It is hard to categorise Bryony Sier. The Welsh singer-songwriter has a rather eclectic sound. There are bits of blues, flecks of folk, glimpses of gospel. She is cut through with country, with a slice of soul, lightly packaged in pop. Her new EP Personal Monster displays an exciting mix of all of these various sounds, sown together to create a mottled tapestry from a thematic thread of personal identity. Despite the deeply personal nature of this record however, its musings on mental health in particular speak to a universal experience which make it highly relatable.
The title track is one on which the disruptive and destructive nature of anxiety is expertly exposed by Sier. It makes for a rather sharp sword that penetrated right through to my own heart, all-too-familiar, as it is, with those tall tales telling me ‘I’m not worthy’ and ‘if I jump it will be my biggest mistake’. The song’s infectious rhythm belies its lyrical darkness, the sort of paradox that seems to mark much of Bryony’s music. Merry Go Round, for instance, exudes a form of pessimism that actually feels remarkably reassuring. Its tune is shot through with a melancholic hope that put me a wonderfully pensive mood. Meanwhile, Hurricane combines the whimsical movement of a Celtic folk song with the darkened sky of a gritty Johnny Cash number. The musical arrangement goes off on some unusual and unexpected tangents, producing a mystical quality that ends the EP on a rather intriguing note. I went back to listen to it again straight away, such was my fascination with Sier’s honest exploration of her own inner world as well as the astute observations of those around her.
Personal Monster represents a broad horizon of musical sounds upon which Bryony Sier feels free to explore. She borrows from here and there, constructing a multi-coloured road of sound along which she travels into the dark recesses of her anxious mind. It is a record that makes one feel less alone, and provides reassurance that the monster within us is perhaps not as personal as we might think.
Click here to listen to Personal Monster on Spotify.
The old adage that the two most difficult genres to write are comedy and horror seemed to have bypassed the ears of some of Wales’ top producers. The likes of Ed Thomas (Hinterland) and Euros Lyn (Doctor Who) decided to devilishly choose the latter for a short film challenge put on by S4C’s Hansh (of which they were judges). To raise the stakes even further, the films were required to be made within 48 hours, which under lockdown conditions, seems like a pretty tall order. But I guess that’s where creativity can either flourish or flounder, producing a fight-or-flight response which, for those of the former persuasion, led to some pretty professional-looking and eye-catching pieces.
The variety of films that were sent in made it difficult for the judges to compare them. But they managed, in the end, to narrow it down to a shortlist, before announcing a couple that were deserving of special merit; that came very close to the standards of the overall winner. Of the three runners-up, Martha a’r fantelldduwas my personal favourite. It contained a lovely, light humour which, in typical horror fashion, slowly turns sour as strange things begin to occur in the life of the protagonist. Much like other entries Dilynwyrand Y Glesni, it uses the prevalence of digital technology to create a familiar experience which, like The Blair Witch Project and Unfriended, is then brilliantly skewed to generate unease, concern, and, finally, terror. But it is the performance of the actor who plays Mari (the film’s producer, Erin?) that makes Martha a’r fantell ddu stand out from the crowd. The effervescence she brings to the role perfectly encapsulates that of the enthusiastic YouTuber. Yet as things get weird, her increasing paranoia is displayed not only in her facial expressions but in the nuanced delivery of her dialogue. She succeeds in taking us on a journey through a narrative that is character-driven, leading us to be entertained, concerned and fearful for her, as we are drawn into her experience to really emotive effect.
The overall winner takes a somewhat more conventional line. There are no livestreams or Zoom calls here. 03YB is a clever, playful and absorbing film that takes familiar tropes from the horror genre and executes them incredibly well. There is enough originality and fresh impetus in the plotline though to test your expectations, as the creators use skilful editing to keep you guessing throughout. The ear piercing music is largely effective, grating only slightly at points, whilst the costume is utilised brilliantly. More specifically, the ears on the hood of the protagonist’s onesie become a fantastically devious signifier for blood at one point, representing the kind of deceitful intentions that the film’s creators look to insert at almost every turn. 03YB reminds me of the kind of visceral scenes at the start of many contemporary Welsh television dramas, posing just as much mystery as them too. It leaves you with enough questions to want to enquire further. It has the makings of a full-length episode, if not series. It is a well-deserved winner.
