Single Review - Lights Of Our Hometown - Danny McMahon

We first met Danny McMahon in the camping field at Buckle and Boots in 2018 and since that first encounter we have seen him perform, and introduced him on to festival stages, many times.  As a performer Danny is probably best known for his energetic shows, his big personality on stage - wherever he is and however large the crowd is

With his new single, his first duet, it is a joy to hear the softer side of Danny.  Lights Of Our Hometown is undoubtedly Danny – his voice is instantly recognisable although this time out it seems a little more mature. The instrumentation is his brand of modern country and the pairing with Nashville based Jenny Grace is spot on as their voice complement each other, and the song, perfectly.

The theme is love, old love, the type of love that just never dies, held in place by memories expressed perfectly by the title “Lights of our hometown” – it is great imagery!  The pacing of the song, the guitar at the back, the softness of Jenny’s vocals all come together to make the whole song feel like the memory that it is describing, the up-tempo chorus jolting us back to reality and to the present.

The production is – as always with anything from Danny – spot on.  The song has had its own journey, from Canada where co-writer Ryan James is based, to Nashville to collect Jenny’s sublime vocals to Puzzle Maker studios in Bristol for it all to come together.  A Transatlantic duet can’t be easy, but you would easily believe that these two were sharing a recording studio - and sharing a memory of the Lights of their Hometown!

Well written, well produced and well performed, this will have you swaying along with bursts of foot tapping.  Will live shows feature a guest to duet?  Here’s hoping!

Lights of Our Hometown, the new single from Danny McMahon featuring Jenny Grace is available from Friday 22 October on all usual platforms.

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Single Review - Sounds Good In A Bar - Katy Hurt

 

Katy Hurt’s new song – Sounds Good In A Bar – is so real it just jumps out and grabs you, by the ears and by the heart!

Real, in that the vocal, the instrumentation are exactly what you expect from a Country song (and that steel, oh that steel!)

Real in that the pace and tone absolutely transport you to a bar at night, perhaps close to closing time when the staff are cleaning up and reflecting on the night and on how they got there

Real in that the story of working in a bar, or a diner, or a gas station while pursuing your dream is absolutely spot on.

Katy has based this new track on her own experiences of working odd jobs – and the writing can only have come from genuine experiences.  There is a wistfulness to the words and the performance that not only captures the dreaming and wishing that all performers feel while waiting for their big break but also captures the late-night bar feeling.  Anyone who has worked behind a bar will recognise their own life in this song, anyone who has tried to make it in the industry will recognise the “If I could just”

If I could just get the crowd singing along

With that one line you can sense the longing, just one step to getting out of this bar, just one step to your dreams, just one step to success.

It isn’t a dance along song, it won’t have you out of your seat, but Sounds Good In A Bar will have you singing along from the heart, drinks (served by the dreaming bartender) waved in the air and it might even make you think about your own dreams.

 

Another drink please bartender, another step, another dream.

 

Sounds Good In A Bar, the new single from Katy Hurt is available to download and stream from Friday 8 October

Find and follow Katy on Facebook, Instagram, her website and on Spotify

You can also see Katy on her current Face to Face tour

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EP Review - Medicate - Emilia Quinn

 

It hard to believe that anyone who follows the UK country scene is unaware that Emilia Quinn is releasing her new EP this week – an almost unprecedented promotional campaign started back in July and has featured guest comments on the tracks, photo shoots and lots of social media posts.

Billed as “The most personal EP to date”, Medicate is Emilia’s 3^rd EP release.  Her first – “Wrote Off” - followed her stunning debut at Buckle and Boots CMF  in  2019 and showcased Emilia’s vocals, her second – “Firecracker” - seemed to show her gritty, raw true self.  Sam Coe loved it, and described the music as “new outlaw country” and commented on the gruffness of Emilia’s voice and the traditional elements to her sound.

 

So how does EP 3 measure up?  Has Emilia found her sound?  Well, yes – and no.

Yes, in that her voice is still fantastic, and the traditional country sound is certainly there, especially with the fabulous pedal steel provided by Steven Hicken Jr.

No, because she has changed the style again, away from the gritty delivery of Firecracker.

