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.

Interview with Bryony Sier

There were so many artists to enjoy last week at Focus Wales, one of the nation’s premier music showcase festivals. Among them, a host of Welsh country and Americana artists and bands, most of whom I had the opportunity to see and hear over the course of the three days. And from the psychedelic country of Melin Melyn to the soulful sounds of Albert Jones, via the country-pop of Rosey Cale and the outlaw Americana of Little Folk, what was clear was the breadth and depth of talent emerging across Wales.

On the more traditional end of the country spectrum, but by no means confined to it, was another artist who I was delighted to discover through Focus Wales: Bryony Sier. She was kind enough to sit down with me for a short chat about her experience and her music career so far. Although she already has three EPs to her name, she is still a relative newcomer to the live music scene. And as I chat to her, it becomes clear that she has been on a real journey to get to this point. No sooner had I begun, by asking her about how the festival has helped her as an up-and-coming artist, she reveals that ‘I do have a bit of anxiety as a musician’. As a result, when she visited last year for the first time, ‘I sort of went to my gig and that was… it’. Twelve months on though, she feels like she’s ‘grown in that space of time…. My music’s changed and I feel stronger as a performer…. It’s really helped me to gain a bit of confidence really’.

That confidence has taken her out of her base in the Valleys – Merthyr Tydfil to be exact – to finding herself ‘mostly gigging now in Cardiff and in Newport’. She has been to London too, and admits that ‘I’d like to travel further’. She has no plans to move though, for the time being at least:

‘I love the countryside…. I love Wales. It’s quite nice and peaceful. And… with Merthyr, it’s quite a close-knit community so everybody knows each other’

One of the benefits to coming from such a community is the support that she and others – ‘like Florence Black and Pretty Vicious’ – receive. It perhaps makes up for the lack of opportunities to gig closer to home.

Despite the community support, she has recognised that, to build an audience and promote herself, she now has to look beyond her geographical location. To this end, she has recently taken up vlogging, which she describes as ‘a distraction’. From what I’m not sure, but if I were to guess, I would probably say her anxiety.

‘It helps me to get more confident in front of a camera, and… at the moment I’m trying to find out who I am so it’s kind of… helping with that too’

As part of that process of self-discovery, she has also experimented with different sounds.

‘In the beginning it was just country. Pure country. I had a strong lilt to my voice. [Then] I sort of went from country to folk – more country-folk – and then I started doing blues as well, so that was involved in it. But now it’s like folk-roots, a bit of country-pop…, and I’ve just written a dance song’

It is interesting that such experimentation has not led her to find a specific sound that defines her. Instead,

‘what you find as an artist [is] you change with time. In my opinion, I don’t think you can put a label on some music because it does just change, and that’s what I want to do. I just want to keep changing all the time basically – just learning and developing… and creating new sounds’.

Like Kacey Musgraves, Ward Thomas, et al, Sier wants to have the freedom to explore different ideas and sounds. She is your typical modern country artist – putting the song first, holding to the ideal of three chords and the truth, but allowing herself to be influenced by that which lies outside of the traditional confines of the genre. Not that she can escape it altogether. One of her most important influences, apart from her family, is Johnny Cash. Listening to her latest EP Captivity, it is hard not to recognise the impact of the great man’s music on her own.

‘When I was younger, I’d basically be sat in the car with The Eagles and Neil Diamond on and stuff. I didn’t like Johnny Cash back then…. I’d be like, ‘What is this? What’s he talking about [on A Boy Named Sue]’. But now – oh my gosh! – I heard him again when I was older, and we had Vintage TV on, and I could hear this voice and I was like, ‘Who is singing there now?’ There was like a dark holler to the voice. And I sat through this entire documentary of Johnny Cash and I was obsessed. And then I watch the film ‘Walk the Line’ and after that became more obsessed…. His music definitely inspired me’

I bring the conversation back around to her anxiety. Knowing myself how important it is to speak about it, particularly in Mental Health Awareness Week, I wonder if she can share some of her own experience with it.