It appears that there is plenty of talent in Wales when it comes to the creation of original, suspenseful, and entertaining shorts. Thomas, Lyn, et al, clearly sussed that setting such a hard challenge would lead to some excellent entries. I wonder if it did leave them surprised however by the quality of the filmmaking. Given the lockdown restrictions, alongside the competition’s time constraint, I would say the films were of a remarkably professional standard. If they are representative of Wales’ young creative talent, then the current generation can rest assured that the future looks to be in very safe hands. I just hope that the opportunities come for these young filmmakers to grow and develop in their creative potential. Without investment in the arts at all levels, but particularly at the grassroots, going forward, the worry is that their chances will be severely curtailed.
You can watch all 42 films that were entered into the competition here.
If country at its core is all about the song, as Ward Thomas believe it to be, then it’s no wonder that Kelsey Bovey was sitting pretty at the top of the UK chart this week. Her new EP Not Scared Anymore may be full of that sweet and sassy pop sound that has come to be a staple of the modern genre. But encased within is evidence of a supremely talented songwriter. If Catherine McGrath is the leader in female country-pop on this side of the Atlantic, then Kelsey is part of the next wave, displaying lyrical excellence through a voice that is yet to reach maturity, but nevertheless offers a clarity and softness of tone that enables the words to truly shine.
Each song on this EP begins with a distinctive nod to modern country before taking on an easy listening riff that cascades seamlessly into a tremendously catchy chorus. Yet it is the lines and phrases of the stories that she tells amidst this musical framework that really caught my attention. I tuned in attentively on every song to what she had to say, discovering in the process what I think are germinations of a career that will be defined by her songwriting. She joins the likes of Kaity Rae and Jess Thristan in demonstrating a real talent for lyrics which, on this EP, have been mixed well in the production to allow them to stand out.
Not Scared Anymore is an excellent follow on from her debut EP Define Me twelve months ago. She has definitely grown in confidence between the two, and there appears to be plenty of potential still to fulfil. Kelsey Bovey is a gifted lyricist, and Not Scared Anymore certainly demonstrates that.
I hate feeling down. For the most part, lockdown has served me well. As an introvert, I’ve been quite happy cooped up in my room for long periods, enjoying the simple life: reading, writing, contemplating. Today though, I seem to have hit a brick wall. In an attempt to lift me out of my low mood, I have taken to listening to music. And among my choices has been Heart of Mine, the new EP from Sabine. It has proved to be a godsend, both coming alongside me in my current emotional state, as well as feeding me with a sense of hope. The lyrics of ‘Colour Will Come Back’ sum it up quite well:
‘My heart is all wrapped up, covered in stone/ All that I was is better than now/ But I live in hope that colour will come back’
This seems to be the theme running through all four tracks, and is perfectly expressed by the music that surrounds their thoughtful, introspective lyrics. The slow beat and reflective vocals give the songs a melancholic edge. Yet in the high notes, as well as the pop elements that are wrapped around a folk-country core, there is a sense of optimism. It is the sound of slow release; of stepping into freedom. None more so than on ‘Over’, which bookends the EP, the chorus simple in its message but so emotionally arresting in its delivery, particularly when it comes to the second, acoustic, version. I couldn’t help but see the appearance of two birds outside my window, who sat on the fence against the backdrop of a grey sky, as a reflection of this last song. Their presence, alongside the sound of Sabine’s gently resonant vocals, brought a touching smile to my face; a moment of renewed confidence in the face of the downbeat. This is just what I needed. Heart of Mine was the perfect tonic to both capture my spirits and attempt to turn them around.
