CMA Songwriters Series – St George’s Hall, Liverpool

I hope that the doorman who greeted me at St George’s Hall for the CMA Songwriters Series got to sit in on the show. When I asked him if I was in the right place, he responded hesitantly with “for the Country & Western thing? Yeah, just through here”. The way he said it made me very suspicious. The fact he added “thing” confirmed these suspicions. This man clearly hadn’t been exposed to contemporary country music. If he did sit in, I hope that he was pleasantly surprised.

This mini tour of the UK by four US singer-songwriters, ahead of Country Music Week, stopped off in Liverpool. And they performed in one of the most beautiful venues that I have ever come across. The regal architecture of St George’s Hall provided an incredible backdrop for this songwriters’ round. With gold columns behind them and a shimmering chandelier above, it seemed a bit subversive to be listening to songs whose settings were a million miles away from such a palatial space. At the same time, the concert room’s acoustics were perfect, enabling the full range of emotions conjured up by the artists to be not only heard but felt.

Kicking us off was Canadian singer-songwriter Tenille Townes. Wearing leopard-print heels, leather boots, and a black dress with gold buttons, this sassy lady has a real punkish edge to her music. It seems like the sound engineers took a bit of time to find the right levels on the microphone as her opening song, ‘Where You Are’, faded in and out. There was no doubting her exquisite vocal style though, very reminiscent of Anne Marie. By the time we came around to her again, for ‘Jersey on the Wall’, any sound issues had been dealt with, and we were able to appreciate every thick lick of her vocals around the poignant lyrics of this highly-emotional song.

In between Townes’ first two songs, we were introduced to the three other artists on the bill. Next came Chris DeStefano, whose name might not be familiar, but whose songs will be instantly recognisable to many country music fans. The man in black (and the only male on this particular bill) began with his biggest hit, a co-write with Carrie Underwood which went on to become a No.1 single, ‘Good Girl’. His clean vocals made this version a little bit less gritty than Carrie’s, but you could tell that he was particularly proud of this song. He took the prize for the longest-held note of the night too, an early but unbeatable contender that got him firmly on side with the cheering audience.

Following Chris was a lady who, I think, is destined for very big things on both sides of the pond. Kassi Ashton was full of humorous quips and asides from the off, offering us some sage advice alongside her stunning musical performances. She began with her debut single, ‘California, Missouri’, a perspective on her hometown told in a fusion style of country and hip-hop. I’m not sure the label of a ‘female Sam Hunt’ is the best description, but it captures a little of her style for those unfamiliar with her music. Ashley Campbell completed the line-up, the daughter of the legendary Glen Campbell beginning with ‘Better Boyfriend’, a song full of dry wit, before turning her hand to more reflective songs in subsequent turns. ‘The Lonely One’ and ‘Nothing Day’ followed, before a beautiful cover version of ‘Gentle on my Mind’ found the audience in a complete trance. When one gentleman in the audience sung the title line every time it came around, I couldn’t help thinking that it was the spirit of Glen joining in with his daughter. Powerful stuff.

It was great to have a real mix of the familiar and the new at this event. Although DeStefano was a new voice, his song choices were very familiar. During his next two turns, he chose to play the Brett Eldredge song ‘Don’t Cha’ (which he produced) and Dan + Shay’s ‘From the Ground Up’ (which he co-wrote). We were then treated to his first solo single ‘Wide Open’ which, if any evidence were needed that DeStefano will be ok branching out on his own, this is it. Meanwhile, Townes continued to display her tenacious sound with a ferocious rendition of ‘White Horse’ that echoed wonderfully around the auditorium. She then followed up with ‘Change My Mind’, the first time she’d publicly played this co-written song, and one which Lucie Silvas fans would have been all-too-familiar with. In between, Kassi Ashton continued to produce an astounding portfolio of material. Recently signed and having not yet released an album, if songs ‘California, Missouri’, ‘Lie with Me’, and her second single ‘Taxidermy’ are an insight into what is to come from this down-to-earth and very funny lady, then we are in for a real treat.

