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The Goat Roper Rodeo Band at Theatr Clwyd (A post-lockdown Performance)

There is a light at the end of the tunnel. Or so it seems. The arts sector is not out of the woods yet by any means. But there is a glimmer of hope. Like the neon bulbs dangling across the stage at my first live gig since March, there are rays of optimism breaking through the darkness. As the sun set on the magnificent red brick building towering over us, aglow with rainbow-coloured light, I couldn’t help but feel a sense of joy and relief that I am back. That I have been able to come back. That my theatre, unlike others, still stands.

It never stopped, of course. It innovated; collaborated; diverted its resources; sought creative solutions. And now, it is slowly returning to a sense of the old normal. Not indoors, mind, but out. On a grassy field marked with white boxes and filled with makeshift chairs of all shapes and sizes. A tapestry of camping and outdoor furniture laid out before a plain black stage, simply lit and acoustically sound. Onto it step three lads with three instruments ready to entertain the throngs that have ventured out on this Friday evening. And entertain us they most certainly do, with a barnstorming hour of country, blues, and alternative folk.

Their blistering set was much needed to get the toes tapping; to counter the cold wind blowing across the site. The audience applauded in enthusiastic appreciation throughout, determined to enjoy an hour of music after the dearth of live performance over the past few months. The Goat Roper Rodeo Band certainly offered plenty of enjoyment and more besides, an eclectic sound keeping things fresh and lively, with no let-up in their high-octane delivery. Even in the slow, ballad-like songs such as Toss and Turn and Old Joanna, there was intensity in their presentation, perhaps caused by the welcome release that this post-lockdown opportunity presented for them. Whatever the case, it only added to the brilliance of the evening. With a carefully-crafted back-catalogue of wonderfully-catchy songs – reminiscent of Mumford & Sons one minute, sounding like a 1950s WSM Radio broadcast the next – The Goat Roper Rodeo Band certainly left their mark on proceedings in an hour that went by way too fast.

It was a very different experience of Theatr Clwyd to the one that I am used to. But it is moments like these that weave themselves into our memories. They are the unexpected surprises that make our relationship to a place so rich with meaning. They crystallise into a particular instance on our timeline that helps us tell the story of our lives to those that come after, when we recall how this theatre and its work has impacted us down the years. It may appear to the one looking in and gazing upon the photographs that this was just another outdoor gig. But to those who were there, or to me at least, this show marked the occasion when the arts began to breathe again, as the tightly-bound corset of Covid-19 restrictions was loosened enough to allow for such a socially-distanced gathering to take place.

There will be many bumps in the road to come. We are not out of the woods yet. But beyond the many trees still to wind past to get to the edge of what can seem an overwhelmingly-bleak scene, there is a light that shines. It will not be the same one we left behind. And neither should it be. Lockdown has been an opportunity to view and do things differently. Live performance as we knew it will return I’m sure. But the arts sector must also move forward. Change must be embraced.

Click here to find out more about The Goat Roper Rodeo Band.

Click here to find out what’s coming up at Theatr Clwyd.

Originally written for Get the Chance on 20th September 2020.

Laura Evans – Running Back to You EP

When I composed my ‘Top 5 Welsh Country Music Artists’ for a recent article, I made a glaring omission. How could I forget Laura Evans? Yet such has been the success of the Aberdare-born singer-songwriter, one can easily forget that her roots lie on this side of the pond. Her music has been featured on several US TV shows. She has performed at the famous Bluebird Café in Nashville. In fact, her time spent in Music City, writing and producing songs, means that she could easily pass for an American citizen.

On saying that, her voice retains a certain Welsh flavour that is evidenced on her latest EP Running Back to You. Her sultry tones are reminiscent of fellow Welsh warbler Duffy. Indeed, the strong soul vibe on the title track cannot help but evoke such a comparison. It is also shot through with blues, and contains some delicious guitar licks in the middle that make for a tasty listen. Its catchy groove sits nicely alongside the music of namesake Laura Oakes – though it is much more layered than Oakes’ straight-laced pop sound.

Laura Evans is no one-trick pony. This EP is defined by eclecticism that ranges from the heavy rock of ‘Drag Me Back In’ to the traditional country-sounding ‘Take Me Back Home’. The latter confirms her Welsh roots with a call to home that is beautifully written and played with gorgeous simplicity. Its sound is embedded in Nashville-inspired song which could belie the distinctly Welsh imagery within the lyrics. It fails to do so however, the two marrying well to create a lovely, heartfelt lovesong to Aberdare. Following on, as it does, from the heart-wrenching ballad ‘Mess of Me’, about the lasting damage that can be caused by a broken relationship, the track takes on further resonance that was perhaps unintended. Here, ‘Take Me Back Home’ takes on a Prodigal Son vibe in light of the despair contained in ‘Mess of Me’. It suggests the healing power of home which, given Wales’ Celtic spirituality and natural beauty, has the potential for truth.

Whatever the potential significance of the song choices and their running order, Running Back to You displays the type of music that showcases why Laura Evans is so highly thought on both sides of the Atlantic. She is a genre-crossing artist whose songs all have the potential for broad appeal. I think it will be only a matter of time before she is given much wider recognition on national radio here. It will be the least she deserves.

