Helen Maw – Growing Pains

Helen Maw has a great deal of heartbreak to share on debut album ‘Growing Pains’. The Liverpool singer/songwriter puts the piano centre stage in a series of songs that feature break-ups, shake-ups and the odd take-up of relationships. Mixed in with these emotional stories are a variety of instruments that all serve to enhance the narratives. This places her somewhere between Folk and Pop.

Opening track ‘Mine Tonight’ contains a splash of soul amidst a strong beat which matches the desire at the centre of the song. ‘This Lonely Boy’ then adds a beautiful bit of saxophone to elevate the yearning for self-acceptance; to “see the boy you’re meant to be”. An element of tragedy reigns in its closing lines – “this lonely boy who has my heart / can’t see he’s tearing us apart” – which echoes through several of the tracks that follow. Not before the title track offers up a self-referential bop; though even here, an undercurrent of sadness is present, particularly in the line, “oh how I’ll miss these growing pains”.

The electric guitar on ‘Your Little Secret’ produces a determined attitude that drives home the consequences of cheating. Then, from ‘Ain’t No Friend of Mine’ onwards, the album becomes much more reflective and sombre, the piano truly taking over. ‘Fool’ is one of the highlights, with echoes of Ella Fitzgerald’s ‘What are you Doing New Year’s Eve’, in both tune and sentiment. ‘Won’t You Stay’ holds a more positive message, especially in the lines “I look in your eyes / and I’ve got a feeling we’ll be fine”. There remains a shred of uncertainty however, left to hang in the aching final words, “just tell me your mine”. ‘Second Thought’ is then tragic, and ‘Things You Never Said’ is poignant, despite the uplifting music.

As a result, ‘Growing Pains’ feels like one long ballad; like Helen Maw is still working through those romantic encounters and distilling her emotions into life experience which will stand her in good stead as she moves on to that “next stage”.

You can purchase ‘Growing Pains’ here. To hear more from Helen, visit her Spotify page.

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Featured Images (C) Helen Maw Music

The Wandering Hearts – ‘Mother’ Tour

The Wandering Hearts will always soothe the soul. None more so than on nights like this. For such has the frustration, expectation and manipulation weighed heavy on me this past Easter week, that to enter Gorilla and experience the refreshing tones of the trio’s harmonies is a gift duly embraced.

An air of nostalgia also helps. Support from Pearl Charles brings a throwback to the Glam Rock era. Indeed, her Los Angeles roots may explain her penchant for the kind of Country-Rock sound that emanated there from the same period. Playing music from her album ‘Magic Mirror’ alongside new material, the addition of disco funk ensures a ‘70s vibe encapsulates her whole set, with delightful abandon.

Pearl Charles

She is perfectly suited to open for The Wandering Hearts whose identity is partly shaped by the spirit of ‘Woodstock’. Indeed, a visit to the festival site proved seminal in the creation of their self-titled album. Their new one, ‘Mother’, contains fragments of that same Americana sound whilst also leaning more firmly into Folk. The resultant set is awash with soaring vocals, delicate performances and pulsating moments. The incorporation of songs from ‘Wild Silence’, their debut album, contributes to a greater array of flavours that blend well into a collective whole. At the same time, songs such as ‘Devil’ and ‘Rattle’ are subtly transformed to match the band’s present sound, without taking anything away from them.

They open the night with ‘About America’ and ‘Still Waters’, the first gently upbeat, the second rousingly reflective. The latter is also prescient to my emotions, with the chorus – “My body’s made up but my mind is a mess / So hard to focus when I feel like this” – washing over to embrace me in its familiarity. Perhaps “Sometimes it is better when it ends in tears”. Then ‘Wish I Could’ explodes with an almighty bop as a reminder of their toe-tapping quality before ‘I Feel It Too’ and ‘Not Misunderstood’ return to that soft sleight of hand for which they are well known.

