AUK writers look back at the last 12 months in americana, starting with our staff writer Peter Thompson.
Is it that time already? The year has simply flown by – I feel like I’m still waiting for 2024 to get going. This is my personal take on 2024 from a musical perspective: gigs and in-stores attended, and records both reviewed and just enjoyed.
In-store appearances are relatively new to me, but are increasing in number as artists likely see them as a way to sell physical product, so they often tend to be scheduled on and around record release dates, with entry to the event bundled with a pre-order of the album. They can also serve as taster sessions for future full-scale gigs.
In May, Emily Barker played an in-store at Jumbo Records in Leeds to coincide with the release of her excellent album “Fragile as Humans“; it was an intimate affair, with Barker singing without using a microphone, which served to make the event even more special. Barker has done in-stores at Jumbo before, but this was the first one I’ve being able to catch. Also in May, Brighton’s Bess Atwell played at the same venue in support of her brilliant “Light Sleeper” LP. Then Sheffield’s Gia Ford performed a great set at Jumbo in September. Before that (on a sticky August evening) Elles Bailey played at a packed The Vinyl Whistle in Headingley (see pic); with no air conditioning, Bailey missed a trick by not covering Tina Turner’s ‘Steamy Windows‘.
In terms of gigs, 2024 was a little quieter for me than most years, although I’m not totally sure of the reasons for that. Here are some of the more interesting ones. The year kicked off in great fashion, with Ashley McBryde at the Albert Hall, Manchester. McBryde was amazing; it’s so good to see how she has matured as a performer over the past few years.
A busy May started with The Black Crowes at the 02 Apollo, Manchester; I have seen this band so many times over the years since 1991 and while they are not as good as they once were as a live band, they still put on a good really show.
Later in May was the Highways Festival at the Royal Albert Hall. This was my first time attending a gig at the RAH, which had become a ‘bucket list’ item of mine, since doing a behind the scenes tour of the venue a few years ago. As it turned out, the visit was less than an unqualified success, due to the acts playing at the festival, however the place itself is magical. As Kacey Musgraves said on playing RAH in 2016 “The room is just incredible; it looks literally like you’re inside of a cake“, and “I think this is the fanciest place I’ve ever been in; like, how did they let me in?” In terms of the festival, although this was billed as country and americana, I’m still struggling to figure out which were the americana acts. On night one, perhaps it was headliners The Cadillac Three, but I’m not sure how to describe their music; they were good, but different. The highlight of night one for me was Tanner Usrey who covered the Faces’ ‘Stay With Me‘ and then the Georgia Satellites’ ‘Keep Your Hands to Yourself‘ (one of my favourite karaoke songs). Night two included one of Nashville’s current favourite acts; husband and wife duo The War and Treaty. I just don’t get the appeal, I mean, both halves of the partnership can sing (really sing), but they insist on over singing everything and I found all the lovey dovey couple thing a little too schmaltzy. Plus, I don’t see them as country or americana (more R&B).
Three days later I headed to the northeast, for Bruce Springsteen & The E Street Band at the Stadium of Light, Sunderland in monsoon conditions. Poor Bruce! After this show he was forced to cancel three shows across Europe on medical advice (if only he’d dressed for the weather, like Steve Van Zandt clearly did). Springsteen and the band were tremendous (when are they not?) but I would like to have seen and heard more of the virtuoso guitar playing of Nils Lofgren; he’s very much third fiddle guitarist in this band and he got the opportunity to cut loose on only one solo. What an inspired choice of opening song, given the inclement weather, ‘Waitin’ on a Sunny Day‘ a song that the band had not played live since 2017. The start of the show was delayed by 40 minutes due to the conditions and there must have been some insurance brokers shutting their eyes and praying every time Springsteen descended the several sodden, quite steep steps from the stage to the front of the crowd, but thankfully he got through the show without taking a tumble; he even enjoyed himself with a childlike dance in a puddle 🙂
In June it was Eagles at the Co-op Live Arena, Manchester. You know what you’re going to get when you see Eagles live nowadays; hits and more hits, no album deep cuts (but disappointingly there were no songs from “Long Road Out of Eden“), virtually zero stage presence, no spontaneity, but great musical performance and too many Joe Walsh songs. It’s evident though, that Vince Gill adds a lot to the current lineup, with his top-notch singing and guitar playing; it still feels like he is the new guy, but he’s played with the band since 2017. The venue was great; nothing fell from the ceiling and the sound quality, for an arena, was exceptional. Doobie Brothers were a tremendous support act, too.
On to July and Amigo the Devil at The Wardrobe, Leeds. I turned up at The Wardrobe, wondering whether there would be many people there to watch an act that I was only aware of because I’d had the honour of reviewing the “Yours Until the War is Over” album earlier in the year. To my surprise (and delight), the place was packed and Danny Kiranos and the band put on a fantastic show.
