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

Pavilion – Theatr Clwyd

Emily White’s Pavilion is a sharp and witty ode to small town Wales. Described as a modern day Under Milk Wood, it is an acute observation of life in a once proud, increasingly hopeless community. Whilst we may read the childhood memories of Dylan Thomas’ days of being ‘young and easy under the apple boughs’ through rose-tinted spectacles now, White’s play is a reminder that for all its sentiment, Thomas’ world was borne out of reality. His poem Fern Hill is as much about the loss of childhood as it is a celebration of it. Pavilion strikes much the same chord.

Set on a Friday night fuelled with booze and infused with lust, we are witness to the final hours of the Pavilion nightclub before it closes down for good. Here is where the ‘hoi polloi’ gather: girls in their ill-fitting dresses and lads in their best-kept trainers and tracky bottoms. They drink, they dance; they dream, they despair. There is laughter and tears, love and loss. Not since Jack Thorne’s Junkyard have I felt such affinity for a cast of characters. They resemble a microcosm of my own home town. White’s great strength in this production has been to create drama out of the mundane, the everyday. She does so through the innocuous language of routine conversation, cadenced with humour and pathos behind which lies a depth of emotion and meaning. It leads to an immediate investment in her characters and their story. They are recognisable, relatable. We see in them something of ourselves and those around us. Theirs is a fully functioning, wholly believable world.

Annelie Powell deserves huge credit for assembling such a fine cast. It features some of the best in both upcoming and established Welsh talent. Director Tamara Harvey is no doubt the reason for the strong onstage chemistry between them. It is becoming a regular feature in her productions. The result is a thoroughly impressive ensemble piece, in which the professional debut of Caitlin Drake goes unchecked such is her striking turn as Myfanwy. Lowri Hamer (Bethan) and Carly-Sophia Davies (Jess) already appear to be seasoned actors such is the strength of their performances alongside the reputable Ifan Huw Dafydd (Dewi) and Tim Treloar (Dylan). The dialogue between Michael Geary (Evan) and Victoria John (Big Nell) fizzes off the page. A special mention must go to Ellis Duffy (Gary) who is simply sublime as Gary.

My one criticism of Pavilion is that can sometimes overstate the nation that it represents. It is undoubtedly a fantastic thing to see Wales portrayed onstage. But the strength of this play lies in its subtlety. It is through realism that White succeeds in creating a strongly-defined Welsh play. There are moments of ethereal transcendence that add a beautiful dimension to the otherwise real-world setting. However, once or twice these scenes verge too close to sentimentality. In particular, the end of act one teeters on the brink of schmaltziness. The giant red dragon that descends as the cast carry out a rendition of ‘Mae hen wlad fy nhadau’ may be a dazzling set piece. However, it feels like an unnecessary indulgence in national pride. There is no need for such overt, celebratory statements. Pavilion’s success lies in its tact.

Come the end, the audience sat in stunned silence, the darkness sustained for much longer than I have ever experienced before. This tells you all you need to know about the power of this play. Once you have entered into the world of Pavilion, you won’t want to leave. Emily White deserves the rambunctious applause that finally spilled out into the auditorium. She has freely admitted that with its large cast and herself an unknown writer, Tamara Harvey has taken a huge gamble with Pavilion. It is one that has paid off. It may have taken time for it to see the light of day, but it is now unlikely to be returning to the shelf any time soon.

Click here to book tickets.

Originally written for Get the Chance on 3rd October 2019.

Featured Image (C) Theatr Clwyd

Emily Mae Winters – High Romance

High Romance from Emily Mae Winters is an album full of delights. Just when you think you know her sound, she will surprise you with something completely different. The first song, ‘Come Live in my Heart & Pay No Rent’, is exactly what I expected. As such, I was preparing for a record full of ballads, showcasing Winters’ impressive vocals. The earthy and ethereal sound of ‘This Land’ appeared to confirm my assumptions, with ‘Would the World Stop Turning?’ drawing comparisons with the likes of Gillian Welch and Mary Gautier. However, ‘Wildfire’ soon swept away the pensive tones of these early tracks with a heavy twang of the electric guitar, ‘Gin Tingles & Whiskey Shivers’ following with a bluesy-rock sound that is, quite simply, wonderful. ‘How Do You Fix a Broken Sun?’ then moves us into folk territory, a gentle build from acoustic guitar into full-band sound underscoring the wildly sublime vocals of Winters, who at times reminds me of Sandi Thom. ‘Take Me In’ takes us back to the ballad before ‘Flaming Rose’ lifts the mood again with a super combination of rock and folk. ‘Closer’ is then probably the most interesting song on the album for me. Coming in at just over two minutes, it is short but oh so sweet. With a simple hand-clapping rhythm keeping time against the intriguing dual-harmony vocals, there is something particularly pleasing about this track when you get to the end of it. The final two tracks, ‘Across the Wire’ and ‘One of These Days’, are also pleasing, but in a very different way. These are very atmospheric; both lyrically captivating and sonically stunning. Beautiful in their own right, they nevertheless round off High Romance in striking style. They completed a journey that was, for me, like a maze – an intriguing exploration through music that offered a surprise around every corner. Emily Mae Winters is an exciting talent, and High Romance makes for an enjoyable listen.

