An Interview with Jodie Marie

Throughout the past week, BBC Horizons have been touring the nation, stopping off at some of Wales’ most treasured independent music venues to bring us a series of live sessions from some of the country’s top, upcoming musicians. From the mountain top venue of Neuadd Ogwen in Bethesda, to the Queen’s Hall in Narberth on the west coast, to the inner city hub of Le Pub in Newport, across seven days we have seen and heard the crucial role that Grassroots Music Venues (GMVs) play both in their local communities and in fostering the next generation of musical talent.

Artists who have performed across the week have included emerging artists from a wide range of genres: from hip-hop artist Mace the Great to rock band Those Damn Crows; stripped-back sessions from Ifan Pritchard and Rona Mac; and alt-pop from female duo Body Water and solo artist Malan. You can check out all the sessions here.

Here at Get the Chance, we caught up with singer-songwriter Jodie Marie, another of the artists who performed as part of this special project in association with Independent Venues Week. She chatted to us about the importance of the Queen’s Hall both as a music venue and community hub, the vital role that Horizons and BBC Radio Wales play in supporting home-grown talent, and the artists that have influenced her unique sound. She also reveals what we can expect from her upcoming new album, as well as what she’s been up to in lockdown.

To find out more about Jodie Marie and/or to pre-order her new album The Answer, released February 12th, click here.

To check out the full week of sessions, visit the Horizons website, or follow them on social media, where the team would love to hear your stories and experiences of GMVs, especially those in Wales.

The ‘Tour of Wales’ has been supported by Creative Wales and BBC Introducing, and is championed by the likes of BBC Radio Wales’ Adam Walton and Bethan Elfyn.

Originally published on Get the Chance on 1st February 2021.

Megan O’Neill – Time in a Bottle

If ‘Time in a Bottle’ is anything to go by, then the new album from Megan O’Neill will be something to savour. The Irish singer-songwriter has just released a cover of Jim Croce’s timeless classic to wet our appetites for ‘Getting Comfortable with Uncertainty’, the highly-anticipated follow-up to 2018’s ‘Ghost of You’, due in March. And whilst Croce’s original is a whimsical walk through the sun-drenched ranch of his family home, the haunting piano and pure vocal performance on O’Neill’s version makes this an altogether different kind of journey. It is the perfect backdrop to the kind of stories told in the John Lewis Christmas advert: bleakly heart-warming stuff that grabs the attention and soothes the soul. Megan digs deep into the lyrics, and draws out a sadness in the lines “There never seems to be enough time to do the things you want to do once you find them” that is easily missed by Croce’s faster pace. As such, it has the potential to stir up a whole range of emotions, calling the listener to reflect on the precious time we have with those we hold most dear. And the meditative atmosphere that O’Neill and her collaborator Mark Caplice create makes it easy for us to do just that. ‘Time in a Bottle’ is a first-class production. An utterly transfixing, boldly cinematic sound.

You can listen to the single on Spotify here.

Originally published on Belles & Gals on 31st January 2021.

Hark! A Nativity Story – Saltmine Theatre

It was an unexpected joy to receive a card through the post from Saltmine Theatre Company with a link to their latest production. Hark! A Nativity Story was filmed live at Dormston Mill Theatre under strict Covid-19 guidelines. This one-off livestream provided the perfect tonic to a Christmas darkened by lockdown restrictions and marked by botched family plans. It may not have been quite as affecting as if I’d been in the intimacy of an auditorium. But the production team did a pretty good job in making their virtual audience feel connected to the onstage action.

What surprised me most about Hark was its originality. It is a very loose adaptation of the Nativity. Taking the angelic visitation to the shepherds as its focus, it imagines the heavenly preparations that we’re taking place in the run-up to this well-known event. There are chaotic scenes as trainee angel Angela (Emily Feltham) loses the all-important message that is to be delivered to the shepherds of “good news that will bring joy to all people”. Her quest in trying to recover the lost letter leads to all sorts of encounters which provide plenty of twists and turns in an adventure that is both thrilling and touching.

