Rochelle Mills

Rochelle Mills
The Odd Birds

Review: ‘Tremolo Hearts’ – The Odd Birds

Following on from their 2020 EP ‘Better Days’ and after recently touring Europe, The Odd Birds have arrived with their debut, full length album ‘Tremolo Heart’. The strength of this duo is their harmonies, it’s as if the pair were born to sing together. Their original tracks draw influence from lost connections, the loneliness of the pandemic and the frustration with they describe as ‘the growing militarism of the police in the United States’. The stand out track is ‘Another One Like You’, Jennifer’s vocals take centre stage on this tune that has a sweet melody and a good fiddle part. The record also features a number of classic covers and I like the duo’s interpretation of Wichita Lineman in particular, it really suits Ron’s vocals who coincidentally has a similar tone to Glen Campbell although perhaps not quite the power of Campbell’s voice. The covers sit nicely alongside their originals, allowing us to see where they have drawn influence from and give an insight into the direction they are heading in. In summary, the record is a cohesive collection of Americana/country with beautiful harmonies, the production feels raw, unpolished but in a positive way. It is more authentic. I look forward to hearing more of what The Odd Birds have to offer. 

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Review: ‘Don’t Ever Stop: The Nashville Sessions’ – Steven Graves

Following on from his 2021 record ‘All Alone’, Steven Graves is back with a five song EP recorded in Downtown Nashville at the Ocean Way studios. The infamous studio has played host to the likes Kenny Chesney and Faith Hill in recent years and the quality of the facility coupled with the stellar band line up give off a tight, cohesive production. On to the songs themselves, I was rather impressed by Graves last offering, he is a good writer who knows how to craft a relatable song. The title track, nostalgic in it’s delivery, is a simple love song with a strong hook. Meanwhile, ‘Rich Man’ has lovely backing vocals delivered by Ariel Theirmann and Veronica McWoodson, layered well, supported by that organ sound synonymous with the Nashville sound. He closes with the storytelling ballad ‘ I’ll Have To Say I Love You In A Song’ which is possibly the strongest on the record, the emotion is palpable. Graves really impresses on his 10th studio album, his vocals have a laid back feel to them, it’s as if he was right at home in these recording sessions which is lovely to hear.  

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Review: ‘About Time’ – Hannah White

Following her critically acclaimed 2020 album ‘Hannah White and the Nordic Connections’, ‘About Time’ dives deep into the personal experiences she’s experienced of domestic abuse and homelessness. Memories she’d previously tried to run from or hide away, she speaks of openly on this record which makes it a brave and bold, honest and authentic lyrical experience. The single ‘Car Crash’ is a shining example of the truthfulness of this whole album. The emotion she conveys in her vocal delivery gives you chills as her words tug at your heart strings. Throughout the album, the production is sparse but less is more, it gives her words and that flawless voice the space to hammer home their message. For all the heartbreak on this record, there is also uplifting moments such as ‘It Will Be Alright’ and my personal favourite, ‘Broken Bird’. She sets the scene well, painting a picture in the listeners mind with her lyrics. Her vocals beautifully bringing those simple melodies to life. It’s an astonishing collection of songs from White, if her last record was nominated for Album of the Year at the UK Americana Awards, then this one should certainly win it! 

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Review: ‘Broken Down Love’ – Peter Rogan

Recorded in Nashville the 12 track follow up to ‘Still Tryin To Believe’ is Rogan’s best record to date. Ten original tracks sit alongside a Memphis soul version of the Rolling Stonesʼ ‘Itʼs Only Rock nʼRoll’ and an up-tempo version of John Hiattʼs ‘Thank You Girl’. The former features a brilliant horn arrangement. The originals boast catchy melodies and good lyricism. The album begins with the title track which comes to life in the chorus as the backing vocals, sublime in their delivery swirl around the hook, supported by what sounds like a Hammond B3 Organ. ‘Back to Natchez’ is a classic storytelling song, the production and arrangement perfectly complementing the open road lyric. Meanwhile, a sense of nostalgia permeates from ‘Don’t Be Afraid Of The Rain’. ‘Ships A Burnin’ is a highlight, upbeat and oozing with positivity, it allows both Rogan and the listener to have hope for the future. It also boasts a great guitar solo instead of a bridge or middle eight. It’s a strong collection of songs framed by a wonderful production. 

