Interview with Katy Hurt

When Katy Hurt walks into 81 Renshaw Street, a small retro music venue in Liverpool, you wouldn’t think that one of the UK’s most talented country artists had just walked in. She is unassuming, politely standing at the entrance with guitar case in hand. The open mic evening, for which she is the featured artist, is already underway. The compere finishes his penultimate song before quietly whispering over to her ‘Are you Katy?’ She smiles and nods. There are no airs or graces. When her guitarist, Gab Zsapska, and her manager follow her in, a few minutes later, they make their way over to an empty table at the bar and quickly become part of the two-dozen strong audience. She could easily be mistaken for one of the locals.

When we meet after her half hour slot, Katy is as effervescent and energetic as ever. You wouldn’t think she had been on the road for the best part of a month, trudging up and down the length and breadth of Britain to promote her new EP Unfinished Business. Only today, she has travelled all the way up from Somerset. Yet even after such a long trip, and a performance that is full of energy, she remains buoyant and passionate as she chats to me about her EP, country music, the music industry, and life as an independent artist.

I begin by asking her about the tour, observing that she seems to have taken a leaf out of Elles Bailey’s book and deliberately chosen to play in small towns, rather than just cities, around the UK.

“The whole point of this tour was to go to the places we’d never been before…, where I knew for a fact that I didn’t have an audience because… I’m never going to get one there unless I go. And those really small towns like Elles does, they have village halls and they have venues, [but ] they don’t really have much music. So we basically just spent a couple of months looking into where’s the most obscure, random places we could play”.

One of the most obscure so far has been a Navy Base. It’s also been one of the most challenging, because “the PA broke and they were all… drinking and having fun and there was us in the corner trying to busk”. Despite this setback, however, she admits that it wasn’t all bad:

“everyone came up to us afterward and thanked us for coming, we sold so much merch, and the subsequent shows we did in the surrounding area…, some of the sailors actually came down to…, the shows where they could actually hear us, so it turned out to be a really good thing”.

I’m struck by her positivity in the face of adversity. She is certainly a person who seems to approach things constructively, eager to learn from her experiences, good or bad.

“Doing this is not easy, and especially doing it independently. It’s painful most of the time because you’re constantly fighting an uphill battle…. [But] If you don’t do those crappy shows then you don’t learn enough about how tough you are…, you’re not going to be prepared for when all the rejection comes later”.

She tells me a story of a guy who came up to her after a show and challenged her country music credentials. It perfectly illustrates her resolve to turn rejection into self-determination.

“[He] was just like ‘I thought you were supposed to be a country artist?’ ‘I am. What are you talking about?’ ‘I was expecting Tammy Wynette. I didn’t want to listen to Jimi Hendrix’. I was like ‘Well, first of all, I don’t sound anything like Jimi Hendrix…’ ‘Just don’t’. What makes a person go up to somebody and tell them that? But I kind of took it to be that I must be doing something right…. If he didn’t care he wouldn’t have said anything…. So I was like, ‘Cool, I want to have enough of you out there pushing me to do better’.

Given the context of his challenge, and its pertinence within the contemporary country music scene, I couldn’t help asking Katy what, for her, is ‘country music’?

“Country music is such a broad genre and, to be honest, it doesn’t matter…. Is Willie Nelson a country artist? Because he was told he wasn’t. Is Johnny Cash a country artist? Because he was told he wasn’t. They were literally outlaws, all the people who you think would be a country artist…. All these people fought the same battle that we fight now…. There’s so many different artists playing so many different kinds of country music and, at the end of the day, they are all just trying to make music…. I think people get so pent up on ‘What is it? Does it fit into this box?’…. I think what country music has always done, it’s always just fought against being in a box, at the same time as being boxed in”.

This last phrase is interesting, and seems to sum up Hurt’s own approach when it comes to making music. On Unfinished Business, she is not afraid to mix rock and pop alongside more traditional country sounds. She is influenced as much by Green Day as Jim Reeves and Patsy Cline. And she wants to make these influences known. Much like Kacey Musgraves, who chose to reflect her broader musical influences on her latest album, Golden Hour. How significant does she think Kacey’s recent Grammy win is for changing people’s perceptions of what country music is and can be?

“In terms of the general public’s perception of country music I think that’s a massive win…. Her winning [for] Golden Hour I think is going to bring her music to so many more people and, through that, will bring country music to so many more people.”

