Artists: Transatlantic Sessions
Venue: The Sage - Hall 1
Town: Gateshead
Date: 4th February
Website: http://www.thesagegateshead.org/
Long since having established itself as the jewel in the crown of Glasgow’s annual Celtic Connections’ final weekend, and the show which sells out the quickest every year– even when extended over two nights – the Transatlantic Sessions continue to revisit shared roots and establish new common ground between today’s finest Celtic and Americana musicians. This year’s shows, once again featuring the same artists on both dates, have kept a winning formula, fresh with a balance between those who have been there from the beginning, those who have taken part both on stage and in the ongoing BBC TV version – and those new to the whole experience. However, to add a new twist this year, Transatlantic Sessions has gone on tour to a handful of venues around the UK . It was literally (for someone, and I know I am not alone, who has been unable, for various reasons, to ever experience the Sessions live in Glasgow) a dream come true when the Sage announced that it had joined forces with Glasgow’s Celtic Connections to have the Transatlantic Sessions play one of these coveted dates in Gateshead for the first time in its history.
The ever growing line up literally read as a who’s who of Celtic and American talent, all of whom have solo careers aswell as being very much in demand as musicians, such is their talent and appeal. Hosted as always by Aly Bain (MBE) and Jerry Douglas, the show featured: Russ Barenberg, Phil Cunningham, Cara Dillon, John Doyle, Karen Matheson (Capercaillie), James Mackintosh, Michael McGoldrick, Bruce Molsky, Tim O’Brien, Mollie O’Brien, Eddi Reader, Darrell Scott, Donald Shaw, Danny Thompson, Dan Tyminski (Alison Krauss and Union Station) and Sara Watkins (Nickel Creek.) The fact that so many musicians fit onto the stage of Hall, was something of a miracle in itself, much less the fact that they were all in the one room together!
What was immediately striking, becoming more and more apparent during the course of the evening, was how much fun these musicians have being on a stage together, with almost constant banter between them, and with the audience. They were so at ease that they easily recreated the informal ‘jamming’ style witnessed on the TV series of the Sessions, as they took us on a musical journey from folk to bluegrass with everything in between. This journey lasted well over two hours, not including the interval and it was clear even before Eddi Reader spoke up in terms of her sadness that it was Darrell Scott’s last night with them, that each of them was savouring every moment, both in and out of the spotlight, some even wandering around the stage with cameras, to capture their own memories.
Changing in and out between lead vocals, backing vocals (the girls were even dubbed the TAS choir) and music, we were treated to Sara Watkins stunning voice, Cara Dillon and Karen Matheson’s haunting vocals, Incredible musicianship across the board; Dan Tyminski is one of the most talented musicians I have ever had the pleasure of watching. Pleasant surprises for the evening came in the form of hearing Mollie O’Brien perform, not least her rendition of a Terence Trent D’Arby number, a beautiful piece of music by guitarist Russ Barenberg, Drummer’s Of England, written by his son, and Darrell Scott put in a stunning performance of a song I had actually heard before but hadn’t realised was him.
One of the highpoints of the evening was the great Eddi Reader’s Dragonflies, taken to a whole new level by the accompaniment she received from her friends. However, the personal highlight of the evening was the assembled women’s tribute to the late Kate McGarrigle ( along with her sister, she was part of the very early sessions), with a version of Talk To me of Mendecino, which I suspect left hardly a dry eye in the house. That performance, with the music surrounding them on the stage, somehow seemed to embody what Transatlantic Sessions is about - making music for the sheer love of making music, sharing it with people who come along for the sheer love of experiencing music; very much in the present whilst celebrating its history and exploring its future.
From the comments made as the show was introduced by The Sage’s Programme Director, The Sage was as excited as we were that they got the coup that was Transatlantic Sessions, and are hopeful that now that they have this connection with Celtic Connections, this is only the first of many great collaborations to bring artists and events to Gateshead. I certainly hope so and look forward to seeing who and what next year brings
Helen Mitchell
Sunday, 5 September 2010
Live Review - Suzy Bogguss
Suzy Bogguss
The Sage, Gateshead, Hall 2
1st June 2010
Having seen Suzy Bogguss at The Arc, Stockton, 3 days previously, I was really excited to see her again for her solo debut at The Sage, which was a sell-out.
Having played Hall 2 of The Sage twice previously as part of Wine, Women and Song, with Gretchen Peters and Matraca Berg, she has obviously also come to love the venue. She was desperate to ‘show it off’ to her husband, son and band and when we applauded her arrival on stage, she looked at her band, grinned ear to ear and announced, “See! I told you so!” before telling us that, as some of us would know, she has played here with her girlfriends and always had a great time.
Flanked by Charlie Chadwick on bass and Pat Bergeson on guitar, she launched into Outbound Plane, to huge applause, before slowing the pace for the beautiful Aces, where listening to that unchanged voice was like going back in time.
Introducing her band mates, it was evident that she holds them in high esteem and she enjoyed telling us the story of how Charlie had designed his own folding bass. Very cool!
Just Like the Weather, she told us, was written by her and Doug, en route to a friend’s wedding. Irony at its finest, perhaps, but a great song. As the song began, she had everyone laughing with her as she suddenly stopped, laughed and said of Pat, “Sorry, I just walked right in on his intro.’ The laughter that followed on stage evidenced how relaxed the three are in playing with together. Telling us she write the next song with her husband she joked “Oh wait, I just did that. Oh yes, this is another one.” Thus followed a less obvious but gorgeous addition to the set, Far and Away, written about leaving the love of your life, irony again, since it was written with her partner. As the song came to an end, she suddenly threw off her shoes, telling us she’s debated whether to wear the heels and declaring, “Well, I did for a while, but that’s enough of that. We’re all friends here and my feet were washed, just in case the front row was getting nervous!” Well, if going barefoot is good enough for Deana Carter at the CMA’s...! These little stories and exchanges simply demonstrate how at ease Suzy is with her audience, coupled with her amazing ability to look right at people around the room as she sings and chats. As she does so, it cannot help to escape anyone’s notice that despite being fifty three, Suzy barely looks older than 40, and still has such a sparkle about her.
Telling us that it has been such a great thing to do what she loves for so long, Suzy joked that she’s not sure she’s gotten much better, but has had the chance to work with some amazing people, one of the most amazing among them being the late, great, Chet Atkins. Going on to tell us some stories of the man who became a good friend , she played the Beatles cover, All My Lovin’ that she and Chet recorded for a Beatles tribute CD. It was arranged in such a way that it really suited her voice.
Speaking of her most recent release, Sweet Danger, she told us she’s been touring it for almost two and a half years (doesn’t time fly!) she teased us about a preview of her upcoming CD before playing the Matt Rawlings penned The Bus Ride, her favourite, and mine as it happens, from Sweet Danger. It is one of those songs that really speaks to the imagination and it struck me during this song, what an amazing guitarist Suzy is, herself.
Chain Lover followed, inspired during a sleepless night in a hotel, where she called her friend and this song appeared. The lyrics are very clever, using smoking as a metaphor for...well, you’ll have to listen and find out! Putting down her guitar, Suzy just sang and clicked for this one and proved that she can sing the blues as well as every other genre she has ever covered. As she finished, Suzy joked that she felt like Edie Adams on the cigar adverts, and proceeded to improvise the ad’s theme, to the tune of Big Spender. That in itself was funny, but then Charlie joined in with the bass!
Realising her guitar needed to be tuned, Suzy said she’d try the new technique Pat had taught her that morning, before telling us that Pat had also worked with Chet Atkins. As she tuned, Charlie filled the silence by teasing her, asking if Pat had ever told her that Chet had never stopped to tune a guitar mid set. Suzy looked at the audience with a hang dog expression, before teasing him back that she only ever wants the best for her audience and if that means tuning a guitar, then so be it.
Slipping back to Sweet Danger, it was explained to us that the one cover on the CD, Pete Cetera and Chicago’s, If You Leave Me Now, she’d cut as her son had been singing it in the car, reminding her what a great song it is. I actually prefer her version. Then, Suzy told us a little about her upcoming release Wildwood Flower, a collection of US folk songs, although she was sure we would dispute some! Asking us not to tease her US fans with the fact that we had had the chance to purchase pre release copies, she decided to close out the first half with one she thought we might all know, a great version of Shady Grove.
Following the break, Suzy returned to the stage to more huge applause, simply saying. “Thankyou, thankyou,” before moving straight into Night Rider’s Lament, and that yodel. I think this song was the best her voice sounded all night. Interestingly, the man who wrote the song was originally from England. She then went on to tell us about touring with the writer Garrison Keillor, which sounded like an amazing experience, and she told us, reinforced her belief that a show should be an exchange between artist and audience. She has certainly nailed that one, then.
A stunning version of Shenandoah, from the upcoming CD was then followed by a real treat, other than the second yodel of the night! Introducing ‘a cowboy song,’ and how she first sang it over here at Wembley in 1989, she began Someday Soon, inviting none other than her husband, singer songwriter Doug Crider, to come up on stage and join them. His voice blended perfectly with Suzy’s and I am sure I am not alone in wondering if they would ever consider a ‘duo’ album...Suzy? Doug?
