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.
For our fourth and final interview in a short series with artists appearing at this British Country Music Festival in Blackpool, we caught up with Liverpool-based band Motel Sundown. They tell us about the recent release of their debut album, what it’s been like to perform live again, and some of the female country artists they’d love to write with.
We last spoke to you during the first lockdown back in 2020. What has life been like for the band since?
It’s safe to say we’ve been extremely busy since then! We’ve released our debut album, ‘If You Were Listening’, a music video for the lead single, ‘Brake Lights’, and we’ve recently started our UK tour! We also had our album launch at Jimmy’s, Liverpool, in July which was really fun.
We’ve also been busy writing new songs for our next album and we’ve been enjoying working on the demos together.
How has it felt being able to perform live again after so long?
It’s been really good fun as we’ve been enjoying playing with our full band. We’ve got piano, drums and bass along with our original set-up of the two acoustics and electric guitar, so it’s fun being able to switch between the two set-ups depending on the gig. Also, playing the album songs live with a band has been an interesting process as we can stretch out and reimagine the recordings. It’s been a process of refinement and discovery.
You’ve recently released your debut album ‘If You Were Listening’. What has the reaction to it been like so far?
It’s been great! We’ve really enjoyed the whole process. We released the album onto 12” vinyl as well and we’ve been selling those online and at our gigs which has been a nice way to interact with people. We’ve had some lovely reviews, but it really means something when people go out of their way to tell us they’re enjoying the specific parts of the album – that makes it all worthwhile.
For anyone who hasn’t listened to it yet, how would you describe the sound/concept of the album?
It can be described as a combination of Americana, folk-rock and, jokingly, we sometimes call it Prog-Country. Conceptually, our sound is quite consistent (we have little tricks we use with layered acoustics and 12 strings that we have developed over time) so it ties together quite disparate songwriting and genres.
You’re due to play at the British Country Music Festival in Blackpool in September. How excited are you to be on the bill, and why do you think country music has become so popular in the UK in recent years?
We’ve had this in our calendars for quite a while so were really looking forward to it now its only a week away! The Country events are always really welcoming, well organised and good fun. We’ve also just been asked to play in a round set up by Laura Oakes on the Saturday, so we’re really looking forward to that. It’s at 2.20pm just before our set.
It seems as though Country music has become more mainstream in recent years, and a lot more artists have experimented with Country sounds in their music, however subtly, so that might be part of the reason why it’s become so popular.
Finally, if you could pick one female Country/Folk/Americana artist to write a song with, who would it be and why?
Of course, we’d never turn down a writing session with Dolly! but some of our favourites would be Brandi Carlile and Gillian Welch.
Originally conducted for and published on Belles & Gals on September 4th 2022.
In our third of a short series of interviews with artists appearing at this year’s British Country Music Festival in Blackpool, we chatted to multi-genre artist Brooke Law. She tells us a bit about her musical influences, what country music means to her, and how it’s felt performing at festivals for the first time ever this year.
Would you like to introduce yourself to our readers by telling us a bit about yourself and where you’re from?
I’m from north London and I have a big family. We all live 10 minutes away from each other and love meeting up and eating hot food. I love Alanis Morissette, Janis Joplin and Stevie Nicks. Writing songs and playing on stage are my biggest thrills.
For anyone who hasn’t heard you before, how would you best describe your sound?
Raw country, influenced by pop/rock (maybe…)
Your most recent single, ‘We All Need Saving’, struck a chord with listeners old and new. Could you tell us a bit about the story behind the song?
We never know how the person next to us or opposite us on the train is feeling and it seems that people can be so quick to judge one another but really, we all have the same feelings and everybody needs a smile or hand to hold sometimes.
You’ve just announced the release of your next single ‘Not for Love’, due out on 23rd September. What can we expect from it, and is this building up to a debut album?
It’s fun and upbeat. I’d like to say it’s a sing-a-long, ha-ha! I can’t wait to share it with you! I’ll definitely have lots more coming, including a debut album.