‘So I didn’t know what anxiety was. I think it started in high school, and then it just got worse. And I thought after high school, because it was such a horrible environment, I just thought after that, ‘Oh, surely now things will get better’…. But then it actually just manifested and [although] I talked to my mam about it… I just kept it to myself. So I go to college and would be like constantly on edge. I was doing performing arts funnily enough. That doesn’t make any sense really, does it?! But I just always felt like pushing myself…. I thought, ‘I want to try and change now. I want to make new friends’ and things like that. It didn’t work out that way, but it was just really bad timing. I finished the performing arts course. I did another course then – music – which was better because there were like 16 people in the class…, but I still would come home just in tears because I couldn’t understand why I was feeling so worked up. But eventually it got to the point where I was like, ‘I can’t do this anymore’, and I just felt something was wrong. And I went to the doctor then and they basically mentioned anxiety to me and that’s how I got out of it. But for so many years I just buried it because I thought… it was just nerves. But it was so much more than that. Even after they told me what it was, college was like a big barrier because obviously, from school, like a similar type of environment with so many people, just crowds in general, that’s why this [coming to Focus Wales] is hard because it’s just packed with people and I was like, ‘Where do I look? What do I do?’

‘I’ve still got the anxiety. I don’t know whether it will ever go away. But I recently became a Christian and that’s helped me a lot really. I know there are other ways people can go, but that was my… refuge in a way. And now I just think, everything’s for a purpose. And I just think I’ve been given the gift of music and I just want this to help people. Because I know that anxiety is so hard to explain, and it’s got so many layers to it…. It’s like you’re living in your own head. That’s the hardest thing. So, I think, it’s working your way out of that. But I don’t know if I ever will.’

It’s inspiring to hear her desire to turn her experience into a positive – to help others who are going through similar, to know that they are not alone – by using the ‘gift’ of music. It’s a gift that she sees as being given her by God. Her new-found faith is certainly present on her latest EP Captivity. It will also form the basis of what will be her next EP Identity. It seems that the parallels with Cash don’t just stop at her musical sound. Like that sound though, she doesn’t want to be boxed in by a label.

I end by asking whether, going forward, she feels pressure to categorise herself, as either a Christian music artist, or an artist whose music just happens to include Christian themes. She admits:

‘I think it’s going to be difficult because I have written some worship songs but it’s separate from my secular music. But then I have got songs like ‘Holy Ground’, ‘Lions’ Den’ [which have] faith elements in them… but they are very subtle’.

Like the grand old debate about what constitutes “country music”, what constitutes “Christian music” is perhaps, ultimately, a question without a clear-cut answer. I suspect that Sier doesn’t really care. Instead, she believes that ‘God has given me the opportunity to do this’, ‘to reach people who really feel like they can’t go on anymore – they’ve hit rock bottom – because that’s where I was’. In that regard, she will perhaps emulate another female country music artist who has managed to transcend this obsession with categorisation, Philippa Hanna. She certainly has the talent and motivation to do so. And as she gets a firm grip on her anxiety and her confidence continues to grow, I suspect there’ll be no stopping her. Bryony Sier is determined to be a person free of limitations.

Originally written for Building Our Own Nashville.

Featured Image (C) Bryony Sier

Interview with Rosey Cale

It was such a pleasure meeting country-pop artist Rosey Cale. The Welsh singer-songwriter was performing at Focus Wales, one of the nation’s premier music showcase festivals, and I was delighted to catch her for an interview in between her two sets.

Her calm and considered persona whilst performing is no onstage act. As I sat down with her, it was interesting to capture her outsider perspective on the town that has been the base for Focus Wales since its inception: Wrexham. Her keen observance of the homeless population was palpable. But it was her experience at the entrance to Waterstone’s bookstore earlier in the day that revealed a heart brimming with compassion. For a store assistant had prevented a homeless man from entering in. And it was the way that the assistant had addressed this guy in the third person that really shocked her, failing to treat him with any ounce of respect or basic humanity.