Joking that the song always acts as something of a palette cleanser, she invited us to take part in a sing along of her good friend Matraca Berg’s song, Eat at Joe’s, which Suzy sang brilliantly, even adding Doug’s name in for a laugh. Teaching us our part, she was obviously impressed that many of us already knew it. Giggling mischeviously, she joked, ‘When you aren’t singing, you need to be listening, as I’m telling you a story...really.” . Thus followed over 4 minutes of everyone singing, tapping their toes and just having a good time; doubtless also being reminded of the reasons why we all love nights such as this, in the process. Suzy even finished the song by coming right down to the front of the stage and having us sing the fade outs with her.
Telling us she was about to sing another Doug Crider song, she added that we may have seen her now fifteen year old son out at the front on the merch table. She then explained that she had always seen this song from the daughter’s perspective, but suddenly, as her son is growing up, she sees it as the mom. This preceeded the most moving version of Letting Go, I have ever heard her deliver. There were tears in her eyes as she sang and I don’t think I am alone in relating to the song myself and being quite overcome with emotion as she filled up and the raw emotion reached her voice. There was something truly amazing about seeing the song suddenly meaning something else to her, there in front of us. I guess for those of us who love or ‘get’ this song, we were all connected silently in that room, for over three minutes. The power of music...
Bringing the pace back up, we were treated to a rocking version of Hey Cinderella, another Matraca penned song, which as I get older I relate to more and more. It appears it is not only me who deems it compulsory to shout the line Hey Cinderella at the start of every chorus and soon Suzy was encouraging everyone to join in. Drive South received rapturous applause.
Suzy then stopped and told us, from the heart, that she didn’t want our night together to be over, before pondering whether we could put the Sage on wheels so she could take it and the audience with her. Thus began a discussion about where we would go. The show was ended with an absolutely perfect selection. One More For the Road, from her CD with Chet Atkins, speaks of not being ‘ready to pack it up yet,’ which I think summed up the mood around the room. Very touchingly she changed the line ‘I’d like to stay here and pick one with Chet’ to ‘for Chet’ and I think we all sang along for him as much as for her.
She left the stage to a thoroughly deserved standing ovation before returning for an encore; there was clearly no way she was leaving just yet. Returning to the stage, she picked a sing along from the new CD that she thought we’d know it but if not, “..just sing ‘watermelon, watermelon;’ nobody will notice. I’ve done it half the night and I’ll bet you didn’t realise!” Thus followed an exquisite version of the beautiful song, Red River Valley, which almost moved me to tears. It seemed a perfect choice as it is about bidding adieu to someone/ something you love and after a night as magical as tonight I don’t think anyone was ready to bid adieu; to Suzy, the night, or the music, or indeed, she to the Sage.
Leaving the stage to another standing ovation, we thought that was it, until she came back out for one final flourish; choosing one of the umpteen song titles shouted from the audience, she and the band played a rocking version of No Way Out, which sent us on our way on a musical high.
The final highlight of the night? Getting to chat to Suzy and Doug (and indeed, Ben) after the show, where Suzy chatted to everyone who wanted to say hi, demonstrating she is as lovely a person off stage as she appears on.
I think after such a wonderful night of music, everyone present found it rather hard Letting Go of Ms Bogguss and the band, though without a doubt we will be holding onto the musical memories until her return, hopefully Someday soon, to The Sage; both solo and with Wine, Women and Song.
The Sage, Gateshead, Hall 2
1st June 2010
Having seen Suzy Bogguss at The Arc, Stockton, 3 days previously, I was really excited to see her again for her solo debut at The Sage, which was a sell-out.
Having played Hall 2 of The Sage twice previously as part of Wine, Women and Song, with Gretchen Peters and Matraca Berg, she has obviously also come to love the venue. She was desperate to ‘show it off’ to her husband, son and band and when we applauded her arrival on stage, she looked at her band, grinned ear to ear and announced, “See! I told you so!” before telling us that, as some of us would know, she has played here with her girlfriends and always had a great time.
Flanked by Charlie Chadwick on bass and Pat Bergeson on guitar, she launched into Outbound Plane, to huge applause, before slowing the pace for the beautiful Aces, where listening to that unchanged voice was like going back in time.
Introducing her band mates, it was evident that she holds them in high esteem and she enjoyed telling us the story of how Charlie had designed his own folding bass. Very cool!
Just Like the Weather, she told us, was written by her and Doug, en route to a friend’s wedding. Irony at its finest, perhaps, but a great song. As the song began, she had everyone laughing with her as she suddenly stopped, laughed and said of Pat, “Sorry, I just walked right in on his intro.’ The laughter that followed on stage evidenced how relaxed the three are in playing with together. Telling us she write the next song with her husband she joked “Oh wait, I just did that. Oh yes, this is another one.” Thus followed a less obvious but gorgeous addition to the set, Far and Away, written about leaving the love of your life, irony again, since it was written with her partner. As the song came to an end, she suddenly threw off her shoes, telling us she’s debated whether to wear the heels and declaring, “Well, I did for a while, but that’s enough of that. We’re all friends here and my feet were washed, just in case the front row was getting nervous!” Well, if going barefoot is good enough for Deana Carter at the CMA’s...! These little stories and exchanges simply demonstrate how at ease Suzy is with her audience, coupled with her amazing ability to look right at people around the room as she sings and chats. As she does so, it cannot help to escape anyone’s notice that despite being fifty three, Suzy barely looks older than 40, and still has such a sparkle about her.
Telling us that it has been such a great thing to do what she loves for so long, Suzy joked that she’s not sure she’s gotten much better, but has had the chance to work with some amazing people, one of the most amazing among them being the late, great, Chet Atkins. Going on to tell us some stories of the man who became a good friend , she played the Beatles cover, All My Lovin’ that she and Chet recorded for a Beatles tribute CD. It was arranged in such a way that it really suited her voice.
Speaking of her most recent release, Sweet Danger, she told us she’s been touring it for almost two and a half years (doesn’t time fly!) she teased us about a preview of her upcoming CD before playing the Matt Rawlings penned The Bus Ride, her favourite, and mine as it happens, from Sweet Danger. It is one of those songs that really speaks to the imagination and it struck me during this song, what an amazing guitarist Suzy is, herself.
Chain Lover followed, inspired during a sleepless night in a hotel, where she called her friend and this song appeared. The lyrics are very clever, using smoking as a metaphor for...well, you’ll have to listen and find out! Putting down her guitar, Suzy just sang and clicked for this one and proved that she can sing the blues as well as every other genre she has ever covered. As she finished, Suzy joked that she felt like Edie Adams on the cigar adverts, and proceeded to improvise the ad’s theme, to the tune of Big Spender. That in itself was funny, but then Charlie joined in with the bass!
Realising her guitar needed to be tuned, Suzy said she’d try the new technique Pat had taught her that morning, before telling us that Pat had also worked with Chet Atkins. As she tuned, Charlie filled the silence by teasing her, asking if Pat had ever told her that Chet had never stopped to tune a guitar mid set. Suzy looked at the audience with a hang dog expression, before teasing him back that she only ever wants the best for her audience and if that means tuning a guitar, then so be it.
Slipping back to Sweet Danger, it was explained to us that the one cover on the CD, Pete Cetera and Chicago’s, If You Leave Me Now, she’d cut as her son had been singing it in the car, reminding her what a great song it is. I actually prefer her version. Then, Suzy told us a little about her upcoming release Wildwood Flower, a collection of US folk songs, although she was sure we would dispute some! Asking us not to tease her US fans with the fact that we had had the chance to purchase pre release copies, she decided to close out the first half with one she thought we might all know, a great version of Shady Grove.
Following the break, Suzy returned to the stage to more huge applause, simply saying. “Thankyou, thankyou,” before moving straight into Night Rider’s Lament, and that yodel. I think this song was the best her voice sounded all night. Interestingly, the man who wrote the song was originally from England. She then went on to tell us about touring with the writer Garrison Keillor, which sounded like an amazing experience, and she told us, reinforced her belief that a show should be an exchange between artist and audience. She has certainly nailed that one, then.
A stunning version of Shenandoah, from the upcoming CD was then followed by a real treat, other than the second yodel of the night! Introducing ‘a cowboy song,’ and how she first sang it over here at Wembley in 1989, she began Someday Soon, inviting none other than her husband, singer songwriter Doug Crider, to come up on stage and join them. His voice blended perfectly with Suzy’s and I am sure I am not alone in wondering if they would ever consider a ‘duo’ album...Suzy? Doug?
Joking that the song always acts as something of a palette cleanser, she invited us to take part in a sing along of her good friend Matraca Berg’s song, Eat at Joe’s, which Suzy sang brilliantly, even adding Doug’s name in for a laugh. Teaching us our part, she was obviously impressed that many of us already knew it. Giggling mischeviously, she joked, ‘When you aren’t singing, you need to be listening, as I’m telling you a story...really.” . Thus followed over 4 minutes of everyone singing, tapping their toes and just having a good time; doubtless also being reminded of the reasons why we all love nights such as this, in the process. Suzy even finished the song by coming right down to the front of the stage and having us sing the fade outs with her.
