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Break the Silence – Two Ways Home

break the silence two ways home

The debut album of alt-country duo Two Ways Home has been a long time coming. The anticipation building up to the release of Break the Silence has felt so great at times that the weight of expectation has become almost fragile. For such a lengthy build-up, the risk of disappointment becomes ever greater. No such concern here however. The record is every bit as good as was hoped, and more.

The opening track is enough to fizzle away any doubt that Lewis and Izzy would not deliver on the promise of their earlier sound. ‘Broken Hearts Club’ carries the same uplifting, rock-infused sound found on 2017’s Closest Stranger EP into this album with gusto. Whilst ‘Speed of Anything’ may bring the tempo down slightly, it maintains the anthem-like qualities found in much of Two Ways Home’s music. This includes a catchy bassline, a generic meld of country, rock and pop, and the strong vocal delivery of lyrics that are both memorable and meaningful. It is this last point that is particularly pressing as the album progresses.

Both Lewis and Izzy allow one another to venture into the spotlight, to showcase the warmth and slight wistfulness of their vocals. When the former takes the lead, as on the title track, it is a voice that is distinctly British but imbued with a Southern US twang. Meanwhile, the latter’s softly-tended notes strike an almost dream-like state if not for the hard-worn edge that creeps through, particularly at the start of ‘Nostalgia’. Here, Izzy bookends the song beautifully with a performance that matches the emotional depth of the lyrics. It is perhaps the reason why this song, more than any other on the album, draws you into its story so powerfully.

‘Standing Still’ comes a close second to the brilliance of ‘Nostalgia’ on a personal level. If the best music is that which speaks to us then, for me, it must. For, like the fatal hope found in The Wandering Hearts’ ‘Wish I Could’, the chorus of ‘Standing Still’ is one which aches with that prescient feeling of being caught between one’s present and future self: ‘are you lost in the crossfire of hope and broken dreams, between you and who you want to be’.

The album ends with a quietly defiant song called ‘The Ocean’. After the hard drumbeats and amplification of guitars on songs like ‘Tattoo’, ‘Prove Me Wrong’ and ‘Conquer the World’, the stripped back production here is surprising but welcome. Its folk-laden sound is a gorgeous way to finish off what is a thoroughly enjoyable record. The lightness of touch provided by Izzy’s vocals adds a striking final touch of sincerity that leaves you completely satisfied. Two Ways Home have delivered on their promise. Break the Silence was worth the wait.

Click here to listen to the album.

Featured Images (C) Two Ways Home

Handstand – BBC Wales

handstand bbc

The first original TV drama of 2020 to emerge from Wales is a short one-off piece called Handstand. It may be quirky and slightly clichéd on the surface, but there is a dark underbelly that gradually reveals itself over the course of half an hour. Director Peter Watkins-Hughes has chosen to shine a spotlight on domestic abuse through what is essentially a love story between the hardworking and compassionate Luke (Darren Evans) and his new neighbour Sarah (Mabli Jen Eustace).

Evans and Eustace demonstrate a wonderful onscreen chemistry from the get-go, their characters’ first meeting being the perfect mix of socially awkward and humorously sweet. The telling camera angles and silently knowing looks to one another add to the sexual tension between them, whilst the synth-pop soundtrack and cinema setting coat their relationship in youthful possibility and nostalgic innocence respectively. It is this portrait of young love that makes the turning point in the story all the more dramatic and affecting, as Luke hears the raised voice of Sarah’s father, Alan, resonate angrily through the ‘shockingly thin’ walls of his bedroom. What follows is a moral dilemma centred on the public and private dichotomy, where the question of intervention is explored rather well, given the drama’s brief running time. Christian Patterson is excellent as the two-faced Alan, whose jolly exterior slowly slips away to reveal a manipulative man whose obsession with power and control is ultimately his undoing.

As a stand-alone piece, Watkins-Hughes has created something that is both entertaining and informative. It is also educational insofar as it deals with the subject of domestic violence, thereby reflecting the three Reithian ideals that the BBC was founded on. I believe that this is important to highlight as the BBC and its licence fee comes under increased scrutiny and ever sharper criticism. There is no doubt a conversation to be had about its future funding model, but I believe Handstand is an example of what publicly-funded broadcasting does best, supporting projects that have no commercial value but nevertheless tell important stories that need to be heard. It is also why public service broadcasting is needed, because without it, I fear that the voices wanting to tell such stories in Wales may be bereft of opportunities to do so in a media marketplace driven solely by profit.

Click here to watch.

Originally written for Get the Chance on 29th January 2020.

