Me For Queen and Samantha Whates live at Leith Depot April 2023

 I like small gigs. That closeness to the artist testing their sounds in front of small audiences is a special thing and one that I always find enlightening. 

This was certainly one of those nights. I was there to see Me For Queen and Samantha Whates two singer-songwriters creating music one step outside of the mainstream staying true to their muse and sharing those creations with small but appreciative audiences.

None more so than the the audience that greeted them at Leith Depot's new performance space in April. I was lightly familiar with Samantha Whates music (initially through here work with Josienne Clarke in the duo PicaPica) and was less familiar with Me For Queen but aware of her connections to other artist like Alva Leigh and Sarah Howells.

Samantha opened the night and performed a well received selection of her songs focussing on her recent album 'Waiting Rooms' (recorded in, yes waiting rooms around the UK) and the brand new 'Early Works'. 

Me for Queen (Mary Erskine) focussed on her new album 'Microclimate'. The songs are worth taking the time to get to know as Mary has a way with subjects and words that is worth following through. 

Both guested on each others songs adding to the feeling of collaboration that touring can bring to artists and audiences. These were unique performances that are unlikely to be repeated.

These are two artists that are well worth seeing so if you get the chance then take it. You won't be disappointed.

A friend of mine uses the hashtag #shoplocal to tag small gigs he goes to locally and that is applicable here. I walked to the venue like it was a local shop and walked home afterwards. If only a trip to my local Tesco was so uplifting. #shoplocal

https://www.samanthawhates.me/

https://meforqueen.bandcamp.com/

Gordon Lightfoot a reflection

I drove into Orillia, Ontario in the summer 1990 on the second long road trip of my North American odyssey and saw the City of Orillia sign (population 27000) it proclaimed proudly "Orillia Home of Gordon Lightfoot."  

(picture credit unknown)

I allowed myself a wry smile for the Canadian troubadour known worldwide for his hits 'If you could read my mind' and 'Sundown'. Orillia and Canada are rightly proud of this song-writing genius. He wrote many songs over his long career and the two mentioned are the ones most will remember hearing. There are many others. His songs caught the mood of those late sixties early seventies singer songwriter times with their beautiful melodies and lyrical turns.

His death at the age 84 robs the world of a master tunesmith but what a legacy he leaves. Over a run of albums from his debut 'Lightfoot!' in 1966 through the 1970s and 1980s he established a reputation as a songwriters songwriter with his songs covered by Elvis, Bob Dylan and many others. In 1976 he had a hit with a song named 'The Wreck of the Edmund Fitzgerald' a song about the tragic sinking of an ore freighter in Lake Superior. It was an unlikely hit being longer than the radio standard but caught  contemporary interest in the tragedy and told the story of the victims. 

The outpouring of emotion on his death from across the world and especially the music world in Canada and beyond illustrates the reach that he had, how familiar people are with his music and how his songs connected to people. That is the testament to a great artist. 

Shawn Colvin - University of Calgary 1993

 From the vaults: found this unpublished review of Shawn Colvin at the University of Calgary in 1993 when I was on a trip in western Canada. There were two handwritten versions and a typewritten which may have been submitted for publication. It remained unpublished until now. 

Looking fragile under heavy lidded eyes Shawn Colvin takes to the stage to face a boisterous audience at the University of Calgary. She leans on the band for the opening couple of numbers while she finds her level and then picks her way through her repertoire delighting the audience with selections from the albums Fat City and Steady On. The up-tempo 'Round of Blues' gives way to the delicate 'Shotgun Down the Avalanche' as she silences an initially noisy crowd with her skill.

Years of club dates have not only taught Colvin how to capture an audiences attention it has also seen her develop into a fine guitar picker. she is ably assisted by her band, particularly the excellent Steuart Smith formerly sideman to both Rodney Crowell and Roseanne Cash. His playing is unobtrusive but you're always aware that he is doing more than just playing guitar. T-Bone Wolk is a revelation. For some time I'd been under the delusion that T-Bone Wolk was the bass plying pseudonym of T-Bone Burnett. This delusion is nixed when a tall be-hatted Texan* with a Hofner bass arrived on stage and proceeded to play the most melodic bass I've ever heard - truly sublime!

