Don Brownrigg - Fireworks (Album Review)
Canadian singer-songwriter Don Brownrigg came to our attention last year with his single ‘Room For Me’; three and a half minutes of what is best described as world-feariness, employing nothing more than a delicately-picked guitar, baritone vocal and gossamer-light strings. Its closing line of “I’m not sure, I’m not sure, I’m not sure I’m not crazy” captures a vulnerability that instantly made us want to know more of the story.
And know more we can, as Brownrigg dissects relationships gone awry on his latest record, Fireworks. The album travels between Iron & Wine fragility (‘From You’) and Dave Matthewsesque punchiness (‘Bad Timing’) and even makes room for a cover of ‘Tom’s Diner’ along the way. The arrangement of the Suzanne Vega classic lands us in the musical landscape of some crooked travelling circus; the ringmaster whispering spookily in your ear. It’s a gamble to take on such a well-loved, iconic track but it’s one that pays off.
When the songs are stripped to the bones, this record really is at its finest and songs like ‘Nowhere At All’ and ‘Strum & Rhyme’ spotlight a vocal that crumbles with warmth and intimacy against rickety piano and unfussy guitar in turn. The light-touch atmospherics do the rest and due credit here should go to producer Daniel Ledwell who, alongside playing the bass, is also responsible for the album’s judiciously placed horns.
The stuttering heartbeat of closing track ‘You Know’ sees the record drifting off in a haze of keyboard shimmers - think Beck circa Sea Change. It perfectly conjures the fug of time spent reflecting and regretting, which is really what Fireworks is all about. There’s wisdom of experience here which will be appreciated by people who look for lyrical (as well as musical) maturity in their singer-songwriters. It’ll likewise appeal to anyone trying to make sense of the metaphorical sparks that fly at a relationship’s end - you never know, Brownrigg may just be able to lead you out of the ensuing darkness.
Review by Rich Barnard
Fred Abbott may be better known to you as the guitarist from the much-loved and hard-to-pigeonhole band Noah & The Whale. A popular live draw, their refreshing, inventive approach to songwriting and record-making set them apart from the crowd but ultimately the band split in 2015, with four albums to their name. Abbott’s solo debut, Serious Poke, appeared shortly after, sporting a more straightforward, guitar-centred sound. Eight years later - and having gained broad experience as a session musician and producer in between - Abbott has returned with Shining Under The Soot, a mature and beautifully crafted follow-up, brimming with energy and heart.
Ledfoot aka Tim Scott McConnell and Ronni Le Tekrø seem, at first look, like an odd pair. Tim, born in Florida, has been based in Norway for many years, adopting the Ledfoot moniker in 2007 after a string of solo releases on major labels and as frontman of The Havalinas. Ronni Le Tekrø is best known as the guitarist in TNT, Norwegian rock royalty, enjoying considerable international success since their formation in 1982. The Norwegian connection would seem to be the cement here, and ‘Limited Edition Lava Lamp’ is their second record as a duo.
For bands and singer-songwriters, 2020 was hardly the best year to release a new album. And let’s face it, 2021 wasn’t much better. The only hope for artists with new music was that they could somehow connect online, as reaching fans via physical touring was out of the question. As a result, countless records were overlooked, under-noticed and sailed away, unloved. Scott Matthews released his eighth album, the sonically ambitious New Skin, in December 2020, at the start of a winter most of us are keen to forget. Three years later, Restless Lullabies sees the same set of songs reborn, and, in an effort to ensure that each are properly heard, they have been stripped of skin, flesh and - in some cases - their very bones, in his most exposed and intimate record to date.
From his self-titled, triple platinum-selling debut album in 1987 to ‘Limitless’ in 2020, Richard Marx has had an unerring knack for a melody (not to mention a pretty wonderful voice). Marx's songwriting skills have enabled him to stay relevant throughout his nearly forty-year career. His sound has evolved over time, with the punchy guitars of the late 80s replaced by a smoother, more R&B/pop sound tailored to radio and streaming services. Along the way, his song craft has been in high demand, co-writing and/or contributing songs to a startling array of artists from Kenny Rogers to Keith Urban via NSYNC, Luther Vandross and Vixen. An impressive CV, but where does that chameleon-like ability to pen hit songs come from? How does he do it? Hopefully, ‘Songwriter’ might give us a bit of a clue as we take a journey through twenty tracks encompassing four genres; pop, rock, country and ballads.
