioned a classic honky-tonk sound. But he was sandwiched between Jessica Dives and Martha Cowanwho, between them, lent a thoughtful and ethereal air to proceedings. The tempo was sedate. The mood meandering. As a result, the night’s emphasis on storytelling took on extra significance. It reminded me of an Al Olender gig that I attended earlier in the year. And indeed, Cowan in particular was reminiscent of her. With each line of her lyrics holding a weight of meaning. Stringing them together to create an atmosphere that was highly conducive to listening. And with songs like ‘The Wind Project’, Dives was equally enchanting. Combining the jazz-like vocals of Hailey Tuck with the wistfulness of Ellie Gowers to tell tales that were both interesting and emotional. It seemed that Katy herself was attuned to their vibes as ‘All We Ever Have’ and ‘Seasons’ melded beautifully with their choices. And even Morton, with ‘Scrap Metal’, added a poignancy that was in keeping with the general ambience. Along with some random diversions into conversations about watches and the Wirral in between their songs, this sixth outing for Hurt’s baby at Thornton Hough Village Club proved to be a quiet success. Here’s to many more at this hidden gem of a venue.
What I love most about the new EP from Nia Nicholls is the surprising styles that have arisen in her music. For all that the Swiftian comparisons of the past remain, there are also elements of pop that have been hard-pressed into ‘Marionette’ to create sounds more retro than Taylor herself. Take ‘Movies from Cannes’ for instance. The production smacks of late-90s band vibes in the best way. It brings sass and attitude which are reflected in lightly humorous, lightly stinging lyrics. As always, Nia adopts a “subtle sarcasm” in her storytelling which, like on ‘Goldilocks’, tends to make the best of heartbreak. ‘Sad in London’ is another case in point. Its techno-heavy approach used to convey the frustration and chaos now associated with a city tainted by the actions of an ex-lover. Despite its highly divergent approach stylistically, it nevertheless lends itself to the narrative that Nia wishes to convey. This points to an evolution in her music which is no longer just acoustically-driven but rather is shaped by the stories at the heart of her songs. Thus, ‘If You Were a Song’, with its “heartfelt” and “positive affirmation”, is channelled through the piano. And ‘I’m a Marionette’ features music-box rhythms and accordion-like beats to playfully subvert friendship. This expansion of musical flavours is what lands this EP in more unfamiliar territory when it comes to her catalogue. But thankfully the twists in her lyrical storytelling remain, making this a pleasantly refreshing listen for fans of Nia Nicholls’ music.
You can listen to ‘Marionette’ on your chosen listening platform or contact Nia via her socials to purchase a physical copy.
There is a seamless transition between the last and most recent of Hollie Rogers’ albums. The eclectic nature of both ensures that ‘Everything’s Fine’ builds on the strong foundations laid with ‘Criminal Heart’. Once again, she travels along a spectrum of genres on her latest record, using the music to compliment her storytelling which remains her greatest strength.
The title track is by far the standout piece here. Capturing a quintessentially British sensibility to unpack and unpick its oxymoronic meaning. From its first lines – “put my face on / paint my smile” – it draws on the “keep calm / carry on… style” of the stiff upper lip. The chorus is clever insomuch as it voices the internal monologue of emotional honesty before ending humorously with “but everything’s fine”. What adds to the comedic value of these final words is the change of pace and sudden softness of the music. The recognisable vocals of Elles Baileysoothing a heart clearly close to breaking point but unwilling to share its struggles. It really is deft at naming a pervading feature of our society.
Elsewhere, the album deals mainly with the theme of love and relationships. For example, ‘Spaceman’ is a metaphor for an absent lover. And with an orchestral arrangement performed by The Budapest Symphony Orchestra, it takes on an expansive quality. The soaring violins painting a picture of a vast universe which, in turn, creates a feeling of distance and longing. Meanwhile, ‘Sunday Rain’, with its easy listening jazz, conveys a confidence in the long-term possibilities of what could be “a powerhouse couple”. And ‘Unholy Trinity’ is suitably sultry in its desire to make the best of what has become a love triangle.
