Moving On – The Rising

To attempt to define The Rising would be a mistake. They do not fit into a specific genre of music. I listened to their latest album off the back of a label that read: “country rock band”. Of course, this evokes a certain kind of sound. And whilst it does appear on the album, there are also songs that did not fit this particular brand of music. What Moving On does is take us on a journey through a soundscape that includes pop, rock, country and punk. It stops off at the pop bands of the early noughties whilst winding its way through the world of country-rock. The vocal style of lead singer Chantelle McAteer reminds me of a young Avril Lavigne, mixed with a bit of Pink and a touch of Carrie Underwood. She may not possess the strongest voice in my opinion, but that did not stop me from nevertheless enjoying this album once I’d decided that it was best to fling my preconceptions out of the window and treat the music for what it is, rather than what it was advertised as being.

It is highly likely that you will find at least one song to like on this album. Whether it is the commercial radio-friendly pop of ‘Forgive and Not Forget’, the country and western swing of ‘Back to Me’, or the boogie woogie vibes on ‘Reasonable’. It is fair to say that this band is not defined by genre but dip in and out of the sounds that they think will work best for the stories that they wish to tell. And I think that’s probably why they are labelled as a country band. Because it is about the stories first-and-foremost. Featured here are mainly narratives centred around romance and heartbreak. For example, ‘Even the Stars Fall for You’ is a gorgeous ballad that draws lightly on the sound of country music without losing its middle-of-the-road pop tones. Meanwhile, ‘Take a Hint’ and ‘Love Is’ produce a more hard rock sound in keeping with the aching emotion at the centre of their respective narratives. They seem to draw heavily on the songs of Carrie Underwood, and could be described as darker versions of a Catherine McGrath lovesong.

My personal favourite track on Moving On is ‘Yellow House’. It contains some fabulous lyrics which are woven beautifully with some rocking riffs. This is where The Rising hit the top, showcasing their desire for authenticity mixed with great music. Following close behind is final track ‘Roundabouts’, which again contains some great lyrics sung in a pop/punk vocal style. The only downside to it is that its running time, just short of six minutes, is a bit too long. It outstays its welcome slightly but it is, nevertheless, the perfect song to end this eclectic album.

To fully appreciate the genre-bending sound of The Rising one needs to throw any preconceptions out of the window. If you’re expecting a certain sound, then one song might fit your criteria but others will be some way short of the mark. It makes them more vulnerable to critical judgement from critics who may want to box them into a particular corner. But I think this is unfair. If I was hard-line about my country music listening, I probably wouldn’t rate this album half as much as I would listening to it simply on its own merit. But why should it receive less acclaim simply because it does not fit the conventions of a particular genre that, clearly, for certain songs, The Rising weren’t making them to fit into in the first place? Therefore, I judge this album on its own accord. And it is an album which, for their first, is rather good. It might start off a bit shaky but, once it finds its rhythm, there are some great tunes to enjoy. Some might overstay their welcome, but on the whole, their sound and lyrical content provide for an engaging listen. Moving On is a decent follow-up album for this Irish band from their 2014 debut Coming Home. It is also a great platform on which to build and move on (if you pardon the ironic expression) to better things.

Click here to find out more about The Rising.

Featured Image (C) The Rising

Fame: The Musical – Venue Cymru

I really wanted to hate Fame: The Musical. I really did. But the predecessor to High School Musical and Glee just wouldn’t let me. I started off slouching in my seat and watching through gritted teeth. But by the end I was stood up and clapping along to the encore. What makes it so addictive is a combination of stunning choreography, strong performances, and a narrative that is not afraid to deal with sensitive subjects alongside the more typical romance of the coming-of-age genre. So despite my initial reservations, the end result found this 27 year old male confessing that Fame was, actually, very good.

Set in New York’s High School for the Performing Arts, the opening scene is very much like an advert for the next series of Britain’s Got Talent. We get a musical montage of instrumentalists, singers, dancers, and actors, all of whom are auditioning for a place at the school. Before we know it, these young hopefuls have all won a scholarship to study under the tutelage of Miss Sherman (played by Mica Paris) and her staff. It is a speedy set up that allows for the large ensemble of characters to be quickly introduced. It works extremely well, though the danger is that such a large number of characters could result in a lack of narrative focus or bland stereotypes. Not so here. As the narrative slows to a timelier pace, the ability to spend quality time with each of these characters is not at all hindered by their quantity. Yes, there is the establishment of major and minor characters in order to not overwhelm the audience. Yet even these secondary figures are fleshed out to such an extent that they become familiar enough to care about. What binds their stories together and keeps the narrative moving forward is the music. The music is the key ingredient in ensuring that we don’t get lost in the myriad of storylines that are happening on stage.

