Bang – Series 2 Review

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After its acclaimed debut on S4C in 2017, it was surely only a matter of time before Bang returned to our screens. Over two years have passed since the first series, with writer Roger Williams wasting no time in getting down to business. A visceral opening scene throws us straight in at the deep end, posing plenty of intrigue. What follows is a well-plotted second season that melds the development of returning characters’ stories with those of brand-new faces.

There is no sign of second series syndrome, with Williams developing a strong central crime narrative that works perfectly well as a stand-alone. This means that there is no overreliance on the likes of Sam (Jacob Ifan) and Gina (Catrin Stewart), the brother and sister who were central to the show’s original run. Instead, the continuation of their storyline is just one of a number of other narrative strands – each fully rounded and complete – that tie together nicely. It is the tightly-crafted way that Williams weaves these strands and slowly draws them into a collective whole that makes Bang such a satisfying watch.

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The gun remains a potent symbol in series two, though its appearance is much more sporadic. It has shifted from being the singular obsession of one to being the shared object of many. Its presence is felt, but always underneath the surface in this latest six-episode run. The ramifications of its use, however, are potently displayed in the character of Sam. Still trying to come to terms with the death of his father by such a weapon in series one, we find him grappling with PTSD. Ifan does an excellent job of conveying Sam’s mental state; in fact, it is one of the most genuine onscreen portrayals I have ever seen. Most make clear what they are trying to do. Yet here, through a combination of fine acting, clever editing, choice camera angles, and pervasive music, the producers of Bang manage to capture Sam’s struggles so powerfully that I couldn’t help but be emotionally moved.

The domestic abuse by DI Morgan Riley (Dyfan Dwyfor) on wife Caryn (Hedydd Dylan) is no less affecting. Williams captures the subtle manipulation and invasive cruelty of the husband really well, causing me to turn away from the screen several times such was my discomfort in the face of his underhand brutality. In fact, this subplot became more absorbing than the central storyline, involving a serial killer enacting revenge for the rape of Marissa Clarke (Sophie Melville) ten years earlier. The bloodbath that ensues across the course of six episodes is fairly graphic. Yet it was the unseen mental and emotional scars inflicted on the show’s characters that had me reaching for the remote in distress.

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Writer Roger Williams has not returned to Port Talbot in a hurry. This second series of Bang feels as much a labour of love as its first. It is another compelling story full of well-defined characters dealing with pressing issues. Returning fans will not be disappointed. And for those who haven’t yet seen it, I would recommend adding it to your isolation watch-list.

Watch the full series here.

Originally written for Get the Chance on 31st March 2020.

Featured Images (C) S4C

 

Laura Oakes – How Big is Your World EP

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It seems that as measures to halt the spread of coronavirus push us deeper into isolation, music is fast becoming a much-needed companion. Turning to streaming services is one way that fans are trying to support artists in the face of unprecedented gig cancellations, pressing repeat on their favourite songs in order to generate some form of income for their chosen musicians. Meanwhile, artists themselves are also encouraging their followers to purchase items from their stores in a bid to keep them afloat during this uncertain time. If I were to recommend one new music release for country types at the moment, it would be Laura Oakes’ EP How Big is Your World. I can guarantee that it will take your mind off the worries of the world with its infectious and relatable lyrics and highly-polished sound.

Many will already be familiar with opening track ‘Welcome to the Family’ but, even if you are not, its contents are so recognisable that you will become instantly acquainted on first listen. It represents a microcosm of distinct traits that are noticeable in every family, told in a concise and very catchy three minutes. ‘Better in Blue Jeans’ continues the clever musical arrangement with a tongue-in-cheek commentary on social mobility. Oakes is unwavering in her interrogation of her subject’s “undiluted, highfalutin” attitude, explaining in no uncertain terms that “I liked you better in blue jeans”. One imagines that this straight-up, no-messing stance is influenced by her heart-on-sleeve emotionality, which is most evident in ‘Learn to be Lonely Again’. It is not just the story behind this song that makes it especially poignant. Oakes’ voice is an example of deliberate understatement; always telling, simply conveying. She never allows it to belt out a powerful final note. This makes for simple yet affective songs, with confidence placed firmly in the lyrics, the instruments adding an extra gloss.

