Emily Barker’s brand new album, ‘A Dark Murmuration of Words’, is released today 4th September on Thirty Tigers. It’s the highly anticipated follow-up to the successful ‘Sweet Kind of Blue’, which helped her to land the UK Artist of the Year at the 2018 UK Americana Awards. To coincide with the record’s release, here is her recent single, ‘Where Have the Sparrows Gone?’, which is accompanied by an excellent, thought-provoking video. The song, a powerful piece of song-writing, places us in a post-apocalyptic, birdless version of London. Continue reading “Video: Emily Barker “Where Have the Sparrows Gone?””
For her sixth full-length album release Emily Barker is taking on the world. Addressing climate change, racism, sexism and the myths of economic progress, Barker has, in her own softly spoken and articulate way, delivered her own damning indictment of the 21st century. Barker’s self-declared aim with ‘A Dark Murmuration Of Words’ was to veer away from the folk, soul and blues territory of previous albums, leaning instead towards a more modern sound inspired by the likes of Laura Marling. Whether Barker has succeeded in this ambition is a moot point. 
In these strange times, we must ensure that we look out for the vulnerable, the marginalised and the lonely more than ever. Today, 28th April, The blue Highways release a cover of Van Morrison’s beautiful ‘Days Like This’ with the help from some great artists, including Ferris and Sylvester, Pete Gow, Emily Barker, Robert Vincent and more. This is a fundraiser in support of Women’s Aid, a charity that works with the victims of domestic abuse in the UK. 
Frank Turner’s sold out show at the wonderful Ally Pally was his 2,431st gig since setting out as a solo artist in 2004. This is, in itself, a phenomenal achievement and is a sign of his fans’ passion and of his incredible endurance. Turner has re-invented himself on this tour, delivering a very different show from his usual high-energy performances. This was a reflective affair with many fascinating or humorous stories used to introduce each song; these insights undoubtedly helped give a greater appreciation of the songs and was pitched perfectly. 
Oh well, this will wreck our Google search result listings – what possessed them to use the terms “americana” and “UK” in the same headline? Billboard has an article today entitled “U.K. Americana Hits America, and Vice Versa, In New Roots Exchange” which is an incredibly interestingyou read about our symbiotic relationship with the genre over in the States, selling snow to the Eskimos as it were. They report: “The idea of U.K. artists playing Americana, not just at home but in the U.S. itself, might once have seemed hopelessly ambitious. But as the genre, and the reception of it, has expanded into an ever-broader church, British acts are not only nudging doors ajar, but the two countries are enjoying something of a cultural Americana exchange — to the benefit of roots musicians on both sides of the Atlantic. 
Emily Barker is one of those names that has been around the UK Americana scene, since it was both identified as a ‘scene’ and as a distinct musical genre. A pathfinder, a trailblazer, and first with her Red Clay Halo, then as part of Applewood Road a consistent purveyor of great music. She stretches the musical parameters, and possibly herself with a wonderfully soul soaked new record, Sweet Kind of Blue, recorded in Memphis. 
Australian Emily Barker has been firmly in the spotlight over the past decade with her band The Red Clay Halo (who played at the London Olympics opening ceremony) along with her stints in Vena Portae and Applewood Road. Her songs have been featured on the BBC’s Wallander and The Shadow Line while she also provided the soundtrack for Peter Mullan and Jake Gavin’s film, Hector. Her voice, always warm and direct, and her various recordings have seen her firmly set in the folky side of country pigeonhole but Sweet Kind Of Blue finds her heading into country soul territory, geographically as well as musically as she headed off to Memphis to record the album.