There’s great irony in the title of Amy-Jo’s single ‘Coming Close’. That’s because the Morecambe-based singer/songwriter has struck gold with this, an instant hit that is far from the “silver medal” that she talks about in the chorus. The uncomplicated musical arrangement allows the song to really shine, as it’s the lyrics and Amy-Jo’s vocal that make it such a pleasurable listen. There are undeniable echoes of one of her major influences, Duffy, in her voice, but also another fellow Welsh songstress, Laura Evans, which means ‘Coming Close’ is delivered with soul. It is heartfelt as well as heartbreaking. This is especially true for those who will recognise themselves in the bridge, whether as “aunt… friend… vice… [or] support”. It makes the final line of this section all the more emotive – “can I be the leading lady once in my life” – which Amy-Jo expresses through high notes strained with earnest desire. The irony, as already noted, is that she has already done enough to reach that goal. ‘Coming Close’ demonstrates her innate songwriting ability and talented delivery. It is up there with the best from the UK Country scene in 2022.
Originally written for and published on Belles & Gals on November 24th 2022.
The latest single from Olivia Lynn has marked her as one-to-watch on the UK Country scene. ‘Ain’t It a Shame’ is an empowering song full of attitude and superb put-downs as Olivia tears down the men who seek to control female opinion and fashion. In this interview, she speaks with passion and enthusiasm about her journey in music so far, the female country artists who inspire her, and the anticipation ahead of her first “real” gig in a couple of weeks’ time.
Hi Olivia! Would you like to introduce yourself to our readers by telling us a bit about yourself?
Hi! So, I’m 17 years old and from Luton, Bedfordshire. I’m a country-pop singer/songwriter and ever since I could make a noise I was singing! I like to think I’m smart, confident, funny, articulate, and with a heart of gold.
When did you first become interested in music, and who were your musical influences growing up?
My first memories of becoming interested in music are around the age of 4. I remember singing my first solo ‘Twinkle, Twinkle…’ at my nursery nativity and really enjoying being on stage and everyone clapping me. But even before that I always loved to sing and dance around to music – it didn’t matter what music it was, where I was or who I was with, I’d dance and sing along in my own way!
I’d say my musical influences growing up were Dolly Parton – I loved listening to her with my nana; it was like listening to stories – Shania Twain – my nana always sung her songs on karaoke – Lady Gaga, for her fantastic stage presence and costumes, Taylor Swift, just because she was the mixture of pop & country that I love, and my mum
Could you tell us a bit about your journey in music so far?
Unfortunately, I got bullied so terribly at school that I was in and out constantly which affected my attendance. I endured not only psychological bullying but physical too*, so my mum pulled me out of school and I threw myself into my music, using my thoughts and feelings to write my first song, ‘China Doll’, which has never been produced (yet).
Covid lockdown happened, which was when my social media took off thanks to posting my singing and acting, and I gained over 100000 followers. There was so much love that came with that but also so much hate. Unfortunately, I started to spiral down into a dark place but, thanks to my love of singing and music, as cliche as it sounds, I had a purpose so, once again, I threw myself into writing and performing more songs. During this time my mum came across an audition for a girl band with Kamedia. I auditioned but was not successful so kept singing and writing to keep myself occupied and focused. Then, out of the blue, they contacted me again asking if I would be interested in a solo career as a country-pop star. I saw this as an incredible opportunity to bind both genres (which I love) together to showcase my own music and spread awareness through my stories.
Before I knew it, I had released my debut single ‘Modern Girl’, an anthem to where I want to go in life. ‘Modern Girl’ went to No.1 on the Country iTunes Charts, going above and beyond what I was expecting! From there I released three more, which all hit the Top 10, which I was over the moon about, particularly my latest song, ‘Ain’t that a Shame’, which was released in September this year, as this was written totally by myself.
I was due to play my first festival, Country Trail Music, in Mallorca this year but unfortunately it was postponed till next year but I’ve been doing lots of local gigs to get my songs out there but still waiting on my first festival to come knocking on my door.
What is it about country music in particular that attracted you to the genre?
It was Dolly Parton and her wonderful storytelling that got me into country. All credit to my nana for this as she used to sing Dolly’s songs to me and play them in the car (still does) and sing country music on karaoke at parties. The idea of telling your own personal stories & journey via music really appeals to me and country music allows you to do this.
You released your latest single, ‘Ain’t It a Shame’, on September 30th. Could you tell us about the story behind the song?