Final track ‘How Big is Your World’ is a song that I am constantly falling in love with, perhaps because it sounds like it should be on stage in a musical. The clear vocal delivery, meandering chorus, and wistful arrangement make this the perfect song to sit back and enter into reflective mode. On a day where further action is being taken to deal with coronavirus, it certainly helped me to be both in the moment yet mindful of the world outside. It reminded me of music’s ability to uplift us and comfort us. And by purchasing How Big is Your World, it’s good to know that I’m giving something of worth back, especially to such a talented artist like Laura Oakes.

Originally written for Building Our Own Nashville.

Charlotte Campbell – On the Southbank

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For anyone struggling to cope with isolation, may I prescribe Charlotte Campbell’s new album as the perfect tonic. The London busker’s latest release shines as bright through my stereo as the spring sun through my window. It is a light that is not so much warm and fuzzy; rather, it unburdens you of worry and anxiety. Its uplifting and joyous sound is a pleasant distraction from the rolling news and general strangeness of current times. Thanks to Charlotte’s gentle intonations, I am whisked away for a moment to the banks of the Thames, to a capital city that, though miles from where I live, suddenly becomes very real.

On the Southbank is deeply rooted in a sense of place. The title track evokes the hustle and bustle of the city, for example, whilst ‘Streets of London’ is akin to an audio descriptive tour. Campbell maintains a strong link to folk music throughout, but draws on other genres to display a vibrancy that is in keeping with the capital’s multiculturalism. A pop sensibility runs through many of her songs, though it is most keenly felt in ‘Over Again’ and ‘Songbird’. Meanwhile, ‘Sparkle’ and ‘Wildland’ are inflected with country. And ‘Jump’ includes a rap so rich in meaning that I might have to print it out and spend considerable time studying its content.

 

This straddling of generic borders whilst retaining a central sound makes for a series of beautiful musical arrangements. I did not so much passively listen to this record as actively dance along with it. The versatility of Campbell’s vocals means that every track sounds slightly different. She evokes a myriad of fellow artists, from Ellie Goulding to Molly-Anne. She is best described as an urban Kitty MacFarlane, embodying her surroundings such that her music and geography unite to create a very physical sound.

On the Southbank really does take you to the place of its title. It is a delightful space in which to lose yourself for a few moments, to relax in your chair and feel as if the world is as it should be. It may not be a world that is recognisable right now. But Campbell’s new album allows us to hold onto a picture of a reality that, God willing, will soon return.

Click here to stream the album, and purchase it here.

Featured Image (C) Charlotte Campbell

Top Tunes with… A new site feature

Dear Independent Musicians

In light of what has happened as a result of the coronavirus, I’ve been wondering how best to offer my support during this incredibly tough time. I know that others are doing their bit to help promote you and your music, and I want to do the same. I don’t want to replicate what others are doing, but instead try and compliment their efforts. As a result, I have taken inspiration from a fellow arts website (that I also write for) to create a feature that I am calling Top Tunes with…. The idea is to send me your top five albums/singles and write a sentence or two about why you have chosen them and/or how they have influenced your own music. I also want to include a sixth choice, which will be one of your own songs. Pick one that you think would be the perfect introduction to your music for people who may not have come across you before. At the end of the feature, I will then include links to encourage people to: stream your music, purchase items from your online store; and donate where possible. I hope that by doing this, I can help support you in some small way and you have a little bit of fun choosing your favourite tracks in the process.