Telling us she was about to sing another Doug Crider song, she added that we may have seen her now fifteen year old son out at the front on the merch table. She then explained that she had always seen this song from the daughter’s perspective, but suddenly, as her son is growing up, she sees it as the mom. This preceeded the most moving version of Letting Go, I have ever heard her deliver. There were tears in her eyes as she sang and I don’t think I am alone in relating to the song myself and being quite overcome with emotion as she filled up and the raw emotion reached her voice. There was something truly amazing about seeing the song suddenly meaning something else to her, there in front of us. I guess for those of us who love or ‘get’ this song, we were all connected silently in that room, for over three minutes. The power of music...
Bringing the pace back up, we were treated to a rocking version of Hey Cinderella, another Matraca penned song, which as I get older I relate to more and more. It appears it is not only me who deems it compulsory to shout the line Hey Cinderella at the start of every chorus and soon Suzy was encouraging everyone to join in. Drive South received rapturous applause.
Suzy then stopped and told us, from the heart, that she didn’t want our night together to be over, before pondering whether we could put the Sage on wheels so she could take it and the audience with her. Thus began a discussion about where we would go. The show was ended with an absolutely perfect selection. One More For the Road, from her CD with Chet Atkins, speaks of not being ‘ready to pack it up yet,’ which I think summed up the mood around the room. Very touchingly she changed the line ‘I’d like to stay here and pick one with Chet’ to ‘for Chet’ and I think we all sang along for him as much as for her.
She left the stage to a thoroughly deserved standing ovation before returning for an encore; there was clearly no way she was leaving just yet. Returning to the stage, she picked a sing along from the new CD that she thought we’d know it but if not, “..just sing ‘watermelon, watermelon;’ nobody will notice. I’ve done it half the night and I’ll bet you didn’t realise!” Thus followed an exquisite version of the beautiful song, Red River Valley, which almost moved me to tears. It seemed a perfect choice as it is about bidding adieu to someone/ something you love and after a night as magical as tonight I don’t think anyone was ready to bid adieu; to Suzy, the night, or the music, or indeed, she to the Sage.
Leaving the stage to another standing ovation, we thought that was it, until she came back out for one final flourish; choosing one of the umpteen song titles shouted from the audience, she and the band played a rocking version of No Way Out, which sent us on our way on a musical high.
The final highlight of the night? Getting to chat to Suzy and Doug (and indeed, Ben) after the show, where Suzy chatted to everyone who wanted to say hi, demonstrating she is as lovely a person off stage as she appears on.
I think after such a wonderful night of music, everyone present found it rather hard Letting Go of Ms Bogguss and the band, though without a doubt we will be holding onto the musical memories until her return, hopefully Someday soon, to The Sage; both solo and with Wine, Women and Song.
Live Review - Suzy Bogguss
Suzy Bogguss
The Sage, Gateshead, Hall 2
1st June 2010
Having seen Suzy Bogguss at The Arc, Stockton, 3 days previously, I was really excited to see her again for her solo debut at The Sage, which was a sell-out.
Having played Hall 2 of The Sage twice previously as part of Wine, Women and Song, with Gretchen Peters and Matraca Berg, she has obviously also come to love the venue. She was desperate to ‘show it off’ to her husband, son and band and when we applauded her arrival on stage, she looked at her band, grinned ear to ear and announced, “See! I told you so!” before telling us that, as some of us would know, she has played here with her girlfriends and always had a great time.
Flanked by Charlie Chadwick on bass and Pat Bergeson on guitar, she launched into Outbound Plane, to huge applause, before slowing the pace for the beautiful Aces, where listening to that unchanged voice was like going back in time.
Introducing her band mates, it was evident that she holds them in high esteem and she enjoyed telling us the story of how Charlie had designed his own folding bass. Very cool!
Just Like the Weather, she told us, was written by her and Doug, en route to a friend’s wedding. Irony at its finest, perhaps, but a great song. As the song began, she had everyone laughing with her as she suddenly stopped, laughed and said of Pat, “Sorry, I just walked right in on his intro.’ The laughter that followed on stage evidenced how relaxed the three are in playing with together. Telling us she write the next song with her husband she joked “Oh wait, I just did that. Oh yes, this is another one.” Thus followed a less obvious but gorgeous addition to the set, Far and Away, written about leaving the love of your life, irony again, since it was written with her partner. As the song came to an end, she suddenly threw off her shoes, telling us she’s debated whether to wear the heels and declaring, “Well, I did for a while, but that’s enough of that. We’re all friends here and my feet were washed, just in case the front row was getting nervous!” Well, if going barefoot is good enough for Deana Carter at the CMA’s...! These little stories and exchanges simply demonstrate how at ease Suzy is with her audience, coupled with her amazing ability to look right at people around the room as she sings and chats. As she does so, it cannot help to escape anyone’s notice that despite being fifty three, Suzy barely looks older than 40, and still has such a sparkle about her.
Telling us that it has been such a great thing to do what she loves for so long, Suzy joked that she’s not sure she’s gotten much better, but has had the chance to work with some amazing people, one of the most amazing among them being the late, great, Chet Atkins. Going on to tell us some stories of the man who became a good friend , she played the Beatles cover, All My Lovin’ that she and Chet recorded for a Beatles tribute CD. It was arranged in such a way that it really suited her voice.
Speaking of her most recent release, Sweet Danger, she told us she’s been touring it for almost two and a half years (doesn’t time fly!) she teased us about a preview of her upcoming CD before playing the Matt Rawlings penned The Bus Ride, her favourite, and mine as it happens, from Sweet Danger. It is one of those songs that really speaks to the imagination and it struck me during this song, what an amazing guitarist Suzy is, herself.
Chain Lover followed, inspired during a sleepless night in a hotel, where she called her friend and this song appeared. The lyrics are very clever, using smoking as a metaphor for...well, you’ll have to listen and find out! Putting down her guitar, Suzy just sang and clicked for this one and proved that she can sing the blues as well as every other genre she has ever covered. As she finished, Suzy joked that she felt like Edie Adams on the cigar adverts, and proceeded to improvise the ad’s theme, to the tune of Big Spender. That in itself was funny, but then Charlie joined in with the bass!
Realising her guitar needed to be tuned, Suzy said she’d try the new technique Pat had taught her that morning, before telling us that Pat had also worked with Chet Atkins. As she tuned, Charlie filled the silence by teasing her, asking if Pat had ever told her that Chet had never stopped to tune a guitar mid set. Suzy looked at the audience with a hang dog expression, before teasing him back that she only ever wants the best for her audience and if that means tuning a guitar, then so be it.
Slipping back to Sweet Danger, it was explained to us that the one cover on the CD, Pete Cetera and Chicago’s, If You Leave Me Now, she’d cut as her son had been singing it in the car, reminding her what a great song it is. I actually prefer her version. Then, Suzy told us a little about her upcoming release Wildwood Flower, a collection of US folk songs, although she was sure we would dispute some! Asking us not to tease her US fans with the fact that we had had the chance to purchase pre release copies, she decided to close out the first half with one she thought we might all know, a great version of Shady Grove.
Following the break, Suzy returned to the stage to more huge applause, simply saying. “Thankyou, thankyou,” before moving straight into Night Rider’s Lament, and that yodel. I think this song was the best her voice sounded all night. Interestingly, the man who wrote the song was originally from England. She then went on to tell us about touring with the writer Garrison Keillor, which sounded like an amazing experience, and she told us, reinforced her belief that a show should be an exchange between artist and audience. She has certainly nailed that one, then.
A stunning version of Shenandoah, from the upcoming CD was then followed by a real treat, other than the second yodel of the night! Introducing ‘a cowboy song,’ and how she first sang it over here at Wembley in 1989, she began Someday Soon, inviting none other than her husband, singer songwriter Doug Crider, to come up on stage and join them. His voice blended perfectly with Suzy’s and I am sure I am not alone in wondering if they would ever consider a ‘duo’ album...Suzy? Doug?
Joking that the song always acts as something of a palette cleanser, she invited us to take part in a sing along of her good friend Matraca Berg’s song, Eat at Joe’s, which Suzy sang brilliantly, even adding Doug’s name in for a laugh. Teaching us our part, she was obviously impressed that many of us already knew it. Giggling mischeviously, she joked, ‘When you aren’t singing, you need to be listening, as I’m telling you a story...really.” . Thus followed over 4 minutes of everyone singing, tapping their toes and just having a good time; doubtless also being reminded of the reasons why we all love nights such as this, in the process. Suzy even finished the song by coming right down to the front of the stage and having us sing the fade outs with her.
Telling us she was about to sing another Doug Crider song, she added that we may have seen her now fifteen year old son out at the front on the merch table. She then explained that she had always seen this song from the daughter’s perspective, but suddenly, as her son is growing up, she sees it as the mom. This preceeded the most moving version of Letting Go, I have ever heard her deliver. There were tears in her eyes as she sang and I don’t think I am alone in relating to the song myself and being quite overcome with emotion as she filled up and the raw emotion reached her voice. There was something truly amazing about seeing the song suddenly meaning something else to her, there in front of us. I guess for those of us who love or ‘get’ this song, we were all connected silently in that room, for over three minutes. The power of music...