With the new EP, Emilia has gone deep inside herself, writing about the pains and struggles of coping in the pandemic hit world of the past eighteen months, with reference to vices and coping strategies, leading to the EP title Medicate and the various track names – Worse than Whisky, High, Pretty Pink Pills and Head Rush, backed up by the imagery that has accompanied the press for this release.  Covid-19 has provided a rich seam for songwriters.

 

The first track Worse Than Whiskey is opened with a slow drum beat, and the tempo continues throughout the song.  The drum is almost jarring although the pedal steel cuts through to give the song a Country authenticity.  The vocal is also slow, almost despairing. The vice here is a relationship, with a nod to alcohol dependency.  High is almost light by comparison, acoustic guitar setting the tone, with a much lighter vocal.  The sound and the style have shades of Kacey Musgraves, the lyrics are a little Brandy Clark – in fact you can almost work your way through the current roster of contemporary female singer songwriters while listening to this track.  Pretty Pink Pills is huskier, with the vocal very much leading over a softer instrumentation while Head Rush possibly owes a little to Girl Crush.

 

Overall, this project feels a little like Kacey Musgraves’ 2018 album Golden Hour.  A change of style, an introspective album and not quite in the confines of previous releases or the genre.

 

Medicate isn’t a release that will be belted out to rock a festival stage as Firecracker was, but it is an EP that demonstrates Emilia’s versatility and willingness to try different styles and write from the heart. 

Open and honest, we’ll leave the final words to Emilia

 

Medicate, the new EP from Emilia Quinn is available to stream and download from Friday 8 October

Find and follow Emilia on Facebook, Instagram, her website and on Spotify

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Single Review - Smoke - Jade Helliwell

 

It is always said “There’s no smoke without a fire” -  well Jade Helliwell is setting us alight with her latest single Smoke.

A country favourite, song about lying and heartbreak but its blends pop and country perfectly and will apply to a wide audience, as it is a situation many people have found themselves in.  Jade's description is

It's about trusting your instincts and realising that rumours don't come from thin air. 

With a very modern sounding instrumental opening the song doesn't let up and captivates you until the end.

Jade sings with clarity, hiding the West Yorkshire accent all her fans easily recognise. She makes it easy to see the imaginary she is creating, a relationship filled with rumours and doubt. The line "The ashes cover all your clothes" is a very clever way to say it's obvious that something is going on, a tribute to her writing ability. 

This is an easy listening track, but there will also be many people singing passionately on a night out when it stirs emotions about previous relationships. 

Recorded at Chamber Studios in Edinburgh - a first for Jade – and produced remotely with Grammy winning writer and producer Femke Weidma this single really showcases her vocal ability.

Jade hopes her single will help empower others.  She is going from strength to strength, with outstanding performances at all the big festivals but also featuring alongside other big names in country music including Kezia Gill and Candi Carpenter. 

Smoke, the new single from Jade Helliwell is available to download and stream from Friday 17 September.

 

You can catch Jade on her forthcoming joint headline tour with Kezia Gill, and you can connect with Jade on Facebook, Instagram, her website and on Spotify

 

The British Country Music Festival 2021

 

Forget your buckle and spade, we might be off to Blackpool but to attend The British Country Music Festival, a weekend of Americana, Roots and Country Music.

Friday 3^rd September:

Trying to miss the illuminations traffic, people checked into hotels/B&Bs and made their way to the Winter Gardens. From the outset it was clear that something different was occurring in Blackpool as the queue outside the box office was full of cowboy boots, a few hats and plenty of denim. We took our place and made it into The Arena to catch Jack & Tim mid set.

Eddy Smith & The 507 were next up, recently seen at Buckle & Boots. Eddy has a beautifully deep voice and the band is upbeat getting the first dancers up. 

The Remedy Club set up on the 2^nd stage to the side of the room. This is a husband-and-wife duo from South East Ireland. Silverball Country has introduced them previously at Millport. Sally Haden was host for the room, her introduction explained that they were called the Remedy Club because they cured all ills and elements and were good for the soul.  She reflected that due to the pandemic the lyrics of the songs had more significance.

Juna N Joey closed The Arena. This is a very young duo from Florida, they found their way into the British Country Music Festival because they are currently supporting Twinnie. Very interesting and uncommon for them to play to a backing track rather than having a band.