She also believes that the C2C festival has made a big impact on how people view country music here in the UK. As the scene goes from strength to strength here, I’m keen to know who she most admires among her UK country peers. She mentions Laura Oakes and Two Ways Home, both of whom host regular shows showcasing some of the best talent on the UK country scene. But she reserves special mention for Ward Thomas:

“I remember playing a show with [them] in Ascot to four people about three years ago and to see how far they’ve come is fantastic. I really admire what they’ve been able to achieve in such a short period of time and how much they’ve grown.”

It is a measure of her personal integrity and selfless desire to see country music grow in the UK that Katy speaks with such genuine delight and admiration for Ward Thomas. I find this same delight and admiration in her voice when I ask her how integral Gab is to her and her music.

“I quite like to think of it, though we are nowhere near that level, but I quite like to think of it like Elton John and Bernie Taupin….  he’s such a great person to have on the road and, you know, he’s just my best friend. So getting to make music with your best friend every night is pretty awesome…. He’s extremely important to everything we do. He’s like the unsung hero in my mind”.

I end by asking her to expand on a couple of issues currently making the rounds on the Twittersphere. They are all topics that Katy has retweeted or tweeted about. First: Spotify and the effects of streaming. She describes it as both the worst thing (as an artist) and the best thing (as a fan) to ever happen to music. As a fan, she admits, “I love the fact that I can listen to pretty much whatever I want, whenever I want”. But as a musician, she has come to accept that there is no money in it. She looks at Spotify more as a social media platform now, “a fantastic way for me to get my music to people so they can listen to it…, and then they can make a decision about me”. The problem currently is that people stop there. This is where things need to change.

“The more people catch on [and] think ‘Well, ok, if I listen to an artist on Spotify, I’m not actually supporting them, I’m just listening to them, then I should go and support them’, then the better the music industry will be for it”.

When I ask about the second issue, gigs-for-exposure, we are interrupted by a guy who heard her play earlier this evening. He thanks her for coming to Liverpool to perform, despite being unpaid. After showing his appreciation, Katy watches him walk off into the night, before turning back to me and saying “That’s why I make music”.

“Even he said ‘something for nothing’. But it’s not nothing. I’ve made new friends, made new fans, played in a cool place and got to spend the night doing a thing I like.”

Katy is unafraid to speak about the harsh realities of being an independent musician. When she does, it is with an honesty and insight that feels beyond her years. It would be easy to express her views with vitriol and anger. Instead, she tempers her words with a wisdom and understanding that comes from thinking deeply about both her experiences and the issues facing independent artists today. She acknowledges that fans are unaware of the hidden costs that come with being a musician. But those within the industry, “the people who supposedly work in music”, should know better.

“People need to realise that if you are actually talking to a musician who does this for a living, and you say that, you’re not just paying for them to stand there for thirty minutes – you’re paying for years of music lessons and practice time and equipment and travel expenses and accommodation…, to print CDs and… set up a website”.

It is worth taking this list in. It is worth pausing to reflect on what actually goes into enabling her to follow her dream and do what she is doing right now.

“There was a point last year where, to pay for the EP and the tour and the vinyl… I had six jobs at the same time and I worked triple shifts. I worked a morning shift (from 5am ‘til 2pm). I worked an afternoon shift (from 3pm ‘til 6pm). And an evening shift (from 7pm ‘til 1am)…. I did it all in one month because it’s the only time I had off, and I knew if I didn’t do that I wouldn’t be able to afford to do this.”

To help offset some of the cost of the EP, Katy turned to Pledge Music, the online music platform that has now gone bankrupt. Because of the way Pledge works, she explains, they only got half the money pledged by fans when the project hit 100%. They were due to get the rest once the orders had been fulfilled. Given its current, precarious status on the market, there is no guarantee that they will get the rest of the money – money, of course, that they have already spent in the belief that they would get it back.

Despite the very real possibility that Pledge Music may leave her in some serious debt, she remains convinced that, if run correctly, the platform can be an amazing tool for artists and play a very important part in the music industry. It is this calm and thoughtful temperament that I most admire about Katy Hurt. She is able to weigh everything up, assess the arguments on either side, take into account different perspectives, and acknowledge that taking things to the extreme is, on the whole, incredibly unhelpful. Such people are very few and far between. They are often unassuming. She may not be in the UK country music limelight. But don’t doubt that Katy Hurt is a major force in its continual rise.