In recognition that she is playing in Canada Colvin includes a couple of Canadian friendly covers in the Band's 'Look out Cleveland' and 'Restless Heart' by Steve Earle - though a Texan Earle is something of a star in Canada. The reaction more than suggests that the audience appreciates her consideration and when it finally comes time to call it a night the shouts for more are certainly for real.

Shawn Colvin has something very special in the combination of songs, voice and music which live she builds slowly, almost stealthily until you're hooked and you don't want her to stop. Wonderful.

*Postscript: above is what I wrote at the time word for word including the continuing T-Bone Wolk delusion - he was not a Texan (T-Bone Burnett is a tall Texan) but from Yonkers, New York. I saw Shawn Colvin live one more time in 1994 in Edinburgh at La Belle Angele. Same sublime and at times fragile performance. I think that performance prompted me to marshal the thoughts I'd scribbled down on her Calgary performance into a presentable review. I turned down the chance to meet her afterwards. I still hold Fat City and Steady On as two of my favourite albums. 

  https://shawncolvin.com/

Jess Morgan - Brig Below, Leith

When, as a fan, you somehow find yourself back listening to a voice that you immersed yourself in a few years ago but has been crowded out since by new voices the sensation of rediscovery can be a wonderful experience.
Needless to say that was my experience catching Jess Morgan live after a gap of three years. When I saw her live at Leith Folk Club then the honesty of her songs captivated and her music was a regular soundtrack around my house, particularly the albums 'Langa Langa' and 'Edison Gloriette'.
This new encounter with her music sees her presenting a selection of songs through the flow of  autobiographical story-telling which was engaging, humorous and poignant. The travails and travels of a creative soul finding her way in the world at times succeeding, other times facing the compromises of others and finding a way through them to a better place with a fuller sense of who she is as a songwriter and a human being.
What struck me is how much Jess's songs have stayed with me over the years and how the newer songs from 'Everything I did last year'  a collection of singles from the past year or so had stuck with me. There was not a song that did not affect me or that didn't feel like an old friend.
I love the magic of music. That way that I can't entirely tell why I like a song and singer or the sound they make. Is it the tune, the melody, the construction, the words and how they fit together to tell a story or create an impression, is it the voice and what it sounds like, bringing warmth and meaning to the words, is it the instrumentation and how that adds colour and shading to the poetry? I n a live setting is it also the human being who is sharing their feelings and stories with the audience. In truth it is all of these things.
Thank you Jess for sharing your story with the room at Brig Below. It was a joy to hear you again.

 http://www.jessmorgan.co.uk/

Dram Shop Gal - Carson McHone at the Hug & Pint 8/02/2019

Carson McHone is a native of Austin Texas and already a veteran of the city's honky tonk scene. As such you might expect her to be a purveyor of straight ahead four to the floor honky tonk music. Maybe she is with a full band behind her. Tonight she is solo, just her and her acoustic guitar and the songs while showing classic country and honky tonk influences also have a subtlety and quality that mark her as a songwriter to watch.

The songs stripped back in this intimate setting show a spare, stark quality and a lyrical deftness that marks them out. Musically she is steeped in the Texas honk tonk tradition and possesses a voice that can yelp like a best rockabilly girl when she needs it to but can also be gentle and reflective on the likes of 'Dram Shop Gal'.

It's 'Dram Shop Gal' that stands out for me as it shows the quality of her writing offering a tale of a woman working bars with a lyricism that puts her with the best of singer songwriters coming out of the US today. There is also something about the melodies she creates which while based on the classic country she's grown up with is laced with echoes of old time Scots and Irish music which form a key root of country.