The final round of this songwriters round was a real belter. Townes ably closed her set list with the fantastic ‘Somebody’s Daughter’ before DeStefano busted out a real showstopper with ‘The Champion’. I wondered how anyone could follow that, but Ashton did to spine-tingling effect. ‘The Straw’ was perhaps the highlight of the night, a song that held the audience captive from start to finish. Ashton embodied the music, feeling every note and every word. Comparisons with Adele and Amy Winehouse are not generous here, but well deserved. I’m sure that even the chandelier shook a little with excitement at the beauty of her performance. It left Ashley Campbell with no choice. There was only one way to follow that and it was with her signature song ‘Remembering’, a piece that transcends its musical context and has the ability to speak into the lives of others, particularly those living with the effects of Alzheimer’s.

There could have been no finer way to finish off this wonderful night of music. By the end, the grandeur of St George’s Hall had faded away. We could have been anywhere. The focus was solely on the artists and their songs. If that doorman did sit in, my guess is that he would have been more than pleasantly surprised. This was music with a life-transforming power.

Originally written for Building Our Own Nashville in October 2018.

Kitty MacFarlane – Namer of Clouds Tour

On a cold Autumn evening, I ventured through the country lanes of North East Wales to the village of Gwaenysgor. It seems a very innocuous place to attend a gig with one of folk music’s brightest upcoming stars. Yet the small village hall, nestled in a corner just off the main road, was the perfect setting for an evening with Kitty MacFarlane. No sound system. No microphone. No fancy stage lighting. This was just Kitty and her acoustic guitar.

Hosted by the Record Journal Live, this wasn’t your average concert. In many ways, this was the epitome of a gig organised and run by people who are passionate about bringing live music to the local community. There’s something quite special about wandering in and finding your name written on a piece of paper, ready to be ticked off; being handed a cup of tea in a random mug that’s been poured out of a stainless steel teapot; entering into a hall whose tables and chairs have had to be laid out beforehand. No technology. No paid bar staff. Just a warm and friendly atmosphere into which MacFarlane’s gentle vocals and whimsical guitar chords beautifully contribute.

Beginning with ‘Only Human’, MacFarlane proceeded with a delectable mixture of stories and songs. It was a fascinating insight into both her songwriting process as well as her wider world. From it, I sensed a deep affinity with nature. There was clearly a deep connection to her local area too – the Somerset Levels. To be given a context to songs like ‘Man, Friendship’, written in response to the 2014 floods, a picture of which adorns the cover of her debut album, gave them an extra dimension. Told with light humour and gentle passion by MacFarlane meant that they became ever more compelling too. Such light humour peppered most of her anecdotes. Her passion was especially evident when it came to ‘Glass Eels’. Introducing the song, she recounted how she’d spent a day with some wildlife conservationists, studying these fascinating creatures. Such an experience clearly left its mark on her, her continuing interest in eels all too evident and somewhat infectious too. It gave a real insight into the careful crafting that has gone into each of her songs. Every one featured in this set had a tale to tell, and was sung with tender conviction.

One of the most captivating moments in this set came during her rendition of David Francey’s ‘Saints and Sinners’. With the guitar placed to one side, this was Kitty MacFarlane truly unplugged. If it wasn’t enough to enjoy the sole sound of her melodious voice, once the familiarity of the chorus had been claimed by the audience, they joined in with her to create a finish to the song that was truly transcendental and awe-inspiring. It perfectly encapsulated the emotion of the whole evening.

Kitty MacFarlane is as warm and welcoming offstage as she is on. She has received huge commendations for her debut album Namer of Clouds, and rightly so. It is a superb record that deserves your listening ear. In some respects, the twee surroundings of a local community hall is exactly where you expect her to be. To hear her live is a real treat. To be in such an intimate environment when you do is a bonus. The Record Journal has tapped into something here. They’ve kept it sweet and simple. On this occasion, it suited MacFarlane’s performance perfectly. Stripped back and laid bare, this was folk at its finest. A concert that was well worth attending.

Click here for tour dates and more info.

Originally published for Get the Chance on 7th October 2018.