Listen to the EP on Spotify here.

Click here to find out more about Laura and to purchase her EP.

Originally written for Get the Chance on 3rd August 2020.

Featured Image (C) Laura Evans

Philippa Hanna – Stained Glass Stories

When Philippa Hanna released her latest album Stained Glass Stories, it was with nervous anticipation that I pressed play. The sometime-Country singer-songwriter has journeyed into the world of Contemporary Christian Music (CCM) to make a worship album for the first time. Such a move doesn’t feel forced or contrite given her past projects, emerging as they do out of a heart that wishes to encourage and empower rather than please people. But I still felt anxious that the unique spark that makes her music so inspirational would be lost in favour of the subculture’s standardised tropes and stereotypical sounds. In the end, the record fell somewhere in between.

From the first few notes on opening track ‘Freedom Found Me’, I was immediately uplifted. Its rousing Gospel chorus confirmed that the early signs were good. The lyrics offered hope and reassurance alongside a positive sound that felt, well, very Philippa. Even when ‘The Name That Saves’ followed, with a very Hillsong-like framework, there still seemed to be a sprinkling of Hanna magic over it to avoid it descending into cliché. Perhaps it is her wonderful way with lyrics, which ‘My Hope is in the Blood’ displays most successfully here, which prevents Stained Glass Stories from becoming just another worship album. The chorus excels on this third track, not only because of its lyrical mastery but in part because of the slight musical variations that come with each repetition. It keeps the message fresh and emboldens the words with a presence that they fully deserve.

‘Oh The Power’ and ‘You’re Still God’ then cause the album to wane into familiar worship song territory; though the simple statement of the latter holds such weight that, to speak it as truth over my own personal context, it became deeply comforting and emotionally powerful. Yet just as it feels like the album is slipping into safe and average, ‘Everything is Possible’ brings a delightful injection of country-folk with a hint of bluegrass that surprises you with its exciting melody and toe-tapping rhythm. ‘Against All Odds’ continues this sense of originality by displaying the kind of pop and storytelling that mark it as a close cousin of Philippa Hanna’s previous two albums. ‘Loved Me First’ then rounds off this standout section of the record with a beautiful demonstration of country-pop that evokes the spirits of Ingrid Andress and Kelsea Ballerini. The line ‘why do I find myself trying to earn it’ was particularly pertinent for me, a humble reminder of Jesus’ work on the cross.

‘Now to Jesus’ could have been ripped straight from the Hillsong/Bethel manual on how to write a worship song. It creates the kind of tangible spiritual atmosphere that Charismatic Christians will be all-too-familiar with, Hanna transposing the vocals of Darlene Zschech into a performance that, for me, lacks creative spark. I accept my tendency to over-criticise this popular style of worship music, and so perhaps I am being too harsh here. Thankfully, it is the only song on Stained Glass Stories that has little essence of Hanna herself. ‘Trust’ is much more recognisably marked by her musical character, an acoustic effort that again reveals a real aptitude for songwriting. Meanwhile, ‘My Troubled Soul’, originally sung by Robert Critchley, is a heartfelt cover that makes for a nice finish to an album that largely meets my expectations.

Stained Glass Stories succeeds in retaining much of what makes Philippa Hanna such an inspiring and rather unique Christian artist. There are times on this record when she appears to veer into the customary sounds of CCM. But for the most part, she carves her own personality into songs that house a desire to worship Jesus through expressive songwriting, wonderfully-crafted lyrics and, at times, refreshingly different sounds. My quibble with the populist style of mainstream Christian worship music notwithstanding, Stained Glass Stories is an excellent album that marks another exciting chapter in the repertoire of Philippa Hanna.

Stained Glass Stories comes out on 31st July 2020. To purchase it, click here.

Featured Image (C) Philippa Hanna

Bryony Sier – Personal Monster EP

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.

Click here to find out more about Bryony Sier.

Originally written on 18th July 2020 for Get the Chance.

Featured Images (C) Bryony Sier

Her Ffilm Fer – A Short Film Challenge from Hansh/S4C

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 fantell ddu was 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 Dilynwyr and 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.

Originally written for Get the Chance on 1st July 2020.

Featured Images (C) Hansh/S4C

Kelsey Bovey – Not Scared Anymore EP

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.

Click here to listen to the EP on Spotify.

Featured Image (C) Kelsey Bovey

Sabine – Heart of Mine EP

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.

Click here to listen to the EP.

To find out more about Sabine, click here.

Featured Image (C) Sabine Official

Alan Finlan – Big Man, Small Town EP

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.

Click here to listen to the EP.

Originally written for Building Our Own Nashville.

Featured Image (C) Alan Finlan

35 Diwrnod: Parti Plu – S4C Series Review

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.

Watch the series on S4C’s Clic here.

Featured Image (C) S4C

Buckle & Boots Online Festival 2020

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.

Originally written for Building Our Own Nashville.

Featured Image (C) Buckle & Boots