A couple of years ago I saw James Hodder perform in the basement room of Farringdon’s Betsey Trotwood, supporting Casey Neill and Jerry Joseph. This spatially challenged, cosy venue facilitates close proximity to the artists and everything else, for that matter. At the end of the evening I found myself standing right next to Hodder, a perfect opportunity for a brief chat. During this exchange, I attempted to purchase a couple of his CD’s. As there appeared to be a lack of any available electronic payment method and, of course, who has cash these days, a very chilled Hodder simply suggested that I send him the money, somehow, later. The evening’s performance and this interaction left me feeling that not only is Hodder a gifted singer-songwriter, but he is also a thoroughly nice chap in a very polite, very funny, self-deprecating, almost eccentric English way.
Hodder’s Bandcamp page describes him as a “Kent-based troubadour who fuses folk and americana influences with bittersweet lyrics and storytelling”. So far so good, yet this description leaves quite a lot unsaid. On listening to his music, the first thing that strikes you is the quality of his voice. Soulful, bluesy, rich, expressive, a touch of grit and perhaps most importantly, distinctive. You know it’s Hodder because although there are echoes of other more well-known artists (Springsteen, Isbell, Jackson Browne, to name a few), he is still very recognisable, an important quality in a crowded field of talented singer-songwriters. Yet beyond the voice, his stories are powerful and compelling, talking about his own life experience but also living that of others, bringing real life to life in all its glory and messiness.
For those who have not heard Hodder before, you could do worse than starting with 2023’s Wilderness Road, which I would argue is possibly one of the best americana albums you’ve probably never heard. Recorded with a high-quality full band, it has great lyrics, great melodies, is soulful, and when it’s not being quietly mellow, it totally rocks. The title track, upbeat and engaging, pulls you in and practically compels you to turn up the volume. It’s quickly followed by One Clean Shot, hard-hitting and laid-back at the same time – think Chris Stapleton. Hillbilly The Kid made me think of Isbell’s Weathervanes, so beautifully does it tell the story. Fine punchy bass playing brings this album to life, and I have to give a shout out to bassist Dan Cooper, whose restraint and self-control give Hodder and the rest of the band room to excel. His first album, 2017’s In The Beginning, is a credible effort and was certainly no try-out. It contains songs that he still regularly plays, and whilst perhaps a little less polished than his later work, it contains songs of real quality.
As you listen, you feel that Hodder sits inside his songs, draws you in and often leaves a degree of glorious ambiguity about whose story he is actually telling. Is he really The One Who Murdered Love in the opening song on his 2017 album. I hope not, yet to be fair he does sound pretty convincing. San Luis Obispo from the same album is surely autobiographical, so authentic and heartfelt does it sound. The version on his live album, Band From The Betsey (2023) recorded at the aforementioned venue, is played 3 steps up from the original, raising the intensity, and is a haunting, beautiful love song that really captures Hodder’s live presence. Hodder’s quirkiness is illustrated by a delightful and almost anachronistic Christmas song. 2024’s It’s Just Another Christmas Without You mixes the Christmas travelling vibe with an American Hollywood sentimentality, his clever wordplay “dashing through the snow in a worn-out Chevrolet” sung in his silky bluesy Chris Rea voice.
In live performance, Hodder is engaging and pretty funny. At a recent gig he solemnly explained that the next song was about how it’s okay to make mistakes in life. Whilst the audience nodded sagely in agreement, he quickly followed up with the punchline: “unless of course you are a brain surgeon or an air traffic controller“. Seen regularly over the years at The Green Note, Rambling Roots amongst other venues, Hodder has shared stages with notables such as Hannah Scott, Don Gallardo and Hannah White. As of the time of writing, he will be appearing at The Maverick Festival in Suffolk and hopefully will convert a few more to the cause.
Hodder is, in my view, punching way below where he should be. He is also, like many of the artists who appear in these pages, doing sterling work keeping original music, so important for all of us, alive and vibrant. One song which made a great impression at The Betsey was (I think I have the title right) Keep Singing The Blues. This song is about, and dedicated to, all those unsung artists who play night after night, often to very few people, believing in their songs and keeping original music alive, and it very much encapsulates what Hodder is all about. Judge for yourself by visiting his Bandcamp page (other platforms are available), where there is a comprehensive selection of his output available for an absolute bargain, and experience the joy of discovering a highly entertaining and talented homegrown artist.
Looking back at the AUK website, I notice that a live review of Hodder had previously been written by Ken Beveridge and coincidentally at The Betsey Trotwood. Many will, of course, know Ken as a veteran gig-goer and author of the book A Life In Live Music. During Hodder’s set at Rambling Roots this year, he acknowledged Ken, even suggesting that the Saloon Bar stage he was playing on be re-named the Ken Beveridge stage in recognition of Ken’s support for this amazing business. A lovely gesture, as I’m sure you will agree, and I’m not sure if I mentioned this before, but it made me think, “what a nice chap”.