Featured Image (C) Kitty MacFarlane

Awful Auntie – Venue Cymru

For anyone who enjoyed Gangsta Granny, Awful Auntie is a decent follow-up adaptation of David Walliams’ popular series of children’s books. The premise of the show is pretty simple. Stella (Georgina Leonidas) wakes up to find that her parents have disappeared. According to her Aunt Alberta (Timothy Speyer), they have died in a car crash. But as things unfold, it appears that her Aunt might not be telling the truth. With the help of her ghostly friend Soot (Ashley Cousins), Stella plots to make her escape and find out what’s really going on.

Awful Auntie sees less action and a more dialogue-driven narrative when compared to its predecessor. During the first few minutes, it seems that this is going to prove problematic. In order to set the scene, both Leonidas and Speyer engage in a lot of back-and-forth dialogue, with little movement from either of them. Although helpful to our understanding, it is not very entertaining. However, once we get past this initial phase, my concerns were alleviated. This was largely due to the return of the revolving scenery that was so terrifically inventive in Gangsta Granny. It is no less creative here, turning the confines of Saxby Manor House, where all of the action is set, into a magical place of adventure. Constantly evolving and truly dynamic, the set is without doubt the best thing about the show. It is a character in its own right, and is a joy to behold.

Leonidas brings a delightful innocence to her role as Stella. She manages to do so without compromising on the strong and assured personality of her female protagonist. Her partnership with Cousins, in the role of Soot, is a joy to watch. The two of them work really well together, creating a convincing and very likable partnership. Cousins oozes a childlikeness which comes about from both his high-pitched voice and flaccid physical movement. Whilst the twenty-something actor failed to play a boy half his age convincingly in Gangsta Granny, here, he fully resembles a young lad of around 12. His character is charming and utterly adorable. The two of them together make a fine team against Stella’s awful Auntie. And awful is perhaps the most apt word, for Speyer’s portrayal of the character fails to exude any psychopathic tendencies. He is more pantomime dame than evil woman. I don’t really understand why a male has to occupy this female role? In the same way as a male actor has been consistently cast as Miss Trunchbull in Matilda: The Musical, what is it about these characters that make directors so averse to casting actual females as them? Can only a man play a crazed older woman? In this instance, I don’t think Speyer plays one particularly well.

Overall, Awful Auntie is a lightly enjoyable show. It is pitched perfectly in the middle so as to keep its young audience entertained whilst giving parents and guardians time to sit back and appreciate the set design and camaraderie of Leonidas and Cousins. It may not be laugh-out-loud funny but it does have enough moments to make you smile. Richard James as the butler Gibbon offers some delightful moments of oddity which may be understated but add much to the show’s comic potential. Like Gangsta Granny, it is the set that is the star of the show though. Its constant unfolding of movement is truly magical. I love it.

Awful Auntie may not be the most life-changing production you’ll ever see, but as an evening out with the family, you can’t really go wrong.

Written as part of the Young Critics North Wales scheme.

For tickets and tour dates, click here.

Featured Image (C) Venue Cymru

Padraig – Memories

Catherine McGrath is the biggest name coming out of Northern Ireland right now when it comes to country music. It poses the question: are there more talented young musicians like her that are yet to be discovered? One of those who may begin to build up a following is a singer-songwriter hailing from Belfast. Pádraig is about to release his debut single Memories, a beautifully haunting ballad about loss and grief. It is a captivating track that begins with just him and his acoustic guitar before slowly building into a gently rousing chorus, complete with drums and female backing vocals, which resonates deeply with his emotional lyrics. His voice is very reminiscent of Luke Bryan, but with a softer edge that adds poignancy to this particular track. It is a very well-produced and affecting first single that sets him up nicely for further releases.

padraig memories

Click here to visit his website.

Click here to listen on Spotify.

Image (C) Padraig Music

Summer’s End Songwriters Show – Ty Pawb, Wrexham

Many have judged Tŷ Pawb, Wrexham’s new arts hub, to be a lame duck. Since its unveiling six months ago, the ‘Comments’ section of the local press has been filled with negativity towards it. A lack of atmosphere, disappointing architecture, and few events taking place there have led many, it seems, to dismiss it as a waste of money. I wanted to give it the benefit of the doubt though. So it was with intrigue that I travelled there for a night of country music.