If ‘making your mark is what living is for’ then Alan Finlan has certainly done that with his debut EP Big Man, Small Town. With classic country tropes emerging in the lyrics to songs that have a contemporary honky-tonk feel, Finlan certainly announces himself as a major player on the UK scene. I immediately put him down as ‘one-to-watch’ during Buckle & Boots recent online festival, and this new record exemplifies why. I don’t think I am going too far in making a comparison with Luke Combs, though the power and grit in Finlan’s vocal is much softer, expressing an element of pop that gives the EP a distinctly British feel. This means that, aside from the more straight-up country of ‘Cowboy Truth’ and ‘No Money By Monday’, Finlan is able to draw on his English roots to bring a folk-tinged sound to ‘Battle of the Bands’ and ‘Making Your Mark’. The former sees a collaboration with Emma Jade, whose lightness of touch helps create a melancholic atmosphere that is both in keeping with the song’s narrative yet belies the expectation of its title. Meanwhile, the latter is a proper traditional folk tune given a contemporary twist through the addition of electric guitars, and is by far the standout track on an EP that is surely one of the best in 2020 so far.
There is nothing like a dining table to expose a series of lies and untold truths. Many would point to Mike Bartlett’s terrific 2015 drama Doctor Foster as the epitome of that. Yet there is a scene in the latest series of 35 Diwrnod that comes close. After four episodes cranking up the tension, this moment represents the point at which the bomb, slowly ticking away since the opening scene, truly starts to go off. It is an extraordinarily gripping scene, full of revelation, as the incalculable web of mystery and intrigue that writer Fflur Dafydd has spun begins to quickly unravel. True to her style however, she leaves enough enigmatic plot points to keep the viewer on tenterhooks to the final moment of the final episode.
What I love most about the writing of Fflur Dafydd is her attention to detail. The series may set up Beth (Gwenllian Higginson) as the main character, whose impending marriage to Dylan (Geraint Todd) provides the focal point, but the interlocking narratives of every single character and the gradual exposure of their secret links to one another means that, in the end, it becomes an ensemble drama. We as viewers become invested in every single person because Dafydd herself has gone to great lengths to make each of them complete and fully rounded characters in their own right. It means that there is no let up; no subplot that exists simply to give the viewer a break from the main focus of the drama. Instead, it is a constant stream of deliberate action, in which every interaction, however mundane on the surface, becomes a point of information that feeds into the wider narrative. The viewer gets drip fed little details, sometimes through dialogue, sometimes via a cleverly crafted camera shot, which act as tantalising threads that keep us hooked. It is a visual guessing game that springs surprises and often plays with our expectations. Dafydd is without doubt one of Britain’s best screenwriters.
This latest series of 35 Diwrnod also features some of Wales’ best acting talent, with Sion Ifan (Efan) and Rhodri Meilir (Bill) starring alongside some inspiring new faces, none more so than Emmy Stonelake (Angharad). Indeed, Meilir and Stonelake are excellent as a married couple whose relationship becomes increasingly fractious due to the former’s controlling behaviour. The calm and calculated persona that Meilir adopts in Bill’s attempts to isolate Angharad from her friends helps achieve a verisimilitude that offers a welcome contrast to some of the more outlandish content in this drama. Stonelake portrays the emotional effects of Bill’s behaviour on Angharad with such obvious subtlety that though it may not grab you by the scruff of the neck like in series two of Bang, this domestic abuse storyline still resonates with a quiet power. Dafydd handles it with great sensitivity, just as she seems to with transgenderism. The inclusion of a character in the process of transitioning may be used as a plot twist, but the emotional impact on them and their family strikes me as sympathetic and considerate in its portrayal. Dafydd balances high-octane scenes with delicate moments really well. 35 Diwrnod: Parti Plu is an emotional rollercoaster for the viewer as much as it is for its characters.
