Swedish singer-songwriter Emma Svensson is continuing the cosy Christmas feeling into 2023 with her new single, ‘Runs in the Family’. She captures the closeness of family and the continuation of long-standing traditions by telling of childhood trips to the mountains which she is now undertaking with her own kids. She does so through strong imagery that holds a cinematic quality. The line “packed like sardines in the back of a Volvo”, for example, instantly paints a picture that will evoke memories for many a listener with similar experiences of the annual holiday. She also sums up the strength of relationship that can exist between family members succinctly in the chorus line “one phone call and they’ll be there” which, when wrapped in a mixture of rock and pop, and peppered with plenty of classic country elements, makes for a song that is warm and snug. An enjoyable and entertaining track.
Originally written for and published on Belles & Gals on January 9th 2022.
In this personal review of 2022, I select ten songs by ten artists that have made a particular impression on him over the last twelve months. “I realise that there are some striking omissions, like Ingrid Andress, Kelsea Ballerini, and Elles Bailey, to name but three, but the songs and artists that I’ve chosen (and it’s been hard to cut it down to just ten!) have had some sort of lasting impact on me personally, hence what may be a surprising and/or contentious selection for some”. Whether you agree or disagree, feel free to share your own choices below.
Morgan Wade – ‘Wilder Days’
A somewhat contentious first choice given that her album ‘Reckless’ originally came out in early 2021. However, the Deluxe Version (complete with a fabulous cover of ‘Suspicious Minds’) only came out in January of this year, when hit single ‘Wilder Days’ also seemed to be at its peak, if UK radio-play was anything to go by. It has been like an earworm in my brain ever since, competing with Cole Swindell’s ‘She Had Me at Heads Carolina’ for the most addictive song of the year.
Tenille Townes – ‘When’s It Gonna Happen?’
The subject of singleness is one rarely touched upon in song lyrics, which is what made this track so special. To hear Tenille tell her own story with such honesty, and wrap it up in such a catchy melody, meant that this was always going to stay with me. It has been joined since by ‘Plane Tickets’ and ‘Traditions’ from Beth Keeping, whose own honesty with regards to being single has been hugely welcomed.
Anne Wilson – ‘Sunday Sermons’
I happened to stumble upon ‘Sunday Sermons’ in the recommended videos section on YouTube. I’d never heard of Anne Wilson before but taking a chance on this song was definitely not wasted. I love its mix of infectious country-pop, personal faith testimony, and rousing chorus line. Along with the rest of her debut album, ‘My Jesus’, this is Country-Gospel at its finest.
Maren Morris – ‘Humble Quest’
The third album from Maren Morris was eagerly awaited and did not disappoint. Like a lot of post-lockdown records, it introduced us to a more reflective side. ‘Circles Around This Town’ was always going to be a hit but ‘Humble Quest’ struck a deeper chord with me. The title track holds an honesty, vulnerability and humility that I greatly admire – even aspire to – underlined by a powerful, insistent beat.
Clara Bond – ‘Misbehaving’
Clara Bond’s continued commitment to the storytelling principles of country music is evident on her latest EP ‘Backtalker’. Its leading track ‘Misbehaving’ is a particularly excellent example of her astute lyricism, combining here with a sound that demonstrates the theme of mental health acutely. She is an artist of the utmost integrity; with something to say that is always worth listening to.
Motel Sundown – ‘Brake Lights’
I described the debut album of Motel Sundown as “a rich easy listening experience”. Their delightful blend of Folk and Americana is beautifully wistful and delightfully catchy. To have come across them by chance – in a local café, having been recommended them by someone via a poster in the foyer – made my discovery of them all-the-more special. ‘If You Were Listening’ is definitely a contender for my UK Country Album of the Year.
Shay Gaston – ‘Since Seventeen’
I can’t remember the last time I was so excited by the debut single of a country-pop artist in the UK. Shay Gaston made an immediate impression on me with this track, giving the kind of vibes that evoked the music of Catherine McGrath. It may be too early to make a direct comparison, but the early signs are good. If nothing else, the future of country music in the UK looks to be in safe hands, with Amy-Jo (‘Coming Close’) and Olivia Lynn (‘Ain’t That a Shame’) also giving strong first impressions in 2022.
Miranda Lambert – ‘Strange’
Every Miranda Lambert album contains one song that sticks to me like glue. This track, from her latest offering, ‘Palamino’, certainly has, not only because of its instantly likable refrain but also because its lyrics capture something of the zeitgeist. Originally conceived as a response to lockdown, listening to it in my own context, amid the crazy chaos of British politics and the more general madness of social media, gave it an extra edge and sense of perspective that has been much needed. Her songs are, as ever, on point.
Paige Wolfe – ‘Why Can’t My Heart’
It is the bridge to this song – “Why can’t my heart just give it a rest” – that makes it really stand out. It is so infectious that, every time I hear it, the line goes round-and-round in my head for days after. There is a serious side to this debut single too but Paige Wolfe achieves a fine balance between vulnerable lyrics and entertaining sound. A memorable track in more ways than one.
Amy Wadge – ‘Spaceman’ (sung by Sam Ryder)
Another contentious song choice perhaps, but I include it simply because of the opportunity to hear it performed live by Amy Wadge at the British Country Music Festival. It was such a privilege to witness her set as she journeyed through her career as a songwriter, telling the stories behind some of the most iconic contemporary songs, and all with such humility and grace. Only Jade Thunder singing ‘Sober’ at the Cavern Club in Liverpool (a truly spine-tingling moment) beats it as my live moment of the year.
Originally written for and published on Belles & Gals on January 6th 2023.