Be blessed,

Gareth x

Laura Oakes – Spring Tour Review

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So inconspicuous is Phase One, one of Liverpool’s newest music venues, I initially walk right past. When I eventually spot the white neon sign hanging over the door on my way back down Seel Street, I am overcome with a sudden anxiety about the size of the place. But as I look in, over the shoulder of the man in front, my fear is eased. I walk into a fairly spacious room that, on closer observance, is pretty basic too. Aside from the portable loos outside that fill me with a sense of unease, the bar is constructed of plywood, the red brick walls are fully exposed, and the electric cables can be seen openly trailing along the walls. Large white sheets are used to frame the room and stage. Décor is not fancy. But as I sit on a small stool in a corner of the room, there is something about this place that I warm to. The quirkiness perhaps, exemplified by the presence of two garden sheds that stand next to an upright piano acting as ‘vinyl listening booths’. Or maybe it is the makeshift simplicity – the reclamation of a derelict unit for the promotion of music in the city.

Tonight, it is two of Liverpool’s own on show. One, Laura Oakes, is returning to her roots, stopping off as part of her Spring tour. The other, who she has invited as support, is Eleanor Nelly. Nelly still lives in the area and has been regularly gigging around it for a while. Slowly building a reputation as a singer-songwriter, her impressive talents have been noticed by the likes of Bob Harris who, last year, invited Eleanor to open up the Liverpool leg of his ‘Under the Apple Tree’ tour. This is where I first encountered her, and I was struck not only by her sharp sense of storytelling but also by the distinct twang in her vocals. Both remain evident here, particularly in songs ‘Eventually’ and ‘The Best is Yet to Come’, inflecting her music with a certain style that is captured in her choice of wear: a floral dress with black doc martens that conveys beauty laced with a hint of attitude.

When Oakes walks out on stage, she does so in a t-shirted dedication to Elton John, and wearing a pair of sparkly silver trousers that exude sass. She is ever the laid back professional, capable of putting on a first-class show without it ever seeming like an effort. The effect, as is evident here, is a set that is warm and inviting, easy-going and free-flowing, as her and guitarist Pete Darling stroll pleasantly through a list of old favourites and brand-new tracks. The back catalogue that Oakes has compiled over the last few years is impressive. The standard of her new material only adds further credence to her emergence as a major talent on the UK Country scene. We are treated to all the new songs off her forthcoming EP here. These include recent single ‘Welcome to the Family’, whose acoustic rendering is no less infectious than the original, and ‘Old Ghosts’, which sees Oakes wind into a more traditional country sound. She gets excited at the fact that Shania Twain has just added ‘Better in Blue Jeans’ to her Spotify playlist. Given its catchy chorus and crowd-pleasing sound, I am not surprised. She draws on the emotional backstory of ‘Learn to Be Lonely Again’ to provide the most breathtaking moment of the evening. Her solo performance is so soft in its delivery that the song floats into the hearts of the audience. And she provides plenty of opportunity for participation, not that these fans need it. During ‘Nashville Stole Your Girl’, I cannot help but give a wry smile as I scan the crowd and see them singing along, unprompted, to this most glorious of ballads.

She ends her set with a barnstorming rendition of ‘Don’t Let It Hit Ya’. It is a chance to go out all-guns-blazing. But the shouts for more are too many to ignore. She duly obliges, performing a cover and then an audience request which, together, epitomise her musical range. The first is a lovingly light rendition of Stevie Nicks’ ‘Landslide’. The second is the infectious and pop-infused ‘Snakes and Ladders’. This ebb and flow through reflective storytelling and toe-tapping tunes seems to be a hallmark of an evening with Laura Oakes. I leave feeling sprightly and with a deep sense of enjoyment as I make my way back to the train station and head for home.

Click here for more info on Laura, her new EP, and tour dates.

Featured Image (C) Laura Oakes

Break the Silence – Two Ways Home

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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

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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.

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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

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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.

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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

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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.

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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.

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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

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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