With festival season now in full swing, how has it felt being able to perform live again?
It’s been the best summer ever. It’s the first time I’ve ever played at any festivals so it has felt really special.
You’re due to play at the British Country Music Festival in Blackpool in September. How excited are you to be on the bill, and why do you think country music has become so popular in the UK in recent years?
I’m so excited! It’s amazing to be able to play alongside such amazing artists. I can’t wait to hear all the music.
I think the way Country music is so lyrical and often about storytelling, it takes listeners on a journey and people are able to relate to the songs. There’s been a lot of awareness on mental health over recent years and I think music really helps people through their own struggles.
Finally, if you could pick one female Country artist to write a song with, who would it be and why?
Pink. I love her voice and how she performs on stage.
Originally conducted for and published on Belles & Gals on August 29th 2022.
For this second of a short series of interviews with artists appearing at this year’s British Country Music Festival in Blackpool, Hollie Rogers took some time out of her busy schedule to tell us about co-writing with a musical legend, crowdfunding for her upcoming album, and what it’s been like to play live again after so long.
Would you like to introduce yourself to our readers by telling us a bit about yourself and where you’re from?
I’m Hollie Rogers, a singer-songwriter from Penzance, Cornwall, where pirates come from (It’s no coincidence that my name rhymes with a famous pirate ship. Y’arr!) I write acoustic guitar-driven Americana/Folk/Roots music, usually about love – the noun and the verb!
Your latest single, ‘Love & Distance’, was co-written with Jamie Lawson and Robben Ford. How did the opportunity to write with them come about, and could you tell us the story behind the song?
We wrote ‘Love & Distance’ after the three of us were introduced by Chris Difford. Chris had invited us to one of his songwriting retreats and thought we’d make a good writing team. Robben Ford is, of course, a guitar legend so obviously I know his work, but I must admit I’d never seen a picture of him and had no idea what he looked like. He was introduced to me only as “Robben”, so as we got to know each other and I went on and on for about 15 minutes about my love of Joni Mitchell, I genuinely didn’t know who I was talking to. When I finally shut up, Robben coolly reclined in his chair and just said “Totally. I played with Joni from ’75 – ’79… she’s a great gal”. I died!
But then we wrote a lovely song, about being separated from somebody you love. It was written pre-covid, but I think the lyrics take on a whole new poignance in the wake of a global pandemic where so many of us were unable to be with our loved ones. Maybe that’s why it’s become my most popular release of all time on Spotify?
The single will feature on your upcoming album, ‘Criminal Heart’, due out on September 9th. What can we expect from it?
Some big hooky bangers like ‘Criminal Heart’, the title track. Some old favourites like ‘Sinner’, reworked as you’ve never heard them before. And some more gentle tunes, including one with a verse in Cornish, which I don’t speak, but Cornwall Council have a free translation service that I decided to make use of. I have no idea if they translated my English lyrics correctly – I could now be singing about pasties and fishing for all I know – but it sounds pretty!
How important has the support from your Kickstarter campaign been in the creation of this record? Do you think the fan-funded model is the best way for independent artists to finance their music these days?
‘Criminal Heart’ literally wouldn’t exist without the Crowdfunder support. So for me, yes, it definitely was the best model, but I think it depends entirely on an artist’s individual situation. If they have the funds to support a project by themselves or with help from a funding body, then that’s certainly still worthwhile and might be better for some. But there is something about crowdfunding that makes a project feel more collaborative, too. As artists we often get to collaborate with other musicians, but to be able to actively collaborate with your own fanbase is quite special. I think it’s nice for the fans too, to really feel like they’re a part of the creation, rather than just buyers of a product.
With festival season now in full swing, how has it felt performing live again?