Bringing the pace back up, we were treated to a rocking version of Hey Cinderella, another Matraca penned song, which as I get older I relate to more and more. It appears it is not only me who deems it compulsory to shout the line Hey Cinderella at the start of every chorus and soon Suzy was encouraging everyone to join in. Drive South received rapturous applause.
Suzy then stopped and told us, from the heart, that she didn’t want our night together to be over, before pondering whether we could put the Sage on wheels so she could take it and the audience with her. Thus began a discussion about where we would go. The show was ended with an absolutely perfect selection. One More For the Road, from her CD with Chet Atkins, speaks of not being ‘ready to pack it up yet,’ which I think summed up the mood around the room. Very touchingly she changed the line ‘I’d like to stay here and pick one with Chet’ to ‘for Chet’ and I think we all sang along for him as much as for her.
She left the stage to a thoroughly deserved standing ovation before returning for an encore; there was clearly no way she was leaving just yet. Returning to the stage, she picked a sing along from the new CD that she thought we’d know it but if not, “..just sing ‘watermelon, watermelon;’ nobody will notice. I’ve done it half the night and I’ll bet you didn’t realise!” Thus followed an exquisite version of the beautiful song, Red River Valley, which almost moved me to tears. It seemed a perfect choice as it is about bidding adieu to someone/ something you love and after a night as magical as tonight I don’t think anyone was ready to bid adieu; to Suzy, the night, or the music, or indeed, she to the Sage.
Leaving the stage to another standing ovation, we thought that was it, until she came back out for one final flourish; choosing one of the umpteen song titles shouted from the audience, she and the band played a rocking version of No Way Out, which sent us on our way on a musical high.
The final highlight of the night? Getting to chat to Suzy and Doug (and indeed, Ben) after the show, where Suzy chatted to everyone who wanted to say hi, demonstrating she is as lovely a person off stage as she appears on.
I think after such a wonderful night of music, everyone present found it rather hard Letting Go of Ms Bogguss and the band, though without a doubt we will be holding onto the musical memories until her return, hopefully Someday soon, to The Sage; both solo and with Wine, Women and Song.
The Sage, Gateshead, Hall 2
1st June 2010
Having seen Suzy Bogguss at The Arc, Stockton, 3 days previously, I was really excited to see her again for her solo debut at The Sage, which was a sell-out.
Having played Hall 2 of The Sage twice previously as part of Wine, Women and Song, with Gretchen Peters and Matraca Berg, she has obviously also come to love the venue. She was desperate to ‘show it off’ to her husband, son and band and when we applauded her arrival on stage, she looked at her band, grinned ear to ear and announced, “See! I told you so!” before telling us that, as some of us would know, she has played here with her girlfriends and always had a great time.
Flanked by Charlie Chadwick on bass and Pat Bergeson on guitar, she launched into Outbound Plane, to huge applause, before slowing the pace for the beautiful Aces, where listening to that unchanged voice was like going back in time.
Introducing her band mates, it was evident that she holds them in high esteem and she enjoyed telling us the story of how Charlie had designed his own folding bass. Very cool!
Just Like the Weather, she told us, was written by her and Doug, en route to a friend’s wedding. Irony at its finest, perhaps, but a great song. As the song began, she had everyone laughing with her as she suddenly stopped, laughed and said of Pat, “Sorry, I just walked right in on his intro.’ The laughter that followed on stage evidenced how relaxed the three are in playing with together. Telling us she write the next song with her husband she joked “Oh wait, I just did that. Oh yes, this is another one.” Thus followed a less obvious but gorgeous addition to the set, Far and Away, written about leaving the love of your life, irony again, since it was written with her partner. As the song came to an end, she suddenly threw off her shoes, telling us she’s debated whether to wear the heels and declaring, “Well, I did for a while, but that’s enough of that. We’re all friends here and my feet were washed, just in case the front row was getting nervous!” Well, if going barefoot is good enough for Deana Carter at the CMA’s...! These little stories and exchanges simply demonstrate how at ease Suzy is with her audience, coupled with her amazing ability to look right at people around the room as she sings and chats. As she does so, it cannot help to escape anyone’s notice that despite being fifty three, Suzy barely looks older than 40, and still has such a sparkle about her.
Telling us that it has been such a great thing to do what she loves for so long, Suzy joked that she’s not sure she’s gotten much better, but has had the chance to work with some amazing people, one of the most amazing among them being the late, great, Chet Atkins. Going on to tell us some stories of the man who became a good friend , she played the Beatles cover, All My Lovin’ that she and Chet recorded for a Beatles tribute CD. It was arranged in such a way that it really suited her voice.
Speaking of her most recent release, Sweet Danger, she told us she’s been touring it for almost two and a half years (doesn’t time fly!) she teased us about a preview of her upcoming CD before playing the Matt Rawlings penned The Bus Ride, her favourite, and mine as it happens, from Sweet Danger. It is one of those songs that really speaks to the imagination and it struck me during this song, what an amazing guitarist Suzy is, herself.
Chain Lover followed, inspired during a sleepless night in a hotel, where she called her friend and this song appeared. The lyrics are very clever, using smoking as a metaphor for...well, you’ll have to listen and find out! Putting down her guitar, Suzy just sang and clicked for this one and proved that she can sing the blues as well as every other genre she has ever covered. As she finished, Suzy joked that she felt like Edie Adams on the cigar adverts, and proceeded to improvise the ad’s theme, to the tune of Big Spender. That in itself was funny, but then Charlie joined in with the bass!
Realising her guitar needed to be tuned, Suzy said she’d try the new technique Pat had taught her that morning, before telling us that Pat had also worked with Chet Atkins. As she tuned, Charlie filled the silence by teasing her, asking if Pat had ever told her that Chet had never stopped to tune a guitar mid set. Suzy looked at the audience with a hang dog expression, before teasing him back that she only ever wants the best for her audience and if that means tuning a guitar, then so be it.
Slipping back to Sweet Danger, it was explained to us that the one cover on the CD, Pete Cetera and Chicago’s, If You Leave Me Now, she’d cut as her son had been singing it in the car, reminding her what a great song it is. I actually prefer her version. Then, Suzy told us a little about her upcoming release Wildwood Flower, a collection of US folk songs, although she was sure we would dispute some! Asking us not to tease her US fans with the fact that we had had the chance to purchase pre release copies, she decided to close out the first half with one she thought we might all know, a great version of Shady Grove.
Following the break, Suzy returned to the stage to more huge applause, simply saying. “Thankyou, thankyou,” before moving straight into Night Rider’s Lament, and that yodel. I think this song was the best her voice sounded all night. Interestingly, the man who wrote the song was originally from England. She then went on to tell us about touring with the writer Garrison Keillor, which sounded like an amazing experience, and she told us, reinforced her belief that a show should be an exchange between artist and audience. She has certainly nailed that one, then.
A stunning version of Shenandoah, from the upcoming CD was then followed by a real treat, other than the second yodel of the night! Introducing ‘a cowboy song,’ and how she first sang it over here at Wembley in 1989, she began Someday Soon, inviting none other than her husband, singer songwriter Doug Crider, to come up on stage and join them. His voice blended perfectly with Suzy’s and I am sure I am not alone in wondering if they would ever consider a ‘duo’ album...Suzy? Doug?
Joking that the song always acts as something of a palette cleanser, she invited us to take part in a sing along of her good friend Matraca Berg’s song, Eat at Joe’s, which Suzy sang brilliantly, even adding Doug’s name in for a laugh. Teaching us our part, she was obviously impressed that many of us already knew it. Giggling mischeviously, she joked, ‘When you aren’t singing, you need to be listening, as I’m telling you a story...really.” . Thus followed over 4 minutes of everyone singing, tapping their toes and just having a good time; doubtless also being reminded of the reasons why we all love nights such as this, in the process. Suzy even finished the song by coming right down to the front of the stage and having us sing the fade outs with her.
Telling us she was about to sing another Doug Crider song, she added that we may have seen her now fifteen year old son out at the front on the merch table. She then explained that she had always seen this song from the daughter’s perspective, but suddenly, as her son is growing up, she sees it as the mom. This preceeded the most moving version of Letting Go, I have ever heard her deliver. There were tears in her eyes as she sang and I don’t think I am alone in relating to the song myself and being quite overcome with emotion as she filled up and the raw emotion reached her voice. There was something truly amazing about seeing the song suddenly meaning something else to her, there in front of us. I guess for those of us who love or ‘get’ this song, we were all connected silently in that room, for over three minutes. The power of music...
Bringing the pace back up, we were treated to a rocking version of Hey Cinderella, another Matraca penned song, which as I get older I relate to more and more. It appears it is not only me who deems it compulsory to shout the line Hey Cinderella at the start of every chorus and soon Suzy was encouraging everyone to join in. Drive South received rapturous applause.