I wrote the song because I was sick and tired of being told by boys/men what I could and couldn’t wear and what I should and shouldn’t say and I wanted to prove to them that I can do what I want! You’d be surprised how many boys/men think it’s ok to message via social media saying these things, and I’m like, Hello, what’s it to do with you!?! I’m all for empowering us girls and my song allows this!
You are due to play a BBC Introducing gig hosted at Bedford Esquires on October 29th. How important has the support been from your local radio stations and regional venues so far in your music career?
I am so excited for this BBC Introducing gig and I’m so grateful to be able to perform there. You couldn’t begin to understand how much the local radio stations, podcasts, interviews and so on have meant to me. They have helped me get to where I am now by pushing my name and music out there, and if it wasn’t for them and their support I wouldn’t be here listening to my music on radio, seeing my words on paper, and telling my stories. I also gig at a lot of charity events for this reason. Every bit of exposure I can get I grab! And thankfully it’s led up to my first real gig with BBC Introducing.
Finally, if you could pick one female country music artist to write with, who would it be and why?
You may be surprised at this as most people would think I’d say Dolly BUT it has to be either Shania Twain or Taylor Swift. I know you said one, however, they are two country artists that I both admire and love yet are so different. Shania is wonderful with her story telling and being that female country artist who empowers us girls (and she’s so beautiful) whereas Taylor has that element of young pop in her country music which is my genre… actually, come to think of it, how about an Olivia Lynn/ Shania Twain/ Taylor Swift collab? Now wouldn’t that be something!
Rebecca Richards has felt all the emotions bar one on debut single ‘Unluckiest of Hearts’. The Welsh singer has “felt sad… bad… fury… [and] boiling mad / but I’ve never felt love” on a track that laments the fact through jazz-infused blues. One can picture her in the corner of a smoky bar in the ‘60s crying her heart out in perfect tune. The slow groove of the song emphasises the beautifully aching vocals that sell the sad soul of the narrative to great effect. Much like her counterparts Jodie Marie and Laura Evans, Rebecca Richards has found something in the old school blues that has evolved from her country music beginnings. It is a sound that matches the song’s story well and justifies her decision to pursue music again after a long hiatus.
Originally written for and published on Belles & Gals on October 20th 2022.
It could be that Dal y Mellt is S4C’s most ambitious drama to date. Episode one certainly promised much from a series that looks set to deliver. Adapted from the hit novel by Iwan ‘Iwcs’ Roberts, the narrative weaves mystery, comedy and crime seamlessly to create a world that is universally recognisable whilst being inherently Welsh.
The first thing to note is its scope. Dal y Mellt spreads across the country, taking in the busy streets of Cardiff and the beautiful vistas of Gwynedd in between visits to London Euston and Chester. Connections to Ireland via the Holyhead-Dublin ferry will come into play as the series progresses, making this a drama of ambitious scale. We are no longer confined to a narrative centred on small town Wales or even a singular region. Instead, Dal y Mellt combines the best of previous Welsh dramas to extend its reach to the whole of Wales and beyond. It does so not as a gimmick but in keeping with a kind of unspoken contemporary tradition of intimate character portrayals (Keeping Faith; Enid a Lucy), expansive landscape shots (Hinterland; Hidden), and a complex narrative web (Yr Amgueddfa; 35 Diwrnod). The cinematography, with its stylistic shots and trained lighting, ensures that it works by adding a touch of quality that underlines its movielike proportions.
Dubbed “a hoot of a heist”, there are already some familiar tropes that appear in episode one, including plans sprawled out on a table, secret meetings in an art gallery, and a car chase involving the police. What feels so fresh about this context however is that they’re given a Welsh spin. Gronw (Dyfan Roberts) holds down his drawings of a ship’s decks with a cup of tea and other items from his traditional farmhouse kitchen. The National Museum of Wales provides the backdrop to a conversation between wayward lad Carbo (Gwïon Morris Jones) and garage-owning gangster Mici Ffin (Mark Lewis Jones). Carbo drives through country lanes and takes a detour through some very muddy fields to get away from the cops. Each incident is tinged with humour which lightens the mood. The result is a series that is not gothic a la Peaky Blinders or violent like The Sopranos but nevertheless takes some of their ingredients and mixes it with a distinctly Welsh flavour. It means that the characters are all believable, reflective of their particular locations; and the story remains grounded even as the plot becomes more elaborate and outlandish.