The mandolin in Chess’s hand is a sure sign that ‘Devil’ is on its way. And sure enough, it is the next song, complete with the biggest cheer of the night bar the finale. ‘Waiting’ and ‘Change for the Good’ follow, one of those pairs linked somewhat by a loose theme. The first expresses a gracious love in the face of irreparable relationship. The second offers a sacrificial love in the hopeful search for reconciliation. Both capture a depth of feeling to which some may relate. As do ‘Tired’ and ‘Hold Your Tongue’. I certainly appreciate the connection with the former – its need for solitude, restoration, and healing. But it’s the other that feels spine-tinglingly relevant tonight. For having experienced veiled criticism, stony-faced opinion, and obsessively-controlling behaviour in the days before, the lyrics seem to speak right into my situation. And the bridged conclusion – “I know this isn’t about me if you can’t see / Let’s agree to disagree / We can stop this before there’s too much damage done” – reflects my own.

Only music has the ability to be both relatable and releasing simultaneously. To hear myself in the echoes of The Wandering Hearts’ music is gratifying. To be able to forget myself for a time in the unrestrained melodies of a ‘Build a Fire / Fire & Water’ combo is invigorating. The encore featuring ‘River to Cry’ seems like the ideal way to end: not a neat conclusion but holding both aspects in tandem. There is something about its tuneful association with ‘Down to the River to Pray’ (Alison Krauss) that also makes me lean into my own faith.

After a trying week, this gig was just what I needed to restore a bit of balance to my life.

This review was written after the Manchester leg of the tour. For further dates and tickets, click here.

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Featured Images (C) TWH/Pearl Charles

Sarah Louise – Change of Plan

On a night when I’m not at my best, there are moments on ‘Change of Plan’ that still capture my attention. This 14-track collection from Sarah Louise is an assortment of sounds and genres. A selection box of different flavours from Country to Pop, Jazz to Folk. It is hard to pin her down, but the versatility of her voice ensures that this is no bad thing. Rather, we are treated to a meandering journey through many emotions and experiences that somehow amass into a cohesive whole.

The gentle touch of ‘Better Be Lightning’ and ‘Cup of Coffee’ set the album up as a Folk-inspired, partly-introspective walk through nature before ‘Be Real’ kicks in bits of reggae, RnB, and African-inspired rhythm to throw the first surprise into the air. ‘Just For You’ then brings proceedings back down to a piano-led ballad suited to a stage Musical, followed by an acoustic guitar-focused tragedy poignant in both its music and lyrics.

Tongue-in-cheek ‘Sorry Not Sorry’ pervades with an emerging theme of freedom which becomes ever clearer in ‘I Ain’t Got The Time’ – the piano and acoustic guitar being the two main instruments used to help put her stories across with suitable effect. Then comes the biggest surprise and standout song on the album: ‘The Smile’. Transported to a speakeasy instantly by the tinkling piano and light-hearted saxophone, this atmospheric song is gorgeous in its simplicity and captivating in its sound. Unexpected amongst the other genres on display so far, it offers a different side to Sarah Louise’s talents and perhaps makes it even more special in this context.

The album returns to a standard Folk tune with ‘Part of the Story’ before entering into more ethereal territory with ‘I Am Angel’ and ‘Roundabout’. This direction into alt-pop is again an unanticipated but interesting one. The latter is especially fascinating and works well as a final track (though bonus songs ‘All I Need’ and ‘Sorry Not Sorry (Live Version)’ follow) to wrap up a collection that keeps the listener on their toes.

Sarah Louise is definitely what you’d called an undefined artist. But here, on ‘Change of Plan’, that is part of her charm.

‘Change of Plan’ is out on 28th March 2024 and can be ordered here.

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Featured Image (C) Sarah Louise/Scarlet River PR

Taynee Lord – Heavy Air

Taynee Lord is diverting down a darker road for her latest single. Country turns to Blues on ‘Heavy Air’: electric guitars creeping over her like shadows; haunted by the harmonies in the chorus. It perfectly resembles the situation in which she finds herself: trapped by a gaslit narrative that has moulded her into an anxious self. It means that despite her pre-chorus insistence that “this time I won’t let them get in my way / I won’t let them feel like I don’t have a say”, her chest tightens, her breath shortens, and she is suffocated out of telling her truth. The shift in emotion, between expectation and reality, is palpable. And what is so moving about this song is the lack of positive resolution. The low vocals remind me of Rosey Cale on ‘Mary Jane’, but whereas the person escapes their situation there, in ‘Heavy Air’, it remains the same at its end. And though that might seem unsatisfactory, ironically it speaks of a truth that is a reality for some. In doing so, Taynee Lord has hit on something important with this song. And in allowing herself to move across the genre spectrum, she has also let the music do the talking.