The music also plays a key part in the amazing routines that take place on stage. Choreographer Nick Winston is the man to credit for turning my pre-show frown upside down. He has put together a series of spectacular dance scenes which are executed brilliantly by the whole cast. Full of energy, creativity and precision, it was a joy to watch every one of these sequences. They also played a big part in further establishing the identities of each of the major characters, from sex-mad Joe’s I Can’t Keep It Down, to Miss Sherman’s poignant These are My Children, to dyslexic Tyrone’s Dancing on the Sidewalk. Though I would quibble with the appropriate nature of the former given today’s social context – Albey Brookes’ Joe, for me, now belongs firmly in the past – there is still much that remains relevant here. Through the songs and dances of the various characters, Fame confronts issues of race, sexuality, drug use and, of course, identity. It seems to do so with sensitivity even as it leans ultimately on the side of happiness and fun.

After 30 years, Fame still retains a fair bit of sparkle. This is in large part due to some sublime choreography and a highly energetic cast. It also contains a number of excellent vocal performances, not least from Mica Paris, whose finale encore ends the show on a scintillating high. Weaving numerous narrative threads without ever losing the plot, Fame is a dazzlingly brilliant show that peruses some dark corners even as it bathes us in light. I so wanted to hate it. I really did. But in the end, I admit, I found it to be very good.

Click here for more information and tickets.

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

Featured Image (C) Venue Cymru

 

Hidden – A Dark Welsh Crime Drama

When one looks back over 2018, Keeping Faith is sure to come out on top in the world of Welsh television drama. It has been a huge success. Its latest stop on its incredible journey is primetime BBC One. It goes from strength to strength, and will certainly deserve all the accolades that come its way. In amidst all the hype of this brilliant series however, it has been easy to overlook another Welsh drama that has been airing over the past two months on BBC Wales and BBC Four respectively. Produced by the creator of another Welsh hit drama Hinterland, Ed Talfan, Hidden has been allowed to bubble away below the surface of Keeping Faith’s success. I would suggest that this is primarily because it is a crime drama. And though I would agree, to a certain extent, with some of the groans that accompany the thought of yet another one hitting our screens, it does at least offer something a little different. There is a slight spin on the achingly familiar.

The twist in Hidden’s tale is the revelation of the killer at the outset. The opening scene sees a girl running through the woods, pursued by an unknown man. This girl is subsequently found dead. The investigation that unravels across the whole of the series centres on finding this girl’s killer. Such a task is given to local detectives Cadi John (Sian Reece Williams) and Owen Vaughan (Sion Alun Davies). But whilst they are in the dark over the killer’s identity, the viewer is given unprecedented access into the life of Dylan Harris, played brilliantly by Rhodri Meilir. A strange, sensitive and brutalised figure, Harris lives with his mother and daughter in an old farmhouse deep within a forest of the Snowdonia National Park. It turns out that he is a serial abductor of young women. Having let his latest catch go, we witness his unsuccessful attempt at abducting a local farm girl. Then, as the pieces of the drama’s puzzle start to come together á la The Bridge, he claims the life of long-suffering student Megan Ruddock (a standout performance from Gwyneth Keyworth). What follows is a tense thriller that follows both the police investigation and Harris’ narrative simultaneously. As a result, it involves the viewer deeply in its various twists and turns over the course of its eight episode run.

Despite the fact that the central crime isn’t particularly original, Hidden remains worthy of some praise for the performances of two of its central actors: Rhodri Meilir and Gwyneth Keyworth. Episode four in particular, which is wholly focused on Dylan and Megan, is a deeply uncomfortable yet utterly compelling hour of television. It is made so by their noteworthy performances. Firstly, Meilir brings a vulnerability and gentleness to the role of Dylan that will be recognisable to fans of the sitcom My Family, in which he played the hapless Alfie. Yet this vulnerability and gentleness are subverted as a result of the abuse Dylan has suffered at the hands of his mother (Gillian Elisa). As a result, they manifest themselves in an extremely dark and dangerous way, far from the comforting confines of the Harper household. Meilir manages to express such complexity at the heart of his character in such a way that the viewer is both sympathetic yet repulsed by him. To extract such opposing emotions is testament to Meilir and his ability to play such a broken and complex figure. Meanwhile, Gwyneth Keyworth produces an emotionally raw performance as Megan, a student whose mental anguish (outwardly shown in the form of self-harm) is exacerbated by her abduction. It is an incredibly challenging role that Keyworth manages to embody wholeheartedly. As a result, she is powerfully believable as Megan. It is easy to forget sometimes, in the course of the series, that what is witnessed is a dramatic reconstruction. Keyworth plays it in such a way that it seems horribly real. For me, it is one of the most engrossing performances in a British TV drama this year.