Featured Image (C) BBC

The Trials of Cato with Tant – Pontio Arts Centre

TheTrialsofCato1

You know you’ve hit on something good when the support act is as good as the headliner. It may have been The Trials of Cato that we had come to see, but it was the five-piece female band Tant that we went away talking about. Running slightly late, we wandered into the theatre at Pontio Arts Centre and were immediately transfixed by their magical and melodic tones. They proceeded through a half hour set that traversed the boundaries of folk and pop with tremendous subtlety, producing a sound that felt highly original and resultantly captivating. All are clearly talented musicians, whether on harp or guitar, but it was their combined vocals that really struck me. Performing acapella on the song ‘Gwydyr Glas’, their voices played together like wind chimes, singing in beautiful harmony whilst also producing distinct tonalities that made this a really fascinating piece to listen to.

tant

At the end of their set, Tant were wildly applauded off stage. Recognising their popularity, The Trials of Cato twice paid tribute to them during their own set, where the praise was again handed out, and deservedly so. It was clearly an inspired choice to have them open. Only the best could follow. The Trials of Cato are certainly that, having already scooped up Best Album at the Folk Awards in spite of their relatively short career. Opening with an instrumental piece before going straight into ‘Tom Paine’s Bones’, these early numbers demonstrated the toe-tappingly catchy rhythms that make their music such a joy to listen to. ‘Haf’ added a lightness of touch to proceedings before ‘Cân John Williams’ was given a Lebanese vibe thanks to a particularly strong instrumental section at its end. The only slight melancholy in the evening came courtesy of ‘My Love’s in Germany’, but even here the performance was more rousing than depressing.

We were then treated to some new material in the form of ‘Dog Valley’, from an album that should be out later this year. It was a track to sit back and enjoy, reminiscent of freestyle jazz and showcasing their skills as truly accomplished musicians. This and ‘Gawain’ are highly recommended for first-time listeners, the latter their “prog rock” offering, which turned this intimate venue into a few thousand seater stadium through excellent lighting and amplified sound. Two favourites in ‘Aberdaron’ and ‘Gloria’ then followed before they closed out with an excellent rendition of ‘Kadisha’. So good was this final number that there was no need for an encore. Indeed, in hindsight, there should not have been one, for it was hijacked by a woman intent on playing tambourine with them on stage. The intervention of security a few moments later meant that any chance of the band making the best of this unexpected entrance was lost. A chorus of boos followed, and the subsequent final song fell a bit flat. It was a disappointing end, but the only blot on what was an otherwise incredible night of Welsh folk music. The strength of and sheer originality on the national scene at the moment is inspiring. The Trials of Cato most definitely reflect that, and after their performance here, Tant are undoubtedly doing the same.

Click here to visit The Trials of Cato’ website, and/or here to watch a live performance by Tant.

Featured Images (C) Trails of Cato/Tant

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

New Sinfonia – New Year Gala Concert

NEW-Sinfonia-Orchestra

I am walking up the High Street in St Asaph on an unseasonably warm January evening. The final remnants of Christmas hang in shop windows. The town’s tree is already stripped bare. It stands awkwardly on the side of the street. Meanwhile, opposite, a yellow glow emanates from the inside of the Cathedral. It stands, as always, resplendent at the top of the hill. As I reach the door, I can hear Robert Guy, Artistic Director of the NEW Sinfonia Orchestra, introducing the opening piece. I pull out my phone to show my ticket and notice that I am three minutes late. As a result, I decline the kind steward’s invitation of a seat at the front, and wander to a row of seats at the back. It helps that I know the place, for it allows me to settle immediately and enjoy the final section of Tchaikovsky’s Sleeping Beauty Waltz. It receives the first of many rapturous applause’ on the night, and deservedly so. Made up of professional musicians from across North Wales and beyond, Robert and his brother, Jonathan, have assembled a talented cast whose collective sound brings the bricks of this ancient venue to life. It is no wonder that the well-dressed crowd in front of me look relaxed and fully engaged in every bit of what follows on this mild eve.

Robert Guy

Jonathan Guy

There is a rousing rendition of Strauss’ Thunder and Lightning Polka, a sprightly performance of Chit-Chat Polka, and a fascinating piece by Vittorio Monti called Czardas. However, it is a special guest appearance by Erin Rossington that particularly grabs my attention. Winner of the ‘International Voice of the Future’ at the Llangollen International Eisteddfod in 2019, the Guildhall School of Music student both looks and sounds like a future star. Dressed resplendently in a silk dress, she delivers a note-perfect performance of Porgi Amor from the Marriage of Figaro. Following that up with Waltz of My Heart, I am struck by the gentle power of her vocals. Hers is a voice that never overwhelms. Instead, it reaches out and softly touches the wooden beams that adorn the roof of the Cathedral. It is strong, but not overbearing; confident without being arrogant. It sits beautifully alongside the orchestral score.