There is genuine surprise from Katie Nicholas as she greets the crowd at the launch of her EP ‘Feather’. The Scouse singer-songwriter can’t quite believe that “you guys are actually at a gig to hear songs written by me”. It is nothing short of a pleasure to be here though in the hallowed space of Liverpool’s Nordic Church to bear witness to the blossoming of this talented artist. For so long hidden in the shadows, this feels like a moment of stepping (albeit nervously) back into the spotlight. The result is a pre-Christmas gift to an attentive audience that responds with sheer delight throughout.
Before the appearance of Katie, we are treated to a support slot from Guy Called Greg. He is a skilful musician and gifted vocalist whose amiable stage presence captures the attention of the audience with ease. With a voice like Hunter Hayes and a delivery style straight out of the Nashville Writer’s Round playbook, his half-hour set proves hugely enjoyable. ‘Amateurs’ and ‘Caroline’ are particularly worth a mention. The latter is inspired by the final words of the late Caroline Flack, and proves so bittersweet as to deserve a moment of reflection in the pews before Katie takes to the stage.
There is real gratitude in her opening words when she does, as well as disbelief at the number of people who have turned out to her first headline gig. She eases herself (as well as them) into proceedings with a first half filled with songs from her back catalogue. Fans and social media followers will be familiar with such material, though the string quartet that accompanies them for this live concert brings fresh interpretation, and adds an extra, untapped layer of meaning. The introduction of violins halfway through opener ‘Space and Time’, for example, expands the world of the song into the high-vaulted ceiling of this historic venue. ‘Hear Me Out’ similarly closes the first section with an ornate quality that glistens in a way that would be impossible to capture on Instagram. In between, we get to experience Katie’s gentle character and quick wit, through songs like ‘Patience’ and ‘Chemistry’ respectively, as well as in the interludes between them. Yes, there is a slight feeling of apprehension but this soon disappears as she starts singing.
The second half is then dedicated to the new EP. Katie introduces it in very personal terms, speaking of the battle that wages in the heart and mind, which has led to the creation of this record. The theme of time, and particularly its passing, also features heavily. It is above all a celebration of sensitivity and fragility. These all converge in a collection of four songs that balance delicately like a ballerina on tiptoes of strength and vulnerability. The music box sound, heard most evidently on ‘Sitting Ducks’ but threaded to one extent or another through the whole set, sets a tone mottled with sadness and light, darkness and hope. The strings contribute most successfully to this mix of emotion on ‘Tethered Doves’, contrasting with the eventual thrust of guitar and piano to present a really visceral image of the track’s subject.
In between the presentation of the EP, time is taken to honour the late Christine McVie with a cover of ‘Songbird’. It is as heavenly as the sacred space in which it is performed. Pianist Ana Corcoran then follows this with a beautiful solo rendition of ‘And Winter Came’, in which the crispness of the frosty December night outside is keenly felt and made suitably festive. Katie Nicholas then returns to present the heart-breaking story of ‘The Poet’, a song performed with such strength of feeling that it shatters any stained-glass illusions of the outside world and speaks bravely to the icon of the cross that sits silently on the altar behind the stage. Completing the set with ‘Feather’ – the lead single; gorgeous in its imagery; simple yet profound in its delivery; resonating with hope – Katie leaves her listeners with a very personal story that captures something of the present moment: of an artist growing into themselves, rising like the dawn. The applause that echoes after each song, and raises the roof at the finale, tells all. Katie Nicholas is finally ready to shine.
The ‘Feather’ EP is available to purchase via Katie’s Bandcamp site here.
Originally written for and published on Belles & Gals on December 6th 2022.
Bryony Sier has entered early into the festive season with a faithful adaptation of a Christmas novella. ‘Picture Not So Perfect’ is titled after Stephanie O’Neil’s debut publication, and retells the story of protagonist Holly in charming detail. It is essentially a love story in which Holly, after losing her mother at a young age on December 17th, rediscovers the beauty of Christmas thanks to a chance opportunity with the charming Justin. Sier captures their relationship neatly in lyrics that are full of heart; sometimes bordering on the saccharine. She tells the tale with vocals that burst with so much emotion though that any hint of soppiness quickly turns instead into magical imagery. Mulled wine, snow and ice skating all feature but it is the overall feeling that comes across in the soaring music that speaks of the spirit of Christmas. It produces a warm glow that resounds with hope, not quite in a cheesy jingle bells way, but rather with a surprising depth of emotion to make ‘Picture Not So Perfect’ an ideal track to fall back in love with the coming season.
Originally written for and published on Belles & Gals on November 26th 2022.
One of the unexpected highlights at this year’s British Country Music Festival was a cover of the theme tune to classic sitcom ‘The Fresh Prince of Bel-Air’. Wales-based duo The Goudies fashioned a completely new take on this beloved song, with surprisingly successful results. Its popularity with live audiences is perhaps one of the reasons why they have now released it as a single, the second from their ‘East Street Deli Session’. It flips the humorous hip-hop of the original on its head, drawing out a depth of emotion that borders on the melancholic thanks to Sam’s gruff vocals and the sweeping acoustic arrangement. The slight grittiness evokes a heartfelt rather than forlorn response however, calling the listener to notice fresh meaning in the lyrics; while the retention of the line “smell ya later” ensures that the track isn’t taken so seriously that it loses its entertainment value. There is also an intimacy about this song, no doubt conjured from the space in which they recorded it: a small, family-run café in Dorset. It means, altogether, The Goudies bring real heart to ‘The Fresh Prince of Bel-Air’, showing it the respect it deserves whilst breathing new life into this still-beloved record.
Originally written for and published on Belles & Gals on November 25th 2022.
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.
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