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Featured Image (C) Taynee Lord

The Way – BBC Wales

Its title is perhaps deceiving. For there are many ways to describe The Way. Realist, certainly, but both magic and social. Incorporating documentary-style shots with archive footage. Alluding constantly to myth and legend. And that fine line between the supernatural and the imagined. All such elements contribute to what feels like something that wants to be epic. But there are so many strands to this drama that sometimes it drowns in its own details instead.

As Michael Sheen’s directorial debut, it isn’t too bad. It is not so disjointed as to be lacking any concept. The problem is that there are too many big and weighty themes being handled. Boil it down to the Driscolls – the family at the centre of this drama – and it becomes understandable. A fractured and broken unit, the four of them are forced to work together when Port Talbot becomes a site of insurrection, for which mam Dee (Mali Harries) and son Owen (Callum Scott Howells) are largely to blame. In this alternate-reality, they have no choice but to flee their country, seeking to cross the border (which is hard and fast here) into England, and on to daughter Thea’s husband Dan in Germany (played by Sophie Melville and Aneurin Barnard respectively). Their journey is strangely perilous, avoiding road blocks and any kind of surveillance in very familiar countryside and townscapes. It is a bit like watching Edgar Wright’s ‘Cornetto’ trilogy but without the humour. Everything is a lot more serious here. As if Sheen wants to create a contemporary version of a Classic tale: a 21st Century Mabinogion, if you will. But this lofty ambition is perhaps pushed too far, with hyperbolic tendencies that create, at worst, confusion, and at best, fascinating melodrama.

Lead actor Steffan Rhodri brings a pathos to dad Geoff that keeps the drama believable. He handles his character’s unresolved grief and melancholic temperament with a natural ease that catches the eye. In contrast to Mark Lewis-Jones’ hammed up performance as Union man Glynn and Luke Evans’ suitably brooding but underwhelming appearance as mercenary Hogwood, Rhodri embodies an everyman persona that keeps The Way grounded in its otherwise flittering state. For amidst the jump cuts, involving security cameras, social media sites, and news flashes, there are also talking teddy bears, Carry On clips, and prophetic dreams. But whilst on one level it could be described as strange, there is also a prescience to it that remains real. None more so than with the threat of job losses at the steel plant. Sheen is not content with just a standard social commentary on this issue though. He incorporates immigration, nationalism, Thatcherism, and nostalgia into a story that also wishes to say something about the nature of story itself. Not self-referentially but in the wider sense of Wales as a land of story and song.

Everything is done with good intention. But it doesn’t always result in translation. There are times when, for example, the life of the steel plant would work better as spoken metaphor, and the final monologue more affective, in the context of theatre. The Way almost shows us too much and, in doing so, doesn’t say enough. It rightly has one family at its core but a tendency to reach wider causes it to lose sight sometimes of this feature. The Way still manages to be entertaining though. Just a shame that it’s Michael Sheen’s name that gives it kudos rather than his direction or the drama itself.

Watch the full series on BBC iPlayer here.

Originally written for and published on Get the Chance on 29th February 2024.

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Featured Images (C) BBC

Bariau – S4C

Bariau is the latest series to enter the realm of prison drama. With Time and Screw already making a mark in their respective ways, it is the turn of S4C to put a Welsh spin on the subgenre. Bariau follows the blueprint of the other two insofar as real-life stories inform the onscreen narratives. Verisimilitude is in vogue when portraying life behind bars these days. But while Bariau does not shy away from the dark realities, its soap-like presentation makes for palatable viewing.

The casting of Adam Woodward (Hollyoaks, Emmerdale) as Kit Brennan ensures that Bariau entertains popular appeal. He brings a slight melodramatic edge to this central villain, making him at once genuinely terrifying and ludicrously arrogant. He arrives with a real swagger, and fast becomes the controller of a wing that features a great cast of misfits. Glyn Pritchard is particularly good as the religiously-devout Peter, whose overbearing mother and anger management issues give some kind of insight into his incarceration. The focal point is Hardy however, played with a fascinating aloofness by Gwion Tegid. An air of mystery continues to surround him even as he becomes embroiled in the powerplay and blackmail of life in the cells. He gets dragged into Brennan’s world largely against his will, performing tasks with deadened emotion. He is intriguing to watch.