Erin Rossington

Rossington is indeed a rising talent, as is Jonathan Guy, who showcases his aptitude for composition with a new piece called Fire Dance. Coming at the start of the second half, it is an intriguing bit of music that reflects the tempestuous element of the title. The low tones of the introduction speak of danger, before a more uplifting section produces something of a magical effect that, in the final part, produces a majestic sound that captures the awful beauty to be found in flickering flames. It is a far cry from those fireside images of Christmas which are now fast being extinguished from the memory for another year. In their place, thoughts turn to those caught up in the Australian bushfires. It is fitting that an encore of Auld Lang Syne is touched with poignancy. The string section is solemn, and the audience, in unison, lend a certain pathos to the closing moments of this excellent concert. Thunderous clapping gives way to a politely crowded exit. And as I walk out into the pleasant calmness of the weather, I wonder if there could have been any better way to start the New Year? The answer, I conclude, is no.

To find out more about NEW Sinfonia, click here.

Featured Images (C) NEW Sinfonia

Emily Frith – Open Book EP

emily frith open book

Emily Frith’s new EP would make a great companion piece to the new adaptation of Little Women. Having fallen in love all over again with the characters in Louisa May Allcott’s tale, thanks to the excellent direction of Greta Gurwig and a commanding performance from Saoirse Ronan as Jo, I notice that the same themes of female empowerment and fulfilment beyond romantic love crop up in Open Book. It is a sign that, at the start of a new decade, the female voice is finally being given some serious room to speak.

Where artists like Taylor Swift and Maren Morris paved a way in the 2010s, now the next generation of female musicians have the opportunity to cement their path. Frith is among them. You can hear the influence of Swift in her music, most potently in opening track ‘Better’, where the pop production mixes wonderfully with lyrical honesty. These lyrics reflect both a vulnerability and defiance that ultimately send a message of empowerment to her listeners, as Frith sings that, despite words that hurt, break ups that wound, and lies that make you cry, ‘everything that hurt you made you better’.

Frith is speaking out of her own experience, laying bear the inherent contradictions that make us such complicated beings in the process. So, in ‘Out’, we get lost in order to find ourselves. And even as she declares that she is ‘Giving Up on Love’, she also has this undeniable urge to ‘Want to Love’. This push-and-pull of romantic expectations and individual value is pertinently reflected in the character of Jo March. In perhaps the standout scene in Little Women, she declares that “Women… have minds, and they have souls, as well as just hearts. And they’ve got ambition, and they’ve got talent, as well as beauty, and I’m so sick of people saying that love is just all a woman is fit for. I’m so sick of it!”

Frith embodies all of the above in her music. ‘Giving Up on Love’ is a kind of anti-lovesong, in the same way as Kelsea Ballerini, in ‘I Hate Lovesongs’, rejects the social stereotypes around love. Neither of them dismiss love entirely however. Rather, Kelsea’s admittance ‘but I love you’, and Emily’s ‘I want to love somebody so much’, recognise that it is mind and soul and heart. It is this truthful expression of the female experience, told through infectious choruses and high-end production (none more so than on ‘The Blue‘), which makes Frith a credit to her industry. Open Book displays immense maturity for one so young. Bigger things surely await the Essex-based songwriter.

Click here to stream the EP or here to purchase a physical copy.

Featured Image (C) Emily Frith

Country Christmas Singles 2019

In 2018, it was the Christmas EPs of Charlotte Campbell and Jess Thristan respectively that helped get me in the festive mood. In 2019, it is a couple of cracking Christmas singles that are making the run up to the big day all the more enjoyable. Click on the images below to watch/listen:

Padraig – Blue Christmas

This cover evokes the spirit of Elvis vocally whilst drawing on the big band sound of Michael Bublé’s version musically. It may not be an original take on a Christmas classic but it still makes for an enjoyable listen.

Little Folk – Christmas is Here

This charity single provokes a poignant smile every time. Its relaxed feel reminds me of Driving Home for Christmas. Everything you could want from a festive country song, with all proceeds going to an incredibly worthy cause.

To purchase the single, and thereby make a donation, click here.

Rosey Cale – I’ll Be Your Baby

Cale can be proud of this addition to her catalogue, a festive-tinged ballad written and performed solely by her. The video is worth watching, her performance warranting comparisons with the likes of Ingrid Andress. A beautiful recording.