Suzy then stopped and told us, from the heart, that she didn’t want our night together to be over, before pondering whether we could put the Sage on wheels so she could take it and the audience with her. Thus began a discussion about where we would go. The show was ended with an absolutely perfect selection. One More For the Road, from her CD with Chet Atkins, speaks of not being ‘ready to pack it up yet,’ which I think summed up the mood around the room. Very touchingly she changed the line ‘I’d like to stay here and pick one with Chet’ to ‘for Chet’ and I think we all sang along for him as much as for her.
She left the stage to a thoroughly deserved standing ovation before returning for an encore; there was clearly no way she was leaving just yet. Returning to the stage, she picked a sing along from the new CD that she thought we’d know it but if not, “..just sing ‘watermelon, watermelon;’ nobody will notice. I’ve done it half the night and I’ll bet you didn’t realise!” Thus followed an exquisite version of the beautiful song, Red River Valley, which almost moved me to tears. It seemed a perfect choice as it is about bidding adieu to someone/ something you love and after a night as magical as tonight I don’t think anyone was ready to bid adieu; to Suzy, the night, or the music, or indeed, she to the Sage.
Leaving the stage to another standing ovation, we thought that was it, until she came back out for one final flourish; choosing one of the umpteen song titles shouted from the audience, she and the band played a rocking version of No Way Out, which sent us on our way on a musical high.
The final highlight of the night? Getting to chat to Suzy and Doug (and indeed, Ben) after the show, where Suzy chatted to everyone who wanted to say hi, demonstrating she is as lovely a person off stage as she appears on.
I think after such a wonderful night of music, everyone present found it rather hard Letting Go of Ms Bogguss and the band, though without a doubt we will be holding onto the musical memories until her return, hopefully Someday soon, to The Sage; both solo and with Wine, Women and Song.
Live Review - Gretchen Peters & Barry Walsh
Artist:Gretchen Peters & Barry Walsh
Venue:The Sage
Town:Gateshead
Date:17/05/10
Website:www.gretchenpeters.com/
Over the past fourteen plus years, Gretchen Peters has become one of the most revered artists to play in the UK, year after year. Her love affair with the UK has become apparent for all to see, and it is clear that she loves playing over here, as does partner Barry Walsh. With this in mind she wanted to bring her ever growing fanbase here in the UK, something unique and very special; thus her latest tour was her first ever all request tour, encompassing all of her work. There were only two rules: fans had to write in with their request ahead of the show, and tell her their story or connection to the song, and it had to be a song she had written or performed. It promised to feature the stories behind the songs, personal anecdotes and glimpses behind the scenes of her 20 plus year career. The set list would change daily, dependent upon requests. None of it would be rehearsed beforehand and a lot would be improvised. A little mad – maybe, but if anyone could pull off such a tour, Gretchen could. Something of a risk – maybe, but I think Gretchen knows her fans here in the UK well enough to know that we’d be right there with her, however it turned out on the night. The idea alone held so much promise, it could only be an amazing experience; how amazing, we could not have predicted.
It is no secret, I am sure, that The North East, and more specifically, The Sage, Gateshead, is one of Gretchen’s very favourite places to play and it was obvious from the outset that she was ecstatic to be back and to be sharing this unique experience with us. She introduced the evening by telling us if we didn’t enjoy the setlist we only had ourselves to blame; typical Gretchen humour! Above her head was a huge screen, with the image from the Circus Girl CD, with the added wordage of ‘Without a Net,’ the name of the tour. Launching into Room With a View, it was obvious we were in for some more obscure songs, alongside some faithful ‘friends.’ My request came next in the form of ‘Let That Pony Run,’ a song made famous by Pam Tillis, which she introduced by telling how I had first seen her fourteen years ago, back in a room of 40 people. How times have changed for her, but it’s been amazing watching them change! As for her performance of this stunning song, what can I say, but ‘Wow!’ It reminded me, once again, that there really is nothing like hearing the writer sing their own songs as they intended them
At this point, Barry Walsh came out to join her onstage, adding brilliant piano accompaniment to a great version of Steve Earle’s I Ain’t Ever Satisified. Firing up the screen, images were projected of her childhood, and her family. This led to one of her father and his comrades; he was an RAF pilot and the subject of ‘The Aviator’s Song.’ Preceeded by the funny story that had gone with the request for this song, Gretchen pointed out which on the picture was her father and told us a little about him. Just a couple of years ago, Gretchen ‘sent him on his way’ on that very stage, with that very song, the day after he had passed away. I found it incredibly emotive, to now be hearing that song, on that same stage, whilst looking at his picture above.
Sunday Morning, Up and Down My Street,followed a set of images of their neighbourhood in Nashville, and their dog,Nigel, who is back home. Somehow talk of their English breed dog, led to talk of the recent elections; ‘What’s up with that?’ before she moved on to talk about Nashville and the recent devastating floods. Credit to her that she wanted people to see what has happened, and the damaged caused to so much of ‘the home of country music.’ (To that end, they had a top hat on the merchandise table and over the course of the tour raised over £800 to take back for the Nashville flood relief fund.) Dedicating it to her ‘hometown’ (anyone who read her recent website entry will understand), a stunning version of Revival followed, with an almost haunting image of the backstage door of The Grand Ole Opry underwater, on the screen. Even more haunting was the beautiful addition of a chorus and verse of Randy Newman’s Louisiana 1927, about the New Orleans flood, ‘...the streets of Evangeline,’ seeming an equally apt description of the city of music.
The Secret of Life, of course, recorded by Faith Hill, came next, which she admitted she wrote to prove that she could write a song about men, though it didn’t quite end up what it had started out as! Starting in the wrong key, she joked, ‘Well, now you know what we mean when we say without a net!’
Showing us some old photographs of her early days in music out in Boulder, Colorado, including her ‘rock phase and kiss phase,’ she explained that this song from the ‘Circus Girl’ bonus disc was never actually meant to see the light of day. That song was the gorgeous Black Eyed Susan.
Moving onto more recent works, she talked of her recent CD project with Tom Russell, One To The Heart, One To The Head, she talked about how a cowboy project maybe wasn’t the most obvious choice for her. She then brought up some pictures which proved that she really does have an inner cowgirl, before showing us a childhood picture of Barry in cowboy attire. This of course, led to Guadalupe, during which you could have heard a pin drop. I have to agree with her that this is the best song Tom Russell has ever written, and as for interpretation of it, well, it could have been written for or by her.
Next came the song which first brought her name into the spotlight, really; Independence Day, of course made a hit by Martina McBride. Gretchen’s delivery is slightly different, but equally passionate. A Wine, Women and Song flashback ensued (for anyone who doesn’t know, this is the name used when Gretchen plays with Suzy Bogguss and Matraca Berg – not to be missed!) and she mentioned that Suzy would be touring here soon, ash cloud not withstanding! Speaking of Suzy, she then explained that the next song, Waiting For The Light to Turn Green, was written with Suzy when their ‘clocks’ were talking to them; having hit 30 this year, this song has taken on a whole new meaning for me, and I am sure I am not alone!
Something they have realised on this tour, it seems, is that some songs have never been played live and they have no idea why that is the case, it is no longer the case for Summer People, which got its first live outing at The Sage. Halfway through we were all laughing with her as she sang, ‘...and I can’t remember the words...’Halfway through we were all laughing with her as she sang '...and i dont remember the words...'Halfway through we were all laughing with her as she sang '...and i dont remember the words...'Halfway through we were all laughing with her as she sang '...and i dont remember the words...'
Following some good humoured jokes about whether we were in Gateshead or Newcastle, it was Barry’s turn to wow us, with an offering from his CD of piano music, The Crossing; his love song to the Northeast, Leaving Newcastle. Quite simply, breathtaking. This theme was continued ‘as it is about here,’ with England Blues, which of course mentions the River Tyne so is very popular at The Sage! We all ended up laughing when Gretchen switched the line to ‘..leave the ash cloud way behind...’ It felt like a three minute celebration of their relationship with England.
Showing us some pictures from UK tours of old, including a couple I had taken at that first local show at The Ropery, all those years ago, Gretchen moved into the song most loved by radio 2’s Terry Wogan and Bob Harris, ‘the song which started it all’ in terms of radio play; When You Are Old. On the subject of radio play, she then thanked local Radio presenter, Brian Clough, who was in the audience and has long supported Gretchen’s work.
Another song which hadn’t been played in a while was Like Water Into Wine, recorded by Patty Loveless, although, as Gretchen reminded us, she omitted the third verse, finding it too controversial. Gretchen, however, sang it in all its glory, ‘the unexpedited version’ as she put it, and it was all the better for it.
Moving back to Barry for a while, Gretchen told us of the huge list of people with whom he has worked, from Waylon Jennings to The Boxtops. As a tribute to the latter’s Alex Chiltern, who passed away recently, they had, following someone’s ‘brilliant idea,’ reworked a beautiful version of The Letter. Barry himself said later that he had never heard a woman sing it, but Gretchen really made it her own. Alex Chiltern would be proud.