Amazing. I played on a huge stage with my band at Cornbury Festival recently. You can never be sure at a festival show how many people will turn out to see you, but the crowd was massive and as they sang my lyrics back to me, I had a bit of a moment… I just felt like I was exactly where I was supposed to be. I got all emotional and had a little cry mid-song!
You’re due to play at the British Country Music Festival in Blackpool in September. How excited are you to be on the bill, and why do you think country music has become so popular in the UK in recent years?
I’m really looking forward to the show; there are some great artists on the line-up and lots of friends, too, so it’s going to be a fun few days. I think more and more there is a blurring of lines between genres in the country/folk/blues/americana worlds, which is great – I don’t think any artists like to be pigeon-holed too much and if we can play to fans across different genre communities, it helps us to widen our fanbases and bring more people together.
Finally, if you could pick one female Country/Folk/Americana artist to write a song with, who would it be and why?
Laura Marling – I think she’s an absolute genius and I love everything she writes. In 40 years’ time I think she’ll have the same status as Joni. I’d be a proper fan-girl though and probably forget how to play/sing/write in her presence… so maybe it’s safer for me to go with The Spice Girls instead. They’re not Country, Folk or Americana, but I just mentioned that I’m all for blurring the genre lines and we could write a killer teen pop-folk hit. That’s what I want. (What I really really want.)
Twitter: @HollieRMusic
Instagram: @hollierogersmusic
Originally written for and published on Belles & Gals on August 16th 2022.
In the first of a short series of interviews with artists appearing at this year’s British Country Music Festival in Blackpool, we* spoke to Laura Johnston, one half of Cornwall-based duo Our Atlantic Roots. She tells us about how they formed, their new single ‘Golden Hour’, what to expect from their next EP, and who they’d love to write a song with if given the chance.
Would you like to introduce yourself to our readers by telling us a bit about yourselves and where you’re from?
Of course! We’re Mac and Laura from the indie-folk and country duo, Our Atlantic Roots. Mac is originally from North Carolina – near to the Outer Banks – and I’m from Rotherham in South Yorkshire. We’ve been married for 8 years and singing together for 10. Though we formed the duo and officially started releasing music in 2017.
How did the two of you meet, and what was the inspiration behind the name Our Atlantic Roots?
I went out to the USA in 2008 as soon as I’d finished high school to take part in a gap year at a church. I had the time of my life and ended up staying for 5 years! We travelled around the States and got involved in lots of community projects, from supporting homeless shelters to running youth groups, and working in prisons alongside the chaplain. Mac and I met during my fourth year there and straight away had that music connection! We began song writing together for hours on end and the rest is history.
Our debut EP release ‘First Light’ was actually under the name Mac and Laura Johnston but as we began to gain traction, we pondered on the idea of a “band name”. That was not an easy task! Our Atlantic Roots is a bit of a mouthful, but it’s caught on over the years! We wanted a name that was earthy and relating to nature as a lot of our sound and lyrics are rooted within that (pardon the pun!). We live in Cornwall and see the Atlantic Ocean every day and it’s the thing that connects our homelands. It just felt right.
Your second EP ‘Little Bird’, released in 2019, was a huge success. Why do you think it connected with so many listeners?
Yes, we are still blown away by the figure: 1M+ streams! The production and feel of ‘Little Bird’ was bigger and in some ways more mainstream sounding than ‘First Light’, but still had quite a unique and indie undertone. The song that was particularly well received on the EP was ‘Carry On’. It was included on some big playlists and that helped it have that extra boost to reach more people, but ultimately, it was the simple yet direct and hopeful message that seemed to most engage and impact listeners. Mac wrote this one in a dark season, battling anxiety and panic disorder. As many know, poor mental health is unfortunately something that a lot of people deal with, and Mac has always been open about his journey in this area and how the song came from that place, authentically and in a time that he needed those words personally. We hope that it continues to impact and encourage listeners.
You’ve just released a new single called ‘Golden Hour’. Could you tell us a bit about the story behind the song?