Lily Garland – Rise From the Ashes EP

lily garland rata 2

It has been a tough day. And on tough days, music is one of the things that sees me through. Earlier I drove to work listening to the meditative sounds of Wildwood Kin. This evening, I just wanted a pick me up. I had planned on listening to Lily Garland’s new EP Rise Above the Ashes anyway. I am so glad that I did. Her rock-infused sound was the perfect tonic. I write this with a renewed sense of purpose and vigour. Garland knows how to lift one’s spirits.

Think Liv Austen. Think Carrie Underwood. The opening title track certainly seems to borrow from the latter’s ‘Before He Cheats’. Its opening lyrics include the lines: “I took your keys, dug them in your car and slashed all four tyres”. Garland has attitude. She means business. The sprinkling of piano alongside revved up guitars adds sass and style. She says that “I wanted to write a track that felt empowering”. Well, Lily, you have done just that.

She describes the rest of the EP as a retrospective of her musical journey so far. It is one that is filled with good vibes and catchy sounds. ‘He’s Not the One’ is a luscious piece of music that has been marinated in gospel and slow cooked in soul. ‘Time to Fly’ is much more poppy, evoking many a chart hit from the late-90s/early noughties. It was exactly the kind of song that I was looking for to bring a beaming smile to my face.

It is a smile that remains there as the anthemic ‘I’m Coming For You’ finishes. I end the day in a much better place than I started. It may not be festive, but Garland has, nevertheless, brought some real cheer to the Christmas season.

lily garland rata

“The maker of her destiny, the keeper of her faith”

My bruises may have healed but my mind is still the same”

Visit Lily Garland’s website here to order your copy.

Featured Image (C) Lily Garland Music

Molly-Anne – Autumn Leaves EP

autumn leaves

I am sat listening to Molly-Anne’s new EP Autumn Leaves on a sunny but chilly afternoon. After a night of hard frost, the sun has finally managed to break through, leaving a watery coat on the red, yellow, brown and green of the trees and bushes. They glisten gently in the garden, a decorative space that is busy with birds. A magpie stops temporarily on top of the hedge in front of me. I imagine him there, for a moment, pausing for breath as he takes in the melodious sound emanating from my phone.

‘Little Cove’ is playing, a sweet little track sandwiched in the middle of Autumn Leaves. It captures perfectly the soft, daydreaming tones of this Gloucestershire-based artist whom I managed to catch at Buckle & Boots earlier this year. Then, she was reminiscing about her time in California, her songs fizzing with the brightness and optimism of summer. Now, she is much more mellow and contemplative. Autumn Leaves captures beautifully the changing of the seasons from autumn to winter. The rawness of its live recording, in which the gentle but unproduced vocals of Molly-Anne come through with startling clarity, act like a metaphor for the weather outside: the cold slowly starting to bite down on the warmth of the sun’s rays.

The sun’s light remains undimmed however. The magpie’s coat flashes resplendently in it before he flies off. He misses out on the high and hopeful tones of ‘Yellow Sky’, the final and best track on the EP. The sound of the guitar here is heartening, speaking of promise and urging expectancy. It makes me think, as my window begins to cloud over, masking the radiant colours of autumn, that even as the dark nights close in, this season is not over just yet. Nature retains a sense of vibrancy. And even when it finally gives way to winter, the calm and spirited delivery of Molly-Anne signals that spring is never too far away.

“I’ll be yours under the Cornish sun until morning comes”

“I hope the wind blows you back to me”

Visit Molly-Anne’s website here to order your copy (only 100 available)

Featured Image (C) Molly-Anne Music

Vic Allen – Enough EP

With catchy chorus lines, infectious instrumentation, and superb storytelling, Vic Allen’s new EP is a tantalising revelation. Each of its four tracks has been distilled to perfection, producing a lyrical clarity that benefits from a paired back production. Title track Enough exemplifies this, its unpretentious bass line and background harmonies serving to support the first-class lyrics, ensuring that the story remains central. It is clear that the supremely talented Kaity Rae is at work here, producing a slick sound that sticks with you long after the songs have ended. This is most true of second track Talk, a Catherine McGrath-style song with a touch of RnB. The repetitiveness of its chorus is an enjoyable riff rather than an annoying pop fad, perhaps because the music serves the needs of the narrative. This is certainly true of the subtle fades in Ghost Town, which help pitch the tone perfectly as a lament to a lost relationship. It is a country-pop ballad of the very best kind, a haunting metaphor for a once-vibrant, now-faded love. Final track Give Up is further proof that Allen’s first priority will always be honest and compelling songwriting. Written solely by her, it is also evidence that it is not just the hand of Kaity Rae that makes this a brilliant EP. The acoustic setting for this song allows the raw emotion of Allen’s situation to be fully exposed, offering a candid insight into just how tough the path of an independent musician can be. When such hard-fought steps lead to an EP of this quality though, one can only express a deep gratitude for her continuing on the journey. I suspect, given the brilliance of this country-pop offering, that there are much smoother, more rewarding times ahead. I certainly hope so because Enough is not enough. Vic Allen definitely leaves you wanting more.