With a stunning backdrop that shows off the bleak, mountainous terrain of North West Wales in all its magnificent and austere glory, Hidden may not be revolutionary but it is still worth watching. With some excellent performances from the cast and a slightly different take on the conventional crime narrative, it has enough going for it to keep viewers coming back for more. If you like your crime dramas dark and disturbing, then Hidden is certainly for you. It may not be Keeping Faith but it nevertheless showcases the fantastic talent coming out of Wales at the moment at every level, from production to acting, storytelling to editing. This is very exciting. With hopefully more fantastic ‘Made in Wales’ dramas to come, the Welsh TV landscape looks like going from strength to strength.

Originally published for Get the Chance in July 2018.

Featured Image (C) BBC

Americana Night @ The Llangollen Fringe

It may be stripped down and laid bare compared to its international predecessor, the Eisteddfod, but the Llangollen Fringe has much to offer. After the big guns of Alfie Boe, Kaiser Chiefs and Van Morrison took to the stage at the Pavilion in front of hundreds last week, this week sees a host of much smaller, intimate events happening across the scenic Welsh town. One of those I had the pleasure of sitting in on on Saturday, as Americana took to the stage in the quaint, modern setting of the local town hall. “Americana” is a term that stretches across a  large part of the music spectrum, encompassing a number of similar, overlapping genres. Here, we had the opportunity to hear some country, with local band Blue Genes, and folk (of a kind), with headliners Laura Cortese and The Dance Cards.

In all honesty, it was the supporting act, Blue Genes, that caused me to purchase a ticket for this event. Being a country music fan, I couldn’t resist the opportunity to hear live this local trio who I first came across via YouTube. Consisting of mother, father and daughter, Blue Genes can most definitely be described as a family band. And perhaps it is that family connection that makes their voices blend together beautifully to create some stunning harmonies. In particular, their cover of ‘I’ll fly away’ was wonderful to listen to, the red and yellow lighting proving to be the perfect visual accompaniment. Their individual voices are not bad though either. In particular, daughter Megan’s are amazingly mature considering her tender age of 14 years. When mum Kay first announced this fact, you could hear the shocked whispers in the audience. Her voice is certainly well beyond its years. Evoking the likes of Alison Krauss and Cam, it was a pleasure to listen to her solo performances on ‘Tomorrow’s Due’ and ‘As Long as I Breathe’. This latter song was simply breathtaking, whilst the cover of Cam’s ‘Burning House’ was a brave choice but it was pulled off with aplomb. If you want to hear a star of the future, look no further. (A solo album, it seems, is already near to completion.)

Blue Genes were the perfect warm-up act for the headliners, Laura Cortese and The Dance Cards. Hailing from Boston, MA, it was their first time in the North East of Wales, and they received a rapturous welcome from the audience. It was an applause that was well-deserved as they served up some fabulous original material. All four members were kitted out with their chosen stringed instrument – a cello, bass, and two fiddles – with all four offering a sweet vocal sound that, when blended together, had the potency to melt even the hardest of hearts. There was, though, a distinct punk edge to their music too, which produced a feeling of strong-willed feminism beneath the gently flowing tunes of their folk songs. What I really enjoyed as part of their set was the stories they told in between. It was very conversational for a music gig, and all the better for getting to know them. By the end, you could sense the genuine warmth in the room for these four girls who, as a finale, called for the lights to go out so they could sing their final song acapella in amongst the audience. It was beautifully intimate and the perfect way to end the night.