Of course! We’re very excited to have finally been able to share this song with the world. The lyrics of ‘Golden Hour’ highlight and celebrate the constants in a rapidly changing world. It was written in the season of the covid pandemic when so much felt unstable and unreliable. The inspiration for the song came as we were out walking along the Cornish coastline as the sun set over the Atlantic. The constant push and pull of the tide and the sound of the skylarks and starlings – blissfully unaware of the chaos in the world – was a comfort and a reminder that some things do stay the same. The whole track has that dusky, late summer, relaxed feeling whilst carrying a motivating pulse that takes the listener on a journey.
This will be the first release from your third EP ‘Hold Every Moment’, due out in October. Could you give us an idea of what to expect from it?
There will be four tracks on this EP. They’re all quite cinematic, yet rooted in the classic Our Atlantic Roots folky/americana sound. We worked with talented producer Stian VedØy of Bristol-based “mountain-pop” band Firewoodisland, so there’s definitely little hints of his experimental sound throughout. Lyrically, the songs are poetic and rooted in a hopeful message but very much contemplative. Watch this space!
With festival season now in full swing, how has it felt performing live again? Where can we catch you playing this summer?
It’s been very tiring but SO MUCH FUN! We love performing live. Travelling and keeping up with the administration of being your own booking agent and promoter is very tiring but it’s all worth it when we walk out on stage and have great conversations after the gig.
We’ve already performed at a number of events and festivals such as Creation Fest and Beardy Folk Fest, and we’ve just supported a 40-piece orchestra on one of our local beaches here in Cornwall. You can still catch us at Between the Trees in South Wales on August 27th, or if you fancy an adventure, we’re performing at Land’s End on August 30th and Cornwall Folk Festival on August 29th.
You’re due to play at the British Country Music Festival in Blackpool in September. How excited are you to be on the bill, and why do you think country music has become so popular in the UK in recent years?
We’re very excited to be on this year’s British Country Music Festival line-up. There are always those die-hard country and folk fans, but I think there’s been a rise in engagement from audiences who have been introduced to the genre through bands that are more mainstream or mix in country with another genre such as pop. For example, Mumford and Sons and The Lumineers are two huge bands who caught the attention of the mainstream music market around 15 years ago and brought a more widespread appreciation for the use of instruments such as banjo and slide guitar; classically heard in country music, but in a less hardcore country sense. Also, music is more accessible to a wider market through the internet through streaming and YouTube, etc, so it’s easier for people in the UK to access it from the US and beyond.
Finally, if you could pick one female Country/Americana artist to write a song with, who would it be and why?
It would be Joy Williams, previously of The Civil Wars. Mac and I have always loved singing songs by The Civil Wars duo and have always been inspired by Joy’s very impressive vocals and song writing skills. She’s gone on to release solo work since ending The Civil Wars and I just absolutely love her style and she knows how to write songs that work really well for a duo too which counts for a lot.
Thank you so much for your time!
*Originally written for and published on Belles & Gals on August 7th 2022.
Take one listen to Shay Gaston’s ‘Since Seventeen’ and it’s hard not to become an instant fan. The Reading-based singer is surely one of the most exciting newcomers to the UK Country scene in 2022 with this, her debut single. There is a clear and obvious link to the music of Taylor Swift, of whom she is a big fan. But there are also strong comparisons to be made with the music of Catherine McGrath and Vic Allen. It is particularly reminiscent of Allen’s ‘Enough’ in terms of its sound, while favouring the kind of subject matter that McGrath deals with so well in her inimitable country-pop style. ‘Since Seventeen’ is instantly likable thanks to its catchy chorus line and infectious guitar riffs, with Gaston’s brooding vocals drawing the listener into a story of heartbreak and heartache that has never sounded so good. The official lyric video only adds to the narrative, capturing in its image that sense of yearning within its lines. As debut singles go, this is one of the best.
Originally written for and published on Belles & Gals on August 29th 2022.