I could understand why the hub itself, comprising market stalls, a gallery, shop and small theatre, has received some criticism regarding its general look. Grey stone walls give way to plain wood panelling the further one enters in. Decoration is minimal. Its surroundings are, somewhat, uninspiring. Yet it is by no means dull and depressing. The space is well lit, bright and breezy. It still feels very new. Still waiting to be taken hold of and shaped into something special.

Local band Blue Genes have decided to take a different path to the naysayers. They could think of no better place in the local area to put on an evening of songs and stories from five artists who spanned the genres of Country, Americana, and Folk. On this evidence, I would say that they made an inspired decision. The theatre is an intimate setting, a cosy 100-seater venue nestled nicely behind the main reception. Kay of Blue Genes was on hand when I got there to point me in the right direction. She then turned up on stage shortly after to welcome us all. And if ticket collector and compere wasn’t enough, she was then joined by husband Steve and daughter Megan as the first act to kick off the night.

For those who don’t know, Blue Genes are a family band whose most recent EP, ‘Named & Shamed’, went to No.1 in the iTunes Country Chart earlier this year. On the more traditional side of the country music spectrum, their songs are always beautifully finished with a harmonic shine. Injecting plenty of early humour into the evening with ‘Something You Can Kiss’ and ‘Girlfriend’, they then turned out the infectious ‘Dime a Dozen’. We then got a stunningly beautiful cover of Cam’s ‘Burning House’ before learning how Robbie Cavanagh was the inspiration behind one of their songs. ‘Bobby’s Song’, as they subsequently nicknamed it, was as captivating and compelling as one of Cavanagh’s own. In spite of a couple of technical problems early on, Blue Genes made it an excellent start to the evening. The £6 entrance fee was looking like a bargain.

Next up was the lead singer of Angels with Dirty Faces, Stuart Landon. The man with the voice that has drawn comparisons with Chris Stapleton was stepping out solo for this one. Admitting that he was “not much of a storyteller”, he stuck closely to his set list and instead offered a few wry asides between songs. Full of humour and self-deprecation, he struck me as a guy whose hard country-rock exterior contained a soft and humble persona. After hearing ‘I’m Coming Home’, ‘Midnight Man’ and others through those smoky vocals, there was a touching moment where he opened up about his life as a musician. It was both poignant and inspiring to hear him talk about following his dreams, no matter what. It was apt that he finished with his new single, ‘I Can’t Take It Anymore’, therefore, which entered into the country charts at No.1 earlier in the day. This man is destined for much greater things.

After a first half of UK country music, the second began with US-born Lars Pluto. Now based in Devon, he had endured six hours of motorway madness before finally making it to North East Wales. It didn’t seem to affect him though, as he entertained the audience with his naughty sense of humour alongside rousing renditions of his songs ‘Drive Off All This Time’ and ‘Dear Country Music’. There was further hilarity as, during ‘Don’t Take Your Pretty Self Away’, one of his guitar strings suddenly broke. He never stopped though, recovering well and responding with amusement. He seemed genuinely happy to be playing here.

Having finished with his lament song, ‘Dear Country Music’, it seemed fitting that the fourth act, Amy Westney, should continue in a similar vein. ‘Country Music’ is both an ode to the greats of country music and a lament to its current state, particularly where songwriting is concerned. If you haven’t listened to her EP ‘Love Shouldn’t Hurt’, I would highly recommend it. No further evidence is needed that Amy wears her heart firmly on her sleeve. This performance demonstrated that further, with a set list that, she admitted, was full of sad songs. ‘Bad For Me’, ‘From the Outside Looking In’, and ‘Used’ may be on the melancholic side, but they are true to life, and make for a compelling listen. I don’t think the auditorium was quite as quiet as it was during some of these songs. She did inject a bit of humour at the end however, with an excellent cover of Ashley McBryde’s ‘Fat and Famous’. If the rumours are true and Westney is shortly bound for Nashville, then she will be a big loss to the UK country scene. She is a wonderful talent.