Talking about the whole concept of undertaking such a daredevil feat as ‘Without a Net,’ she said it seemed time to play the most requested song of the whole tour ; Circus Girl. It seemed fitting this should be so, since this was the name of the whole project. Gretchen also spoke about how this song was originally written after taking her daughter to the circus, but over the years it has felt increasingly that it is about her life on the road. Next came Bus To St Cloud, which is always especially poignant as Gretchen has always felt this song took on a life of its own here, after she was disappointed by its reception in the USA following Trisha Yearwood’s fabulous version. This song, without a doubt is one of Gretchen’s most beautiful pieces of writing and there was an almost reverent silence around Hall 2, as everyone listened, obviously moved by the lyrics.
Showing pictures of places they have visited, from Paris, to Route 66, and talking of how, even though they miss Nigel and home, she confided that she knows how blessed she is in this life to get to see these places. Firing up a final image, she told us that despite it all, that is her favourite place in the world. The picture? Her back to us, looking out from the stage. In that moment, I was never in less doubt as to her reasons for coming back time and time again; simply, she loves what she does as much as we love what she does. Thanking us, clearly from a very deep place, she and Barry launched into To Say Goodbye; absolutely fitting as not one of us in that room was ready to do just that. Not yet, despite the duo leaving the stage to rapturous applause.
Returning to the stage, Gretchen told us that despite it being a joy to look back and rework old songs, she could not be in this place without looking forward just a little; thus we were treated to a stunning new song; Woman on the Wheel. Certainly a good omen for the next CD. The final flourish of the evening came in a totally rocking version of Over Africa, which is somewhat ironic as that was my request way back at that first gig of Gretchen’s 14 years ago. All too soon, the night was over, and I don’t know who was more disappointed; us in the audience, or them onstage. Gretchen thanked us once again, and left the stage to a thoroughly deserved standing ovation.
Somehow, she just gets better and better and I suspect this is just the beginning of something, though what I have no idea. I was reminded during the course of the evening, of something a lady said to me on a Greyhound bus in North Carolina; that during our lifetime, as we cross paths with people, whether we meet again or not, we become a part of each other’s stories and therefore a part of each other’s lives. Whilst Gretchen’s music has long been a part of many people’s lives, without a doubt, in Hall 2, Gretchen and her audience became a part of each other’s stories in a very special way. Suffice to say that it was a magical night and we all have taken away some very special memories of having spent an evening in a ‘room with a view’ of musicianship at its finest. I know there is already talk of Gretchen and Barry and of Wine Women and Song returning, but for now all I can say is a huge thankyou to Gretchen and Barry and wish them safe travels and a speedy return. The Sage and your audience are ready when you are...
Helen Mitchell
Venue:The Sage
Town:Gateshead
Date:17/05/10
Website:www.gretchenpeters.com/
Over the past fourteen plus years, Gretchen Peters has become one of the most revered artists to play in the UK, year after year. Her love affair with the UK has become apparent for all to see, and it is clear that she loves playing over here, as does partner Barry Walsh. With this in mind she wanted to bring her ever growing fanbase here in the UK, something unique and very special; thus her latest tour was her first ever all request tour, encompassing all of her work. There were only two rules: fans had to write in with their request ahead of the show, and tell her their story or connection to the song, and it had to be a song she had written or performed. It promised to feature the stories behind the songs, personal anecdotes and glimpses behind the scenes of her 20 plus year career. The set list would change daily, dependent upon requests. None of it would be rehearsed beforehand and a lot would be improvised. A little mad – maybe, but if anyone could pull off such a tour, Gretchen could. Something of a risk – maybe, but I think Gretchen knows her fans here in the UK well enough to know that we’d be right there with her, however it turned out on the night. The idea alone held so much promise, it could only be an amazing experience; how amazing, we could not have predicted.
It is no secret, I am sure, that The North East, and more specifically, The Sage, Gateshead, is one of Gretchen’s very favourite places to play and it was obvious from the outset that she was ecstatic to be back and to be sharing this unique experience with us. She introduced the evening by telling us if we didn’t enjoy the setlist we only had ourselves to blame; typical Gretchen humour! Above her head was a huge screen, with the image from the Circus Girl CD, with the added wordage of ‘Without a Net,’ the name of the tour. Launching into Room With a View, it was obvious we were in for some more obscure songs, alongside some faithful ‘friends.’ My request came next in the form of ‘Let That Pony Run,’ a song made famous by Pam Tillis, which she introduced by telling how I had first seen her fourteen years ago, back in a room of 40 people. How times have changed for her, but it’s been amazing watching them change! As for her performance of this stunning song, what can I say, but ‘Wow!’ It reminded me, once again, that there really is nothing like hearing the writer sing their own songs as they intended them
At this point, Barry Walsh came out to join her onstage, adding brilliant piano accompaniment to a great version of Steve Earle’s I Ain’t Ever Satisified. Firing up the screen, images were projected of her childhood, and her family. This led to one of her father and his comrades; he was an RAF pilot and the subject of ‘The Aviator’s Song.’ Preceeded by the funny story that had gone with the request for this song, Gretchen pointed out which on the picture was her father and told us a little about him. Just a couple of years ago, Gretchen ‘sent him on his way’ on that very stage, with that very song, the day after he had passed away. I found it incredibly emotive, to now be hearing that song, on that same stage, whilst looking at his picture above.
Sunday Morning, Up and Down My Street,followed a set of images of their neighbourhood in Nashville, and their dog,Nigel, who is back home. Somehow talk of their English breed dog, led to talk of the recent elections; ‘What’s up with that?’ before she moved on to talk about Nashville and the recent devastating floods. Credit to her that she wanted people to see what has happened, and the damaged caused to so much of ‘the home of country music.’ (To that end, they had a top hat on the merchandise table and over the course of the tour raised over £800 to take back for the Nashville flood relief fund.) Dedicating it to her ‘hometown’ (anyone who read her recent website entry will understand), a stunning version of Revival followed, with an almost haunting image of the backstage door of The Grand Ole Opry underwater, on the screen. Even more haunting was the beautiful addition of a chorus and verse of Randy Newman’s Louisiana 1927, about the New Orleans flood, ‘...the streets of Evangeline,’ seeming an equally apt description of the city of music.
The Secret of Life, of course, recorded by Faith Hill, came next, which she admitted she wrote to prove that she could write a song about men, though it didn’t quite end up what it had started out as! Starting in the wrong key, she joked, ‘Well, now you know what we mean when we say without a net!’
Showing us some old photographs of her early days in music out in Boulder, Colorado, including her ‘rock phase and kiss phase,’ she explained that this song from the ‘Circus Girl’ bonus disc was never actually meant to see the light of day. That song was the gorgeous Black Eyed Susan.
Moving onto more recent works, she talked of her recent CD project with Tom Russell, One To The Heart, One To The Head, she talked about how a cowboy project maybe wasn’t the most obvious choice for her. She then brought up some pictures which proved that she really does have an inner cowgirl, before showing us a childhood picture of Barry in cowboy attire. This of course, led to Guadalupe, during which you could have heard a pin drop. I have to agree with her that this is the best song Tom Russell has ever written, and as for interpretation of it, well, it could have been written for or by her.
Next came the song which first brought her name into the spotlight, really; Independence Day, of course made a hit by Martina McBride. Gretchen’s delivery is slightly different, but equally passionate. A Wine, Women and Song flashback ensued (for anyone who doesn’t know, this is the name used when Gretchen plays with Suzy Bogguss and Matraca Berg – not to be missed!) and she mentioned that Suzy would be touring here soon, ash cloud not withstanding! Speaking of Suzy, she then explained that the next song, Waiting For The Light to Turn Green, was written with Suzy when their ‘clocks’ were talking to them; having hit 30 this year, this song has taken on a whole new meaning for me, and I am sure I am not alone!
Something they have realised on this tour, it seems, is that some songs have never been played live and they have no idea why that is the case, it is no longer the case for Summer People, which got its first live outing at The Sage. Halfway through we were all laughing with her as she sang, ‘...and I can’t remember the words...’Halfway through we were all laughing with her as she sang '...and i dont remember the words...'Halfway through we were all laughing with her as she sang '...and i dont remember the words...'Halfway through we were all laughing with her as she sang '...and i dont remember the words...'
Following some good humoured jokes about whether we were in Gateshead or Newcastle, it was Barry’s turn to wow us, with an offering from his CD of piano music, The Crossing; his love song to the Northeast, Leaving Newcastle. Quite simply, breathtaking. This theme was continued ‘as it is about here,’ with England Blues, which of course mentions the River Tyne so is very popular at The Sage! We all ended up laughing when Gretchen switched the line to ‘..leave the ash cloud way behind...’ It felt like a three minute celebration of their relationship with England.
Showing us some pictures from UK tours of old, including a couple I had taken at that first local show at The Ropery, all those years ago, Gretchen moved into the song most loved by radio 2’s Terry Wogan and Bob Harris, ‘the song which started it all’ in terms of radio play; When You Are Old. On the subject of radio play, she then thanked local Radio presenter, Brian Clough, who was in the audience and has long supported Gretchen’s work.
Another song which hadn’t been played in a while was Like Water Into Wine, recorded by Patty Loveless, although, as Gretchen reminded us, she omitted the third verse, finding it too controversial. Gretchen, however, sang it in all its glory, ‘the unexpedited version’ as she put it, and it was all the better for it.