The relationship between George Lyle (Bill Skinner) and prison guard Elin (Annes Elwy) is fatefully believable. Brennan threatens them both with exposure unless they enact his plan, inevitably involving drugs. The way tension is built up by the searing music is nicely done (though a little too overbearing in episode five), especially in the final episode, where things come to a head in dramatic fashion. Not edge-of-the-seat thriller but still an enjoyable twist or two to keep glued to the screen. The bilingual nature of the show also adds a touch of finesse which plays into the reality of Wales’ prisons. It means overall that Bariau falls somewhere between Time’s grittiness and Screw’s humour: late-night soap opera, if you will, meant not as an insult but very much a compliment.

Watch the full series on BBC iPlayer here.

Originally written for and published on Get the Chance on 17th February 2024.

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Featured Images (C) BBC/S4C

Girls’ Night In @ The Philharmonic Music Room

Each of the members of Girls’ Night Inbring something different to the show but friendship runs through them all like a stick of rock. The camaraderie between the four is a joy to behold, and is one of the reasons this Songwriters’ Round works so well. The quality of their voices and the variety between them is a match made in heaven. For Kezia Gill’s Blues, Demi Marriner’s Americana, and the Country of Jess Thristan and Jade Helliwell, infused with Soul and Pop respectively, create a magical blend of styles. It ensures an entertaining evening for an audience as energetic as they are attentive.

The Liverpool leg of the tour takes place on Valentine’s Day, reflected in the shimmering red of Jade’s dress and plenty of nods to their respective partners (or, in Jess’s case, singleness). The message that comes through loud and clear is not one of traditional romance though but a celebration of strong and empowering womanhood. Coming on stage to ‘Man, I Feel Like a Woman’ and proceeding into ‘Hole in the Bottle’ certifies this. The ladies then start going down the line to introduce themselves, not that introductions are needed for those already versed in UK Country Music’s leading lights. Kezia’s ‘House of Cards’ is a nice reminder of her beginnings however, while ‘The Old Me’ and ‘Sins’ showcase the high bar both Jess and Demi have set for themselves. ‘Woman I Am’ has fast become Jade’s signature tune, and so for anyone unfamiliar with their music, this was the perfect introduction.

In between each round – and most songs, in fact – there was a plethora of banter, anecdotes and compliments. This was as much about their relationship as their musicianship; an insight into their characters as well as their lyrics. None more so than during the Co-write Round, where Jade featured across all four songs. But also, when a lucky four in the audience found a card under their seats with a poem inside, the accuracy of their guesses as to who had written which pointed to unique traits that were clearly coming through during their time onstage. Such insight went beyond the usual observations that could be made – like the contrast between the gorgeously gentle ‘Steady’ (Demi) and anthemic ‘Slow Dancing on My Own’ (Jess). Whether in the hilarious follow-up conversations on accents and “BV” (if you know, you know) or the facial expressions and praises given to one another’s performances, this was a show where backstage access became part of the performance.

A final round of as-yet-unreleased tracks revealed the exciting future that lies ahead for their fans. In the meantime, the collective harmonies of this quartet, first on ‘Jolene’ and then on ‘If You Go Down (I’m Going Down Too)’, offered a sumptuous treat that was savoured by the audience. For all the subtle variations in their styles, there is something about their coming together that adds an extra touch of class. Friendship is most definitely the firm foundation for this show. Which helps make Girls’ Night In the most enjoyable of nights out.

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Featured Image (C) Kezia Gill/Jade Helliwell/Demi Marriner/Jess Thristan

Elles Bailey – The Night Owl & The Lark

The team around Elles Bailey has solidified over these past couple of years. And it’s only when hearing ‘The Night Owl & The Lark’ do you realise how integral they have become to her sound. Not that this latest EP disrupts in any negative way. There are notable differences though from her previous records.