Mici Ffin (Mark Lewis Jones) a Carbo (Gwion Morris Jones)
The characters of Mici Ffin and Les are worth particular mention from this first episode, Mark Lewis Jones and Graham Land making for an instantly likeable double act whose straight faces only add to their comedic value. The fluffy seats and dice dangling from the rear-view mirror of their Capri conjure up a Del Boy and Rodney type partnership which also expresses a lovable incompetence reminiscent of Horace and Jasper. Their dealings with happy-go-lucky protagonist Carbo are a delight to witness, the cheekiness of his responses toward them making him an affable rogue. Morris Jones brings a dexterity of emotion to the role to create a character of both confidence and vulnerability. It is a combination that wins admiration from the viewing public, no more so than in the final scenes, as we witness his fear and ingenuity play out whilst dangling from a forklift tractor. It indicates to Mici the importance of this lad in the events to come, events which remain very much a mystery at the episode’s end.
The eclectic soundtrack, with its reggae-inspired beats and operatic moments, reflects an expansive taste across genre, location and emotion. It is a drama of dark and light; witty and gritty; familiar yet full of mystery. Dal y Mellt is not easy to categorise, combining as it does various elements, but it definitely looks set to entertain audiences with a narrative full of adventure and intrigue. If Y Golausaw it go off the boil, this looks to be a series that brings S4C’s dramatic output back to something that represents their best.
Originally written for and published on Get the Chance on 30th September 2022.
One of the most exciting talents coming through this year’s Forté project is surely 18-year-old Elin Grace. The singer-songwriter from Mid Wales has just released an EP of sheer brilliance. ‘Bee Without Wings’ may only be her debut release but it demonstrates a maturity far beyond her years. Lyrically complex, sonically fascinating, vocally mesmerising, the whole record is absorbing from start to finish. With touches of Kate Bush, Lily Allen, Rona Mac and Amy Wadge, along with her particular inspiration Laura Marling, it is generous with genre while maintaining a consistency of sound. Always serving the narrative, the music becomes an accurate representation of each song: the fragile piano on ‘Little Bit Delicate’, the rhythmic synth of ‘Breathe’, the music box sound underlying ‘Doll’. All touch on mental health in some way, whether it be anxiety, self-esteem or depression. All contrast the expected angst of their subject matter with a poise that is strangely comforting – sometimes soft and light; ironic and even comic – to make this an EP shot through with eccentricity. It is as if Elin Grace is wanting to hold a mirror up to her experience to reveal its peculiarity. She is an artist of genuine depth, unafraid to share moments of personal vulnerability and confident to deconstruct the false values of contemporary society. ‘Bee Without Wings’ is a consummate piece of music-making. Elin Grace has a very bright future ahead of her.
Originally written for and published on Get the Chance on 24th September 2022.
Beneath the light exterior of Jess and the Bandits’ latest single is a serious message about life as a working mum. ‘Emotional Baggage’ comes from lead singer Jessica Clemmons’ own experience of trying to manage a career with two sons in tow. The result is a song that contains many scenes from the typical parent’s life, reflected on with irony and humour to make it endearing to many a listener. The chorus line “I got a house full of kids and a husband that speaks another language” will certainly go down well with fellow mothers, who will no doubt recognise the strength in “I’ve got emotional baggage / It ain’t nothing I can’t manage”. Jessica straddles the line between authentic struggle and observational wit really well, creating something relatable and relevant, especially for those in a similar position to herself. Wrapped up in Texas-style Country swing, ‘Emotional Baggage’ is definitely a song to be enjoyed even as it has something to say.
Originally written for and published on Belles & Gals on 24th September 2022.
It’s the sound of Beth Nielsen Chapman but not quite as we know it on her latest album ‘CrazyTown’. The acclaimed singer-songwriter has, in her own words, “let go more on this record than I ever have before”. The result sees a merry band of musicians accompanying her throughout, given the freedom to flesh out her sound in such a way as to capture a very different side to Beth. In one sense, it is far from the usual reflective, highly acoustic numbers we are used to hearing. Nevertheless, her lyrical genius remains amidst the classic blues-rock that arches over this album to make it one that is full of vigour and a highly entertaining listen.
