March 2023

There’s lots of talent coming out of Manchester in this issue, which is great to see! The Climate Stripes are a fairly new outfit, certainly to me and lean more towards blues/rock than country but good music is good music. The record opens with the laid-back dulcet tone of ‘Light As A Feather (Jenny’s Song)’. I really like lead singer, Mark James Ross’ vocals which maintain this soothing tone throughout. The tempo increases for ‘No Revolution’ and Ross’ voice assumes a more sinister tone. ‘Come Home’ is a stand out track, the simple chorus sticks in the listener’s mind. Produced in their Rochdale studio and mastered at Abbey Road, they have done a good job at capturing the unique sound the band is going for. They’re DIY musicians that have made a name for themselves in the North West this year through their performances and this record showcases why with its togetherness throughout these well-crafted tracks.  

Manchester born Seamus Foley’s latest offering showcases his brand of country, folk, Americana. The EP opens with the driving title track with it’s shuffle, brush beat of the drums and swooning slide guitar. It’s a toe-tappingly good track which is bound to win over audiences at festivals up and down the country later in the year. For me it is the stand out track on the record as well. ‘Letters To Victoria’ slows things down a little as it begins with a simple acoustic guitar and Foley’s clear vocals. The single ‘Colorado Skies’ is another strong track but not quite as catchy as the opener. I’m enjoying the well thought out arrangement and production and the rise and fall of the record overall as he switches tempo whilst remaining cohesive.  

Canadian singer-songwriter, Pete Eastmure, is back with another brilliant collection of songs. Starting off with the title track, with its delicate mandolin, we’re introduced to Eastmure’s style of authentic Americana. A standout track for me is ‘Lake Superior Sunset’ with it’s swooning pedal steel and organ helping to paint the picture and set the scene. ‘Always Springtime’ is another gem. Eastmure’s vocals sound stronger on this particular song, the chorus, though original, has a comforting familiarity about it. ‘Long Run’ sees a shift in the mood slightly and the arrangement is much simpler and stripped back. It’s an easy listen; the production is polished throughout, the traditional instrumentation adding to the authenticity. Eastmure’s vocals are clear as he makes sure every word lands with the listener and the songs are well crafted. Eastmure continues to impress with this latest album which captures the essence of his artistry. 

Nathan Carter needs no introduction, he has cemented himself as one of the most successful artists in Ireland. He has recorded six number one albums and has had a top 20 UK album release with the CD `Beautiful Life’. This latest release, ‘The Morning After’ went straight to Number One in the Irish Album Charts. The title track, which he self-penned is a gem, a toe-tappingly good upbeat tune with a catchy melody which uses a common turn of phrase for the hook line. It is clear that Carter has been honing the writing part of his artistry. There are two collaborations on this record, he teams up with up and coming Irish folk band Ceol for ‘Heave Away’ whilst Claudia Buckley joins him for ‘This Love Will Never End’. Carter and Buckley’s voices blend well together and they have a natural chemistry. The whole record is expertly arranged and produced. It is Carter at his very best, showing why he is one of Ireland’s best loved entertainers. 

Melissa Ruth’s fourth self-produced album is one of her strongest to date. Her music sits somewhere between blues and Americana, whilst her lyrics have a folk sensibility to them. She begins with ‘Edith Piaf’, a soft arrangement centred around the fingerpicking of an acoustic guitar supports her slightly fractured vocals that are packed full of emotion and experience. ‘Wild Roses’ with it’s brass addition in the instrumentation gives it a slightly haunted feel but it’s a stand out track which is full of character. A simple lyric is enhanced by the musicality and arrangement. The album concludes on the title track ‘Bones’ and Ruth’s vocals appear to be at their strongest here on this moody ending. To conclude, it’s a fantastic offering from Ruth with its well written songs and excellently production that compliments the style and themes in the lyrics well.  

Laurie Jones turns to songwriting as a cathartic release from life as she maps out her experiences in song. Dark Horse begins with bold electric guitars in the intro of confessional track ‘That Summer’. I’m instantly drawn to Jones’ smooth, authentic vocals. She addresses several real issues in her lyricism from mental health to addiction but ultimately she leads us on the journey to forgiveness. ‘Light Side’ takes the energy levels up a notch as this rockier tune is riddled with guitar riffs and catchy chorus melodies. A highlight on the album is ‘No Hell’, I just love the strings in this arrangement, it adds to the 6/8 time track, which sees Jones at her very best. ‘Letting Go’ is the final song on the album and brings the journey to an end. It’s a lovely record from Jones – a solid production and well written songs, delivered from the heart. 

I could probably listen to Adamson’s voice all day every day, it’s angelic! The daughter of Scottish musician Stuart Adamson, Kirsten has certainly got the musical gene. Her voice is reminiscent of Emmylou Harris and Clare Bowen whilst her songwriting reminds me of Beth Nielsen Chapman. The production on this record perfectly frames those gorgeous vocals and superbly written lyrics so credit must be given to Dean Owens. My favourite track is ‘My Father’s Songs’, the detailed and personal track gives insight into Kirsten’s journey in music. ‘Time With You’ has a theatricality about it as the pedal steel swirls and tugs at the heart strings, the melancholy finger-picking guitar lays the foundation of the track. The melodies are given the space and freedom to soar. It’s a really beautiful record on the whole from an incredibly talented musician. Thank goodness it crossed my desk! 

Eric Hagen has recently signed to Spectra Music Group and this album is his debut release on that label. You can hear the blend of influences in his music from roots to rock, blues and country. His lyrics are raw and impactful as he discusses themes of depression and anxiety, his powerful, gritty vocals act as a wonderful vehicle to deliver these emotive topics. A standout track comes in the form of ‘Cold Heart Coming’ the opener where we hear the bass anchoring the groove whilst what sounds like a Hammond B3 organ brings character to the track. The single ‘Dying Alone’ sees the arrangement take a back-seat as Hagen’s voice takes centre stage. When Marja Hansen’s vocals come in, it adds another layer, taking the song to new heights. Hagen’s style reminds me very much of Chris Stapleton. To summarise it’s a really strong record from Hagen and will be a welcome edition to any music lover’s collection. 

The first release of this record saw me proclaiming it as Bailey’s best to date. Straddling both the Blues and Americana worlds, Bailey is an innovative artist and true entertainer who crafts songs that are bound to capture your heart. In the deluxe version she delivers two new original tracks including ‘Hole in my Pocket’. In keeping with the rest of the record, it’s gospel-inspired backing vocals really allow this track to take flight. You can hear snippets of Bailey’s influences as it touches soul with its guitar riffs and motown in the bass line. It’s a well written track but would you expect anything less from Bailey? There are 2 new originals, 2 covers and 5 live tracks on the deluxe edition. ‘Over The Hill’ by John Martyn is one of those covers and Bailey really makes it her own with those powerful vocals. Meanwhile, the live version of ‘The Game’ really captures the energy and flawlessness Bailey often brings to the stage. The next instalment of the ‘Shining In the Half Light’ era is a fantastic edition and well worth a listen.