Click here to visit Katy’s website.

Originally published on Building Our Own Nashville.

Featured Image (C) Katy Hurt

The Southern Companion – Shine a Little Light

The Southern Companion have taken various musical strands – country, rock, pop, blues, and Americana – and plaited them together to form a set of songs that make up their latest album, Shine a Little Light. Every song seems to have two or three layers to it, The Southern Companion seamlessly switching between slightly different sounds, mixing it up not only between songs but in them too. It is an album that requires thoughtful, careful listening, not only to allow oneself to be soaked in their interesting soundscape but to pay full and close attention to the lyrics too.

Shine a Little Light opens with Billy’s Brother, which rises out of its initial silence to announce itself in all its heartfelt, heart-breaking glory. It sees The Southern Companion laying bare right from the off. With a running time of over 5 minutes, the song is almost a journey in itself. It is perfectly satisfying as a standalone single. As a result, what follows feels almost like an added extra. Few Too Many Hours continues their raw honesty, whilst Great American Mistake and Already Gone bring a more mainstream commercial sound. Underpinning them all is the breathy, slightly gravelly tones of Darren Hodson. His vocals give the album a laidback, almost reflective feel. He keeps the songs soft on the ear. Whereas a Luke Combs amplifies, Hodson touches his musical notes with tenderness. As such, Shine a Little Light gently blows, rather than scatters, away the January blues.

Of the particular highlights on this album, the chorus of Lie to Me stands out. It is exceptionally punchy, and striking in its emotion. Hodson stretches his vocals without them ever feeling forced. It gives the lyrics a desperation that is empathic rather than melodramatic. Meanwhile, the final track Last Rays of the Sun leaves the album on an ultimately hopeful note. It is uplifting in both its sound and its lyrical content, and is surely the most infectious track on the album. It certainly does what the album proclaims.

Shine a Little Light is a great addition to The Southern Companion catalogue. It adds further weight to their increasing notoriety as one of the UK’s foremost original and creative country/Americana bands. Certainly worth a listen.

Originally written for Building Our Own Nashville in February 2019.

The Dark – Fuel Theatre/Ovalhouse Co-production

Everyone has a story to tell. The Dark is Nick Makoha’s story. His is a story of a childhood journey from his home in Uganda to the UK. It is a journey across a country that is under siege and extremely dangerous. It is a journey of survival, on a minibus bound for the border. It is a journey of a mother who desires a better life for her son. It is witty. It is thought-provoking. At times, it feels terribly real. As Makoha himself says, it puts ‘a face to the polarising words of refugee and immigrant’.

Featuring Michael Balogun and Akiya Henry in multiple roles, The Dark immerses you in the Ugandan culture of the 1970s. The brutality and oppressiveness of the Idi Amin regime is felt throughout. Yet this play is ultimately about the colourful characters whom Makoha and his mother meet along the way. Balogun and Henry inject such vibrancy into these people. They transition seamlessly between the different characters. It never gets confusing as to who they are portraying. Such transitioning is made even more natural by the excellent use of lighting, as well as their movement around the stage.

The set is simple enough. It features a cluster of chairs underneath a massive overhang filled with boxes and bags. This is clearly the minibus (or ‘mutatu’ in local parlance). In addition, an OHP screen and projector are to one side, keeping us updated on the times and locations of the journey. We also get to see some personal photographs of Makoha’s which flit onto the screen now and again. They act as a gentle and sobering reminder that what we are witnessing is a reconstruction of real events. This is what makes the final scenes in particular all the more powerful.

Although engaging throughout, it is in the final quarter of an hour that The Dark really grips you. With the border now well and truly in sight, the young Makoha and his mother have soldiers hot on their tail. But just as the chance of escape beckons, his mother must make a life-changing decision. It is incredibly tense. Positively gripping. But what makes it even more powerful come the end is the subsequent reaction of the UK border official towards the young Makoha. This final scene left me feeling frustrated and rather angry. And I think that’s what Makoha the writer is looking for. He wants to shake us out of our complacency. To remind us of the responsibility we have towards those who have had little choice but to leave their country of origin because of war and conflict. As such, The Dark is a timely play whose message we would do well to heed.