Opening track ‘All Around the World’ hits the ground running, with a deftness of touch that finds it harking back whilst being rooted in the now in terms of its sound. There is a slight retro feel to it, as there is with others on the album, like ‘Pocket of My Past’ and ‘Dancin’ with the Past’. They have a folk-pop vibe similar to Beth’s contemporary Suzanne Vega, and as such embrace a toe-tapping rhythm alongside a clear vocal delivery. The music always serves the words. It certainly does on ‘Put a Woman in Charge’, a call for female leadership in a world that has been exploited by the ownership of men. We need those “sisters of mercy now”, Beth declares, over a backing choir of gospel blues that lifts the message of this song to inspiring heights. It paves the way for the celebratory ‘Hey Girl (We Can Deal With It)’ later on which really champions women to hold their own, and each other, in the face of adversity and challenge. The blues that underpins it, full of attitude and sass, only pushes its anthemic chorus further out for all the world to hear.
‘With Time’ pulls back on the surround sound to concentrate fully on the songwriting of Beth Nielsen Chapman. It is a gently musing ballad whose piano carries her thoughts on the passing of time with great weight and poignancy. Lament and hope are fused together beautifully in its lyrics which meander through the bold notes like a river through fields of green. The chorus line is simple but uplifting – “still there’s a lot of life to live… of love to give” – and this is certainly made clear in the soft country-rock of ‘The Truth’ and the blistering arrangement of ‘The Universe’. The first celebrates the solid and steadfast nature of its subject matter, and could be seen as a companion piece to ‘Come to Mine’ from the ‘Heart of Glass’ album. The second goes even further to marvel at the whole of creation, and is nothing short of inspiring.
Following both these songs is ‘The Edge’, a heartrending track that brings it back to the personal. Written about losing her first husband to cancer, its solemnity is touched by the beauty of the guitar to become a way of not only expressing grief but moving through it too. That sense of journeying is a theme that spreads across the whole album, making melancholic closer ‘Walk You to Heaven’ the perfect fit. Inspired by the late John Prine, this has his fingerprints all over it, from the wistful sound of the vocal with guitar to the captivatingly beautiful lyrics. It is classic Beth Nielsen Chapman in many ways, showing that she is still at the top of her songwriting game. ‘CrazyTown’ manages to showcase this in a new way though, and does so to great acclaim.
‘CrazyTown’ is out on September 23rd. To celebrate the release, Rough Trade have a signed exclusive coloured edition of the album which can be pre-ordered here. Beth will be returning to the UK in October for a 20-date tour, tickets for which can be bought here.
Originally written for and published on Belles & Gals on 24th September 2022.
At a time when both the nation and the world have been paying tribute to the late Queen Elizabeth, the new single from Poppy Fardell feels ever more prescient. ‘Good Girl’ speaks of female empowerment. Its central question is “Who’s to say what a girl is and what she isn’t?”. In a world of purely patriarchal leadership rose a young woman to the British throne at the age of 25. She had been showing them how it was done ever since. A line in Fardell’s song that might have otherwise rushed past suddenly bears weight – “give everybody crowns”. If one of the legacies of her reign has been to shatter the glass ceiling then it will have been inspiration enough for women to know that they can achieve anything. The main thrust of Fardell and co-writer Jess Thristan’s song is much the same. Many of the traditional expectations that they list in the opening verse were subverted by Her late Majesty. She actually did “play with the big guns”. She didn’t just “wear… a smile but keep [her] mouth shut”. She displayed the kind of quiet wisdom and confident strength that is being so lauded now. What Fardell does is add vivacity through the music to create an anthem that truly celebrates this veracity. It is another catchy crowd-pleaser to add to her growing list of infectious country-pop tracks. This one feels particularly special though because of its message. ‘Good Girl’ may unwittingly celebrate the passing of one remarkable woman but it is also a clarion call to others to follow in that way. Let’s “know what we’re worth… get what we deserve… [so] every little girl knew they could change the world”.
Originally written for and published on Belles & Gals on 17th September 2022.
The full band sound on Hollie Rogers’ debut album, ‘Criminal Heart’, compliments well her style and delivery as a singer-songwriter. After hearing her live only as an acoustic act, it came as somewhat of a relief that the added layers of instrumentation on the record do not overpower the lyrics or vocal sentiment that make her such an endearing new artist on the scene. Instead, they gently contribute to a seamless mix of folk and blues through which Rogers tells her stories with understated passion.