There were queues outside The Empress Ballroom before 7pm as nobody wanted to miss Kezia Gill. She looked amazing in a short, sequinned jumpsuit and along with The Good Old Boys they kept everyone on the dance floor. After finally getting a capo she admitted she could have missed the next song out but it was where it all started and therefore the crowd sang along to Build It Up.  The Friday night crew were not to be missed waving around a large flag.  We managed not to cry as she sang Local  Man’s Star and The Mess I Made was a nice plug for the merchandise table.

The Essex duo Holloway Road who claimed to have travelled “a long, long way to get there” changed the musical style.  Promoting their own brand of beer, which unfortunately is currently out of stock, we got to be the first to hear the newly released (as in that day) single (if you don't count their mums). If you looked closely, that was Luke Thomas supporting on the guitar.

Nathan Carter showed off his skills on the accordion and flattered the ladies in the audience with a rendition of She Don't Know She's Beautiful.  With classics such as Rhinestone Cowboy and Wagon Wheel the crowd were clearly having a good time. Despite the Liverpool accent, he did his Irish followers proud with Donegal, with a request to shine your mobile light, and Irish Rover.  His band were amazing, all the usual instruments but the sax added something extra.

 Sadly the room emptied out a little before Peter Donegan and band took to the stage. He played his dad's songs along with other covers including Strawberry Wine.

Tucked into the corner of the stage Matt Spracklen who as acted as host to the stage closed the night off with a disco, there were several people who just didn't want the night to end or to sit down.

At 1am, many a merry reveller, in tassels and Stetson embraced the bars around Church Street, particularly The Galleon Bar.

 

Saturday 4^th September:

12 noon saw the start of the second day of the festival with Demi Marriner on The Arena stage in an amazing pair of silver sparkly boots. Acts then alternated between stages 1 and 2 throughout the afternoon including Tennessee Twin, who we discovered were named after a deal on Jack Daniels, a more confident and at ease Robbie Cavanagh, and Hayley McKay who is completely new to Silverball Country. She is an ambassador for the Prince's Trust and has been compared to Kate Bush and Eva Cassidy. There was a strong folk feel to stage 2.

We switched to the Horseshoe Pavilion at 14:40 to witness the Songwriters Carousel hosted by Tim Prottey-Jones featuring Wildwood Kin, Elles Bailey and Pete Riley. Always a festival favourite to hear how the songs came to be, we heard songs about: walking on water (EB), childhood fashion (PR), sunrise (WK), regret (EB) and sticking it to the man (WK). Tim PJ’s humour was present with a great line about tagging the 'to be confirmed music festival' and his desire to start the chav genre of country, complete with trainers and trousers above the ankle. Oops -  the sound engineers put the background music on before Wildwood Kin played their last song.

Back in The Arena, we watched Blue Rose Code - our find of the festival, Pete Riley, Morganway - who have not been slowed down by the pandemic and gave a very energetic performance, lifting the atmosphere of the room and seeing dancers take to the floor. Tommy Atkins was the last to perform on stage 2 and was joined by Eleri Angharad to provide the female harmonies. Last but not least, Bailey Tomkinson was the last performer in the room. The afternoon saw a decline in the sound quality, and it was difficult to hear the introductions which was a real shame. 

At 7pm the Ballroom was set alight by Katy Hurt, my floor buddy from the carousel (full house so we sat on the floor in front of the stage with Gasoline and Matches) with Unfinished Business.  Who would have guessed it was her first gig back, and despite the early hour the crowd obliged with mobile phone lights.

Followed by Elles Bailey, as she promised in the Songwriter's Carousel her set was much happier, moving into Americana. Giving a shout out to Katy, she explained it had been too long since she had performed and was happy to be amongst friends again.

Next up were Wildwood Kin, a trio of sisters that have more contemporary folk sound, dividing opinion within the crowd. By self-admission they love country music but don’t feel country, especially given the other artists but thanked Bob Harris without whom they wouldn’t be where they are.

Just as everyone was tiring a new burst of infectious energy was released from Gareth Nugent. Starting with a couple of covers he had the audience rocking along with him. Accompanied by an almost full band (Keys has covid) they blended covers and his own material perfectly, encouraged a little drinking alongside a rendition of happy birthday and a congratulatory message on the engagement of Sinead (which we now know is Irish for Jane). 