One of the reasons that Hark makes for exhilarating viewing is the performance of Ben Kessell as King Herod. He steals the show as the ‘Emperor of Sass’, delivering a camp and comedic turn that goes down an absolute storm. His debonair appearance is wonderfully at odds with his hopeless intentions, his shiny silver boots and smartly-fashioned suit reflecting a narcissistic pride that leads to his ultimate failure in trying to conceal the message that Angela has been asked to deliver. Kessell’s improvisation, alongside his interaction with fellow cast members, is so perfectly-timed and razor sharp that his presence on stage is electrifying. He is a tour de force whose energy can be felt palpably through the screen.

Feltham and Freddy Goymer make a great partnership as misfits Angela and Brian. The former’s good-natured and well-intentioned angel along with the latter’s tongue-tied and smitten shepherd offer a beautifully gentle opposite to Kessell’s power-hungry furore. With the rest of the shepherds, Goymer’s Brian brings humour and happiness. This is most readily seen in a glorious folk song that contains some lovely, lyrical wordplay and delightful choreography. Meanwhile, Feltham’s downhearted hero gives us some touching moments, not least with a poignant and thought-provoking song that might not be the strongest vocal performance but certainly makes you feel every bit of Angela’s hopelessness and low self-esteem. Her bleak assessment, both of herself and her situation, is then turned around by the ‘Three Wise People’ in a song whose positive message fizzes out to create a moment of pure joy. These moments ensure that the relationship between Angela and Brian never turns into the schmaltzy romance so beloved of Christmas pantos. The spark between them is there but the focus remains on their transformation as individuals, loved by God, from whom they get their true value and worth. It is this message that Saltmine wish to convey, and it is delivered in Hark so implicitly well that the overt ending is not necessarily needed. Instead, the words of Angela’s message, which appear onscreen at the end, are enough to underline and instigate reflection on the story’s central premise.

Hark! A Nativity Story is a wonderfully accessible piece of theatre which will bring joy and hope to homes in the midst of another national lockdown. Young and old can gather around a screen and enjoy a funny and fast-paced romp through a very different take on the classic Christmas story. It blends some of the well-loved elements of the traditional pantomime with some of the well-known characters of the Nativity to create a well-written adventure story that thoroughly entertains. Prepare for a show of topsy-turvy madness delivered with plenty of heart.

Find out more about Hark! A Nativity Story by Saltmine Theatre Company here.

Featured Image (C) Saltmine Theatre Company

Kelsey Bovey – I Found Me

Kelsey Bovey is becoming a force to be reckoned with. After the release of her Not Scared Anymore EP back in the summer, her latest single I Found Me continues to blaze a trail for her brand of catchy country-pop. The song hits the ground running with a classic modern country vibe that builds to an expansive bridge before throwing the doors wide open on a chorus that perfectly captures the sense of freedom contained within it. The lyrics, co-written with Danny McMahon, underscore once more what a gifted lyricist Bovey is, with the lines being so beautifully interwoven into the instrumental composition as to reflect the relationship of the two characters in the song’s story. The line “When I found you, I found me” exemplifies this, with the interpersonal nature of identity construction challenging the perceived wisdom that the discovery of self is found only by searching within. I Found Me embodies this, not only in its lyrical content but in its very production, Kelsey working with McMahon and Puzzle Maker Studios to create a track that “has captured my sound perfectly”. It is a sound that’s difficult to hate and easy to love.

Listen to ‘I Found Me‘ on Spotify here.

Originally written for Belles & Gals.

Featured Image (C) Kelsey Bovey

Jess and The Bandits – My Country Christmas

If there’s one Christmas album that is determined to lift you out of your lockdown blues then it is the new release from country band Jess and the Bandits. My Country Christmas is a barnstorming record that has happiness and joy written all over it. Opening track ‘Sleigh Ride’ is emblematic of the album’s resemblance to a festive musical soundtrack, frontwoman Jess Clemmons adding her extraordinary vocals to a song full of the kind of razzmatazz you’d find in a West End show.