Moving back to Barry for a while, Gretchen told us of the huge list of people with whom he has worked, from Waylon Jennings to The Boxtops. As a tribute to the latter’s Alex Chiltern, who passed away recently, they had, following someone’s ‘brilliant idea,’ reworked a beautiful version of The Letter. Barry himself said later that he had never heard a woman sing it, but Gretchen really made it her own. Alex Chiltern would be proud.
Talking about the whole concept of undertaking such a daredevil feat as ‘Without a Net,’ she said it seemed time to play the most requested song of the whole tour ; Circus Girl. It seemed fitting this should be so, since this was the name of the whole project. Gretchen also spoke about how this song was originally written after taking her daughter to the circus, but over the years it has felt increasingly that it is about her life on the road. Next came Bus To St Cloud, which is always especially poignant as Gretchen has always felt this song took on a life of its own here, after she was disappointed by its reception in the USA following Trisha Yearwood’s fabulous version. This song, without a doubt is one of Gretchen’s most beautiful pieces of writing and there was an almost reverent silence around Hall 2, as everyone listened, obviously moved by the lyrics.
Showing pictures of places they have visited, from Paris, to Route 66, and talking of how, even though they miss Nigel and home, she confided that she knows how blessed she is in this life to get to see these places. Firing up a final image, she told us that despite it all, that is her favourite place in the world. The picture? Her back to us, looking out from the stage. In that moment, I was never in less doubt as to her reasons for coming back time and time again; simply, she loves what she does as much as we love what she does. Thanking us, clearly from a very deep place, she and Barry launched into To Say Goodbye; absolutely fitting as not one of us in that room was ready to do just that. Not yet, despite the duo leaving the stage to rapturous applause.
Returning to the stage, Gretchen told us that despite it being a joy to look back and rework old songs, she could not be in this place without looking forward just a little; thus we were treated to a stunning new song; Woman on the Wheel. Certainly a good omen for the next CD. The final flourish of the evening came in a totally rocking version of Over Africa, which is somewhat ironic as that was my request way back at that first gig of Gretchen’s 14 years ago. All too soon, the night was over, and I don’t know who was more disappointed; us in the audience, or them onstage. Gretchen thanked us once again, and left the stage to a thoroughly deserved standing ovation.
Somehow, she just gets better and better and I suspect this is just the beginning of something, though what I have no idea. I was reminded during the course of the evening, of something a lady said to me on a Greyhound bus in North Carolina; that during our lifetime, as we cross paths with people, whether we meet again or not, we become a part of each other’s stories and therefore a part of each other’s lives. Whilst Gretchen’s music has long been a part of many people’s lives, without a doubt, in Hall 2, Gretchen and her audience became a part of each other’s stories in a very special way. Suffice to say that it was a magical night and we all have taken away some very special memories of having spent an evening in a ‘room with a view’ of musicianship at its finest. I know there is already talk of Gretchen and Barry and of Wine Women and Song returning, but for now all I can say is a huge thankyou to Gretchen and Barry and wish them safe travels and a speedy return. The Sage and your audience are ready when you are...
Helen Mitchell
Live Review - Kim Richey
Artist:Kim Richey
Venue:The Cluny2
Town:Gateshead
Date:10/04/10
Website:www.myspace.com/kimrichey
I had heard the name of tonight’s opener, American Ashleigh Flynn, and was aware it was her first time in the UK. Unfortunately my high hopes weren't quite met. Dressed casually, she took us through some of her own material. This included, The Seventh Sea and Dressed and Ready, about being “all dressed up with nowhere to go.” She told us she spent most of her life in Kentucky, raised by Atheists and a Southern Baptist, which, she joked, made for an interesting upbringing, as well as inspiring the song Mystery, about the conclusions she reached about those big religious questions. She is very personable, as evidenced in her chat and jokes about the elections, before she ended with The Carter Family’s Will The Circle Be Unbroken; the one song I felt really showed the potential in her voice, at times reminding me of Eliza Gilkyson.
I was very excited to see Kim Richey headlining, having last seen her at the same venue, playing with Boo Hewerdine, in September last year. After shrugging off some technical problems like a true professional, Kim launched straight in, immediately demonstrating that her voice is as strong and distinctive as ever.
Chinese Boxes, she told us, was inspired by the film Casino Royale, though I won’t spoil the story for those who haven’t yet heard it! This was followed by the brilliant I Know and Every River Run Dry.
Kim had the audience in stitches as she told the story of her recent train journey to Sydney, which at best involved no sleep and being thrown off her bunk throughout the night! Such anecdotes demonstrate just how down to earth she is and how effortlessly she connects with her audience; like friends in her front room. Another such anecdote came when she introduced the beautiful The Absence of Your Company by telling us she’s heard this on Grey’s Anatomy, thought to herself that she really liked it, then realised it was her own song!
Audience participation was called for, and it appeared, enjoyed by all, as she sang the catchy and very true Once in Your Life, about taking chances and making decisions. We were also treated to great live versions of Life Goes On, Keys, Leaving 49, When The Circus Comes To Town and of course, her hit song I’m Alright.
A personal highlight of the evening was the beautiful Careful How You Go, from the new CD, written after a midnight walk through snowy London. It is like poetry and at times reminds me of Gretchen Peters’ writing – there is no greater compliment I can give! This was followed by the equally beautiful Boo Hewerdine co-write; Word To The Wise.
Another highlight came as a response to my request when she asked for them; I have always cited Straight as The Crow Flies as one of my favourite Kim Richey songs.
It seemed the evening had just begun when she was bidding us farewell with an encore of A Place Called Home.
It was obvious from the applause and post show comments that everyone had loved every minute of her set and was wishing it could have lasted a little longer. I am hopeful that now Kim is based in London, we may see more of her touring the UK. So, I shall close with a request; Kim, haste ye back to Newcastle, and until then, Careful How You Go.
Helen Mitchell
Venue:The Cluny2
Town:Gateshead
Date:10/04/10
Website:www.myspace.com/kimrichey
I had heard the name of tonight’s opener, American Ashleigh Flynn, and was aware it was her first time in the UK. Unfortunately my high hopes weren't quite met. Dressed casually, she took us through some of her own material. This included, The Seventh Sea and Dressed and Ready, about being “all dressed up with nowhere to go.” She told us she spent most of her life in Kentucky, raised by Atheists and a Southern Baptist, which, she joked, made for an interesting upbringing, as well as inspiring the song Mystery, about the conclusions she reached about those big religious questions. She is very personable, as evidenced in her chat and jokes about the elections, before she ended with The Carter Family’s Will The Circle Be Unbroken; the one song I felt really showed the potential in her voice, at times reminding me of Eliza Gilkyson.
I was very excited to see Kim Richey headlining, having last seen her at the same venue, playing with Boo Hewerdine, in September last year. After shrugging off some technical problems like a true professional, Kim launched straight in, immediately demonstrating that her voice is as strong and distinctive as ever.
Chinese Boxes, she told us, was inspired by the film Casino Royale, though I won’t spoil the story for those who haven’t yet heard it! This was followed by the brilliant I Know and Every River Run Dry.
Kim had the audience in stitches as she told the story of her recent train journey to Sydney, which at best involved no sleep and being thrown off her bunk throughout the night! Such anecdotes demonstrate just how down to earth she is and how effortlessly she connects with her audience; like friends in her front room. Another such anecdote came when she introduced the beautiful The Absence of Your Company by telling us she’s heard this on Grey’s Anatomy, thought to herself that she really liked it, then realised it was her own song!
Audience participation was called for, and it appeared, enjoyed by all, as she sang the catchy and very true Once in Your Life, about taking chances and making decisions. We were also treated to great live versions of Life Goes On, Keys, Leaving 49, When The Circus Comes To Town and of course, her hit song I’m Alright.
A personal highlight of the evening was the beautiful Careful How You Go, from the new CD, written after a midnight walk through snowy London. It is like poetry and at times reminds me of Gretchen Peters’ writing – there is no greater compliment I can give! This was followed by the equally beautiful Boo Hewerdine co-write; Word To The Wise.
Another highlight came as a response to my request when she asked for them; I have always cited Straight as The Crow Flies as one of my favourite Kim Richey songs.
It seemed the evening had just begun when she was bidding us farewell with an encore of A Place Called Home.
It was obvious from the applause and post show comments that everyone had loved every minute of her set and was wishing it could have lasted a little longer. I am hopeful that now Kim is based in London, we may see more of her touring the UK. So, I shall close with a request; Kim, haste ye back to Newcastle, and until then, Careful How You Go.