During our conversation, I was struck by the gift of gentleness that Rosey possesses. It perhaps comes from her temperament. She describes herself as ‘quite a reserved person…, definitely an introvert’. It is for this reason, she thinks, that she still resides in the beautiful countryside of Pembrokeshire, West Wales, rather than choosing, like so many other artists, to move to the city. Not that she has anything against cities, ‘but I don’t think I would ever call the city home… my heart is near the beach and just because I’ve grown up with that, I don’t know anything different really’.

In the age of the internet, living in such a distant part of the country is no longer as disadvantageous as it might once have been. When I ask her if she is influenced by a sense of place, she agrees, but also adds that ‘I get a lot of influences from online’. So on the one hand, she finds support and inspiration from the ‘very small amount of musicians’ that form the local music scene. And on the other, she has grown up listening to people like Taylor Swift, Shania Twain, Sara Bareilles, and Rachel Platten. It is this dual aspect that seems to have played an important part in her development as a singer-songwriter, drawing on both the local and the global for her country-pop sound.

As she lists off her musical inspirations, she makes a point of adding that her net stretches much wider than just a few individual artists:

‘I like singer-songwriters that play piano. That just seems to be something I really like as well. It’s more the gentle side of things rather than big bands. I like to keep things as minimal as possible. I don’t know whether that’s because my ears prefer it or – I don’t know – but I don’t tend to listen to a lot of modern pop stuff. It tends to be more country or storytelling through songwriting. I think, for me, it’s more about individual songs that inspire me than people’.

Being an introvert, it is perhaps no surprise to find her musical preferences reflecting a marked sensitivity. It is something to which I can relate. So it doesn’t come as a shock to find that she gravitates towards the lyrics of a song:

‘I’m definitely a lyric writer. That’s definitely my favourite part of writing songs…. Growing up, I always wrote poems and just little things that I had in my head, little rhyming patterns…. I don’t know where that’s come from – whether it’s just sort of inspired by music – but it’s something that grew as I got older. I was like, ‘Oh, maybe I should try writing songs’. I wrote my first one and thought, ‘Hmm, maybe I’ll write another’. It wasn’t something where I thought, ‘I’m going to be a songwriter’. It just grew by itself, and I’m glad it did really, because if I didn’t do it that way it would have been forced’.

With such an emphasis on the lyrics, it perhaps makes sense that country music is where she has found her home. But like many of her fellow female country artists breaking through at present, she doesn’t feel tied to a generic formula. One only needs to check out her Sunday Acoustics on YouTube to see that she draws from a much bigger pool of influences. What made her start this semi-regular online feature?

‘It was a way to push myself to learn new songs, how other people write, learning lyrics fast…, pushing my playing as well, just being able to pick up things. It really did help. You’d probably see a difference [between] the start of the year on my guitar and now on some of the covers. [I’ve also learnt] how to mix, how to edit, those sorts of things…. But it’s been really fun, and the audience have been so supportive. Even when I’ve not been posting, people have still been subscribing and that’s been amazing to know that all that I’ve done in the last year has led to that. So I hope that I can give back to those people who have recently subscribed very soon with more videos to show that their support hasn’t gone unnoticed.’

It is fair to say that Cale doesn’t rest on her laurels. She is always looking to improve. Listening to her set earlier in the day, it was evident to see the effect that such a commitment to self-development is having on her music. And it seems that she is starting to reap the rewards of this hard work in other ways too. Adding to a growing list of commitments is an ambassadorial role with Belles & Gals, as well as a theatre tour later in the year. How does she feel about become an ambassador for female country music in the UK?

‘They have just been an incredible organisation from day one and have supported me for such a long time. I felt like it was a way that I could work with them and say thank you for all their support and hard work over the last few years…. People come from far and wide for UK country music and I just feel so privileged to be part of that group of people. To be able to say that I’m an ambassador is like a big step for me so hopefully, in the future, with the gigs they put on and the promotion with them, working alongside them, I think the next year is going to be really fun and exciting.’