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Review: ‘Do It Right’ – Brandi Vezina

Brandi Vezina was a new name to me, the Winnipeg native looks to branch out as she releases this summer anthem, ‘Do It Right’. Drawing influence from the likes of Johnny Cash, The Rolling Stones, Janis Joplin and Miranda Lambert, you can see where she gets her feisty side from in her music. An autobiographical track, this latest single takes Vezina back to her wilder days and takes us to a honky tonk with that upbeat production ringing in our ears. The track follows up her debut album ‘#Dontsettle’ which was released during lockdown. This time the track was written and recorded during lockdown but seeks to lift people’s spirits as we begin to open up and Vezina looks to step back out onto the stage again. The tune is toe-tappingly good, the production is well polished, whilst her vocals are powerful in their delivery. All in all, it’s a great track which serves it’s purpose well, I’m glad I discovered this young talent and look forward to hearing more of what she has to offer. 

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Review: ‘Marked Man’ – Ben Hemming

Following on from last year’s ‘Broken Road’, Ben Hemming returns with his fourth album. The album was recorded at Masterlink Productions, a studio located in rural Woking just outside of London, with producer James Welsh at the controls. Leaning more towards the rock and blues influence, ‘Marked Man’ draws upon the feelings of rejection and isolation, a relatable topic after what the world has experienced over the last few years. The album opens with the gritty ‘Lost Faith’ a heavy production lays the foundations for Hemming’s strong vocals to sit on top. Though throughout the subject matter seems deep, there is a sense of rediscovery and acceptance. There is a strong sonic identity throughout. The stand out track comes from the title track, ‘Marked Man’ which allows the focus to lie with the lyrics as the production gives space for the emotion to linger. It’s not a record that would appeal to the average country fan, but the lyricism can certainly be appreciated by any music lover and Hemming’s vocals are strong with a pleasant tone. 

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The Bros Landreth release new album today!

The acclaimed Canadian duo, The Bros. Landreth finally release their new album Come Morning, marking both a rebirth and refinement of the JUNO-winning band’s blend of North American roots music and harmony-heavy soul. Listen HERE.   With a string of single releases already this year, The Bros. Landreth have been winning acclaim from the likes of MOJO Magazine, Maverick Magazine and Americana UK and many more, plus radio support from BBC Radio 2.  To celebrate the release of the album the brothers release another new video, this time for the brilliant “Don’t Feel Like Cryin” featuring Leith Ross.   The most immersive, emotive record of the Landreths’ career, ‘Come Morning’ finds brothers Joey and Dave lacing their melody-driven songs with layers of atmospheric synth, organ, and textured guitar. The group’s previous albums shone a light on their strength as a live act, capturing the spontaneity and sonic stomp of a band of hard-touring road warriors. If those records unfolded like snapshots of The Bros. Landreth’s night-time shows, then ‘Come Morning’ sketches a markedly different picture, showcasing the introspection and clarity that comes with a long period of rest.   Forced to keep a tight circle due to Covid restrictions, Joey and Dave made ‘Come Morning’ in near-seclusion, pulling long hours in the studio and building songs one instrument at a time. They recorded, layered, stripped away, and layered again. Sounds were sampled, re-sampled, and twisted into something new. Prioritizing moody textures over fiery fretwork, Joey took an understated approach to the guitar, saving his big solos for key moments. He placed an equal emphasis on keyboards, beefing up the recordings with Hammond organ and analog synth. Slowly, steadily, the Landreths pieced together a transportive album built for the heart, the head, and the headphones. This time, the songs weren’t the only thing telling a story; the sounds told a story, too.   This record marks a new dawn for The Bros. Landreth, whilst featuring appearances from Leith Ross (whose 2020 debut was released on the Landreth’s record label, Birthday Cake) and drummers Aaron Sterling and Daniel Roy, at the album’s core are the Landreths themselves: two born-to-collaborate brothers who sing songs about hard truths and new beginnings, having been brought back together during a time of unprecedented isolation.   READ OUR REVIEW OF THE NEW RECORD HERE! CATCH THE BROS. LANDRETH IN THE UK THIS SEPTEMBER:Thurs., Sep. 1 | O2 Shepherd’s Bush Empire | LondonFri., Sep. 2 | Academy 3 | BirminghamSat., Sep. 3 | Queens Hall Narberth | WalesSun., Sep. 4 | Thekla | BristolMon., Sep. 5 | The Venue | DerbyTues., Sep. 6 | Greystones | SheffieldWed., Sep. 7 | Room 2 | GlasgowThurs., Sep. 8 | Academy 3 | ManchesterFri., Sep. 9 | Academy 2 | Oxford