After a whole lot of country, the evening finished off in a whirlwind of folk with MountainFace, who brought down the curtain on an enjoyable evening with a set that certainly lived up to their name. Wild and wondrously immersive, each song soaked you in nature, whether the high winds of ‘Another World’ or the frosty air of ‘Presque Vu’. In contrast to the vulnerability and fragility that their songs invoked, these guys brought a dry wit in between songs that made them very likable indeed. Country they may not be, but they’d be welcome back any time I’m sure.

For all its perceived faults, I actually think that Tŷ Pawb is a pretty decent facility. It houses a beautifully intimate theatre that is acoustically sound and very comfortable to sit in. Local country music band Blue Genes have decided to value such an asset and use it. It’s safe to say that their Summers End Songwriters Show was a big success. Here’s hoping that it becomes a regular fixture in the region’s musical calendar. And if no one else wants to make use of this modern facility, then hand it over to Blue Genes. I’d love for them to make it into a country music hub. But that’s probably wishful thinking on my part. Another evening in the company of country artists would be more than enough. Here’s to the next instalment.

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

Featured Image (C) Blue Genes

Lord of the Flies – Theatr Clwyd

The all-female cast of Lord of the Flies, a Theatr Clwyd and Sherman Theatre co-production, may have caused a stir in some quarters. But, for me, it’s actually one of the least interesting aspects of the production. This adaptation of William Golding’s 1954 novel translates the characters from page to stage seamlessly. It is their unique and distinct personalities, and the interactions between them, that fascinate most. The gender, as well as race, of the actors on stage very quickly becomes superfluous. I hope that, after all the hype and controversy, Jodie Whittaker’s introduction as the 13th Doctor next week will have a similar effect.

Director Emma Jordan has chosen to explode this production onto the stage. Sitting comfortably in my seat, the sudden detonation of light and sound to begin the play made me jump out of my skin. It was terrifying. Yet the exhilaration was equally palpable. It doesn’t take long for the characters, stranded on a desert island after their plane crashes, to establish themselves in the minds of the audience. The sensible Piggy (Gina Fillingham), the humble Ralph (Lola Adaja), and the vitriolic Jack (Kate Lamb) are as familiar here as they are in the pages of Golding’s book. Nigel Williams’ script remains relatively faithful to the novel, whilst condensing the action into a tightly-framed two hour performance. This means that the narrative skips along nicely. Yet the big moments still have plenty of room to breathe, resulting in some dramatic scenes that ooze tension and leave tangible space for reflection in their wake.

Far removed from her lovely persona as Delia Busby in Call the Midwife, Lamb seems to relish the role of Jack. The harsh delivery of her early criticism towards Fillingham’s sweetly amusing Piggy makes her character instantly dislikeable. Lamb appears at pains to place her character as the central antagonist through her brash and bold movements alongside the venomous verbal outbursts contained in Williams’ script. Such characterisation presents a confidence and commandeering that translates itself into a vision of leadership that can seem right and proper. It is in stark contrast to the pragmatic Ralph, played by Adaja. Her presence is less about physical flare. Instead, it is a more contained performance that sees the character wrestling internally with conflicting ideas and sentiments. This is conveyed brilliantly by Adaja through far more subtle movement than we get from Lamb. Combined with more strain and staccato in her vocal expression, Adaja demonstrates both the humility and self-doubt that lie at the heart of Ralph. This makes her, to all intents and purposes, a far more qualified leader, in my view. Yet this is a vision of leadership that is so often judged as weak and ineffective. The dynamic between these two, very different characters is, I believe, of huge relevance today, not least in the context of local, national, and global politics.