To talk of Laura Cortese and The Dance Cards as a folk group is potentially problematic. This is because they push the boundaries a little with their physical expression and punk edge. In that sense, Americana is perhaps a better tag. But it doesn’t really matter what category they fall into, other than one labelled “excellent music”. These ladies are fabulous and will hopefully gain a large UK following as a result of their festival appearances this summer. Like Blue Genes, they certainly deserve wider recognition. And recognition must also go to the backstage team who put on a very professional and superbly produced evening. Don’t be fooled by the bright lights and star names appearing at big arenas. Sometimes, it is the simple touches made by a small band of enthusiastic and committed local people that provide for a wonderful night. The Fringe team certainly delivered in that regard. So if you have some free time this week to catch a show, I would most certainly recommend it. If the music is anything to go by here, the rest of the programme is shaping up to be fabulous.

Click here for more info and tickets.

Featured Image) Llangollen Fringe Home Online

Harmless Like You by Rowan Hisayo Buchanan

“At noon, the girls from Copy went out and came back with tuna salad sandwiches that they ate while perched on the top of the white radiator banks of the reception room.

‘Hi.’

They ignored her. At the end of the day young men showed up in the waiting room to collect: Alice, Maybel, Claire, Wanda, and the rest. She called the copy pool to announce their dates had arrived at the office. Each girl flounced to the door without a wave. Was it because she was young? Japanese? Yuki thought about quitting.”

Yuki is a girl who doesn’t feel like she belongs. Born to Japanese parents and brought up in New York, she neither relates to her Japanese heritage nor fits in with her American peers. When her mother and father announce their plans to move back to Japan, she chooses not to go with them. Instead, she moves in with her only friend, the confident and cut-throat Odile. Unlike her bold and brash friend, Yuki lacks the self-belief to pursue her desired career as an artist. Eventually, Odile leaves to pursue a career in modelling. Yuki is left alone.

Buchanan’s debut novel is a fascinating and challenging read. It pries open that gaping hole in all of us that desires to belong. Sad, poignant, tinged with hope, if you have ever felt out of place or feel like you don’t fit in, then Yuki may be a character you can relate to.

“Yuki circled back to her son. “I love you,” she said a last time.

She might be gone for a whole month. She might even be gone for two or three…. She just needed to find somewhere clean and clear to think. She would find a way of loving that didn’t maim. Then as soon as she was worthy of these people, she’d come back.”

Originally written for The Reader as part of their ‘Read of the Week‘ segment on 13th June 2018.

Featured Image (C) The Reader Organisation

Jo Whiley & Simon Mayo – The New Radio 2 Drivetime Show

Give it time. That’s what they asked for. And it was only fair. But two months on, and I am still reading letters in the Radio Times lamenting the demise of the Drivetime show, as was, on Radio 2. How much time do you give someone to bed in? Is it still too early to judge? Maybe, but I thought I’d give my current verdict on the state of play.

If you didn’t know, back in May, BBC Radio 2 had a bit of a schedule revamp. It led to Simon Mayo, of said Drivetime show, joining forces with Jo Whiley (of the as was 8-10pm slot) for a brand-new three hour show featuring the best in new music, guests from the arts, and regular features. Much like the rest of the Radio 2 listening family, I didn’t quite understand the reason behind the move. If it ain’t broke then don’t fix it, as the old adage goes. And this was certainly the case with Drivetime. The camaraderie between Simon, Matt and Bobby Pryor was wonderfully natural. It felt like spending two hours every evening eavesdropping on a family get-together. Laughter aplenty; fun always to be had. So why change it? In an interview with the Radio Times, the head of BBC Radio, Bob Shennan, explained:

The changes we’ve made have been in order to make sure we keep fresh and relevant for all audiences. You have to keep replenishing at the younger end, but not in a way that deprives anyone.

Speaking as a younger listener (of 27 years old) I would say that the Drivetime show was fresh and relevant to all audiences. You could tell this not only by my listening to it but by the number of children and families ringing up to ‘All Requests Friday’. In a sense, the show represented the best of family entertainment: ‘Homework Sucks’ for the kids, ‘Confessions’ for the adults’, and lots more in between. So why change it? One of the suggestions I have heard mentioned is the need to get a female voice into the prime-time schedule. In terms of equality, I can understand this. But the problem is that this move feels like a shoehorn. And the reason is because it probably is. In my opinion, it would have made far more sense to give one of the current presenters a P45. (Personally, I much prefer Sara Cox of a morning to Chris Evans, and Jo Whiley has done a fine job filling in for Steve Wright in the afternoons before now). Better still, and simply undergo changes naturally, as has been the case with The Blues Show. Incidentally, the choice of Cerys Matthews as the retiring Paul Jones’ successor has been a wise and inspired one. Instead, we are left with an enforced change that doesn’t sound like it will ever be undone. Bob Shennan, in the Radio Times (7-13th July edition), again:

I’m delighted that two of Radio 2’s most popular presenters, Jo and Simon, are now presenting a brand-new show each weekday, which I’m confident will become one of the network’s most listened to shows.