Featured Image (C) Emily Mae Winters

Tennessee Twin – Tips in a Jar EP

Tips in a Jar, the debut EP from Tennessee Twin, is one of my surprise finds of 2019. This acoustic duo from Cambridge have released a set of delicate tracks that rest gently on the listening ear. I couldn’t help but draw comparisons with Alison Krauss & Union Station such is the tender charm of Victoria’s vocal. Combined with the deep and mellow tones of partner Geoff, the two create a whimsical sound that makes you lose yourself in their music. Most of the songs may steer close to the four minute mark, but they fly by such is the captivating quality of their sound.

Opening track ‘Born of the Road’ is performed in an acoustic, stripped back style, allowing the listener an early chance to fall under the spell of their vocal harmonies. It is simple but highly effective. ‘Move On’, on the other hand, lays on the instrumentation much more thickly. The hard playing of the electric guitar in the intro announces the arrival of this song immediately. It settles quickly into a much more easy listening rhythm though, before the electric guitar is reintroduced in the chorus to create a real modern country rock sound.

‘Hold My Hand’ could easily be a ballad written for The Shires. Tennessee Twin, however, produce a track that holds a much greater poignancy and understated charm than perhaps the pop sensibilities of Ben & Crissie would allow. The addition of the violin also brings with it a reminiscent quality that elevates this song to a position of elegance. Fourth track ‘Alice’ straddles the two genres of folk and country perfectly. A folk ballad in essence, the addition of a Country & Western style sound makes this a really enjoyable narrative to listen to. It showcases the kind of storytelling prowess that has already earned Tennessee Twin international acclaim. ‘Without You’ then caps off a fine end to this glorious EP, a song surely worthy of national airplay.

At the very least, Tips in a Jar should be on most country-loving people’s playlist of 2019. It feels like a real privilege to have found them simply whilst scrolling through my Twitter feed. Now, I am a fan. I don’t reckon it will be long before those tips turn into serious cash.

Featured Image (C) Tennessee Twin

Lisa Redford – Edge of Love EP

Having recently spent time listening to the songs of Nanci Griffith, I can’t help but feel a sort of kinship between her and Lisa Redford. The latter’s most recent EP ‘Edge of Love’ is my first encounter with the Norwich-based singer-songwriter. And her mix of folk and country reminds me of Griffith’s style. In particular, the title track blends the two genres incredibly well, creating a melancholic melody that is captivating beautiful. However, Redford also infuses her songs with a pop sensibility, creating a more cosmopolitan sound in the process. This is particularly true of her latest single ‘Let Go’, a song that would not sound out of place on a mainstream country chart. The same could be said for ‘Anything But Easy’, its highly-infectious chorus simply but effectively summing up the theme of the EP. ‘I Just Can’t Forget’ is perhaps the most musically intriguing track of the five here. Its sultry intro, featuring the combination of pedal steel and electric guitars, is allowed to thread beautifully through the rest of the song. Acoustic guitar and drums are gradually added, with a dual vocal harmony towards the end completing an impressive musical build. Meanwhile, final track ‘Alone Tonight’ is the most impressive lyrically. Perhaps because it is a stripped back ballad, it is allowed to demonstrate the real strength of Redford’s songwriting skills which, to all intents and purposes, are to be found throughout this EP. It is not hard to understand why Bob Harris calls her ‘one of our finest singer/songwriters’, and why she has been compared to a young Emmylou Harris as a result. ‘Edge of Love’ is a heartfelt, easy-on-the-ear EP. For those looking for a folk-laden country record, you need look no further.

Originally written for Building Our Own Nashville.