The feel-good vibes continue into ‘Let It Snow! Let It Snow! Let It Snow’ and ‘Rockin’ Around the Christmas Tree’, with Jess and the Bandits not looking to emulate the popular style of other performers of these songs but, rather, seeking to create something new. They do so through the heavy use of pedal steel guitar, to give a distinct country flavour, and the inventive insertion of piano, to add some boogie-woogie fun. The result is an immersive experience which captures Jess’s own outlook on a season “where you can’t help but be happy”.

Not that ‘My Country Christmas’ is a rip-roaring affair from start to finish. There are moments, like with ‘Happy Xmas (War is Over)’ and ‘O Holy Night’, in which the lights dim and the music is stripped back for a more intimate affair; in which the spotlight falls firmly on Jess and, particularly during the latter, we get to experience the tremendous power of her vocals. It is not just this power that impresses but the range too, as exemplified in the track ‘What Are You Doing New Year’s Eve?’ where a much softer, gentle, even quiet voice in contrast, is displayed. There remains that impassioned conviction, however, which stamps itself across this album, to give ‘My Country Christmas’ a melodramatic rather than saccharine sound.

Two of the final three songs on the album are covers of country music records. Thomas Rhett’s ‘Christmas in the Country’ is given a rock-infused boost, whilst ‘White Christmas in Houston’ also gets the electric guitar and amplified drum treatment to complement the more traditional sound of pedal steel. Add a touch of soul from Jess’s vocals and the overall effect is like putting a shiny gloss onto the wood-carved original. In between, ‘I’ll Be Home for Christmas’ is much more richly sung in contrast to Bing Crosby’s pensive tones. Given that Jess has “selected a collection of Christmas songs full of nostalgia and personal meaning”, it is too her credit that she doesn’t try to emulate Bing here, instead seeking to recreate this song in her own personal way. In doing so, she retains that sense of warmth that imbues ‘My Country Christmas’ with a jovial festive feel. It is an album that certainly brings a smile to the face.

You can stream My Country Christmas on Spotify here.

Originally written for Belles & Gals.

Featured Image (C) Jessica Clemmons

Series Review, Rybish, S4C

When a sitcom gets funnier as the series goes on, you know you’re onto a winner. So it is with Rybish, written by Barry ‘Archie’ Jones. Set in a recycling centre in North-West Wales, it avoids the rookie mistake of focusing primarily on the workplace situation. Instead, Jones develops a cast of well-rounded characters whose idiosyncratic personalities rub up against one another to form the basis of much of Rybish’s hilarity. There may be the odd joke at the setting’s expense, like standing on a ladder in the pouring rain, attempting to get a mobile signal. But Jones unearths most of the comedy gold from the interactions between his characters. It is the people that he has created that make Rybish such a success.

Sion Pritchard is simply brilliant as site manager Clive. He ramps up the sullenness of his character Mark in Tourist Trap to take Clive beyond expressions of mild annoyance whilst tempering his exasperation so that his comments remain witty and teasing rather than scathing and cut-throat. He resembles the best of banter, light-heartedly mocking his colleagues with nicknames and put-downs that lovingly encapsulate their personalities. There is no malice in the man, as some might conclude; rather, he represents the masculine type that struggles to show emotion and masks their insecurities with humour and a certain aloofness.

Meanwhile, Eurwyn (Dyfed Thomas) wears his heart on his sleeve. He is a gentle and kind soul whose sweet nature is in stark contrast to the moody Clive. Whilst the humour created by the latter is often through his witty comments, it is the innocence of Eurwyn that draws laughter from the audience. It is never intended to be cruel however, and Jones ensures that in his script. He presents Eurwyn as a man of great wisdom and knowledge, though the way Thomas emphasises his character’s naivety has the effect of downplaying this. The result is a deeply empathetic portrayal of an archetypal, rather than stereotypical, Welshman who is devoted to his nation’s culture.