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Review: ‘Come Morning’ – The Bros Landreth

Canadian outfit, The Bros Landreth, made up of Joey and Dave have returned with their latest record ‘Come Morning’. What strikes me upon first listen is the spacious and somewhat dreamy soundscapes they create with the production and arrangement which gives the brother’s melody room to breathe. It opens with the laid-back ‘Stay’ which draws upon their experiences of life on the road. The chorus melody gets stuck in your head after one listen, what sounds like a hammond B3 lays the foundations for the vocals which is a lovely addition. The stand out track comes in the form of ‘Don’t Feel Like Crying’ which features Leith Ross. The emotion is raw on this track, the organ and slide guitar helping to create a sense of loneliness and longing. As for the collaboration, it was as if Leith was made to sing with the brothers. Despite this heartbreaking addition, the overriding theme is one of positivity as the up-beat ‘Drive All Night’ shows. The level of musicianship on this track in particular is exemplary. This record is The Bros Landreth at their very best, and we’re looking forward to watching them bring these songs to life in a live setting as they tour in September. 

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Brett Eldredge

Brett Eldredge returns to Manchester in style!

Supported by Luca Fogale, Brett Eldredge embarked on his UK tour last week. He was the last show I saw before the pandemic hit in 2020 and is one of the first to return to the UK since. Fogale did an acoustic set to open the show, his songs, mainly ballads, were well written and he had a lovely tone to his voice. He was grateful for every minute that he was on stage. He’s certainly one to watch out for in future. On to Eldredge’s set and it was clear from the first note that it was going to be an energetic performance, the lighting adding to the mood. A big grin on his face he seemed fired up for the Manchester crowd that wasn’t quite full but was loud nonetheless. During his second song the room got louder still as they sang their hearts out to the early chart topper, ‘Don’t Ya’ as Eldredge paraded up and down the stage. He took it down a notch for ‘Gabrielle’ another fan favourite before playing some songs off his new record which he announced just over a week ago. His new single, the title track of his upcoming album ‘Songs About You’ was already on the lips of many Mancunians as Eldredge’s face lit up as they sung it with him. It wasn’t the only new music he played as live renditions of ‘Good Day’ and ‘Holy Water’ were mixed in amongst his more established hits. He also shared the story behind ‘Want That Back’ speaking honestly about how he struggled during lockdown. Much of his set was kept upbeat and energetic but it was refreshing when his band exited and he played an acoustic song, his 2017 hit ‘The Long Way’. Here, you could hear his voice, flawless in it’s delivery. From that point on, he invited his band back on stage and turned up the heat. Manchester was bouncing and so was Eldredge. The lights turned out as he sung ‘Mean To Me’, the crowd lighting him up with the flashlights on their phones, to great effect. He seamlessly flowed into a rendition of ‘My Girl’ from his hit song ‘The Reason’ which fans appreciated and thumped his chest at the end of ‘Lose My Mind’ as the noise rose inside the O2 Ritz. He found his second wind as he jumped around the stage, the lights increasing in intensity too. He closed on ‘Wanna Be That Song’ but the Manchester crowd didn’t want him to go just yet, for all it’s intensity, it felt too short! He returned to the stage with his band for a cover of ‘I Can’t Make You Love Me’ before concluding on fan favourite ‘Beat of the Music’. It was a fantastic night, one we wish we could have all over again!