Featured Image (C) Lisa Redford

Clara Bond – Crown EP

First, there was Unfinished Business. Then came Better When I’m Drunk, followed by Dead Ends & Detours. Now, Clara Bond joins Katy Hurt, Twinnie, and Kezia Gill respectively in competing for UK Country EP of 2019. Crown is a sumptuous blend of countrified lyrics and pop sensibility that is shot through with soft rock. This gives the record a much sharper edge than 2016’s Out of Towners, though Clara still wears her heart on her sleeve. Opening track Does Your Girlfriend Know Your Single? is perhaps the best example of this. The funk-filled beats that take their place alongside the straight-talking electric guitar produce a real kick-ass attitude that wonderfully complements her frank and honest storytelling. It is a great choice for a lead song. This is then followed by Baby, You’ve Been On My Mind, a poignant and elegantly-produced number that represents the strongest link to the sound of her last EP.  Her sultry tones have matured since Tambourine et al, however, with an emotive depth that feels more rounded and glossed. It’s a song that’s also been varnished with Nashville-level production, as has next track Pink Wine. There is a fantastic instrumental section in the middle of this song that perfectly illustrates the glorious concoction of synth-laden sounds that create such a fascinating reverb throughout. It is a mesmerising sound which, when combined with Bond’s first-rate lyrical composition, makes for a pretty phantasmagorical track. It stands out from the rest instrumentally for sure, though the title song runs it close. Crown is a delightful mixture of classic rock and contemporary pop with a nod to country influences. It contains the sumptuous sound of an electric guitar overlaid with powerfully-delivered vocals. It is a great song to round off this four-track EP, which feels like a statement as to the musical direction that Clara wants to pursue in the years to come. As such, Crown is the blossoming of Clara Bond the Maverick, the Outlaw, whose integrity is too strong to allow herself to be boxed in by generic convention. She is determined to carve her own path, to find a sound that is right for her. And if this is it, then she is on a road to a bright future. These are exciting times for Exeter’s finest. Crown cements her place alongside the cream of UK country talent.

Originally written for Building Our Own Nashville.

Featured Image (C) Clara Bond

Morganway – Debut Album Review

Morganway have been making quite the impression on the live circuit in recent months. Such has been the impact of their live performances that their debut album has become highly anticipated. And boy, does it deliver. Covered in countrified Americana, with flecks of folk, bits of the blues, and rock running right through, this is an album that ticks all the boxes. It certainly matches expectations; perhaps, in some ways, it even exceeds them.

It is a hauntingly captivating opening to first track ‘My Love Ain’t Gonna Save You’, before it really kicks in with some low-key rock and a straight-forward chorus line. The addition of the fiddle alongside the electric guitar is a pleasant surprise; an early indication of the kinds of combinations that make Morganway’s music a delightfully unconventional sound.  ‘Let Me Go’ is the first real showcase for SJ Mortimer’s powerful vocals. Hers is an impressive performance here alongside Matt Brocklehurst on keys and Ed Bullinger on drums. It slides nicely into the next track, ‘You Can Only Die Once’. This very much fits the mould of country rock, though the band’s folky influence takes off any hard edges. Their folk-infused sound also brings a lightness of touch to the rather indie-sounding ‘It’s a Dream (Coming Home)’. The addition of the fiddle and Callum Morgan’s vocals are two elements that make this song particularly enjoyable to listen to.

What follows is then the most atmospheric piece on the album, ‘Frozen in Our Time’. This represents a complete key change from what has come before. Very reminiscent of the low and vibrant soundscapes of ‘Wildwood Kin’, it hangs in the air with an understated presence that is nevertheless quietly powerful. The lyrics certainly add to this, with a fascinating quality that recalls the earlier work of ‘Mumford & Sons’. In contrast, the next track, ‘London Life’, is an upbeat, fairly traditional folk number that will cause anyone and everyone to break into a jig. Here, Nicole Terry comes into her own on fiddle, giving a blistering performance on a track that is shot through with joy. It is a song that the mighty ‘Bellowhead’ would have been proud to have written; indeed, Morganway are perhaps the natural heirs to their contemporary folk throne.

‘Hurricane’ does what it says – a tour de force that finds Mortimer, in particular, on top form. Her vocals throughout the album display the kind of emotive power attributed to Adele, mixed with the soulful depth of Elles Bailey. It is certainly true here; though in this case, her voice has been tinged with a rasp and lightly smoked to produce the most blues-soaked track on the album. Such is the potency of ‘Hurricane’ that the slight pause before ‘New Way’ is most welcome. This very modern country song might not have the punch of its precursor but ‘New Way’ is, in its own way, striking, not least in its lyrics. The same could be said for ‘Daylight Rising’, a beautiful, harmony-driven number that is simply magical. The lovely ‘I See People’ then follows before ‘I Want No Other Love’ nicely rounds off the album. It is a fitting song to end with, bringing the whole thing into land, and coming to rest on one final note which signs things off brilliantly.

This is a really strong debut album from Morganway. The band have produced a record full of energy, that threads so many different elements from various genres together to create a richly textured web of pure musical craftsmanship. Their choice to follow their instincts rather than convention has certainly paid off. Anticipation was high for this album. And it was most definitely well worth the wait.

Originally written for Building Our Own Nashville. 