Alongside Clive and Eurwyn sits Nigel (Rhodri Trefor), a young lad who likes to think he’s more important than he actually is. He will often talk the talk but very rarely does he follow through with action. In fact, it is in the incongruity between what he says to camera and then does afterwards that is the source of much comedy. Jones does not simply pour scorn on Nigel however. Like the rest of his characters, he brings complexity through the subtle incision of moments that reflect genuine sentiment and vulnerability. Nigel’s reaction to new arrival Bobbi (Betsan Ceiriog) is one example, with his suspicion of her perhaps wrongly assumed by some to be veiled sexism. But when, in episode five, the ex-manager of the site wanders around making blatantly sexist remarks, Nigel stands with the rest of the crew in opposition. Such action reflects the strong camaraderie between them, of which Bobbi becomes a vital part.

Ceiriog, in her debut television role, is a steady and confident presence onscreen, affording Bobbi a self-assured and strong personality that means she becomes a vital part of the Cefn Cilgwyn family. She does so to the extent that, when it comes time for her to leave in the final episode, their sadness is akin to grief. It is felt so viscerally through the screen that I am already pining to re-join them for another series with the hope that Bobbi comes back. It would not be the same without her.

It is very rare that I have felt such strong affection for a group of sitcom characters. I can think of only This Country and Derry Girls as contemporary examples where a similar strength of feeling has existed. The difference is that the characters in Rybish resemble a reality that is within my grasp. Contained in their specifically Welsh foibles, alongside their universally-felt flaws, is a reflection of something (someone) in my real world.

I suspect that the factual aesthetic and naturalistic dialogue also contribute to this sense of familiarity, the effect of which leaves one reflecting on the importance of community. For the concept of community that has been created here is something to behold. Whether a result of the cast and crew’s experience of filming under lockdown restrictions (they were in a bubble together while filming some of the series) or not, the familial-like ties that bind the characters of Rybish together is something to take to heart.

Writer Barry ‘Archie’ Jones has created something in Rybish that is not just memorable but lovable too. The title may be ‘rubbish’ but this sitcom is anything but.

Originally written for and published on Get the Chance on December 8th 2020.

Featured Images (C) S4C

Philippa Hanna – Christmas: The Greatest Story

Philippa Hanna’s latest release remains firmly in the realm of Gospel music with a Christmas EP that comes hot on the heels of Christian worship album Stained Glass Stories. Whilst the latter may have been full of the Country singer-songwriter’s original material, Christmas – the Greatest Story is packed with covers of well-known carols both ancient and modern. There may be nothing ground-breaking in its contents but there is a fresh air that blows through the songs as Philippa Hanna delivers them with her usual passion and depth of feeling.

Opening track ‘Angels from the Realms of Glory’ begins with the delightful creation of the sound of falling snow. The single bar notes of a piano and the light picking of an acoustic guitar combine to present a rather picturesque scene that becomes an invitation into a moment of intimate celebration. The music steadily builds to a sort of crescendo before cutting, perhaps abruptly, to a few strums of a guitar to finish. It makes the song’s end feel slightly premature, a criticism that I would also give to ‘O Little Town of Bethlehem’. The light and airy atmosphere that forms at the start of this track also grows gradually to a swell of praise that suddenly seems to peter out just as one final rouse is expected. It is the only disappointment on an EP that is otherwise pleasantly crafted.

Philippa Hanna sings ‘Silent Night’ at a slightly faster pace than most versions, her focus appearing to be on the story told by the lyrics rather than on the vocal cadences and inflections that are normally so prevalent in the song’s delivery. It makes for renewed interest in an old favourite that is hard to reinterpret to give a sense of originality. Philippa just manages to achieve this, as she does on ‘The First Noel’. Her lustrous vocals embolden the words which are then tempered by the gentle ones of Nathan Jess in the chorus, making for a smooth and measured sound that floats like a snowflake against the white light of a winter moon.