I sincerely hope that he’s right. There is still time to be proved wrong. But, again, how long do you give it?

It’s not terrible by any means. The sessions that they have had with musicians such as George Ezra and Lily Allen have actually worked really well. They are probably the most natural part of the show. The ‘New to 2’ slot is definitely a winner (with extra brownie points from me for their inclusion of Catherine McGrath and Ward Thomas so far!). But the Confessions, although still entertaining, are just not quite the same without that camaraderie I initially mentioned. There’s something quite flat about it all. Plus, the extra hour that the show is on for doesn’t seem to count for anything. The old Drivetime was tightly packed and beautifully ordered. Now, there is far too much space. As a result, there ends up being a lot of back-to-back tracks which, in and of itself, isn’t necessarily a bad thing. But when you enjoyed the conversation between the three presenters and the regular features in between the music, then to replace it with near wall-to-wall music isn’t exactly an improvement.

I know that many listeners to the specialist music shows on afterwards have also had a problem with their later start time of 8pm. For some, this is now too late. 7pm was the perfect time for them, and to some degree, I am inclined to agree, although it’s not made a huge difference for me personally. On the other hand, as an avid listener to Bob Harris Country, it’s actually been rather wonderful to hear that a whole new bunch of listeners have tuned in and discovered country music as a result of the later start time (one assumes that this has been similar for other 8pm specialist music shows too). I’m all for more converts to country in that sense!

Perhaps the most puzzling and pointless segment that, in a way, sums up the feelings of many towards this new show though is the box of badges given out to interviewees and ‘End of Days’ players alike. For an audio-only medium, I find this idea most bizarre. As bizarre as the decision to revamp the Drivetime show actually. But as much as we can all wish for it to go back to normal, the reality is that it’s now gone. Finished. Matt isn’t coming back. The showstoppers won’t be returning. I will, of course, carry on listening. It will take more than this to cause me to divorce my beloved radio station. And who knows, perhaps, once I get over the loss of the old, the new will start to grow on me a lot more. Give it time, and maybe we’ll come round. Maybe it’s still too early to judge. Perhaps it is only right that we give them even more time. In any case, what is the alternative? The Jo & Simon show, it seems, is here to stay.

Check it out for yourself here.

Home I’m Darling – A Theatr Clwyd/National Theatre Co-Production

Travelling along the sun-drenched roads of North Wales in the heat of an early July evening, I wondered whether it was the right time to be going to sit in a theatre. But Home, I’m Darling is worth suffering a bit of sweat for. It may have been warm in the Emlyn Williams Theatre, but that did not stop me from thoroughly enjoying Laura Wade’s brand-new play. With a sizzling set, a bunch of colourful characters, and a blooming good narrative blossoming with resonant themes, this is a must-see for the summer.

As I entered the auditorium, I gasped with amazement at the sheer size and scope of the set. To be greeted by a full scale model of a house was not what I expected. I was positively overwhelmed by the sheer level of detail in its interiors and furnishings. The work of designer Anna Fleishle and her team is nothing short of remarkable. It transports us immediately into the world of the 1950s, where we meet a “sickeningly happy” couple played by Katherine Parkinson (The IT Crowd, Humans) and Richard Harrington (Hinterland, Lark Rise to Candleford). Parkinson plays the doting housewife to Harrington’s sporting gentleman. Set to the music of Mr Sandman, there is an air of pristine perfection about this opening scene. The song exudes a dream-like state in which these two characters exist and, indeed, as Harrington’s Johnny pops on his hat and coat, takes his lunchbox packed by Parkinson’s Judy, and kisses his wife goodbye, it all feels rather like a Sunday afternoon TV movie. So when Parkinson pulls out an iPad from a drawer, it creates a moment of dissonance that reverberates on the saccharine glass of this play’s squeaky –clean window.