Originally written for Building Our Own Nashville.

Featured Image (C) Vic Allen Music

Eye of the Storm – Theatr na nOg @ Pontio

My love affair with theatre began a few years ago with Under Milk Wood. Theatr Clwyd’s production of Dylan Thomas’ most famous work was a revelation, a conversion experience that has led me to take a seat for many a show since. Over the last year or so, such journeys have become less frequent. Life has a habit of evolving with time, and I think I lost a sense of what made theatre so special for me in the first place. Two plays have recently rekindled the fire within me. I do not think it a coincidence that both happen to be made and based in Wales. Along with Emily White’s Pavilion, Theatr na nÓg’s Eye of the Storm reflects the nation in which I live; the nation from which I claim part of my identity. I wonder whether a lack of representation has been a factor in my dulled appreciation of theatre. If so, these two plays have supercharged my passion for the medium back to life.

Set in a small town, post-mining community, Eye of the Storm draws numerous parallels with Pavilion. This includes a focus on young people and the theme of aspiration. Writer and director Geinor Styles chooses to tackle the challenges faced by this demographic through an excellent supporting cast that circle around the main lead, played by Rosey Cale. Cale gives a strong and quietly emotive performance as Emmie Price, an intelligent and practical teenager whose ambition to study tornados at an American University is severely tested by the circumstances of her present reality. Living in a caravan with her mum, who has bipolar disorder, Emmie must juggle her role as a young carer with the demands of school and household chores, along with negotiating the rent and constant electricity problems with inept park manager Mr Church (Keiron Bailey). It is a wonder that she has the time, let alone the inclination, to dream big. Yet Styles has created a dogged and determined young woman whose empowering presence makes her the perfect role model for those facing adversity. She represents what can be achieved if you pursue your dreams in spite of your present situation.

Eye of the Storm is an uplifting narrative that does not shy away from the difficulties of life but adds splices of humour throughout. The poise and astuteness of Emmie is beautifully contrasted with the lovesick innocence of Lloyd, the cartoonish physicality of Dan Miles making for a truly affectionate character. Along with Keiron Bailey, who is fantastically hilarious as class clown Chris, Miles ensures that laughter is never far away in this production. For all that it deals with bigger issues such as climate change and the effects of austerity, like Pavilion, the real joy of Eye of the Storm is in its shrewd observance of ordinary life. The characters on stage are recognisable, relatable; all the more so to a predominantly Welsh audience who see and hear something of themselves reflected, including in the witticisms and references that season the script with a particularly Welsh flavour.

The script is bolstered by an original soundtrack created by prolific songwriter Amy Wadge. Most recently known for her work on Keeping Faith, here the ethereal, soulful sounds that accompanied Eve Myles and co are nowhere to be found. Instead, country music provides the backdrop to the action on stage. And it complements the narrative really well, offering extra pathos to the character arc of Emmie in particular. ‘Emmie Don’t Say’ is my personal favourite track, not least because Cale and Caitlin McKee (Karen) duet with such gorgeous harmonies, creating a poignant and tear-inducing moment that also represents a neat summary of the character of Emmie. It is a song that will stay with me for some time to come.

Awarded ‘Best Show for Children and Young People’ at the Wales Theatre Awards, such an accolade could lead to some confusion over its target demographic. Indeed, if my motivation to see Eye of the Storm had not come off the back of meeting Rosey Cale in her other guise as an independent singer-songwriter, it is highly likely I would have overlooked it entirely, considering I’m now approaching thirty. It is certainly a show suitable for children and young people but do not mistake Eye of the Storm as a show written exclusively for this age group. It can be enjoyed and appreciated by everyone from 8-98. Indeed, overhearing the feedback as the audience filtered out at the end, it was overwhelmingly positive, from old and young alike. Coming off the back of Pavilion, it certainly made its mark on me. It reignited that spark which I had lost somewhere along the way. It has come through seeing something of my own life on stage. Eye of the Storm is a reminder of the importance of representation on stage.

Originally written for Get the Chance on 24th October 2019.

Featured Image (C) Theatr na nOg