The drum and bass set the tone on the title track, which kicks off the album with plenty of attitude. It is the kind tinged with helpless regret from unruly behaviour blamed on “a criminal heart”. Such a heart is not without its humour though. ‘Strange’ combines the observational comedy of a branch of country music with a romanticism soaked in the sound of the blues. It makes for an entertaining track, as does ‘The Coast Road’, though it is the sense of place captured by the simplicity of the acoustic guitar that makes it so. Hollie’s whimsical vocals and Pete Whitfield’s violin only contribute to turning it into a thing of beauty sandwiched in between two songs with a Gospel inflection. The first, ‘Love’, speaks in its chorus of where love can be found: “down in the ditches/ at the bottom of a barrel…/ on the back of a toilet in a motel room…/ hanging from a streetlamp, tied up with laces”. The second, ‘Bring Me Some Peace’, reflects on how dark those places can be sometimes, in the midst of a mental health crisis, with personal battles, daily struggles, and past abuses all caving in. “O Lord, I am sorry, bring me some peace” is a line that echoes as a prayer at the end of an affecting song that is strikingly honest in its pain and hope.
‘Love & Distance’, featuring Jamie Lawson and Robben Ford, is a lovesong full of longing, marked by separation. Its chorus in particular instils a sense of yearning for what can’t be had (in this case the presence of a loved one) through the softness of drum brushes and Lawson’s ever-pensive voice. ‘Girl on a Mission’ then adds a certain smokiness to proceedings, with flashes of cello (again, courtesy of Whitfield) bringing this song to life. ‘One Last Time’ turns down the heat with some country-folk heartache before ‘Sinner’ cranks it back up again with a sultry, jazz-inflected arrangement. The final two songs then sum up the overall feel of the album. ‘The Man You Had To Be’ showcases the folk-blues flavour that runs through most of the album while ‘City of Colour’ captures Hollie Rogers’ often-contralto voice, which here matches the piano perfectly to create a captivating ballad.
‘Criminal Heart’ ends as it begins, with intriguing lyrics wrapped in a fascinating musical arrangement. It makes for a solid debut from this Cornish singer.
Originally written for and published on Belles & Gals on 17th September 2022.
There is no better description of the sound on Motel Sundown’s debut album than that of their own: “layered acoustics”. They sum up perfectly in two words the sumptuous blend of uncomplicated yet sophisticated that makes ‘If You Were Listening’ a rich easy listening experience. It is a delight to get lost in their mix of the traditional and contemporary, straddling a border between Celtic folk, Appalachian country, and British rock so naturally as to create something almost unique. There are hints of First Aid Kit, Emmylou Harris, Gillian Welch, and the Ward Thomas of the ‘Cartwheels’ era, but also unapologetic nods to the likes of Jimi Hendrix, James Taylor and Fleetwood Mac. As such, their music is subtly varied whilst riding a distinct Americana wave.
Opening track ‘Brake Lights’ is the first to construct a multitude of simple guitar riffs in such a way as to create a sufficiently-filling musical sandwich. It overawes the listener with a dreaminess that then turns to nostalgia with second track ‘Perfect Eyes’. The pedal steel comes to the fore here in a composition that includes the odd tinkle of piano keys and plenty of soft drumbeats with which to wrap the listener in. This is before sinking further into the trio’s beautiful three-part harmonies on ‘Cassie’, an Irish folk-like song made modern by the presence of a 12-string Rickenbacker which itself harks back to 1960s rock.
This inability to nail down a fixed identity for the Liverpool-based band continues with ‘The Room’, a country-folk number that includes a classic rock guitar solo in its middle, and ‘One More for the Road’, with its Americana sound containing some light pop touches to flesh out its upbeat tone. These two songs bookend the title track, ‘If You Were Listening’, which is an intimate, soulful affair that speaks most purely to the band’s inspirations and influences. Meanwhile, ‘Shopping’ diverts into another corner of their repertoire, Rob Johnson taking a rare foray into lead vocals as Naomi and Karen provide the backing on a gently-swaying blues-rock production with a melt-in-the-mouth guitar solo towards its end.
‘Night Owl’ feels like a modern folk song that demonstrates the band’s collaborative approach to songwriting before ‘Days are Gone’ turns towards a fuller sound, drawing from a range of musical elements to again present a track that is ill-defined but rich in texture. ‘Mexico’ is another that refuses to contain Motel Sundown in a single generic box. Its Latin-themed percussion combines with a smooth folk-rock groove which is enhanced further by some of the best lyrics on the album to make a fascinating song that deserves repeated listening. As does the final track ‘Wild Atlantic Way’. Named after the coastal route on the West of Ireland, it fits the Irish-lilt of Karen and Naomi’s voices well whilst capturing something of the bluegrass sound of Alison Krauss & Union Station who are something of an inspiration. It is the perfect song on which to end an album that is full of delights.
Originally written for and published on Belles & Gals on 17th September 2022.
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