When I encounter Lord of the Flies, it is the use and misuse of power that fascinates. It is a theme that goes beyond gender. It speaks of the human condition. Therefore, to argue that changing the gender of the characters is problematic is, in my opinion, nonsense. Not that it is completely irrelevant. After the show, I overheard one female audience member comment that girls can be just as savage as boys. Would this observation have been made without the female-only cast? To offer an alternative (female) perspective, one that still remains sadly lacking in contemporary theatre, is important. But it is by no means one of the main reasons why this production is worth seeing. It is worth seeing because it features a very talented and dynamic cast who work brilliantly together to create an engaging and interesting adaptation of Lord of the Flies. Add in some well-placed music and very effective use of lighting and it makes for a bold and challenging dramatization of a narrative whose themes still resonate strongly today. In the end, this is simply a great story, well told.

Originally written for Get the Chance on 29th September 2018.

Featured Image (C) Theatr Clwyd

O&O – Truth Comes Out EP

Country-Americana duo O&O have been making waves this year. And the release of their debut EP Truth Comes Out is the biggest wave of theirs to crash onto the UK country scene so far. Comprising of four songs that showcase a range of musical styles, the EP is a mixture of shadow and light, mainstream and psychedelic. They burst out of the blocks with a gritty Southern sound that is accompanied by the silky smooth vocals of Obadiah Jones. This first track (the title track) sees them slowly building on the heavy twangs of a guitar string with layer upon layer of instrumentation. The effect is an immersive sound that wraps tightly around your eardrums, the song’s central theme brought inescapably into sharp focus.

From the loud sound of the opening track, we are then slipped into a kind of trance with ‘Tears in the Rain’. Stripped back, it allows both Jones and his female counterpart, Orian Peled, a chance to bring their vocals to the fore. When blended together, they produce a dreamlike quality that here gently whisks you away into a starlit sky. Tinged with melancholy, it is a song that nevertheless exudes a sense of hope.  It is beautiful stuff.

The EP then shifts back up a gear with ‘Saturday Morning’ – retaining the folk quality of ‘Tears in the Rain’ but adding a touch of upbeat country-pop. In one sense, Jones’ vocals are reminiscent of early noughties boy bands; yet there is a slight inflection in his voice that is unmistakably Southern US in tone. Add Peled’s light phrasing and this song becomes an Americana staple that is hugely enjoyable, almost infectious, to listen to. This, before the up-tempo flow becomes a gentle ebb again with final track ‘Rolling On’. This is a gorgeous piece that gives precedence to Peled for the first time. Taking the lead, she paints for us a picture of a Western movie landscape with her vocals. It is an image in which a rolling river meanders slowly through a desert landscape bathed in evening shadow, with a mountainous grand canyon soaked in sunset in the background. If Jones’ Columbian roots did not influence this song in some way, I would be very surprised. It is the perfect end to a sublime fifteen minutes of music.

Hailing from the US and Israel respectively, O&O, aka Obadiah Jones and Orian Peled, have managed to create a stunningly sensuous EP that ebbs and flows with an array of sounds. Featuring elements of rock, country, and folk, it is an interesting hybrid that sits most comfortably under that slightly elusive term of Americana. It is a refreshing EP that brings something new to the table whilst, at the same time, following in the footsteps, to an extent, of duos like Two Ways Home. Truth Comes Out is an impressive debut and sets these guys up nicely to make even bigger waves on the UK country scene in the coming years.

Listen to the EP here.

Originally published on UK country music blog Building Our Own Nashville.

Featured Image (C) O&O

 

Catherine McGrath – Talk of This Town Tour

I wasn’t quite blown away by the wind and rain of Storm Bronagh on the way to Manchester. But I was blown away by the performance of one Catherine McGrath when I arrived. The Irish singer-songwriter stopped off at Gorilla as part of her first headline tour. And she was every bit as good as I was expecting her to be.

The severe weather caused a minor delay on the way, so when I arrived, the first support act was already on stage. I had to do a double take as I walked in. It sounded like Catherine. The person on stage even looked a little bit like her. But it was, in fact, her little sister Mary. With just an acoustic guitar for company, the younger McGrath gave us some beautiful cover versions, most notably of Ed Sheeran hit Castle on the Hill. It seems like the McGrath family have been blessed with musical talent. Mary McGrath is certainly one to watch out for.