I am always fascinated by the exploration of memory and perception that is a feature of all Fflur Dafydd dramas. In this series of 35 Diwrnod we witness the mental traumas that some characters carry, the mental anguish that others feel, as well as the mind games that a few play. Viewers are frequently challenged in their perception of what is happening onscreen, the many surprises and twists throughout providing plenty of mental stimulation that causes us to think twice about our own theories and assumptions as we engage with this incredibly intricate world of Dafydd’s own imagination. I did think that I had her writing figured out. But as my early expectations failed to match with the outcomes onscreen, I realised that it was facetious to even entertain the notion that I could second guess her every move. 35 Diwrnod has deservedly returned for another series with critical acclaim. It further cements Fflur Dafydd’s reputation as a master storyteller.
After my first visit to Buckle & Boots Festival twelve months ago, I was expecting to find myself making another trip to Whitebottom Farm again this year. But of course, like so many others, the event succumbed to the lockdown restrictions imposed by the coronavirus and was initially cancelled. However, some hard work behind the scenes meant that it was resurrected a few weeks ago but in virtual form. So yesterday I took up my seat for a day of livestreams from those who would have been performing. And in spite of some technical hiccups, it proved to be a really enjoyable experience.
After a short introduction from the festival organisers – the Hancock family able to sit back and soak up the music without their usual operational responsibilities – compering was left in the very capable hands of Gary Quinn, who did an excellent job keeping everything running smoothly. Chloe Jones had the pleasure of kicking things off with a beautiful performance of three songs broadcast live from her conservatory, with ‘Meet You There’ in particular showcasing her lovely vocals. We then headed up to Scotland to enjoy some classic country hits from Katee Cross, with ‘Make You Feel My Love’ (Bob Dylan) and ‘That’ll Be the Day’ (Buddy Holly) proving to be hugely enjoyable either side of a toe-tapping original in the shape of ‘Diamonds in the Dust’. Megan Lee then kept the old-school country vibe going with a performance of ‘Harper Valley PTA’ (Jeannie C Riley), followed by her own original ‘Danielle’, before Meg McPartlin produced what was, for me, one of the standout sets of the day. There was plenty of soul in a voice that immediately caught my attention, and led to me putting her album on my ‘Must Purchase’ list.
Lisa Redford brought us some of her folk-infused country in a really calming set that was perfect for a Bank Holiday weekend. After hearing some classic country covers earlier in the day, Jess Kemp played some really unique versions of well-known modern songs in the shape of ‘Girl Crush’ and ‘Jolene’. In between, she introduced us to her most recent single, ‘We Were Falling’, a nice anthem-like tune that suggests she is a performer on the verge of breaking through to a wider audience.
Sadly, the technical gremlins started to creep into the system to disrupt the next couple of performances in various ways. It was a shame, because I was looking forward to hearing Taynee Lord live, but a very muffled vocal meant that it was difficult to hear her properly. The stream for Vic Allen’s live set did its best to spoil her moment, though it did manage to improve for her final song, the infectious ‘Talk’. Allen’s connection was not as bad compared to Kaitlyn Baker’s however. B&B’s first international artist on the bill, there was initially no sound at all coming from Baker’s home (though we did have a lovely picture of her dog!). When the sound did manage to break through however, her brilliant vocals certainly announced her presence.
Emma Moore was crystal clear throughout her set, leading to fantastic vocal performances of ‘Dutch Courage’, ‘Good Girl’ and the fabulously upbeat ‘Trouble’. My ‘Find of the Day’ then came in the shape of Alan Finlan. Sporting a very Luke Combs style look, Finlan then produced a sound very reminiscent of the CMA Male Vocalist winner, with ‘Making Your Mark’ a particular highlight. From a newly-discovered artist to a somewhat established one, and Emma Jade brought us some great country music marked, as ever, by her soft Southern drawl. Whilst there was a delicate inflection to Jade’s powerful voice, for Deanne Dexeter (who followed a specially-recorded video from Recovering Satellites) her powerhouse vocals displayed an amazing versatility. There was a real blues/soul imprint on her first song, before she slipped into a standard country ballad (‘4am’), and finished with a track full of funk (‘Blind Eye’). One of the best performances of the day.