The night was again rounded off with a DJ set from Matt Spracklen and revellers spilled out into the neighbouring bars whilst the sensible headed to bed.

 

Sunday 5^th September:

It was an earlier start to the day, but it didn’t stop us and there was a strong turnout to watch Tim Prottey-Jones with a full band. Tim took the time to explain the background to each song, strongly featuring his family members before knocking it out of the park with the upbeat Fire.

Fine Lines, the six-piece roots infused Americana group took the stage next. There was great banter between David and Zoe but the crowd wasn’t buying in, not even when Paul asked how the beer was. The tale of covid changing their Lanzarote filming plans to the Wirral in March is something we sympathised with.

Martin Harley brought a touch of the blues to the stage next and went down well with the audience who were growing in number and by now slightly more awake. Seated for his 1^st number to show off the slide guitar, it was hard not to tap along.

Candi Carpenter stole the hearts of the majority of the attendees, with the biggest meet and greet queue we saw all weekend. Her first performance in the UK, she smashed it. She was even complimented on her outfit by Matt Spracklen, sparkling like the star she is. With her gospel roots, her performance focused on her vocal quality but as an American we are not sure how she met the criteria for the festival – but we were glad she was there!

Lisa McHugh may be Scottish but it’s evident she now lives in Ireland, “living the dream” in her own words, as she has mastered the winning formula seen by fellow Irish artists of mixing covers and original material to get a party started and keeping everyone on their feet. Despite the baby on board she gave a great performance and treated the audience to the unreleased About Last Night, a first date song that paid off for her. We will forgive the trainers because we loved the glitzy guitar strap.  

This festival stands out because it is indoors but what it really offers is diversity! Therefore, we much appreciate that not everything will be to everyone's liking, but hey it’s in Blackpool so there are plenty of other attractions that can help pass the time.

The Winter Gardens is a beautiful historic building but is it the right setting for this event? Whilst it is great to see a festival approached in a different way, there were numerous times when the atmosphere was flat, it lacked the outdoor festival feeling. We can’t help but wonder if the table and chairs make it too relaxed and should be removed but then is it too big of a venue? Unfortunately, the sound quality was an issue and the lighting seemed to be the wrong way around - a photographer’s nightmare - and the bar staff were another let down, with little knowledge and speed causing big queues to form throughout the event. We had hoped that these problems would have been resolved from the event back in 2019 but there have been some changes and hopefully as time goes on, the event will improve and grow.

 

Buckle and Boots 2021

 

The festival is back with a bang, burgers and bourbon! 

(and a bourbon branded truck)

 

Its been eighteen months without live music but it seemed the festival family were keener than ever to get to the farm, with the majority of campers arriving on Thursday evening.  It was truly a family reunion with dad dancing, lots of hugs and people fully utilising the revamped bar leading to some being apparently oblivious to the mini stage set up in the barn.  DW Productions were making the most of Thursday night to record a new magazine show called – appropriately – The Barn, featuring performances from many of the weekend’s acts plus a special guest or two. The show will be released at a future date.

Friday was off to a slow start with many a sore head and most campers already on site.  When the evening finally came, the festival main stage was opened as is traditional by a writer’s round featuring Gary Quinn, Alyssa Bonagura and Sunday Headliner Tebey.  Silverball Country found a great viewing spot behind the bar of the cleverly positioned new “Tin Roof”, sponsored by Bulleit Bourbon and featuring a much-photographed truck. 

We were easily able to watch as the stage was brought to life by Gasoline & Matches with their full band – reminding us of what we’ve been missing.  Deanne Dexeter was next on stage, upping the dress code stakes with a lot of tassels before Silverball Country Entertainer of the Year Stevie O’Connor took the music and outfit to the next level with a customised suit courtesy of Lucy O’Connor. 

By this time the whole barn was jumping ready for our Friday Night Headliner Kezia Gill – winner of three Silverball Country Awards.

