Trawling roots Americana with craft and no little skill.
Authenticity in a world full of fakes and AI-generated content is something we should treasure. On that basis “Cherry Street”, the first solo album from Benny Sidelinger, should be regarded as something of a minor classic for its stirring passion and delivery of a record which wears its love for the Americana genre proudly on its sleeve.
Sidelinger has been around the block down the years, both as a luthier and, more importantly, a contributor and performer with a variety of acts, not least the collaborative effort Po’ Girl with the great Allison Russell and his partnership with Phill Saylor Wisor in the Shiftless Rounders, both of which produced some excellent rootsy results.
Having had his craft honed by the legendary folkie Alice Wilson, Sidelinger is an Olympian in every sense – geographically as well as musically – the Washington state resident has obviously immersed himself in the roots of American music and here he trawls that with impressive results.
His bona fides are evident from the off-on instrumental (banjo mainly) opener ‘Last Chance’ but become ever clearer as the record finds its stride. The title track is a joyous celebration of rural America and its music, bathed with the simplest of instrumentation – fiddle, banjo, dobro, guitar and brush drums – and is feathered with the ghosts of such as Woodie Guthrie and Townes Van Zandt.
You have to work hard to make music this genuine sound like it comes easy, but that’s what Sidelinger achieves here and the seeming simplicity of the tunes, the easy poeticism, and the blue-collar vocal delivery, hide great craftmanship.
Standouts include ‘Little Satchel’ and ‘Every Goodbye’ and, as a whole, this record suggests there is a deep talent being mined here. As an opening solo gambit, it is honest heartland music that is both original yet authentic.
