The tears shed by Rosey Cale in the composition of her latest single have been transformed into the most poignant ballad. ‘Coffee Cup’ distils so eloquently her experience of a break-up into lines which ache with hurt and wonder. The solemnity of the piano adds to a painful reflection on gaslighting and deceit. The two-timing guy so rightly criticised while the girl he chose instead receives a strange sympathy. There are moments when it feels like the soundtrack to a musical such is the emotional outpouring in her deft vocals. Revealing the strength of a narrative that shatters the dream of what could have been. After the joyful aroma of ‘Blue Skies, Tan Lines’, this leaves a bittersweet taste. Rosey performing one of her punchiest songs yet.
Without denying a pop sensibility, Ellie Marie emphasises the traditional sounds of country on her latest EP ‘Don’t Take It to Heart’. The Bristolian Cowgirl, as she’s aptly named, layers all four tracks with a luscious pedal steel, drawing inspiration from the American South more than most UK artists. The effect conjures up an image of a honky-tonk bar in opener ‘Rock Bottom’, and a Downtown Nashville atmosphere on the title song. There is plenty of energy in the latter, blasting into life after a light acoustic intro, reflecting a no-cares attitude with plenty of ‘Shake It Off’ sentiment. The Swiftian influence is keenly felt, both in themes of love and heartbreak as well as lyrical loveliness and sass. “Loving you is what I’m living for” goes deep (‘Living For’), while “Maybe you think I’m out of line / it’s true” speaks of assurance and self-belief (‘Without You’). There is no denying that Ellie Marie is a force to be reckoned with. And with this new EP, it looks like a bright future ahead.
What a beautifully written debut album from Ezmay Grace. Her collection of folk tales on ‘Lien Gwerin’ make for avid listening. Unashamed in length. Detailed in description. This is traditional storytelling at its contemporary best.
It features a mix of both original and true stories. Drawing on her Cornish identity to weave fascinating accounts featuring a cast of characters often imbued with a mystical air. Opening track ‘The Blackbird’, for example, sketches a female traveller “with bangles of gold / … irises emerald and the blackest jet curls” who is always met with suspicion by townsfolk. Her place “on the outskirts of town” is a minor theme not only here but throughout. Stretching into the tragedy of ‘Joan’ and ghostly horror of ‘Koswick’. The vivid descriptions that EzmayGrace uses in her lyrics add to their emotional draw. Deep listening becomes a requirement.
She refuses to sacrifice the detail in any of her stories. A refreshing approach in an age where the radio edit could increase exposure. ‘The Lighthouse’ stands at a good seven-and-a-half minutes but is wholly needed to illustrate the devotion of John Henry. Both to his position as lighthouse keeper and his affection for the woman he saves from a watery grave. The repetition of “two hundred steps and twenty-two” acts not only as plain description but further metaphor for his character. In the same way as the light in ‘Faina’ shines on the natural world to reflect, in various ways, the essence of the title character.
Most tracks on ‘Lien Gwerin’ represent a classic Folk sound but moments like the piano-led ‘Moonbeam’ and string-heavy ‘Siren Song’ pepper the album with subtle variance. It keeps the listener engaged as well as speaking to the scenes and settings of each of these tales. All of which invite our undivided attention, and succeed in transporting us into their worlds when we do. They have been lovingly crafted by Ezmay Grace over time, and the result is nothing short of sublime.
You can purchase ‘Lien Gwerin’ via Ezmay Grace’s website here.
I don’t often stray from UK shores to write about songs from across the pond. So it shows how much I value the music of Samantha Ebert to do so on this occasion. Her latest track, ‘No One Knows’, is just as striking as the first time I came across her. ‘Overthinking‘ was a song that spoke deep into my heart. There are flecks of the same feelings here too. And though I cannot relate as directly, the lyrics still hit powerfully enough to cause my emotions to rumble. They do so in part because of the delicacy of Samantha‘s delivery. Vulnerability at its most beautiful. When coupled with honesty, one cannot help but be touched in some way by her situation and circumstance.
“cancelling plans / when I need people most… / and I don’t get outside much / because the sunlight hurts my eyes”
She entwines such lines with a faith in Jesus that is delightfully subtle. A mark of authenticity that leaves the listener, whatever their own belief, with assurance in empathy. The central tenet of the biblical verse on which Ebert bases this song. It invites connection and comfort. A skill that she possesses and utilises to great effect within her music. I think this is why ‘No One Knows’ strikes such a chord, and finds her as the exception to my rule.