Parkinson gives an accomplished performance as Judy, an idealist who delights in the idea of immersing herself in the 1950s by becoming a full-time housewife. It is not just the décor that oozes a nostalgic charm. Along with some incredibly elegant dresses, Parkinson’s slightly RP-toned accent and gliding movement paint a picture of a simple existence far removed from the complications of modern life. Judy is a woman who has chosen this life of frugality and servitude. Parkinson has her defend this choice with the kind of razor-sharp wit that is a staple of her acting persona. Even the impassioned speech of her feminist mother (Sian Thomas) seems to have little effect on her. It is a succinct and timely reminder of all that women have fought for over the past 100 years. It may not have broken through the resolute edge that Parkinson provides Judy with, but it was powerful to hear as an audience member. Such a resolute appearance is marked by an air of vulnerability however. Judy has lost herself in the pursuit of her ‘50s dream. It is left to Johnny to help her find herself again. Harrington invests warmth and loving care into his character. He could not be further removed from his troubled and brooding character in Hinterland. When he does get angry, it is a tone that will be familiar to fans of the BBC Wales crime drama. It seems that anger is what Harrington does best. Yet there is a distinctly soft side to Johnny that shows another side to Harrington’s acting ability that I’ve not seen before. It was refreshing to see, and proves his worth as one of Wales’ finest contemporary actors.

Sadly, we don’t get to see near enough of another of Wales’ finest. In my opinion, Sara Gregory is up there with Eve Myles in terms of her acting ability and characterisation. Her turn as branch manager and Johnny’s boss Alex in Home, I’m Darling is short but unsurprisingly sweet. She brings a professional charisma and expert flair to her character that makes her a formidable force for the short time she is on stage. When her, Parkinson and Harrington are together, it is one of the most electrifying scenes of the whole play. Kathryn Drysdale and Barnaby Kay complete the cast, both giving solid performances as husband and wife duo Fran and Marcus. Such is the quality of their characterisation that they could easily be the lead characters in another story. It is testament to Laura Wade’s writing that, instead, we have them occupying this space as minor, but no less significant, characters to Parkinson and Harrington’s leads.

Due to move to the National Theatre in London later this month, Home, I’m Darling is worth catching if you are in or around North East Wales. Director Tamara Harvey and her team have again excelled themselves with a production that is just as, if not even more memorable, than 2017’s Uncle Vanya. The set is certainly as iconic as the one created for Uncle Vanya, and the cast that has been assembled is again oozing with quality. Katherine Parkinson feels like she was made for the part of Judy. Richard Harrington is brilliant as her husband Johnny. Sara Gregory and the rest of the cast are given characters that could quite easily be lead parts in an alternative version of events. Massive credit must go to Laura Wade for creating such an inventive and mesmeric play. She has created something that perfectly encapsulates the zeitgeist, and that includes the weather at present. Amidst the current spell of sunny weather, it is worth venturing indoors for an evening in order to see this wonderfully colourful creation.

Originally published for Get the Chance in July 2018.

Featured Image (C) Theatr Clwyd

Rend Collective – Good News

I’ve just finished reading a chapter from the book Jesus > Religion by Jefferson Bethke in which he states that

The problem with the… Christian subculture is that our art and glorification of Jesus begin to weaken because we lose all sense of comparison. For example, a lot of Christian musicians no longer shoot to be the best musicians; they shoot to be the best Christian musicians. The standards have been lowered. (pg.173)

I have found this to be generally true. It’s why my relationship with what is termed “Christian music” has always been frustrating. However, Irish-folk group Rend Collective have often managed to defy such criticism through their original and poetic lyrics, genre-busting sound, and level of musical quality. For the most part, they sit quite naturally and comfortably alongside other folk-pop-Americana groups in my playlist. I like them. Not because their Christians. But because they are brilliant musicians. Which is why their latest release Good News delights even as it leaves me a little frustrated.

To begin with the good (and there is much of it): And after some positive and feelgood vibes played in typical Rend Collective style on opening track ‘Life is Beautiful’, ‘I Will be Undignified’ blasts us off across the water to experience some high-class Irish folk. It will have you dancing a jig wherever you are and is the perfect song to lift the spirits. It is a sound that shows that the band remain committed their homeland for inspiration and proves that their national culture is still an influential factor in their music-making. Thank goodness! Because as the album progresses, you can’t help but feel them descending into more standard fare. This is after the fabulous tracks ‘Rescuer’ and ‘Counting Every Blessing’. Both prove that Rend Collective remain capable of producing top quality songs. Here, the lyrics, instrumentation and arrangement combine to create two brilliant pieces of music. In particular, ‘Counting Every Blessing’ combines a powerful vocal with a soulful sound that also showcases some of the lyrical poetry that, in my opinion, makes them stand out from the rest of the “Christian music” crowd. With hints of The Wandering Hearts, Rag ‘N’ Bone Man and Calum Scott, this is a track that highlights the mainstream potential of their sound.