While the cover artwork, beautifully designed by Alice Armstrong, may give the impression that she is heading in a Folk direction, the extremity to which she strips back her music is not quite so severe as that. It is more a case of toning down her vocals to suit compositions that do the simple things well. The cast of Redtenbacher’s Funkestra, with whom she collaborated back in 2020, are not prone to amping up sound or ramping up emotion. Instead, the familiar sounds of Hammond, electric guitar and bass pose a more level-headed existence without skimping on Elles’ signature Blues.

There is a distinct juncture away from the gloriously cacophonous Rock of ‘Shining in the Half Light’ as well as a much lighter form of Gospel than that found on ‘Road I Call Home’. A sprinkle of Soul is added and a touch of Funk plays out but nothing is overstated. Both ‘Lean on My Love’ and ‘Nothing Without You’ carry their message with minimal spend. It is something of a surprise for fans used to getting carried away with the music. Not that it’s all smooth sailing. ‘Bring It On’ holds that fiery determination borne of typical Bailey grit in the face of trying circumstance. And while ‘Jordan’ begins with such delicacy in the face of heartrending lyrics, the punching of piano keys come its end contributes to a chorus that demands nothing less. For its lines “I’d rather see you go in the arms of your angels / Than to keep you here with me / I’ll meet you on the other side of the Jordan / Now let your soul go free” are suitably emotive, and for this listener, become tear-stained.

‘Jordan’ is an excellent addition to Bailey‘s cover collection – right up there with ‘Angel From Montgomery’. The song that this EP hinges on though is ‘Mumma and Me’. A lovesong that fizzles with something special. The second verse is a gorgeous tribute from “the night owl” to “the lark” of the EP’s title. Its line “That speckle in your eye / Nan had and so do I” is a beautiful picture of successive generations. The addition of strings toward the song’s end is another moment when feelings are heightened and captured by the music. But there remains a calm and reflective tone throughout. Recognisable but with a hint of something different in her delivery.

‘The Night Owl & The Lark’ is a lovely addition to the Elles Bailey catalogue. It stands alone in some respects – a slight diversion from the main path – and yet it remains imprinted with her indelible mark, with Blues for the 21st Century at its heart.

You can purchase ‘The Night Owl & The Lark’ EP, along with associated merch, from Elles Bailey’s website here.

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Featured Image (C) Elles Bailey/Alice Armstrong

Neeve Zahra – Rub a Little Dirt On It

Stunningly beautiful. Nothing sums up Neeve Zahra’s new single better. ‘Rub a Little Dirt On It’ is one of those rare moments when the magic of the acoustic guitar works to unbelievable effect. The delicacy with which this Country-Folk track is played is matched by very few UK artists in the genre. It is classic Shires, with perfectly-blended male/female harmonies to boot. Neeve and Ben Walker’s vocal movements are so well choreographed as to become a tender dance. Such is the gentleness conveyed in their performance that the love at its centre becomes soft as the grass on the cover image; fragile and blessed. The oxymoronic lines “let me go / hold me close” and “rub a little dirt on it / fix it up brand new” then add a lovely playfulness to the relationship in the lyrics. They do what all the best country love songs do. That is, rather than descending into romantic cliché, it finds a fresh way of expressing that universal feeling, retaining emotional depth through creative storytelling. No one does this better right now than Neeve Zahra. ‘Rub a Little Dirt On It’ is definitely an early contender for UK Country Song of 2024.

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Featured Image (C) Neeve Zahra

Amy-Jo – On Days Like These

Amy-Jo puts a contemporary twist on a well-loved classic for her first release of 2024. Not many have attempted to rework ‘On Days Like These’, perhaps because Matt Munro’s original is so definitive. Rather than make massive alterations then, the producers of Amy-Jo’s version merely update it using the latest techniques. It means a far more sonically-produced sound that retains its cinematic quality; a theme for the latest high-definition widescreen as opposed to mid-20th century technicolour. This is pop in the era of Billie Eilish in contrast to the smooth-sounding crooner. Not that the elegance is ejected here. Instead, the expansive tones of Munro’s sweeping vocal are replaced with the petit movements of Amy-Jo’s far subtler voice. When combined with the piano, the song becomes much more intimate. The hardened strings then add an introverted edge that brings a touch of darkness. Thus, it becomes a version for our age of self-reflection. No less enjoyable even as it differs in reception.

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Featured Image (C) Amy-Jo