Simon James is an Americana artist with a real talent for songwriting. It was clear from the outset that the focus of his acoustic set was on the storytelling. The mellowness emanating from this livestream was perfect for that pre-teatime slot. Though the relaxation didn’t last too long as first, Laura Evans treated us to some well-polished country-pop, before Gasoline & Matches tried their best to produce a lively set with ‘Patient Wolves’ and ‘Never Have I Ever’. Their party vibes were perhaps a little premature however, as no sooner had people glugged down their shots and pints than they were stopped in their tracks by the incredible, smoky voice of Roan Ash. Streaming live from South Africa, this guy is definitely one-to-watch, showing, through songs ‘Whiskey In My Soul’, ‘Little Things’ and ‘If I Ever Saw Heaven’, strong similarities with the likes of Chris Stapleton and Drake White.
Ash’s set was my last before a break for tea and my daily walk. When I got back, I was just in time to hear a specially-recorded video from Backwoods Creek before Sarah Darling treated us to a very short single-song performance. What a song to pick though. Shania Twain’s ‘Still the One’ was sung so perfectly that, behind the blurred picture, one could have been forgiven for thinking that it was actually Shania singing rather than Darling. From one Buckle & Boots darling to another as Jenn Bostic then followed, with the comments and reactions to her three-song session enough to explain why she is so loved by the festival’s regulars. Despite the low volume, she was simply stunning. As was Jade Helliwell, who I managed to catch on YouTube after a problem with Facebook Live led to a temporary interval in my festival experience. As always, Jade, along with her guitarist Luke, brought real style and class to their set, with popular singles ‘Stormchaser’ and ‘Put It On You’ being joined by brand-new song ‘The Moment’. Kezia Gill then kept the good times rolling with plenty of kick-ass beats on ‘Dead Ends & Detours’ and ‘Whiskey-Drinking Woman’ before we finished off across the pond with performances from Trent Tomlinson and Tebey respectively. Buckle & Boots legend William Michael Morgan, who produced a cracking headline set at the festival last year, was then on hand to bring the whole thing to a close in a special extended live set, full of listener requests, live from his front porch.
All in all, this was an excellent festival. Despite its technical difficulties – which in some senses were to be expected with such a new venture done on this sort of scale – Buckle & Boots succeeded in bringing the festival vibe to our living rooms, lounges, and even our loos at one point! If this is to be the ‘new normal’ then I don’t think Buckle & Boots will have any trouble putting on something similar in future. The team deserve a huge well done for putting it on. And massive thanks must go to Gary Quinn for his mammoth hosting session. If anyone deserves a beer after this, he does.
With a powerful voice liquefied in soul, flavoured with RnB and packaged in pop, Rachel Jane is one of the most talented and inspiring young artists I have had the pleasure to come across in recent times. Having been reminded of her vocal quality during the Big Church Day In, I was delighted to hear that she was about to release a brand new EP. Now more than ever we need music that inspires, and Hustle & Hope does just that. Written at a time when she was ‘working hard and working late’ instead of being able to pursue her creative dreams as a singer-songwriter, her message is simple: don’t let the frustration of circumstance curtail the gift of creativity. Rachel Jane seems to have achieved this here, using her testing times as part of a process of inspiration for a set of songs that are catchy both lyrically and musically.
Her sound is very reminiscent of Dua Lipa and Mabel, though there is something about it that gives it a slightly different edge to that of these mainstream artists. I cannot quite put my finger on what that is, other than to observe some unexpected breaks and shifts in tone within each song that detail a level of intricacy which keeps the listener attentive throughout. The lyrics are also striking, their prominence at the forefront of every track suggesting a degree of influence from Nashville, where the EP was made. The record itself sits on the very outer edges of modern country, where the genre’s penchant for storytelling meets the commercial appeal of pop and RnB. Rachel Jane may not have deliberately positioned herself here; but she sits rather comfortably in this space nevertheless. Add in a bit of rap from the likes of Marc Jones (on ‘Working Hard’) and Joshua Luke Smith (on ‘My Way’) and it seems that straddling various genres comes naturally and is what produces such a likable and intriguing sound.