There’s a lovely simplicity about Fiona Lennon’s new single. From its title to its theme to its musical arrangement, nothing is complicated about love. Contentment is communicated through a beautiful blend of soft rock and country-pop. Giving ‘I Love You Baby’ a dreamy summer vibe. Lines such as “got me holding up my hands / and begging everything will last” are always at risk of becoming cheesy. Instead, they hold an innocence here marked with sincerity. In which lines like “there ain’t no question you’ve got me and I’ve got you” are totally believable. Proclaiming a gentle yet solid truth to make for a positive and affirming track.
Mia Ramo is a new face to the UK Country scene. And she has opted for a classic trope as part of her debut offering. ‘Mud on Your Boots’ is a typical cheating song. The lies unfolding to leave sadness, heartbreak, hurt and exasperation in their wake. Ramo weaves a simple story of how signs like “the smell of perfume and cheap red wine” feed the growing doubt around the stories and excuses told. Until eventually “I’ll leave you this time” because the evidence is overwhelming. The electric and slide guitars ensure that the pain of such experience is at the forefront. Mia Ramo opting not for an ass-kicking but rather quietly-enraged take on the breakdown of a relationship. Such emotion keenly felt on a track that represents a promising start for this aspiring singer-songwriter.
Nia Nicholls is no stranger to the heartfelt ballad. Her latest single ‘If I Were a Song’ is up there with her best. A love-song in the particular sense, it also speaks more universally to anyone low on confidence and self-esteem; to those who have been shaped by the opinions of others or focus too readily on their flaws. Here, Nia presents a beautiful counteraction. Full of encouragement. Not least in a set of lovely images that line the chorus. Chief among them,
If you were a planet then you’d be the moon /
Because, baby, my tide is pulled in by you”.
Her use of metaphor is, as always, uniquely creative. The calm and measured tempo and delivery inviting inward reflection. Like a sea washing up on the shore of hearts that need to hear such positive affirmation. Very different, in some ways, from her last single. But with the same sincere truth at its heart.
There is much to like about ‘Meandering River’, the new single from Ezmay Grace. Above all is its gentle charm. Telling the story of one longing to meet with their love again through a reflective composition. Guitar, cello and violin blending beautifully to capture both the hopeful heart of the protagonist and the apt metaphor of the song’s title. The chorus is especially sensuous in its description of “where fresh water meets salty blue ocean”. Helping to paint a vivid picture at journey’s beginning. Transforming from pipedream to a determination to make it happen, thanks to a surprising sea shanty ending. It poses much promise for this Cornish singer-songwriter, whose debut album, ‘Lien Gwerin’, is excitingly forthcoming.
See Emily Play has produced one of the most authentic and original EPs that I’ve heard in a while. Combining alt-country with punk-rock and contrasting with balladeering-pop, ‘Still Playing’ is a highly entertaining amalgamation of sounds and experiences tied together with threads of self-acceptance. Whether in the “rapid and rocky sounds of contemporary bluegrass” to chronicle her journey with body dysmorphic disorder (‘What the Hell is BDD’) or channelling the wonderfully off-kilter vocal of Kate Bush to address the end of a problematic relationship (‘I’m Bowing Out’), Emily traverses the contradictions of millennial life, in her own words, with humour and poignancy. It is this balance between sincerity and playfulness which gives the EP an undeniable charm. Her carefully-crafted orchestrations adding layers of meaning, thrusting the listener into their emotional depths. ‘Do You Love Me’, for example, swirls with increasing desperation. A superb performative piece shrouded in a wonderful cacophony of sound. It is this combination of lyrical creativity and musical ingenuity that makes See Emily Play such a unique artist on the contemporary scene. Someone I can’t wait to see live given the dynamism displayed on this latest record.
Vic Allen’s first single of 2025 is a kindred spirit of all that has come before. With ‘Ended in a Song’ featuring a highly infectious Country-Pop sound alongside adept lyrics straight out of the Nashville playbook. This time, she leans into a percussion-heavy production, weaving in classic tropes that tell the story of a breakup that turns into a songwriter’s dream. For such an experience always has the potential to be converted into new material. And here, it’s this very process that is made the subject matter of the song. With Vic Allen’s innate ability to distil her narrative into an instantly memorable chorus on display once again. Making ‘Ended in a Song’ another excellent addition to an already impressive catalogue.
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