Featured Image (C) Morganway

Cabaret Pontio with Gareth Bonello, Georgia Ruth & Toby Hay

Considering they had never played together before, Gareth Bonello, Georgia Ruth and Toby Hay seemed like a long-established trio. Their first gig as a three-piece was certainly an enjoyable one. Coming together from Cardiff, Ceredigion, and Rhayader respectively, these three folk musicians brought real warmth to what was a pretty wet night in Bangor. With songs inspired by land, place and people, this concert, as part of Pontio’s Cabaret series, was a gently inspiring, fairly lucid affair. Transforming Theatr Bryn Terfel into a downtown night club, the ambient lighting and tight staging made this a really intimate experience. It felt refreshing, relaxed, and played well to a hushed and attentive audience.

Taking the form of a songwriters round, the evening began with Bonello, who performed a straight-up folk number before handing over to Hay. The highly-accomplished guitarist began with a short piece, inspired by home, before providing us with a wonderfully atmospheric version of his song ‘Starlings’. Hitting such high, soft and delicate notes on the guitar, the addition of Ruth’s harp and Bonello on the harmonium created an incredibly visual sound that hung in the air long after the last note was played. It was then over to Ruth for a performance of her song ‘Terracotta’. Its hauntingly beautiful tones struck me as being very reminiscent of 9Bach’s ‘Anian’, and was just as good. It was then the turn of Bonello again for a performance of his song ‘Pen Draw’r Byd’ before we returned to Ruth for what was, for me, one of the highlights of the night. Watching Ruth’s fingers gliding gracefully across the strings of the harp during ‘Clychai Aberdyfi’ was mesmerising. And with Bonello keeping a steady beat on duitara and then double bass respectively, and Hay strumming gently on the guitar, it made this a song to savour, both visually and aurally. To finish the first half, Bonello played a song written as a tribute to his grandmother, who used to pick cockles down by the local river. The low notes of the double bass and deep echo of the electric guitar, along with the yellow lighting, created a truly evocative scene of a river at sunset. It made ‘Merch y Morfa’ a beautiful tune with which to close before the break.

The second half opened up with Bonello performing ‘Y Deryn Pûr’ before handing over to Hay for another double header. Asked by his fellow singers to choose a traditional folk song from his home county to perform, a lack of forthcoming material meant that we were treated to two originals by Hay himself instead, both inspired by his local landscape. The first, ‘Radner Lily’, was gorgeously performed under glowing lightbulbs hung from the ceiling. The gentle grace of the electric guitar and accompanying harp led to a delightful skip into the second song, ‘Water Breaks Its Neck’, from Hay’s forthcoming album. Ruth then performed ‘Week of Pines’ from her latest album to rapturous applause and cheering from the audience – a clear fan favourite. Bonello then treated us to two tunes written specially as part of his PhD on the duitara. This Indian folk instrument proved a fascinating listen on both ‘Maid Marian’ and ‘Diamonds’, the former’s medieval associations really evoked by the sound of this four-stringed cousin of the guitar. It was then back to Hay for a performance of an as-yet-untitled song that I recognised from his recent gig at Focus Wales. It was excellent then, and with the addition of the double bass here, it was by far another standout moment of the night.

To finish, Bonello, Ruth and Hay took to the forefront of the stage to perform off mic. With only the harmonium for company, once Bonello had found the right vocal range, the three performed a gorgeous final number that was received extremely well by the audience. It rounded off an impressive night. They left the audience wanting more. Any nerves they may have been feeling did not show. There was no sense of awkwardness or any hint that this was their first time performing together. And after such a positive reaction, my guess is that it won’t be the last. Keep your eye out for future dates. I’d be surprised if there isn’t more to come.

Originally written for Get the Chance on 9th June 2019.

Danny McMahon – Boys Cry Too EP

Boys Cry Too by Danny McMahon is an EP of two halves. Not that there is anything wrong with songs ‘Everything’ and ‘When I See You’. Dealing with relationships, the first offers an anthemic chorus that is very reminiscent of a Thomas Rhett single. The second is a slow tempo ballad that is also notable for a rousing chorus, though this one is much more emotive in tone. But when compared to the other two tracks on this EP, ‘Boys Cry Too’ and ‘Pushing My Hands Down’, they strike me as your typical, run-of-the-mill country songs that, although listenable, do not bring anything new to the table. On the other hand, ‘Boys Cry Too’ feels like an important contribution, particularly in terms of its subject matter. There is still a stigma attached to male emotion in today’s society. It is rare to hear a male musician tackle such a contentious topic, let alone do so in the frank and honest way that McMahon does. Perhaps not as strong as it could have been in terms of production, ‘Boys Cry Too’ nevertheless feels significant in changing perceptions of masculinity. Meanwhile, ‘Pushing My Hands Down’ sees McMahon round off the EP with his most personal song. It is also his best. Not only is there real vulnerability in his lyrics, but the country-pop production adds a defiant tone which fits perfectly with the theme of the song. It is these two tracks that standout for me. And they make Boys Cry Too an EP that is worth a listen.

Click here to listen on Spotify.