There is also the inclusion of religio-spiritual elements as ‘Good God’ prays for an escape (“give me a break”) and quick fix (“flick of your wrist”) from the everyday – its mundanity and misery. In addition, the closing track, ‘All for You’, is worship-like in its sacrificial intentions. The mutuality expressed between the two people at its centre leading to “every song, every little tune / every line, every single word / every mood, every time I cry… [being] all for you”. The musical theatricality showcasing one final aspect of Hollie Rogers and her wonderfully multifarious style.
You can listen to Hollie’s new album on most streaming platforms or download it from her Bandcamp here.
Pathetic fallacy. A literary term for when the weather reflects a character’s emotions. And here, looking out the window at the rain and blue sky beyond, is what represents mine after the song I’ve just heard. ‘Hold Your Horses’ could have been written for the teenage me. With my “head to the ground” as I “bury the tears” – a description that encapsulates my history of low self-esteem and suppressed vulnerability. If I’d heard Amy-Jo sing this back then I would have found solace and comfort in her words. Now, with hindsight, I see the truth in them. This is what makes her music so endearing. Her sensitivity to others woven into lyrics that make you feel seen. And whilst I’m still to find “that someone who loves you / just for being you”, I am nevertheless encouraged by how much I’ve grown when I “remember that kid”. It is like the silver lining in the grey cloud, and Amy-Jo has named it.
Mared’s latest EP washes over the listener like waves on a shore. If Sian Eleri is yet to play it on her Chillest Show then it’s strongly recommended. ‘Everything I Left Behind’ exists in a liminal space, floating between alt-folk, RnB and electro-pop. Fellow Welsh artists Georgia Ruthand Al Lewis come to mind in both in its sonic delivery and vocal whimsy. There is a real dividing line between third-person, character-driven narrative and first-person, metaphoric introspection. The former so strong in its imagery (‘Consequential’) and powerfully portrayed (‘Unwinding’) as to invite the listener to invest emotionally in their stories. The latter so honest in its rendering that, when mixed with an amplified electronic sound, communicates a transitional state between past and present, loss and possibility, in the context of relationship (‘Numbing’) and self (‘Everything I Left Behind’). Holding the two sides together is ‘Bore Hir’, a sensuous track whose inclusion of real water trickling alongside guitar strings exemplifies the overall vibe of this record. It is one that invites reflection – amser i anadl – as Mared combines lyrical vulnerability with mellow musicality. An approach that has worked for her before, and in the case of this EP, is a winning formula.
You can listen to Mared’s new EP on your preferred streaming service or, like me, you can purchase a copy on her Bandcamp page.
Sat between a mainstay of UK Country music and a Nashville singer-songwriter, Amy-Jo holds her own. It is testament to how far she’s come that the level of performance between her, Two Ways Homeand Regan Stewart is seamless. Her rendition of ‘Hypocrite’ at the latest Good Company Songwriters Round self-assured and unwavering. It is surprising how close the actual single is – the first to be released from her debut album – to this acoustic rendering. Stripped of the pop that I’d been expecting and instead filled with a multitude of strings, mandolin chief among them. Not so much as to create an orchestra but the track itself is certainly orchestrated to ensure that the lyrics are front and centre. A familiar approach that will delight fans of Amy-Jo’s storytelling, which is at once personal and relatable; provocative and whimsical in this instance. And intriguing enough to want to hear more from this next chapter that she’s calling her “purple era”.
Taynee Lord continues her country mash-up of pop and rock with her latest single ‘Still Searching’. Taking popular symbols from fairytales to tell her own story of love in a modern world. She is honest and unrelenting in her pursuit of ‘the one’. The central image of the frog is two-fold: both representative of those relationships that haven’t worked out, and the one, still to be found, that turns into a prince. This is the ‘happy ending’ she is searching for – where love respects vulnerability (“the castle walls came down”) and appreciates beauty (“I dusted off the ballgown”). The seminal guitar riff and ceaseless drumbeat her refusal to give up on it, despite yet “another trip around the sun”. It all makes ‘Still Searching’ the perfect way to tee up an EP that will no doubt continue her musical flair when released next month.
You can follow Taynee Lord on social media for the latest updates on her upcoming EP, links for which can be found on her website.
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