The Dark is Nick Makoha’s story. It is an important story for our time. It may have been made even more powerful if it immersed the audience into its world via the seats on stage. That’s where I felt I should be, compelled, as I was, by the performances of Balogun and Henry to join them on this journey. As it was, this one-act play still made an impact on me in the way that I think it was meant to. I just hope that it is seen by much bigger audiences than witnessed it here in North Wales. It is pertinent. A story that is much needed. There is a power and importance to this individual’s story that cannot be underestimated.

Originally written for Get the Chance on 28th January 2019.

Katy Hurt – Unfinished Business EP

It beggars belief how Katy Hurt remains unsigned. You would think that record companies would be queuing out the door for her signature. But if her second EP doesn’t turn the heads of music executives, their loss is our gain. Funded by the generous financial pledges of fans, Unfinished Business is a quality record, hitting the mark in every department. From the production to the lyrics, the music to the voice, it is a mini-masterpiece that deserves all the plaudits and recognition that are sure to come its way.

Combining the old with the new, traditional with the modern, Katy Hurt manages to seamlessly weave together two sounds that are believed by some to be diametrically opposed. The current debates around what constitutes “real” country music become rather superfluous when listening to Hurt. With a voice undeniably influenced by the first ladies of country – Parton and Cline among them – but with a desire to draw on the sounds of contemporary rock and pop, Hurt achieves the seemingly impossible on Unfinished Business – staying true to country music’s roots whilst embracing a more mainstream sound.

This is certainly the case on Drink, a low and steady opening track where a classic Country & Western sound is joined by a rock-fuelled chorus to create a very catchy song. Revved Up lands much heavier on the rock vibes. It is a song whose wheels dig in and kick up the dirt, leaving a trail of smoke in its wake as it drives down the highway at breakneck speed. But it never leaves its country origins behind. Similarly, whilst See Ya Later ventures firmly into pop territory, there remains, nevertheless, a distinct country influence. It is most certainly there in spirit if not in the body of the song. With a catchy beat and infectious lyrics, this easy-on-the-ear single deserved a much higher placing than #42 on the iTunes Country chart.

For anyone in doubt of Hurt’s true country music credentials, the title track and the hauntingly beautiful Natchez will set you straight. The former gently breathes on you, causing you to stop and simply be. It is utterly captivating, not least because of Hurt’s vocals. The care and tenderness with which she handles the words of the song brings its story to life in such vivid detail as to render it utterly compelling. Natchez has a similar effect, except here I was brought to tears. Hurt’s voice is deftly clear throughout, broken only by the odd shiver of harmonious pain. The song wraps its arms around you in a deeply emotional embrace. Its heartache is palpable. It completely overwhelms.

To not be affected in some way by the songs on Unfinished Business is surely a signal to get up and go and find your soul. They are filled with such feeling that one cannot help but be moved in some way. Together, they create a record that further announces Katy Hurt as an exceptional talent. It may only be the start of 2019, but Unfinished Business is already a frontrunner for UK Country’s record of the year.

Originally written for Building Our Own Nashville.

Stuart Landon – Outmanned, Never Outgunned EP

Released in amongst the sparkle and glitter of the Christmas season, Stuart Landon’s EP ‘Outmanned, Never Outgunned’ may have been missed by some. It is too good to let it pass by unnoticed however. If you’re preparing to pack away that festive playlist for another year, might I suggest replacing it with this fine record of country-rock from one of the UK’s best male vocalists.

There is a real ‘70s feel to the opening track ‘Midnight Man’. With a delectable guitar riff appearing throughout and a tinge of classic Garth Brooks in the overall sound, it is difficult to not fall in love with this song immediately. In fact, it is hard not to fall in love with any of the tracks to one extent or another on this EP. ‘Paradise’ is a wonderfully poetic piece, with a sweet sound that is particularly apt for this time of year – a piece of music with which to reflect on and look ahead to a new year.

One can’t help but notice the difference between Landon’s recorded material and his live performance. For instance, ‘I Can’t Take It Anymore’ is delivered with much less force here. The upbeat instrumentals juxtapose the soul-draining character in the chorus. As a result, the song takes on a lighter tone – a resigned sadness rather than embittered anger. Similarly, ‘Three Days’ finds him singing in much lighter and smoother tones. This is in contrast to the rough and gritty vocals which I have experienced in his live set, and which have seen him compared to Chris Stapleton. Such a difference is no bad thing necessarily. It simply makes for a different interpretation of the song.