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Keith Urban brings the house down in Manchester!

Keith Urban showed everyone why he’s been crowned Entertainer of the Year so many times as he put on a show at Manchester’s O2 Apollo. Since I’ve been going to gigs, I cannot remember seeing a show quite like that; the guitar skills, the energy, the humour – the night had everything! He opened proceedings with ‘Days Go By’ and it was immediately clear that it was going to be an energetic night and the crowd was loud as they sang their hearts out from the get-go. Three songs in and Keith addressed the crowd, he was reading the signs his fans had made for him and chatting with those he could. Summer, who was attending her first gig with her mum and dad was asked to join him on stage. As they took photos together, Keith joking told the crowd to chat amongst themselves, “I’ll give you a topic” he said, “Do penguins have knees?” Throughout, he had a strong rapport with the sell-out crowd. Later on he would involve them again to sing their guilty pleasure song, ‘In The Jungle’. Keith warned of a long night as he took us on a journey, playing hit after hit from different points in his career, from ‘Never Coming Down’ and ‘Parallel Line’ from ‘Graffiti U’ to ‘Ripcords’ ‘John Cougar, John Deer, John 3:16’ the crowd, even those still seated were dancing along. Keith’s vocals never faltered as he danced along with them. During ‘God Whispered Your Name’ Keith showed off his impressive guitar skills as he took time for a solo and to improvise. He also introduced some of the band at this point though the rest would be introduced towards the end of the night when Jerry Flowers and Nathan Barlow showcased both their playing abilities and their singing which was outstanding. The special effects and lighting added to the spectacle, particularly the scene where it looked like a girl behind a shower screen or curtain, it was 3D and very realistic. It was instrumental in the delivery of the duets, ‘One Too Many’ and ‘The Fighter’ as the screens projected P!nk and Carrie Underwood up there whilst the crowd imitated them, with big smiles upon their faces. There were a couple of special and unique moments that occurred in the show, firstly was the introduction of a group of buskers that Keith and his drummer had watched just the day before in the centre of Manchester. The Reggae outfit, named Rough Trade, were delighted to have been given the opportunity and on their second song, a cover of ‘Red, Red Wine’ Keith sang along with them. Later in the show, Keith played acoustically, just by himself and an acoustic guitar. They had had to adapt their usual set-up for the venue but it didn’t phase Keith as he still executed it perfectly. He began by paying tribute to Naomi Judd and singing ‘Love Can Build A Bridge’. He ended this short segment by going back in time to 2002 and ‘You’ll Think Of Me’. He ended the show with the upbeat, party anthem ‘Wasted Time’ with confetti cannons firing but the fans didn’t want him to go just yet. So, after briefly exiting the stage he returned for a couple more including a stripped down version of another early hit, ‘Stupid Boy’. From start to finish, Keith Urban brought a party to Manchester. Keith along with his whole band showed some of the greatest level of musicianship that I’ve ever seen, his connection with the audience was unrivalled and his vocals were on point. Moreover, it was a set full of the highest quality tunes you’ve heard this century and there were moments that made you laugh, moments that made you cry and moments that saw you up on your feet dancing along. It’s one of the best gigs I’ve ever been to!

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