Back in 2015, Miriam Jones was treading the well-worn path of the folky singer/songwriter. Her Simon Edwards (Fairground Attraction) produced album ‘Between Green and Gone' was acoustic-based but recorded with a full band and received radio support from Bob Harris and Robert Elms. An impressive record, it looked like we would be seeing a lot of Miriam but the Canadian native slipped off the radar (well, my radar anyway) until recently when she reappeared with new music that showed a marked evolution in her sound.
Jack Broadbent’s 2019 album ‘Moonshine Blue’ was an impressive release that found the singer and guitarist dabbling in various genres. Jack wasn’t a slave to his reputation as an excellent slide guitarist and bluesman and seemed content to go wherever his muse took him to showcase his talents as a singer, songwriter or, as I put it, folky troubadour. For his latest release, at least at first glance, he’s seemingly sticking to the blues, but there are still plenty of twists and turns along the way on what might well turn out to be his best and most cohesive release yet.
If anything positive came out of the pandemic for musicians, it could have been that artists had to get inventive if they wanted to be heard. Anna Howie had spent time in Nashville pre-pandemic recording the ‘An Idiots Guide To Love’ EP with producer/guitarist Bob Britt (Leon Russell, Delbert McClinton and Bob Dylan) and attended a songwriting camp with Gretchen Peters. As with so many artists, Nashville had been inspirational, so a return was on the cards until it wasn’t. Undaunted, if a little apprehensive, Anna embraced the world of online streaming to connect with her audience and The Friday Night Club was born. The 28 online sessions would be a great success attracting almost two million views creating an online community almost by accident, offering Anna the freedom to try out new material before an appreciative virtual audience. Those Nashville plans might not have come to fruition, but Anna connected with producer and multi-instrumentalist Lukas Drinkwater (Jacob & Drinkwater, Emily Barker) and slowly but surely, over six months, pieced together ‘The Friday Night Club’ album at his Polyphonic Studio in Stroud, UK.
For many, John Illsley will always be the imposing figure standing next to Mark Knopfler as Dire Straits left the London pub circuit behind and achieved worldwide domination via their fifth album ‘Brothers In Arms'. The band almost singlehandedly convinced every household they needed a shiny little 5” silver disc to replace all those old and antiquated black slabs of 12" vinyl. Approximately 30 million of us did just that (which, in 2022, is pretty ironic considering the perceived cool factor of LPs these days). Alongside Mark Knopfler, John Illsley was the only other band member to do a full tour of duty with Dire Straits on their almost twenty-year run before the band slowly faded away in the early 1990s. John’s solo career actually began during his time in Dire Straits with the ‘Never Told A Soul’ LP in 1984. John has continued to release albums on a semi-regular basis, with VIII being, unsurprisingly, his eighth studio album.
The press release that accompanied ‘Popular Mechanics’ referenced Kenny Loggins, Tom Petty and Cyndi Lauper, all acts that have a home in my collection, so I was intrigued to hear what exactly Sam Outlaw had in mind on his new album. Listeners familiar with Outlaw and his impressive back catalogue might find the mention of Cyndi a tad incongruous as his previous records had received positive reviews for their take on the southern California country sound. As it turned out, I was pleased to find Outlaw might have taken a left turn, but he was far from lost.
Listening to Jack Francis is a bit like getting reacquainted with an old friend. The Southampton troubadour has a knack with a melody and a transatlantic approach reminiscent of 70s songwriters such as The Band, Paul Simon and Van Morrison. The route to his self-titled album might have been a long and circuitous one, but the resulting record is a triumph that should crack a smile on the most stone-faced individual.
In 2022 everybody and their dog is making a record which can be both a blessing and a curse (as the RGM inbox often reminds me). The upside to this situation is the myriad ways to discover new artists, which brings me to Noah Guthrie. Admittedly Noah Guthrie is hardly a new name, as watchers of reality TV talent shows will already be well aware (Guthrie reached the semi-final of America’s Got Talent in 2018) and even appeared in the final season of Glee. Neither of these events popped up on my radar, but late one night, lost down a rabbit hole of YouTube videos, I stumbled upon guitarist Rhett Shull preparing for a gig with a bloke named Noah Guthrie…
A new name to me, but based on the new EP, ‘Tigers in Your Backyard (Nocturnal Edition)’, Molly Murphy is one to watch. Initially, Molly embarked on a promising college career as a double Film and English Major pursuing a career in screenwriting but left all that behind to form a band (as you do). Murphy’s latest release finds the singer-songwriter adding a modern sheen to her traditional Celtic roots.