Following this, the songs strike a familiar chord with seasoned listeners of the band. There is something oddly compelling though about ‘Hymn of the Ages’ and ‘True North’ – the former starting slow before gently building into something quite beautiful; while the latter starts fairly sweetly with its single ukulele and vocal before taking an unexpected turn into some quite different, yet equally delightful, territory. There are a couple of hidden gems planted in the middle of this record too, with ‘No Outsiders’ and ‘Weep With Me’ being positively beautiful and deeply reflective respectively. Both evoke powerful emotions in their own way and again salute the brilliance of Rend Collective‘s creativity. So it’s a shame when the album ends with some rather generic “Christian music” tracks. OK, ‘Marching On’ still feels like an inventive sound on this album, and gives credence to their belief, written in the album notes, that ‘this album [is] to be Good News to people in every season and circumstance’. But the next, ‘Yahweh’, resembles a laziness that feels at complete odds with their originality and authenticity. With sub-standard, recycled and, quite frankly, boring lyrics, this is not what one would expect from a Rend Collective songwriting session. Such personal frustration here can be explained, to a large degree, by the listing of that well-known but creatively-uninspiring force known as Bethel Music in the credits.

Despite this gripe (maybe I just need to get over myself!), Good News is an album that has been brilliantly produced and features songs that are, for the most part, wonderfully and organically made. Yes, there are a couple of slippages into unoriginal lyrics and moments where authenticity feels like it gives way to a more commercial vibe. However, I remain convinced that Rend Collective are committed to making great music, shooting to become better musicians rather than just aiming to top the “Christian music” pile. Certainly, they are too good to lose themselves in the more generic, congregation-friendly sound of Hillsong and Bethel. Thankfully, many of the songs on this album suggest that they are far from blending in. They remain an outstanding group. Good News is, well, good news.

To find out more about Rend Collective, click here.

Island Town – A Theatr Clwyd/Paines Plough Co-Production

The Roundabout Theatre makes a welcome return to North Wales sporting a rather distinct yellow exterior. If you’ve not heard of it before, this is a theatre like no other. Assembled from flat pack with nothing but an Allen key, once complete, it is a fully self-contained, intimate little theatre that houses some of the most fantastic new plays in Britain. One of those plays is Island Town, which I was lucky enough to see last week. This 80-minute story of small town life could be described as a dramatic stage version of the BBC3 comedy This Country. Still full of humour but with a darker political edge, Island Town focuses on the lives of three friends trying to get by in a place that offers very little in the way of meaningful activity. With only the hope of escape, they settle, for the time being, on hanging out with one another, getting drunk on cider and looking ahead to the start of their adult lives. But when school’s out and exams are over, they find that it’s not so easy getting by in a place where there’s nothing to do. And escaping is not as easy as it sounds.

Writer Simon Longman has done a sterling job in creating a simple yet powerful narrative. He has created three well-formed characters that all three actors seem to comfortably step into and make their own. It is their relationships that drive the story forward, and make this piece particularly engaging. Whilst I am sad that the wonderful Katie Elin-Salt is not part of the cast this year, the production company, Paines Plough, have nevertheless found three excellent actors to play the roles. Katherine Pearce, in particular, has proved to be a real coup. I say this because she steals the show as Kate, an angry and assertive young carer who feels trapped by the need to look after her ill father. Pearce crackles with antagonistic rage. She places Kate as the centre of attention, a position which seems to strengthen her resolve whilst simultaneously covering up her vulnerability. Such is her pragmatic insistence and strong-willed notions that the three of them must escape the confines of their hometown that we, like Sam (Charlotte O’Leary) and Pete (Jack Wilkinson), agree to go along with her. Yet the consequences of such a decision are damaging to say the least. From here, Pearce slowly allows her character’s vulnerability to creep up to the surface. She causes the fragile state of her character to painstakingly crack through its steely confines. Such a move makes for an emotive performance, and makes Pearce herself one-to-watch.