Over a weekend in October, on the Saturday there was Bess Atwell at The Belgrave Canteen and Music Hall, Leeds. This is a great venue; food and DJ sets downstairs, gig venue upstairs and roof terrace (er, on the roof). All in a place I used to know as Ike’s, an American diner. Atwell was fabulous; she has an amazing voice and writes charming songs. On the Sunday, the Karen Jonas Band were at Newbald Village Hall. Part of the Newbald Live series of events that take place at this small village between Beverley and York. There is so much to commend; from the user-friendly booking arrangements, the friendly locals and civilised venue, to the sensible pricing. I would heartily recommend a trip to a gig at Newbald.
November brought Jason Isbell and the 400 Unit at The Globe Theatre, Stockton-on-Tees. This was my first visit to the Globe, a historic art deco building dating back to 1935; looking resplendent following a full restoration. Isbell and his troops put on a breathtakingly good show, for quite possibly my gig of the year.
Early December saw Elles Bailey play at The Brudenell Social Club, Leeds. Planet Rock DJ Bailey puts on an entertaining show and her band (especially guitarist Joe Wilkin) are great. Demi Marriner, who is part of Bailey’s band, played an excellent set to open the show with her own band.
The best thing about being a Staff Writer for AUK is being exposed to artists that you’ve never heard of, some of whom are tremendous. My reviewing year unearthed such an artist in January, when I reviewed singer-songwriter Regina Ferguson’s LP “Fortune“. Ferguson writes great songs and, with band in tow, performs them well, too. The review concluded “If I lived in the area of the Santa Monica Mountains, travelling to the UK would be nowhere near the top of my agenda, however it would be great to see Ferguson playing live in the UK someday soon” well Regina, just like Diana Ross on her 1971 #1 single, ‘I’m still Waiting‘.
Then, in February, there was the Amigo the Devil record, “Yours Until the War is Over”. I described this as “By no means an easy listen, this is an unsettling, dark, emotional yet enjoyable offering; it demands your concentration but rewards your effort.” This is one of the albums that I keep returning to, I’m so impressed with the intelligent lyrics. Fast forward to May, when I reviewed Bess Atwell’s excellent “Light Sleeper“. Produced by the National’s Aaron Dessner (fresh from his work with Taylor Swift), this has become one of my favourite records of 2024.
In June I reviewed an album by the legendary Johnny Cash; this was “Songwriter“, a record created from songs unearthed some 30 years after Cash did the original demo recordings (at the time these were shelved because Cash started to work with Rick Rubin on the seminal “American Recordings” series). I was quite alarmed when first asked to review this; I had already heard the lead single ‘Well Alright‘ and was singularly unimpressed with it as, although it had a catchy tune, the lyrics reminded me of a song that comedian Benny Hill might have sung in the late 1960s/early 1970s. Having got past this, I found the album to be generally quite good, certainly worth releasing.
In July I gave the highest score I’ve given to any album I’ve reviewed: I gave Steve Earle’s “Alone Again (Live)” a score of 9/10. Now, as someone who is attempting to create a reputation as AUK’s version of Craig Revel Horwood, this didn’t come easy, however the album merits the score.
Meanwhile, in October, there was singing cowboy Nathan Jacques with “Dark Wanderer and the Bounty Heart“. This caused me some issues, as I loved the songs, but didn’t care so much for the interludes between some of the songs, designed to support the intention for this to be a concept album; a soundtrack to a fictional movie (about a singing cowboy). As I said, the songs are great.
On top of the reviews, there have been other discoveries, through album reviews and articles written by other members of the AUK team, recommendations from friends and random ‘finds’.
I would heartily recommend the latest Shelby Lynne record “Consequences of the Crown“; Lynne is one of my favourite singers and very possibly my absolute favourite in a live environment. That said, I don’t think that all of her LPs are consistently excellent and I approached this album wondering what to make of it. Initial impressions weren’t great, but I persevered and after a couple of listens, I think it’s her best album since “I Am Shelby Lynne“, some 25 years ago. I also really like “Viva Lone Justice” by Lone Justice, which is a little cobbled together, but serves to remind just how good Lone Justice were.
The record of various artists covering Jesse Malin songs “Silver Patron Saints: The Songs of Jesse Malin“, with proceeds going towards supporting Malin as he (hopefully) recovers from the spinal stroke that befell him in May 2023. Kacey Musgraves’ “Deeper Well” sees her back with a bang with a thoroughly enjoyable listen; in stark contrast to 2021’s “Star-Crossed” and its companion film which I didn’t enjoy at all.
Other releases that I’ve been enjoying include:
- “Reservoir“, the debut album by Norwich’s Brown Horse;
- Jack M. Senff’s “Feeling & Devotion“;
- The Andrew Bird and Madison Cunningham record “Cunningham Bird“, which is basically the pair covering the entire “Buckingham Nicks” album;
- Dwight Yoakam with “Brighter Days“, which is a pleasing (and long overdue) return to form;
- “Petty Country: A Country Music Celebration of Tom Petty” which features a variety of country music artists covering Petty tunes; and
- Gillian Welch and David Rawlings’ recent release “Woodland“.
So that’s it for 2024. There are already some promising releases and tours in the pipeline for next year. All the best for 2025.