Philippa Hanna ends the EP by taking on two songs originally composed by artists who duet with her here. There is no ego from either Graham Kendrick or Paul Baloche though that prevents Hanna from putting her own stamp on these tracks. Not that she reinvents them; rather, she makes small alterations that breathe new life into ‘Thorns in the Straw’ and Baloche’s ‘Hark the Herald Angels Sing/King of Heaven’ mash-up. The former retains its bittersweet folk sound whilst being joined by a bunch of quivering strings that create a similar Spanish flavour to that found on Kacey Musgraves’ A Very Kacey Christmas. Meanwhile, the latter builds from a bluegrass-infused introduction into a fantastically-uplifting, soul-inspired, acoustic-pop number which breaches the boundaries of its neat, Christmas carolling context to become a powerful statement of Hanna’s own faith and the hope that it can instil. And given that the world could do with some hope right now, this feels particularly apt. It offers one final fragrant burst to what is a delightful EP from Philippa Hanna.

You can purchase the EP through Philippa’s store here, or stream on Spotify by clicking here.

Originally written for and published on Belles & Gals on November 20th 2020.

Featured Image (C) Philippa Hanna

Eleri Angharad – New Sin

With her new single comes a new sound for Eleri Angharad. The Swansea-based singer-songwriter is getting dark and going deep with New Sin, a song about “two lovers, locking eyes and beginning a steamy love affair”.

She has stepped away from her country and folk roots for this one, entering into a sultry pop production that perfectly captures the steamy atmosphere and intimate setting of the track. The slow tempo contributes toward its shadowy feel, with Eleri’s deep vocal adding to the overall moodiness of a song that is decidedly different from her previous material.

New Sin does not feel like a complete change of direction for Eleri however. The evocative lyrics are still there, conveying the seductive and sensuous nature of the song’s forbidden love story with aplomb. Instead, this track feels like an extension to her repertoire, sitting nicely alongside the smoky and alluring sounds of Stronger Stuff and Don’t Take Me Home respectively, from her debut album ‘Earthbound’.

New Sin sees Eleri exploring the path of pop music unapologetically and successfully. There is no wrongdoing as far as I can see in her decision to create a track that perfectly captures the essence of the song’s story. In fact, the only thing I can accuse her of is the sense of intrigue, stirred up by this track, over what she will produce next.

Lucy Blu – Got It Covered Christmas

Few can break down my resistance to the festive season starting before Advent. Yet here I am, in early November, listening to Christmas music, and enjoying every minute of it. The person who has managed to assuage my Scrooge-like insistence is Lucy Blu. And her new EP ‘Got It Covered Christmas’ is that rare seasonal record that manages to transcend the stereotypical feel of this time of year. Yes, the fuzziness remains on opening track ‘The Christmas Song’, making me long for the glowing light of a crackling fire. But the upbeat bluesy vibe, particularly in the guitar solo, brings a playfulness not often found in subsequent versions of Nat King Cole’s more relaxed and reflective original.

Similarly, Blu replaces the grittiness of Chris Rea’s vocals on ‘Driving Home for Christmas’ with her luxuriant and velvety own. In doing so, she brings the song into the warm light of day. It makes it a journey through the expansive surroundings of a sun-drenched highway rather than the late-night intimacy of a dark, starlit night. Yet she manages to retain a sense of whimsy that keeps it grounded in winter but without any sign of frost, achieved by the delightful and delicate performance on her acoustic guitar.