The sincere gratitude she has as she speaks these words leaves a lasting impression. I get a sense that she still can’t quite believe that it’s happened. Once it’s sunk in however, there is no doubt that she is going to take such a role seriously alongside a burgeoning acting career.

In August, she begins a three month UK tour with Eye of the Storm, ‘a sort of country musical’, as she describes it, produced by Theatr na nÓg. As she explains, the music for it was written by Amy Wadge, with Lisa Wright also having a hand in the soundtrack. Considering the former has worked with the likes of Kacey Musgraves and Ed Sheeran, it is understandable that Cale took the opportunity to have a writing session with her. It seems that theatre has opened up opportunities for her music career. No doubt her music will open up opportunities for her acting career too. Does she envisage doing both, as Wright has chosen to do?

‘I don’t know where the acting’s going to go, I don’t know where the music’s going to go, but I hope that I still get to do them both at this point’

Does she think that doing both is perhaps the most feasible option for an independent artist like herself these days, particularly from a financial point of view?

‘It has been [helpful] up until now. Obviously you can’t guarantee any of the work that you get whether as a musician or an actor. [But up] until now[they’ve] worked alongside each other and the timing has been great because I didn’t have much booked in for August to October so I was able to say yes to the theatre. And I can remember that, if I’m not acting that much, then I can book in a few more gigs depending on what’s happening…. It can get difficult sometimes to juggle both, especially being self-employed. It’s difficult to get mortgages and that sort of boring stuff. There are times where I do get tempted to get a job, earn some decent money, because there isn’t masses of money within the industry unless you’re constantly working or a bit further up – whether you’re signed or with an agent or whatever – so it can get difficult. And there have been moments where I’ve thought I might pack it all in or just do music or just do acting. And then I come back to it and I really love what I do. I don’t think I’d change that. So it’s a case of digging deep and pushing through the difficult times until I sort of come out somewhere.’

Gentleness, mixed with a gritty determination. Add in a large helping of talent and a decent slice of maturity and she has all the ingredients she needs to carve out a successful career in an oft-uncertain, sometimes ruthless industry.

In one sense, I wonder whether she hasn’t already left her mark. Success isn’t always measured in pounds or followers, No.1 hits or likes. Given our conversation is happening in Mental Health Awareness Week, I end by asking her about her journey through anorexia. It is an experience that she captures so honestly in her song ‘Mirror Mirror’.

 ‘So I wrote that song when I first started writing…. I had [anorexia] from when I was 15 years old and it was something that maybe… started before then, but that was like the peak of when I was really ill. I think that song was a real personal triumph of like ‘This is what I am’. And I can remind myself that things can get better, that I’ve got this far, and I can push through the difficult times. And as soon as I’d written it and recorded it and obviously sung it a few times at gigs, it sort of felt like it was no longer mine, that it was more like for other people who were going through that journey and, I think, so many people after gigs have come up to me and said…, ‘My daughter’s got anorexia’ or ‘My partner’s got anorexia’. Or personally people will say, ‘I’ve had anorexia for sixty years and I’ve never told anybody’. It really does bring it to the surface: that body image is an issue and it’s something that we can’t shy away from and we need to talk about it. People can die from this. It’s not something that you can just get rid of. It’s not an attention-seeking thing. It’s a real deal and I think if it’s not taken seriously then it can backfire on some people, and I was one of the fortunate ones that had help when I needed it. It’s so important for people to talk about it so they can get the help they need and that’s why I put it out there and tried to push it as far as I could into the world. It’s one of those songs that when I sing it now I almost, it reminds me of the girl that I was but that doesn’t feel like me, if that makes any sense at all.’

It makes perfect sense. And it brings us full circle. Back to that caring and compassionate person whose fierce consideration of others has not gone unnoticed, by either me or, I suspect, those around her. Rosey Cale has the potential to make a significant impact on the world. In one sense, she already has, not least through her music. After spending but short time in her company, my message to her is simple. Keep inspiring. Keep encouraging.

Click here to visit Rosey’s website.

Originally written for Building Our Own Nashville.

Featured Image (C) Rosey Cale