This is very true when it comes to ‘Shatter Like Glass’. This song completely bowled me over when I first heard it performed by Landon with his band ‘Angels with Dirty Faces’. The full band piece is something to admire, the backing vocals and prominence of the instruments helping to give the song a powerful punch. On ‘Outmanned…’ however, we find a stripped back version that means the focus is much more on Landon’s voice. As a result, the piercing lyrics take on an even greater intensity. The chorus, in particular, is searing in its emotion. Whichever way you listen to it, there is no doubt that this is a top-class song.

Landon brings the EP to a close with the masterfully crafted ‘Breaking Down’. This is a song that oozes quality. It is incredibly touching, soulful and tender in both its lyrics and sound. It perfectly encapsulates the enigma of Landon, whose hard rock exterior disguises an emotional fragility. There is a whole lot more to this guy than the blazing guitar on the EP’s cover suggests. ‘Outmanned, Never Outgunned’ is replete with lyrical excellence and inspired musical arrangements. I can think of no better way to start 2019 than by giving it a listen.

Originally written for Building Our Own Nashville on December 2018.

Featured Image (C) Stuart Landon

Charlotte Campbell – Merry Christmas to You EP

If there is one Christmas release that I would urge you to go out and buy this year, it would be Charlotte Campbell’s EP ‘Merry Christmas to You’. The name may not ring a bell. But the voice will certainly chime with those looking to evoke the gentle spirit of the festive season. In this four-song collection, Charlotte brings a positivity and warmth that wraps around you like a blanket. Her vocals are perfectly understated – no grandeur or overegging of the Christmas pudding (if you’ll pardon the terrible pun). Instead, one finds a simplicity and grace in songs that will be familiar to most. Campbell has pressed her own unique mark onto ‘Have Yourself a Merry Little Christmas’, ‘Merry Christmas Everyone’ and ‘Silent Night’. The former is nostalgic in its output, sounding like an old vinyl record being played in front of a roaring log fire. The latter has choral overtones that blend well with Campbell’s folk-pop sensibility. Joining these three classics is an original, written by Campbell herself, and surely deserving of wider airplay. ‘Merry Christmas to You’ is in keeping with modern tradition whilst capturing something anew of the season as experienced in her urban context. Its chorus is incredibly catchy and is just the tonic for those feeling a little down as the dark nights begin to draw in and the cold wind begins to bite. She may be unsigned, but that is only one more reason to support this record. ‘Merry Christmas to You’ is a festive gem. The perfect present for this Christmas.

Originally written for Building Our Own Nashville on 7th December 2018.

Cinderella – Venue Cymru ***

You are invited into a world of pure imagination for Venue Cymru’s 2018 pantomime. Cinderella is an enchanting effort from both cast and crew. Whilst never completely whisking us away to another world, it nevertheless casts a few magical spells that will delight young and old alike.

Carly Burns plays a bubbly and bright Cinderella. Her Prince Charming comes in the form of Tom Parker from The Wanted. Together, they make a delightful pairing. Ably assisted by Herbie Adams as Buttons and Natalie Winsor as the Fairy Godmother, it is clear that this show is about one thing: having fun. The smile on the face of Parker is particularly infectious. It is obvious that he is relishing his role, even if he does come up short in the acting department. The director makes sure that Parker plays to his strength though. This pantomime is more musical than in previous years, and it is the leading man that benefits. “Come Alive” is perhaps the highlight of Parker’s musical performances, although his duet with Burns on “In Your Heart” comes a very close second.

One of the most magical moments of this pantomime arrives just prior to the interval. With her invitation to the ball now in pieces thanks to her ugly sisters Tess and Claudia (see what they did there) it appears that Cinders’ hopes of meeting the Prince are dashed. That is, until Winsor pops up with her wand to save the day. Her spell works wonders. It results in a truly mesmerising transformation on stage. Cinders’ rags suddenly become a magnificent gown. Two real-life ponies enter stage right pulling an elegantly decorated carriage. The scenery changes to become a snowy white backdrop. This is what dreams are made of.

This is the ultimate fairy tale scene. Along with the music, it makes Cinderella an enjoyable show. Throw in some cheesy jokes, the odd satirical quip, and some sexual innuendo, and you have the essential pantomime mix. The problem comes when you put a bit too much of the latter into the bowl. There is such a thing as overegging the pudding. Ventriloquist Dawson Chance (Baron Hardup) does just this. He may start out with good intentions. But, ultimately, every one of his routines seems to descend into crudeness. There is a very fine line to walk with such humour. And Chance fails to walk it. Some of his material may have worked thirty or forty years ago. But times change. Some things are best left in the past.