Dazzling in her Born To Thread jacket, Kezia reminded us that it was only three years ago that she was in the Sunday Hangover Slot and here she was headlining Friday Night.  Even as a headliner, Kezia shows her humility and serves as an inspiration to all up and coming artists.  Proving that she always has a surprise in store, Kezia appeared on the main bar - as if by magic – to the delight of the crowd and the bar staff.  The evening was rounded off by a semi-silent disco, with one channel having to played over the speakers, but it didn’t dampen any one’s spirits. Dancers still danced, drinks still flowed.

Saturday morning at Buckle and Boots wouldn’t be Saturday morning without a swiftly resolved call to fix the showers! Attendees browsed the stalls, threw axes and rode the bronco in between running from the Paddock Stage to the Main Stage to catch as much as possible of all the artists performing.  As stage managers of the Paddock stage alongside the Millport Team, we saw some old favourites and new faces but the outstanding performance of the day was from The Outlaw Orchestra.  Having reviewed their album a year ago they were everything we expected and more.  They even managed an almost Hayseed Dixie version of 500 miles although rockier and Hill Billy-er  segued into Cliff Richard.  It shouldn’t work, but it certainly did!

(you can see our album review here )

Over on the main stage the headline act was earlier than usual as The Shires played a semi-acoustic set in the early evening. They looked amazing, they sounded amazing, they were amazing.

 

The running order allows everyone to see the big acts of the weekend on main stage and paddock stage, which closed with Matt and Donal bringing the party, meanwhile over on the main stage Jade Helliwell added the best of UK female talent to her set – Lucy Blu, Emma Moore, SJ Mortimer, Sally Rea Morris, Kezia Gill and Emilia Quinn- before closing the stage as part of the Honky Tonk Roadshow along with  festival favourites and close friends Gary Quinn and Kezia Gill.

 

Sunday Service is always an opportunity for reflection, remembering those not with us – and also a chance to hear what Kezia Gill has created to complement the theme. 

Sunday also features the big writer’s round of the weekend – there was a twist this year as Kezia, Jade and Gary brought us their Song Swap, where they perform each other’s songs.

The Paddock stage had a line up of artists, each building up to the headline act – Tim Prottey Jones appearing with a full band to a full tent, while on Main Stage we were treated to some of the biggest bands on the circuit – Backwoods Creek and Morganway before Canadian headliner Tebey.

This years after party was practically a festival of its own as Backwoods Creek retuned to the stage as the house band and were fronted for one song at a time by many of the artists who performed over the weekend including a shock performance from non-other that Terri – who you will have seen behind the bar all weekend

 

It was definitely a weekend of fabulous hats as well!

 

For us at Silverball Country it was an exhausting four days, but we spent the days with smiles on our faces, friends by our sides and Jaeger in our hands. If you want to know how hard all the volunteers work – just ask Neil Byr about his bar stints!

 

We’ll see you on 3 June 2022 to do it all again!

 

Single Review - Not Your Woman Reimagined - Jessica Lynn

 

Jessica Lynn is famed for her high energy shows, her family band and now her massively popular livestreams, but in her new single, a reimagining of Not Your Woman she shows just how pure her vocals are.  Originally an uptempo song in her usual style, Not Your Woman was requested as an acoustic during one of Jessica’s piano-based livestreams, so she performed it and then recorded it in this very intimate style featuring just her voice and the piano.  Jessica even referred to the original livestream to ensure she captured the same style and emotion as when she first sang it.

Re-recording this song as a ballad gave Jessica the idea to go through her songs one by one and create a whole EP of reimagined songs which will be released in September.

Whilst the acoustic rendering isn’t quite Country, it is a great opportunity for Jessica to not only test herself but to display her range both vocally and as an instrumentalist (as well as piano she also plays guitar and, at times in her show, drums too!)

Although lockdown was tough and caused Jessica to postpone her European and UK tour, it is clear that she kept busy the whole time, recording music, broadcasting her top-rated weekly livestream – and caring for Audrey the wonder dog.  This latest project is more testament to that work ethic and will be an absolute treat for fans and new listeners alike.

 

In her own words, Jessica described the song and the project:

I have never released anything before where I was the only instrumentalist on the track, but I am very excited to share with everyone such an intimate and honest version of myself with this new music.