Carson McHone did not disappoint and had the audience in the palm of her hand entertaining them between songs with tales of the life and the road. I expected the country honky tonk feel of her songs and she delivered that but what I'd not expected was the references to classic American literature that peppered her show and informed the one new song she sang 'Hawks Do Not Share' which takes its title from a chapter of Hemingway's 'A Movable Feast' about the relationship of the two iconic creative impulses that were Zelda and F.Scott Fitzgerald. She also referenced Thomas Wolfe's 'Look Homeward Angel' and Langston Hughes 'Suicide's Note'.

Recently signed to Loose Records this is Carson's first tour of the UK showcasing her album 'Carousel'. She promises to be back later this year hopefully with her band. I'm looking forward to it already - this is a new talent on the rise.

Courtney Marie Andrews, Perth 8.12.18

There is something so genuine about Courtney Marie Andrews. Tonight underlined that. Appearing solo after touring most of the year with her band in support of one of this years best albums 'May Your Kindness Remain' Courtney Marie stripped the music down to its essence - voice, acoustic guitar and piano (alternating the last two).

The intimate setting of the Joan Knight studio at Perth Theatre allowed Courtney Marie the space to concentrate on telling us some of the stories behind the songs - who inspired them, what part of her life they were from. In short she just played us her amazing songs which are stories in themselves. She took requests at one point with hilarious consequences when she started '500 Nights' only to forget the second line and having to settle for the chorus - 'I've not played that song in 5 years!'. She hadn't factored in the extent of the audience knowledge of and affection for her work!
There were a number of stand outs for me including 'Honest Life', 'Paintings from Michael' (a song about her incarcerated uncle which seems to grow more powerful every time I hear her play it), 'Irene', 'Only in my Mind' and 'Rough around the Edges'. She finished the set by unplugging the guitar and stepping away from the microphone to sing 'May Your Kindness Remain'. It was a special moment and a special way to end a wonderful night.

I'll be seeing her again tonight at the CCA in Glasgow and to say I'm looking forward to it is an understatement.

Courtney Marie Andrews at Summerhall 20 April 2018

Courtney Marie Andrews is frankly at the top of her game right now. No two ways about it her show tonight was one of the best I've seen with the warmest and most enthusiastic reception from her growing audience.
Last time I saw Courtney Marie Andrews she was touring solo and previewing the songs from her new album 'May Your Kindness Remain'. Between January and now with the addition of her band those songs have grown and the blues country soul vibe has distilled into that much sought after but rare thing that I can only describe a cosmic American music - ok I've stolen that - but I think it is apt in describing the combination of her songs, their arrangements and the sound the band cooks up. There were moments tonight where I was thinking of Joan Baez, Bob Dylan and the Band. This was especially evident during the evenings closing number a cover of Little Feat's 'Willin'.

The whole set was beautifully paced starting with last two tracks from the new album 'Long Road Back to You' and 'I've Hurt Worse' both of which pulled the crowd in and showed that these songs may be new but have more than connected with her audience. People were singing along and clearly love these songs and the ones that followed.
To say that Courtney Marie Andrews has hit her stride would be an understatement of monumental standards. She's been touring constantly both solo and with her band, writing all the time and she keeps coming up with the goods. This is her time but you can't help feeling that the best is astonishingly still to come.
She has songs which are audience favourites like 'Near You' and 'Sea Town' which have not appeared on albums but remain mainstays of the live show. Sea Town in particular has featured in every CMA gig I've been at. That's five in total and the performance of the song has moved from a plaintive lament into a rocking celebration of returning.
We were treated to eighteen songs tonight in Summerhall's 'Dissection Room' showcasing the best of the new album and its predecessor 'Honest Life'. Her songs clearly touch a common core across the ages that was evident tonight with a very mixed age range. Live she always engages with the audience with humour and charm between the songs and then that voice soars. More, Courtney Marie, more!

 Note: in the heat tonight an audience member fainted, thankfully recovering. Courtney Marie stopped the show immediately and took a respectful break.

Caroline Spence - the Voodoo Rooms 21/02/2018

Caroline Spence is one of a slew of new singer/songwriters breaking out of the US right now. Based in Nashville Caroline followed a well worn path of songwriters drawn to the city in search of the song that would provide the 'hit' that would break her. Her aim was to write songs for others to record and perform but like many before her she found that in order to hawk her songs performing was the best route to get those songs out there. And there was a living to be had there if you're willing to follow the road.