Overall, Cinderella has to be one of Venue Cymru’s best pantomimes of the last couple of years. Everything seems to have come together nicely, from the choreography to the set design, costumes to the props. Not everything is perfectly executed in the final piece. But there is still enough to dazzle and delight this festive season.

To book tickets, click here.

Originally written as part of the Young Critics North Wales scheme on 10th December 2018.

Midland – On the Rocks Tour

They were one of the highlights at Country 2 Country 2018. And now Midland are ending the year on a high here in the UK with their first headline tour a complete sell out. Last night, they stopped off at Gorilla in Manchester to perform to a packed and raucous crowd. They delivered a stunning set, full of energy and rabid enthusiasm. It is one of the most intense country gigs I’ve experienced this year.

Before the trio stepped out on stage however, another rebel-rousing country singer came on to warm up the crowd. A long-time friend of Midland (he was also their tour manager for 18 months until recently), the bearded and flat-capped Desure ensured that the night got off to an electrifying start. The audience were drawn forward, their noise levels muted, as soon as he began his set. He held them captive throughout, with a voice cut from the same cloth as David Gray and a musical style surely influenced by Bob Dylan. Songs ‘Kick Rocks’ and ‘Los Angeles’ were the highlights in a tremendous half hour of dark and whimsical storytelling. Finishing with the toe-tapping crowd pleaser ‘Forever Be Mine’, this rough-and-ready talent set us up nicely for the main event.

Midland sure know how to build anticipation among their fans. With a synthesiser resonating ever more loudly around the room as the lights slowly dimmed, the excitement became ever more palpable. It finally exploded into full-blown singing as a reworking of ‘Take Me Home, Country Roads’ suddenly began. Its resolute ending sent the audience into hysterical clapping, evolving into wild screams as Mark, Cameron and Jess took to the stage. Taking advantage of the hyped-up atmosphere, they began with the crowd-pleasing song ‘Check Cashin’ Country’. Not wanting to expend all the energy in the room too early, they then slowed down the pace with ‘Burn Out’ and ‘Electric Rodeo’. The red lighting that accompanied both songs added to their ambient tone, and helped to bring the audience down to a more sedate level before things really kicked off.

‘The Gator Boys’ pushed the noise levels up again, Cameron getting caught up in the wild reception of the audience so much that he temporarily forgot the lyrics, much to the amusement of his fellow band members. We were then treated to a new song from their still-in-progress second album. ‘21st Century Honky-Tonk’ was a beautiful bluesy number that led seamlessly into ‘Fourteen Gears’, the band’s first-ever release. Mark ended the song with a nod to Alan Jackson. Covers of Springsteen and the Rolling Stones followed. Before ‘Altitude Adjustment’, Mark prescribed John Denver to anyone having a bad day, year, or even a bad life. The trio are clearly rich in terms of musical influences; their brand of honky-tonk brings together a host of genres that are infused with old style country and western as well as a whole lot of soul.

Midland ended their main set with the crowd-favourite ‘Make a Little’. Throughout, the band revelled in guitar solos and instrumentals. And it was at its peak here. After bowing out stupendously with a rip-roaring cacophony of electric, bass and acoustic, they returned to the stage for an almighty encore. ‘Drinking Problem’ was something of a hymn for this Friday night congregation, who belted out the chorus with gusto, their hands held high and beer glasses in the air. It was only the 10pm curfew that stopped the band from carrying on. They had time to just squeeze in what I believe was Don Williams’ ‘Falling in Love Again’ to end an electrifying night on a graceful note.

If you can catch Midland live, it is worth every penny. They are entertainers as well as fabulous songwriters and musicians. The future is looking ever brighter for these Texas cowboys.

Originally written for Building Our Own Nashville on 1st December 2018.

Lucy Grubb – Dear Walter EP

On listening to ‘Dear Walter’, the second EP from Lucy Grubb, one cannot help but be transported to the rivers and grasslands of the Norfolk Broads. She may be influenced by a traditional country and western sound but it is clear that her East Anglian roots have wrapped around her music to create a distinct English identity. There are references to Tennessee and the Mason-Dixon Line in the songs of this EP. But in its sound, there is no doubt that Grubb is firmly rooted in the UK.