Hustle & Hope is a positive, life-affirming EP that speaks about life as well as to it. It acknowledges the hardship and frustration of the everyday but brings a message of hope that invites us to take on a different perspective and ‘find a way out of misery’. It is an uplifting soundtrack, perfect for the start of summer.
The first thing that strikes me about Charlotte Young’s EP is how American it sounds. The production on Blown Away is so identifiable with the kind of modern country coming from across the pond that one could easily think she is part of the US scene. It is only a recognisably British accent that gives her away. This voice is a mix of punkish attitude and pop-infused delivery which lends itself particularly well to the first two songs on the record. Delivered with real confidence by Young, ‘Whiplash’ and ‘Blown Away’ sweep out of the speakers, fully embracing the listener with their all-encompassing sound. Having grabbed their attention, Young then melts into the poignant ‘Half a Bottle’, exposing her vocals to a more vulnerable atmosphere. Stripped back and laid bare, it doesn’t quite have the emotional impact that I would expect. But this lack of connection is quickly made up for in ‘Passenger Side’. It may be your standard country-pop fare, yet there is enough heart and soul in the storytelling to make this an enjoyable finale to the EP. By this time, Young sounds much less American and more evocative of the likes of fellow Brit Vic Allen. What this suggests to me is an artist who loves mainstream US country but is unashamedly British. Blown Away combines the two, and announces Charlotte Young as an exciting prospect on the UK scene.
Sundays have been proving to be quite makeshift for me as a Christian, dipping into different services each week to check out what different churches are doing and how they are managing to connect and engage with people online. This Sunday was no different, though my focus turned from the weekly service to an annual event. Big Church Day Out is a popular Christian music festival normally taking place in a big field over the Bank Holiday weekend. But of course, this year, the normal has not been possible. Rather than cancel however, they decided to present their ‘Big Church Day In’ on YouTube, featuring an array of music and spoken word artists from across the spectrum. And it did not disappoint, proving to be an uplifting, inspiring and eye-opening afternoon.
Having had my country music fix the day before via Buckle & Boots virtual festival, it was great to find Our Atlantic Roots continuing that vibe with some wonderfully wistful folk-Americana to kick things off. Former Fame Academy judge Carrie Grant then gave us a heartfelt song full of soul before Tom McConnell brought a lovely bit of RnB acapella in a cleverly constructed video. One of the great things about these online events is seeing the ingenuity that goes into the creation of videos. And after Tom’s effort, both IDMG Gospel Choir and King’s Chamber Orchestra also utilised technology to bring us what is now a classic Zoom performance of the various members performing together in unison. Cathy Burton then performed her song ‘I Get to Know You’ before Mister Keith subtly combined a mix of genres to create a really interesting sound on ‘Dig a Little Deeper’. Ruti delivered a really interesting version of ‘He Lives in You’ from The Lion King, the stripped back nature of the track unveiling fresh meaning in the words that I had never noticed before. The Brilliance followed with an inspired tune that lifted my eyes to the skies before Sarah Letor encouraged them back to the screen for a song with a really nice beat. We then returned to the country genre to finish, first with a delightful track from Philippa Hanna that couldn’t fail to raise a smile, and then The Abrams, who knocked it out of the park with the fiddle-heavy ‘Sounds Good to Me’.
The second hour, hosted by Lindz from LZ7, may not have been my personal cup of tea in terms of music, but it still featured some really talented artists with a penchant for clever and inspiring lyrics. For example, the chorus to Faith Childs’ ‘Ricochet’ was well worth a listen, whilst ‘Discrepancy’ by Soul Box was first-rate. Beyond the rap/RnB that was mainly presented in this hour, I did discover a great indie pop band by the name of Paradise Now, hailing from South Wales. And it was great to see Lily-Jo among the line-up, someone who always brings such deep encouragement and inspiration through her songs, helped in part by her incredibly soulful voice.