The second support act was also a female artist whom I expect will go on to bigger things. Starling was in the unfortunate position that her band had been struck down with illness. But thanks to the wonders of technology, she took to the stage solo, performing her original material with a little help from the internet. Cut from the same mould as Florence + The Machine, I would describe her music as expressionist in style. It is incredibly vivid, strongly influenced, one suspects, by the visual arts. It is both captivating and immersive. I would be surprised if she isn’t headlining her own tour in the next couple of years.

So, already treated to two fine upcoming singer-songwriters, I was suitably excited for the arrival of Catherine McGrath on stage. The intimate venue had been slowly filling up with people and was now close to full capacity. It was my first visit to Gorilla, and I found the place to be friendly and easily accessible. With a decently-priced diet coke in hand (a normal coke being 70p extra due to the sugar tax, the bar staff informed me), I placed myself towards the back of the room, with ample space around me and a decent view of the stage. When Catherine came out, the crowd let out an enthusiastic scream. She wasted no time getting stuck into her set, opening with ‘Good Goodbyes’ before sliding seamlessly into ‘The Edges’ and hit single ‘Lost in the Middle’. Despite a couple of feedback issues during the opening songs, McGrath kept her composure and continued to play through them. Her trust in the sound guys to fix it was typical of her warm and laid-back personality.

The hour-long set whizzed by, with McGrath introducing some of the songs with personal stories and poignant antidotes. She was true to her words in the song ‘Good at Love’ when she was both “brave” and “fragile” in sharing some of her journey over the past couple of years. In particular, her introduction to ‘Bulletproof’ was an inspiring and refreshing tale towards accepting herself as a person, without the need for another to define her. Singleness is ok. In fact, it’s a brilliant thing. For all the romantic love that features in her songs, she does not hold it up as an idol. Now that’s role model material.

Along the way, she also did a beautiful duet with her sister Mary, the two combining their harmonic vocals to perform a Shania Twain song. There was a little bit of Coldplay’s ‘Fix You’ before aptly entering into the amazing ‘Wild’. And, of course, the crowd gave a stirring rendition of ‘Talk of This Town’, the title track off her debut album, to cap a fabulous night. For this, her first headline tour, Catherine McGrath appeared to be a seasoned professional. The queue of people afterwards wanting to meet her took over an hour to go down. Despite this, she remained fresh as a daisy, greeting those of us at the back of the queue with the same level of enthusiasm that we’d witnessed on stage. She commented on my Shires t-shirt with genuine delight. I was overwhelmed by her personable response. It was the perfect end to a fantastic night. Not even the severe weather could dampen this one.

Originally written for country music blog Building Our Own Nashville.

 

Julie – National Theatre Live

Before the screening of the National Theatre’s production of Julie, the audience was treated to an interview with its writer and director, Polly Stenham and Carrie Cracknell. Stenham spoke of Julie as a play that blurs the boundaries, not only in terms of social class but race, gender, and privilege too. Touching on all of these subjects, and more, means that Stenham’s version of August Strindberg’s original 1888 play is a dynamic and complex one. It is a play that needs to be watched multiple times, I feel, in order to gauge its plethora of themes and capture the immensity of its social commentary.

The opening sequence of the play, setting the scene, is rather tedious due to its longer-than-needed running time. The stage opens up to reveal a very raucous house party, a group of young people clubbing away to loud bass tunes. They are dancing away in the background on a raised stage, Julie, the main character, played by Vanessa Kirby, among them. She is wearing a long, flowing dress, a tight-fitting bikini top, and glitter on her face. She is every bit the free-flowing spirit; not in any way a resemblance of the affluent existence in which she resides. Below this party atmosphere, in the foreground, is a spacious kitchen in which the housekeeper and her fiancé reside, cleaning up after the guests. Once the music finally dies away, we are properly introduced to Christina (Thalissa Teixeira) and Jean (Eric Kofi Abrefa), who appear to be the perfect couple. Indeed, Jean, dressed smartly in black suit and tie, and sitting opposite Christina at the end of a long dining table, appears to fit more the image of the house’s owner than does the daughter of its actual owner, Julie. This is but one of the ways that Stenham and Cracknell subvert the expectations of their audience, playing with notions of class, race and privilege. It is one of the most interesting aspects of this play.