The opening lines of first track ‘In Common’ draw stark comparisons with the chorus of ‘Burning Bridges’ by The Wandering Hearts. The instrumentation may be different but the vocal blend of female and male voices, to create a gently haunting sound, is incredibly similar. When the track firmly kicks in, Grubb diverts down a more countrified path than TWH, bringing in banjo and shakers. But it retains a certain folk-like quality that leads me to place Grubb under the same Americana umbrella as the Hearts.

The stripped back nature of second track ‘Storm’ means that the youthfulness of Grubb’s vocal is fully exposed. It is easy to be captivated by the beautiful simplicity of her delivery, even as her lyrics contain a perhaps surprising degree of emotional depth and darkness. There is a maturity in her storytelling that seems to surpass her actual years. One of those “old heads on young shoulders” it seems.

On hearing the opening riffs of third track ‘Not into Anyone’, my mind immediately made its way into the back catalogue of my brain and pulled out ‘Step Off’ by Kacey Musgraves. There is definitely a slower tempo to Grubb’s guitar playing when compared to Musgraves’ song, but the sound was still strikingly similar enough for me to match-make the two together in my head. This is where the similarities end though. ‘Not into Anyone’ is more a painstaking romance than a wry break-up.

The title track, which rounds off the EP, is where I think I will draw the line with comparisons with other artists. To use an analogy, if Grubb was blossoming into her own unique self through the first three tracks, then ‘Dear Walter’ is where we find her in full bloom. It is a touching ode, sung with such haunting reflection. It is a gorgeous song that completes a remarkable fifteen minutes of music from a very talented young lady. I’d recommend a listen.

Originally written for Building Our Own Nashville on 2nd November 2018.

Allelujah! – National Theatre Live

It is clear from the opening lines that Allelujah! is the work of Alan Bennett. That wry Northern humour is unmistakable. He may be 83, but Bennett remains as active as ever on the writing front. He is also, in this particular case, out to make a political statement too.

Set within the wards of a community hospital on the edge of the Pennines, Allelujah! could be described as a kind of love letter to the NHS. It follows the daily travails of patients and staff on the geriatric ward which, along with the rest of the hospital, is earmarked for closure. Despite regularly meeting targets, it seems that amalgamation into a brand-new regional health centre, as part of an efficiency drive, is inevitable. And there is a dark secret that is about to be revealed that won’t help in the fight for its survival.

What is most striking about Allelujah! is its cast of characters. They are all charming and easily likeable. The patients especially are wonderful creations, brought to life by a talented cast that includes Gwen Taylor (Heartbeat, Coronation Street) and Jeff Rawle (Hollyoaks, Harry Potter). You can tell that they are having a ball playing such funny and whimsical people, and in the process showing that age should be no barrier within the acting profession. There has been a lot spoken recently, and rightly so, about the need to support young, up-and-coming talent. But it mustn’t be forgotten that the older generation too deserve representation. Bennett delivers on this and more, for there is a serious point being made among that dry and acerbic dialogue.

It is the treatment of older people in our society that he finds most wanting. Using the Indian heritage of Dr Valentine (Sacha Dhawan), for example, he manages to emphasise the stark contrast between the two cultures’ attitudes towards the elderly. In some respects, this eclipses any political standpoint. It is a cultural problem. Yet, by highlighting civil servant Colin’s (Samuel Barnett) preference for privatisation and capitalism, Bennett seems to suggest that these contribute towards, rather than stem, the problem.

Ultimately though, it is difficult to ascertain the real views of Bennett regarding such matters on account of the competing views of the characters who, together, make up an ensemble cast. There is no lead protagonist. In fact, the closest we come to one is towards the end, when both Dhawan and Deborah Findlay (Sister Gilchrist), in turn, perform a monologue a lá Talking Heads. This is classic Bennett, and is where we find the play at its most powerful. And when Dhawan addresses the audience directly, it is also when it is most explicitly political.

The dialogue is certainly what drives this show. The set is simple, the lighting used only sporadically for effect. The musical numbers, peppered throughout, are wonderfully choreographed. The music itself is perfectly chosen. What Bennett leaves you with here is a smile on your face. It is a play to be enjoyed, even as it takes some dark turns and makes some thought-provoking points. Allelujah! is, for me, an excellent addition to Alan Bennett’s canon. It is a show that is certainly worth spending some time with.

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Originally written as part of the Young Critics North Wales scheme.