Simplicity sometimes makes for the best songs. Hawthorn Avenue’s new single, ‘Ticket Home’, may have only a one-line chorus, but there’s something about its arrangement that captivates. The combination of tambourine, banjo, drums and guitar somehow work together to create a vibrant sound over which the duo’s gently flowing vocals sail. This extends to the song’s verses as well, which celebrate the perseverance, support and presence of another on the lost, lonely, hard and sometimes painful journey called life. They build subtly as the song progresses, from an intro that is reminiscent of ‘I Could Use a Love Song’ (Maren Morris) but without veering into pop territory, remaining ever-faithful to a distinct Americana sound that is as satisfying as the sunset on the cover image. This comes to define the beauty of this lovesong to some extent, the harmonies of Laura and Marcus contributing to a winning formula that is anything but complicated. It prepares the way for what is sure to be a charming new EP, if this title track is anything to go by.
Originally written for and published on Belles & Gals on July 26th 2022.
For such a highly-anticipated Welsh drama, Y Golau seemed to run the well-worn tracks of what has become the genre’s favoured train: the psychological thriller. Given its all-star Welsh cast, I expected something much more original and distinctly different from previous Welsh noirs like Hidden and The Pact. As a result, I felt underwhelmed by its decision to present yet another murder mystery, complete with the same familiar tropes as its predecessors. Not that there was anything inherently wrong with the production. It just simply didn’t thrill and engross in quite the way that it might have done had it not been in the guise of similar series that had gone before.
Joanna Scanlan as Sharon (photo by Alistair Heap)
The typically rural setting and small-town cast of characters is one thing; but the desolate landscape, solemn music, and gloomy figures present yet another side to Wales that panders to the bleak and pedantic detail of the crime subgenre. Iwan Rheon plays the haunted convict who is released from prison having served a sentence for the murder of the daughter of Joanna Scanlan’s haunted mother. He returns to the town that is still haunted by the events of 18 years previously, his presence disturbing an uneasy peace which is exacerbated further by the re-appearance of Alexandra Roach’s journalist, who is looking for a story. The three of them give ample performances for what are very rare appearances in a Welsh-language outfit. Yet none command the kind of screen presence that has come to be expected of them. In particular, the animated spark that enlivens Scanlan and Roach’s appearance’ in No Offence is largely absent here. Instead, vacant stares obtrude their presentations such that it becomes difficult to make a significant emotional connection to their characters.
Ifan Huw Dafydd
It is Ifan Huw Dafydd that gives the best performance here. He strikes a menacing veneer over his character Huw that is justifiably unsettling. It is no surprise that his growing presence onscreen and involvement in the central narrative coincides with the more compelling and intriguing parts of the drama. If anything, the return of his estranged daughter Shelley (played by Rhian Blythe) is the catalyst for the twists and turns that follow in the final two parts of the series. This is where Y Golau becomes gripping in a way that its shortcomings, up until this point, can be forgiven. It enters a similar phase to that of Yr Amgueddfa, whereby its web of disparate characters start to become interconnected, drawing the various strands of the narrative together to create a big grand finale. But whereas Fflur Dafydd manages to maintain interest in the opening episodes in spite of the expositional setting up of the story, Regina Moriarty’s script doesn’t possess the same hooks with which to retain the audience’s attention. The result is a requirement to persevere in order to be rewarded rather than being kept sufficiently entertained throughout.
In the end, Y Golau aims a bit too high. Issues of abuse and power are dealt with admirably. The final episode ensures the series ends strongly. But I expected more from this drama, not least because of the roster of Welsh stars that appear in its cast. Scanlan, Roach, Rheon, Hannah Daniel, Aneirin Hughes and Sian Reese-Williams, all lend it an air of quality that meant expectations were high. To then find a characteristic S4C offering in the mould of an Ed Talfan production that didn’t quite utilise the talent involved left me slightly dissatisfied. As a result, Y Golau lit up the screen but wasn’t a roaring success.
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