On her first visit to Scotland Spence played an intimate stripped back set in the Voodoo Rooms speakeasy accompanied by English electric and lap steel guitarist Chris Hillman. As well as telling stories with her songs she entertained the audience with stories about the songs and her life in Nashville and on the road - don't order a Chinese takeaway in Texas! Her set contained a choice mix of songs from her albums 'Somehow' and 'Spades & Hearts' with a couple of covers - Gram Parsons 'Hickory Wind' (appropriate when your guitarist is called Chris Hillman) and night's closer Springsteen's 'Dancing in the Dark'. 

Opening with 'Heart of Somebody', followed by 'Hotel Amarillo' it's clear her own songs have a quality that should set her in good stead to grow her audience. She seems genuinely touched by the number of people who've turned out mid-week to see her play. 'Whiskey Watered Down' is her love hate sideswipe at the music industry in Nashville; 'Hotel Amarillo' a tale of motel life and fast food on the road; 'Train's Cry' and 'Bless Your Heart' stand out too.

In the second half of the set there are more gems as she works through more of her recent 'Spades & Hearts' album. Standouts include 'You Don't Look So Good (Cocaine)' 'All the Bed's I've Made' and 'Southern Accident'. She catches the zeitgeist with 'Softball' a reflection on her realisation that the world is different for girls it's a story of her discovery as a baseball crazy child that she could only go so far with her playing before the coach won't put her in the baseball team because its not for girls -softball is. Catch the video for 'Softball' for a who's who of the talented women singer/songwriters that are working in America right now.

Fortunately for us many are making it across to Scotland where they are finding a warm welcome from audiences keen to hear them perform. Caroline Spence is one of a new wave. She's one of the best and next time she's here go see her. Meantime give her a listen wherever you find your music.

http://www.carolinespencemusic.com/

Courtney Marie Andrews - in praise of Leuven Letters

Courtney Marie Andrews burst into my consciousness when I heard a track from her breakthrough album 'Honest Life'. The song was 'How Quickly Your Heart Mends' her witty heart-worn tale of surviving love and finding life.
'Honest Life' is an album packed with songwriting of the highest calibre that speaks of the years that Courtney Marie has spent as a travelling musician playing with bands and as a solo artist building her skill and craft. Amazingly a veteran of 6 self funded albums by the time of her breakthrough she'd been touring for ten years.
Listening to the older work there has been a astonishing refinement of her songwriters craft, her confidence as a writer and that key skill of telling her stories straight and connecting with her audience.
Her previous full length album 'On My Page' mapped a route to 'Honest Life' with key songs 'Blue Woman' and 'Woman of Many Colours' still mainstays of her live set and tales that sit well with her later output. That said 'Honest Life' is a huge step forward in her writing and in the realisation of her muse. There's a brevity and directness to the songs and a honesty in the delivery that pushed open the door to that wider audience that she so thoroughly deserves.

What brought about that change, that clarity? I'd contend that the limited release 2014 mini album 'Leuven Letters' played a large part in leading Courtney Marie to the directness of 'Honest Life'. The six tracks she recorded in Belgium contain only one song from 'Honest Life' - the aforementioned  'How Quickly Your Heart Mends' which encapsulates the new pared back direct voice that points towards the sound and honesty that makes 'Honest Life' the important album it is. The backstory to 'Leuven Letters' is that it was written and recorded in the aftermath of a relationship breakup. The songs work as a group describing the confusion, the hurt, the frustration, the yearning and the keening heartbreak of love along with the redemptive quality of rebirth as a careworn experienced liver of life. It closes with the heartfelt 'A Song for Amy Ross' a song about the loss of a friend that may sit outside the canon of break-up songs that precedes it but shares that direct way of telling the story that is as real and affectionate. It too is about unexpected loss and the hurt the sheering of a friendship to an abrupt end.
'Leuven Letters' is a exceptional suite of songs and maps out clearly the template that Courtney Marie so assuredly realised on 'Honest Life'. It deserves to be seen as the pivotal work that it clearly is paving the way from the old Courtney Marie to the new and playing its part in showcasing her voice both vocally and in the words and music that those of us who have fallen for her spell love so much. 

https://courtneymarieandrews.bandcamp.com/album/leuven-letters

I am the audience - Ned Roberts at Leith Depot

It was one of those cold winter nights in early spring that Scotland is famous for with added hail. Wednesday night too. However that really is just an excuse and a lame one at that. But I'll get back to that.