 

Jessica Lynn’s new single Not Your Woman Reimagined from the forthcoming ep is available to download and stream now from all major platforms

Find and follow Jessica on Facebook, Instagram, Spotify and catch all the latest news on her website

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Single Review - Fire - Tim Prottey-Jones

 

Definitely at the Pop Country end of the Country Music spectrum, Tim Prottey Jones is back with a new single release – “Fire” - ahead of his appearance at Buckle and Boots Festival next weekend.

Opening with keys that are reminiscent of Marc Cohn this is an up-tempo track, displaying a different side to Tim’s writing and vocals. Although the keys, drums and steel really add to the song, it is Tim's voice that drives all the way through.

Tim has an impressive pedigree, both as a performer and producer with artists including The Wandering Hearts, Twinnie, Jake Morrell and many of the greats of UK Country and Nashville artists.  You feel that he has discovered a new freedom to explore and even play around with his own music and really enjoy what he does – his videos on social media are a testament to that!

Fire certainly reflects this, combining a melancholy theme of trying to stoke the fire of a but with a feelgood melody giving it a positive and optimistic overall vibe.  The final chorus, briefly sung without instruments is crying out for a live crowd to join in – backing vocals serve as a substitute on the recording – and the whole song will undoubtedly get an audience up on their feet when performed live – especially on a festival stage!

“…The realisation that the spark isn’t gone hits like the hot Summer sun, and that’s when you know you can burn brighter…”

This is possibly my favourite track from Tim, and I can’t wait to hear it on stage at Buckle and Boots in only a week’s time!

Fire, the new single from Tim Prottey-Jones is available to download and stream from Friday.

Find Tim on Facebook, Instagram, Spotify and closing the Paddock Stage at Buckle and Boots on Sunday evening

EP Review - Perspective - Caitlin Mae

 

Welsh Singer Caitlin Mae is releasing her debut ep – a 4 track collection of songs written very much from her heart and with intensely personal themes.

Caitlin explains the ep’s title “Perspective”

Perspective looks to examine relationships from different perspectives from sadness [Country Eyes] and defiance [Gasoline], to strength [Take My Demons] and Acceptance [Slam the Door].

All four tracks on the ep feature excellent instrumentation, making the first two tracks (Country Eyes, Gasoline) sound like festival anthems to be and as Caitlin’s voice matures she will be for sure belting these out with the passion to match the emotion in the lyrics.

Take My Demons, slower and very heartfelt is the standout track.  Released as a single, the pace and style of the song suit Caitlin’s vocal delivery and you can’t help but pause and listen to every word.

The ep ends with Slam The Door, which is fittingly a moving on song, written as a letter  to the one that never truly loved her.

 

Perspective, the debut EP from Caitlin Mae is available to download and stream from 2 July.

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Single Review - Give Me A Song - Lars Pluto and The Reavers

There is often a discussion about “What is Country” or whether a song actually is “Country”.  When Lars Pluto sings, it is 100% Country – with that voice of his, it can’t be anything else!  Passionate about his music, passionate about the genre Lars Pluto is certainly a character on the scene, and his performances – whether on stage, in a stage show or in a recording studio are also always 100%

 

Lars has released his new single Give Me A Song which is following the well-known theme of Heartache – but he has recorded it in an up tempo 90s Country style, because of course he has!  Lars has also chosen to release the track on a Tuesday, because of course he has.

While the song musically has all the hallmarks of a bouncy 90s country track it is very well written, treating Heartache as though it is a person, and Lars is talking directly to her/him/it.

If you’re gonna hang around too long, Heartache give me a song

A broken heart is a blessing in disguise to a songwriter – let’s face it, it’s the backbone of Country song writing, and Lars takes that idea and makes the theme into the theme of the song.  I guess this is the musical equivalent of putting a brave face on things.  It is no great surprise for this bad boy of UK Country to put his own twist on things, and to also show off his abilities and the talents of his band The Reavers – Tom Wright on Electric guitar and backing vocals (as well as producing the track) Phil Bloomberg on bass and Mikey Cinacio on drums.  It’s a sad tale but a fun song, which no doubt will get people dancing, smiling and thinking about heartache all at the same time!

As Lars describes it

The boys all played the hell out of this tune.  I hope y’all like it as much as we do

Reckon we will Lars, reckon we will.

 

Give Me a Song, the new single from Lars Pluto and the Reavers is available to download and stream now

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