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Country Christmas Singles 2019

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

Padraig – Blue Christmas

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

Little Folk – Christmas is Here

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

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

Rosey Cale – I’ll Be Your Baby

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

Lily Garland – Rise From the Ashes EP

lily garland rata 2

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

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

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

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

lily garland rata

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

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

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

Featured Image (C) Lily Garland Music

Molly-Anne – Autumn Leaves EP

autumn leaves

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

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

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

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

“I hope the wind blows you back to me”

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

Featured Image (C) Molly-Anne Music

Vic Allen – Enough EP

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

Originally written for Building Our Own Nashville.

Featured Image (C) Vic Allen Music

Eye of the Storm – Theatr na nOg @ Pontio

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

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

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

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

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

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

Featured Image (C) Theatr na nOg

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