I first heard of Ned Roberts when he was playing support for Anais Mitchell a few years back and he'd impressed me with his songs and his voice. It being the modern age I downloaded an e.p. to my iPod and listened for a while before other more insistent voices and music made my memories of this engaging singer fade.

Fast forward a bit and somewhere I discover that Ned has a new album coming and that he's touring. even better he's playing in Leith!

Now back to that audience. You see Ned was playing Leith Depot on a night organised by local singer songwriter Kat Healy and there was support from a local singer called Purdie. I turn up two songs from the end of Purdie's set. There's not a huge crowd and it's early I say to myself. As the evening continues through Kat's set of finely observed songs of relationships I begin to piece together who the groups of people in the room are. Purdie has a group of friends with her who are thankfully settling in for the night (it's Baltic outside so who could blame them). Over by the bar is a group who are with Kat. So that leaves me and three other people.

The headliner takes to the stage and works his way a mesmerising mix of his old and new songs. He's got a rich voice that works well on his well crafted songs like 'Drifting Down' 'Hazy Days' 'Angel Station' and 'Lights on the River'. There's some nice guitar playing and that rich deep voice works well with the songs that recall Nick Drake, James Taylor, Leonard Cohen and a bit of Dylan (a

fair bit of moothie accompanies the playing and singing).

Of course he's not a household name but you can't help thinking, well I can't help thinking that after playing a full Pleasance Theatre a few years back albeit supporting the more established Anais Mitchell he should be pulling in a few more punters.

For now I feel like I'm glad to be part of the small group who came along to see him. I have to say he doesn't disappoint and would say unreservedly that you should seek out his music and certainly his gigs. There's room.

Bandcamp https://nedroberts.bandcamp.com/

Soundcloud https://soundcloud.com/nedroberts/

Facebook https://www.facebook.com/NedRobertsMusic

Kat Healy https://www.kathealymusic.com/

Playing Old Games - Erin Rae and the Meanwhiles, Hug and Pint Glasgow

I'd only listened to a couple of songs by Erin Rae McKaskle before going to see her. Those songs 'Playing Old Games' and 'Clean Slate' gave me enough to guess that a full set would be more than rewarding.
Good guess! I lucked out. In the dark and cramped basement of the Hug and Pint Erin Rae's songs shone. She worked her way through a wonderful set of old and new songs. All show a refective thoughtfulness and keen insights into the human longing, frailty, joy and loss.
What made the sound of Erin Rae's high clear voice even more stunning were the harmonies provided by her two bandmates. They echoed old time bluegrass country but were altogether modern and truly sublime.
Erin Rae and the Meanwhiles are playing small venues on this tour, building their audience. Should you join that audience you won't be disappointed.


**********
Leith Depot - the next night.

On my home turf I just could not miss catching Erin Rae again. It was a similar sized venue and size of audience. The set was familiar and again I was struck by the quality of the songwriting and while the themes are well trodden there seems a particular insight that Erin Rae brings to her songs. 'Playing Old Games' remains my favourite but I am liking 'Wild Blue Wind', 'Futile Attempts' and 'Monticello'. Good news too that there is a new album in the offing with a number of new songs being showcased on this UK tour. This is a singer songwriter who is building up a body of work of high quality and is one to watch.

https://www.erinraemusic.com/
https://themeanwhiles.bandcamp.com/
http://www.clubhouserecords.co.uk/

Wild Blue Wind live video
https://youtu.be/5PYc-IIxPfI