Hour three brought us some unplugged tracks from a selection of really talented young artists. Among them was Joe Baxter, who kicked things off with the hauntingly beautiful ‘In My Blood’. Jennifer Kamakazi followed with a lovely blend of folk, pop and RnB in a song that made you feel every single word. Meanwhile, Dani Miche needn’t have worried about releasing her new song ‘The Wilderness’ into the world. It was excellent and showcased her brilliant talent. Elsewhere in this hour, Ellyn Oliver delivered a song that created an awesome atmosphere around it; and Rebekah Fitch produced a powerful blues performance whilst sat at the piano in her living room. It was also great to hear Rachel Jane again, having first come across her last year at Naturally Supernatural. This lady has immense talent, as proven in her chosen song for this festival, which featured a brilliant bricolage of different genres and styles. With a new EP out next week, Rachel Jane is definitely set for bigger things.
The Spoken Word “stage” led to a truly inspiring hour of poetry, with new work written specially in lockdown alongside older pieces that took on fresh resonance in light of the current situation. Hosted by Dai Woolridge, it featured the incredibly powerful ‘Becoming Human’ by Joshua Smith and ‘Quiet Be Still’ by Aimee Picton to start. Storm Cecile then brought us a poem delivered in the style of a Presidential Address that cut through sharply, both politically and culturally. Laura Darrall’s ‘The Driver’ was a complete gut punch, reducing me to tears by the end. Meanwhile, Haydn delivered for me the most memorable line of the day: ‘We are made in your image, so our heart is restless until it rests in you’. So beautiful and true. And Sophie Thakar was chosen to close this section of the festival with a performance that exemplified the dual mix of complexity and simplicity found in poetry. How these guys condense such thick subject matter into a few short lines leaves me in awe every time.
Following on from this was a time of sung worship, in which the likes of Lucy Grimble, King’s Village and Tim Hughes succeeded in bringing a calm air to proceedings which was perfect in the late afternoon sun. As someone who has had a difficult relationship with “worship songs” in the past, I think what I found most encouraging about this hour was the sheer number of original songs being performed by these artists. In our churches, so much of the musical output seems to follow one of two patterns: either all the hymns predate this millennium, or all the songs can be attributed to one or two megachurches. This doesn’t automatically make them bad. But when we hold so tightly to tradition or become so invested in capitalism that we forgo the opportunity to empower our own musicians with the resources, support and encouragement to write and perform their own material, I think we lose something valuable. That is why I found it so refreshing to find so much individual creativity being expressed here on screen.
Big Church Day Out seems to have found the right balance between giving a platform to new artists and presenting established ones. It was the latter that were on show for the final part of the day. The Main Stage featured some very familiar faces, not all of which I was able to see due to its teatime slot. Of those that I did manage to catch, Lin D were definitely a highlight, perhaps because I’m a sucker for close harmonies, which the two leading ladies had in abundance. Kim Walker-Smith was her blisteringly brilliant self, bringing plenty of pizazz to ‘More Than Enough’. Rend Collective were in a very reflective mood with their contribution, as were Hillsong United, whose song ‘Oceans’ never fails to produce a tangible presence in the room. Matt Redman was the man tasked with bringing the curtain down on this soul-enriching day, ‘We Praise You’ being suitably stirring, as the raft of comments that began appearing beside the video testified.
The ‘Big Church Day In’ certainly succeeded in its endeavour to recreate the festival atmosphere, bringing together artists from across the spectrum, all bound together by their faith. It is understandable that the organisers (and regular attendees) will be eager to get back to normal next year with the usual set up. But I hope that they also consider doing something similar online for those, like me, who would have struggled to get to the physical thing. This was an event that was readily accessible to anyone with an internet connection. That’s one of the great advantages of this increasingly virtual existence. But whether it returns online or not, I really appreciated spending another day in isolation with this for company.
To find out more about The Big Church Day Out click here.
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