It is also one of the most intricate. In not wanting to lose the complexity of the three central characters, Stenham and Cracknell manage, somehow, to be able to retain this complexity and, as a result, create a dynamic interplay between them that creates a fascinating piece of theatre. It is so fascinating, in fact, that it becomes hard to juggle the wealth of commentary that is being offered on a racial, social, sexual and financial level (to name but four). As such, one is best watching Julie for a second, third, or even fourth, time in order to grasp the many layers which Stenham and Cracknell attempt to subvert and blur the boundaries of. It is why Abrefa, Teixeira, and Kirby in particular, should be applauded for their performances. They hold everything within their respective characters together so well, and utilise their motivations in order to create a narrative that bubbles with tension and friction. It doesn’t always pay off – sometimes the action is a bit too slow, a bit too mundane – but even then it seems to contribute to an ending that is fiery with emotion and powerful in its actions. The final scene, the camera zooming out from a stage surrounded by a white light, is strangely mesmeric and deftly haunting.

Julie is a quietly captivating and positively intriguing production from Polly Stenham and Carrie Cracknell. They have taken the source material from 130 years ago and brought it bang up-to-date in this highly relevant and fascinating version. They touch on so many themes, and it is full of complex machinations, that it is testament to Kirby and her fellow cast members that they manage to hold these in balance. The interplay between them is fascinating; the power games at play in their conversation and movement deeply layered with meaning. Julie has so much to say. It’s worth taking the time to listen.

This production was watched at a live screening in Theatr Colwyn and reviewed as part of the Young Critics North Wales scheme.

Keepin’ ‘er Country – An Insight into the Irish Country Music Scene

Whilst searching for the Welsh TV hit Keeping Faith on BBC iPlayer a few weeks ago, my search also brought up the following suggestion as I began typing: Keepin’ ‘er Country. As a country music fan, I thought I’d click on it just to see what it was about. It may have been about the countryside or some nationalist discussion for all I knew. But to my surprise, it was actually the latest series of a BBC Northern Ireland production looking at the Irish country music scene. Across the six episodes, we meet truckers, vicars, and sheep shearers, to name but three, all with a love of Irish country music.

Perhaps the most interesting insight that I garnered from this series was how big the sub-genre actually is. The soundtrack may have featured traditional American country singers, but it also boasted a fair amount of Irish ones too. And these Irish singers – names like Philomena Begley, Nathan Carter, and Robert Mizzell – are huge stars in their own right. Carter may be the most recognisable to those of us this side of the Irish Sea, having released his version of Wagon Wheel in 2012 (which proved to be a massive hit). But Begley is certainly someone I’d never come across before. Yet she is one of the legends of Irish country music, drawing large crowds at the nation’s biggest festivals, including the Clonmany Festival (featured in episode 5).

The series itself is also a sideways look into Northern Ireland as a nation. Country music remains the main theme of each episode, but we also get to meet some interesting characters and gain an insight into some of the traditions, customs and events of this largely-rural nation. For example, episode one follows the fortunes of truckers at their annual gathering; and episode six follows the fortunes of some of Ireland’s top sheep shearers. In addition, we also meet a group of passionate people who re-enact scenes from Spaghetti Westerns, and two vicars who double up as musicians, joining forces to record a song as part of the Reverend David’s brand-new album. It may be slightly oddball stuff at times. But, ultimately, there is something quite endearing about the series.

Now in its third series, I’ve clearly come rather late to the party. But I can’t help feeling thankful for stumbling upon Keepin’ ‘er Country. The UK Country Scene may be only just starting to burgeon, but clearly the Irish Country Scene has been in full swing for some time. Indeed, I’ve always understood Ireland to have a deep affinity with country music. I just didn’t realise how deep, until now. In fact, it’s pretty much a part of everyday life, it seems, for most people in Northern Ireland. Let’s just hope that that becomes the case over here too!

Thank you BBC iPlayer. It’s great to find something that you wouldn’t ordinarily come across. To then enjoy it makes it even better.

Visit the show page here.

Featured Image (C) BBC