Both O’Leary and Wilkinson give good support to Pearce in her more central role. In particular, Wilkinson brings a wonderful humorous naivety to his character. He deposits real warmth into his performance that evokes much laughter from the audience, particularly as he spins a fantastic web of outrageous stories, the highlight of which has to be his cremation for a fish. You can’t help but love him, which is why the injustice that he subsequently suffers elicits very strong feelings. In this instance, Longman makes Pete a political mouthpiece for the small town unemployed. He notes that there are no jobs in the local area. With no means of earning money, he must sign on. Yet he can’t sign on as he hasn’t got enough money for the train to the out-of-town job centre. There are no buses, and he can’t drive either. The non-specificity of Island Town’s setting means that it speaks generally into the heart of rural British life, of “Towns that sit like islands in the middle of fields”. Longman shines a sharp spotlight on the realities of small town life, making this not only a humorous play but a very relevant one too.

Island Town is a funny, thought-provoking play of minimalist proportions. At the same time, its message is somewhat universal. At one end, it captures the wonderful creativity that can arise from sheer boredom. On the other hand, it reveals the desperation that can result from a lack of amenities. Katherine Pearce gives a strong emotive performance as Kate, ably joined by Charlotte O’Leary and Jack Wilkinson. The three capture life in a small town incredibly well. With no props or no scenery, they still manage to draw us into their world and make it incredibly real. I’d recommend you catch it, if not in Mold then elsewhere. That’s the beauty of this pop-up theatre. It can pop up anywhere.

Originally published for Get the Chance in June 2018.

Featured Image (C) Theatr Clwyd

Megan O’Neill – Ghost of You

Irish singer-songwriter Megan O’Neill has just released a beautiful debut album that I would highly recommend listening to. Ghost of You is a lovely collection of songs that represent a wonderful opportunity for some easy listening on a summer’s afternoon. Served as a main course of ballads with a side of electric guitar-infused pop, it is a delectable album that gently tantalises the taste buds. You certainly wouldn’t refuse more.

Opening track Don’t Come Easy sets the scene, creating an expansive space which O’Neill fills with her gorgeous vocals. The electric guitar here helps open up the stage so that when we enter into the slow, soulful sound of Let’s Make One Up, its full potential can be realised. With a great guitar solo and the lovely addition of an electric organ, this is a fabulous blues-inspired track that ensures the walls around this album remain wide and open for the rest of its duration. Into this space, O’Neill then steps to sing a succession of piano-laden ballads, each one beautiful in its own way. The title track is one that could easily make it onto a mainstream radio playlist, reminding me of a stripped back version of an Anne Marie or Dua Lipa song. To place O’Neill alongside these artists is also to say that her vocals are second-to-none. In some ways, it is all about the voice. Whether echoed (Treading Water), amplified (Don’t Say It’s Over), emotionally-charged (Any Younger) or naturalistic (Lost a Love), here is an artist whose voice is the defining feature in every song. Perhaps that’s why the ballad suits Megan O’Neill so much. Instead of drawing you in, she fills the space; rather than edging closer to her, she comes to you. It is a different kind of closeness and intimacy. It works well.

My personal favourite on this album has to be Bottle. Having recently listened to Mind of Mine by Lisa Wright, there seems to be an alcoholic theme emerging in my UK country music collection. Both artists seem to be seeking solace in the wine bottle. Whereas Wright’s troubles are told in a musically-dissonant way though, O’Neill takes a much more familiar line, pouring her despair and yearning into a big vocal performance full of aching emotion. It doesn’t make it any less relatable though.

Following close behind in the standout tracks on Ghost of You is the final song, Lost a Love. Despite thinking that catchy crowd-pleaser Good Love would be the one that would stick in my head afterwards, I actually found Lost a Love to be the song that left an indelible mark on my mind. It is what I call a “proper country ballad”. It evokes the likes of Emmylou Harris or Beth Nielsen Chapman in its simplicity, reflectivity and poignancy. Moreover, there is so much emotional vitality and variety in O’Neill’s voice here. It is absolutely compelling. Truly four minutes to savour.

No wonder Megan O’Neill has reached No.1 in the Irish country music charts, shared a stage with Miranda Lambert and Kip Moore, and appeared numerous times at C2C. She has an immense voice and a great songwriting talent which combine here to make a truly wonderful album. As debuts go, Ghost of You is more than pretty good. Full of ballads dealing with love and loss, it is engaging on every level. I’d encourage you to check it out.

Click here to sample her tracks.

Originally published on Get the Chance in June 2018.

Featured Image (C) Megan O'Neill