It is the acoustic guitar that is her sole companion on this follow-up to her original ‘Got It Covered’ EP, released earlier this year.  There, we bore witness to the strong and soul-infused vocals that have contributed to her success as a solo artist on the independent music scene so far. This Christmas edition finds that voice as good as ever though perhaps more versatile too. On ‘White Christmas’, she manages to evoke both the old-style jazz crooners and the early noughties pop divas to create a vocal sound that treads a compelling middle ground. I can’t quite put my finger on what makes this concoction a success; only to say that as I sit looking out at the autumn leaves on the tree, it does help transport me to the snowy climes of the lyrics’ dreaming.

The fourth and final track that Lucy Blu takes on is the carol ‘O Holy Night’. Here, the guitar holds fast to the same tempo and volume throughout; whilst the steady and seamless amplification of her vocals gently grips the listener in her telling of the story of “our dear Saviour’s birth”. It is a performance that would see her more than hold her own on the CMA Christmas stage alongside Carrie Underwood. To that end, it is a real shame that she won’t have the opportunity to grace any stage at all this year for us to experience it live. No matter. The atmosphere that Lucy Blu creates on ‘Got It Covered Christmas’, with just herself and her acoustic guitar, is nothing short of stunning. It is an exemplary record that transcends the festive season whilst wrapping you tightly in its yuletide subject matter at the same time.

Click here to listen to the EP on Spotify.

Originally written for Belles & Gals on November 11th 2020.

Featured Image (C) Lucy Blu

An Interview with Izzie Walsh

‘Balcony’ is the brand-new single from Manchester-based artist Izzie Walsh. Here, she tells us all about it, as well as life in lockdown, her recent TV appearance, and her passion for the music industry.

Hi Izzie! You’re about to release your brand-new single ‘Balcony’. Can we expect a continuation of your unique country/bluegrass sound? Or does it differ from your previous material?

Instrument wise it’s a touch different to my previous releases but it is still definitely unique and has my original stamp on it, I hope people will enjoy a fresher sound. I like to evolve with the times and but always be true to myself.

Could you tell us a bit about the story behind the song?

Balcony is me putting everything on the line; it’s heartfelt, raw and about missing the people you love.

Could you give us an insight into the creative process? How did the song come together under coronavirus restrictions?

I had a lot of cool creatives working on this song (Izzy Baker – Violin, Chloe Jones – Backing Vocals, Simon Gibson – Producer, bass, electric guitar) They really brought it together with their talent and individuality. It started with a melody and the line ‘I watch the lights go out on this Beautiful Balcony’ which I actually wrote last year before Covid but it really developed into something that hopefully can be relatable to everyone.

What else have you been up to during lockdown?

Learning about the world, particularly where and how I want my music to be part of it (if it’s allowed to be).

What challenges and opportunities have you faced as an independent musician in particular?

God, where do I start with this one… let me just say it seems that there are enough people who want music and the world needs music 100% but it’s just so hard to get started and everything needs that awkward entity called money. I’m just so glad there are a small minority of people who want to help rather than hinder.

You appeared in a Sky News report recently on the effects that Tier 3 restrictions would have on Manchester (this was prior to the national lockdown that came into force on November 5th). How did the opportunity to feature come about?

From one of the real good guys of the industry, one who supports young talent and wants it to develop instead of being left out in the cold. Take a bow Jonny Booth. We have to think to the future.

How concerned are you about the future for Manchester’s music venues? What further support would you like to see for them and others within the music industry going forward?

I am concerned, we all should be. These venues are the root of our culture and what we build the live music scene on. If we don’t support them just like if we don’t support the artists they will cease to exist.

If you could change one thing about the music industry, aside from the current crisis, what would it be, and why?

Music should be about the musician and them creating art. I don’t think music has a particular level playing field, so I’m just going to show grit and determination to get where I want to be.

Finally, what are your hopes and dreams for the months ahead? Is there more new music on the horizon to look forward to?

Definitely new music on the way, this is only the beginning.

Thanks for your time!

Click here to listen to ‘Balcony‘ on Spotify.

Originally written for Belles & Gals on November 14th 2020.

Featured Image (C) Izzie Walsh