Helen Mitchell
Live Review - Thea Gilmore
Thea Gilmore’s Wintertide
The Sage Gateshead, Hall 2, December 17th 2009-12-21
The evening’s support came in the form of Thea’s longtime friend and collaborator, ex Lindisfarne , local guy, Rod Clements. It struck me as ironic that a week to the day after I was in The Sage surrounded by the thickest fog I’ve ever seen over The Tyne, the man who brought the world the song Fog on The Tyne was in that same venue, although he sadly omitted that song. Commenting that this really was his stamping ground as he grew up near here, he proceeded to take us through a range of his songs, from his early days with Lindisfarne , to his newer material. Including Train in E Major, which has altered, he joked, over the years, to Train in E major, though it remains the same song. Other enjoyable numbers included New Best Friend, a song about the Red Light District of Shreveport, Louisiana, and Whiskey Highway , which perhaps of all he sang, best demonstrated the gravelly quality in his voice, as well as his unquestionable songwriting ability.
Following a break, the lights dimmed everything began to feel very Christmassy indeed, as bells played to announce Thea Gilmore’s arrival on stage, one of four on stage wearing fancy dress, along with her guitarist/ husband Nigel Stonier and her band of two; Fluff and Dan Logan. Thea, referencing this, joked, ‘Well, this is our work’s Christmas do, hence the fancy dress!
With that, she eased straight into Yoko Ono’s Listen the Snow is Falling, immediately reminding me that her voice is even more striking live than on disc, such is the clarity of every word she sings, penetrating the silence of the room. Looking around and being reminded that there were people above her, she quipped, ‘Nigel, they’re behind you…!!!...well, it is panto season! In fact, on that note, I’d like to thank Newcastle Gateshead for providing the snow; we wondered when we would finally see some!’ She went on to tell us that her new release, Strange Communion, is a seasonal album, as she wouldn’t use the ‘C word’ until later.
Backtracking through her catalogue slightly, she asked for audience participation on Saviours and All, and I have to admit to having not only forgotten how great a song it is, but also to having never noticed the reference to St. Nick.
Telling us that a source of frustration to those close to her, is her stock reponse of ‘Oh Come on, ’ whatever the occasion. On one such occasion, she recalls, the ‘lightbulb’ went off and she realised there was a song there; needless to say it was called Oh Come On. Asking us questions to which, obviously, our response was a very loud ‘Oh Come On!’ she led us into joining in the song. I have to admit, if you heard it on the radio you’d be in no doubt that it was Thea Gilmore song, from the lyrics and the ‘attitude’ hidden within them.
Cold Coming followed, which considering the weather, seemed more than appropriate. Another original seasonal song, from which the CD title, Strange Communion originates. It was as she sang this song live that realisation dawned for me; communion refers to a group of people, not something that happens in Church!
As Thea quipped that we were lucky our show was closer to Christmas, being as the Wintertide tour started in November, she introduced us to Fluff on the fiddle, which gained a few laughs from those of us who heard that not quite as it was delivered. At this point, it has to be acknowledged, what an incredible fiddler Fluff is; certainly one of the best I’ve seen.
Drunken Angel, a truly beautiful song, was preceded by the observation that so many times she has felt she is being watched over, but such is her haphazard luck, she is convinced her guardian angel must be inebriated most of the time.
Thea then spoke about writing a collection of winter songs and how she loves winter; seeing it a s a time for gathering, connecting and giving thanks. Inviting friends, Mike Heron and his daughter, Georgia Seddon, onto the stage, she demonstrated just what this winter gathering can do. Initially they backed Thea as she sang Are You Ready, Georgia’s snare drum and backing vocals, taking the song beyond any rendition I had previously heard; just stunning. Mike and Georgia then took centre stage, Thea stepping back to sing harmony for them.
Sol Invictus, we learned, was inspired by the Roman festival of the Sun God in December and ended up a hymn to winter. I will admit, that whilst not my favourite song on the Cd, hearing Thea sing it completely a capella, (as she does The Parting Glass,) in Hall 2 was enough to make even the most stubborn hairs stand on end, as a magical, almost ethereal, sensation washed over us.
As Nigel returned, a surprise classic Christmas song was thrown into the mix, with Blue Christmas, which actually suited her voice incredibly well. This was followed by a joke that she was now going to play ‘a song in D Minor; saddest of all keys,’ and what followed was an achingly beautiful rendition of December in New York; an older song which Thea re recorded for this album. If anyone was ever in any doubt that Thea is an amazing wordsmith, they need look no further than this song, in my opinion; ‘I will tune into the radio, to hear some guy sing like chocolate,’ is such an evocative line, which could actually describe the singing we were hearing.
As the lights dimmed even more, there was huge applause as Rod Clements returned to the stage to join the band for Old Soul, a song which Thea wrote when she was pregnant with her son. Thea divulged that the Christmas, sorry, Winter CD, idea, was inspired by BBC Radio 2 presenter, Janice Long, at an Elvis Costello gig. She had remarked that she couldn’t believe she was going to have to start playing the same Christmas music and asked Thea to write an original song, and Thea says, when a Radio DJ asks you to write a Christmas song, you write a Christmas song. She admits it would be fair to describe her as a cynical girl, but she is willing to allow a certain amount of fluffiness around the edges at Christmas. This song became the lynchpin of the album. That song is That’ll be Christmas; the closest Thea is ever going to come to writing a cheesy Christmas song, it is in fact proving very popular with radio – who knows, maybe it could become the next Christmas classic? Live it is nothing short of genius, complete with Fluff’s whistling in between verses.
The set was ended with a very clever Elvis Costello song, The St. Stephen’s Day Murders, ostensibly the story of two sisters. At times it felt reminiscent of Fairytale of New York, in style and delivery.
Following great applause, they returned to the stage, Fluff holding a home made dartboard. A volunteer was requested to throw the dart at the dartboard, which would choose the one permitted ‘cheesy’ Christmas song of the night, assuring us that other than the few which have been picked already, none had been rehearsed, as evidenced by the sheets of song lyrics being held! Our ‘port and stilton moment’ came in the form of Santa Claus is coming to Town, which had apparently been requested in the style of a few different people already, from Monty Python to Leonard Cohen, so Thea opted to sing it as Bob Dylan. What followed was one of the funniest five minutes I have ever experienced anywhere, never mind at a concert, as Thea delivered the song, in an almost perfect Dylan voice, in between fits of laughter. Thankfully, she gave us a rest, though not for long, as she opted to sing the final verse in her own voice (again carrying it off really well) and having us all join in. Between the sounds of laughter and people singing, it was a touching reminder of how music brings people together.
The final Christmas song of the evening came in the form of the simply beautiful, Old December, before she reminded us of her other musical side, ending with the upbeat Mainstream, which again had everyone singing along, a great end to a fabulous night of music. What struck me, having seen Thea several times before, is that she seemed more relaxed on stage, like she has discovered a whole new level of confidence. My hope is that she has finally had her epiphany as to how very talented and under-rated she really is, although I suspect if you were to say that to her, you’d be greeted with that trademark ‘Oh Come On!’
As we all left the hall, and looked out of the windows of the Sage, over the River Tyne, we realised it was snowing again...just perfect. Suffice it to say that it was one of the best nights of music I can recall, especially coming so close to Christmas, to get us all in the spirit. It somehow signified the start of the Christmas season, as we all embraced together the opportunity to ‘Sing, sing, sing for Old December.’
The Sage Gateshead, Hall 2, December 17th 2009-12-21
The evening’s support came in the form of Thea’s longtime friend and collaborator, ex Lindisfarne , local guy, Rod Clements. It struck me as ironic that a week to the day after I was in The Sage surrounded by the thickest fog I’ve ever seen over The Tyne, the man who brought the world the song Fog on The Tyne was in that same venue, although he sadly omitted that song. Commenting that this really was his stamping ground as he grew up near here, he proceeded to take us through a range of his songs, from his early days with Lindisfarne , to his newer material. Including Train in E Major, which has altered, he joked, over the years, to Train in E major, though it remains the same song. Other enjoyable numbers included New Best Friend, a song about the Red Light District of Shreveport, Louisiana, and Whiskey Highway , which perhaps of all he sang, best demonstrated the gravelly quality in his voice, as well as his unquestionable songwriting ability.
Following a break, the lights dimmed everything began to feel very Christmassy indeed, as bells played to announce Thea Gilmore’s arrival on stage, one of four on stage wearing fancy dress, along with her guitarist/ husband Nigel Stonier and her band of two; Fluff and Dan Logan. Thea, referencing this, joked, ‘Well, this is our work’s Christmas do, hence the fancy dress!
With that, she eased straight into Yoko Ono’s Listen the Snow is Falling, immediately reminding me that her voice is even more striking live than on disc, such is the clarity of every word she sings, penetrating the silence of the room. Looking around and being reminded that there were people above her, she quipped, ‘Nigel, they’re behind you…!!!...well, it is panto season! In fact, on that note, I’d like to thank Newcastle Gateshead for providing the snow; we wondered when we would finally see some!’ She went on to tell us that her new release, Strange Communion, is a seasonal album, as she wouldn’t use the ‘C word’ until later.
Backtracking through her catalogue slightly, she asked for audience participation on Saviours and All, and I have to admit to having not only forgotten how great a song it is, but also to having never noticed the reference to St. Nick.
Telling us that a source of frustration to those close to her, is her stock reponse of ‘Oh Come on, ’ whatever the occasion. On one such occasion, she recalls, the ‘lightbulb’ went off and she realised there was a song there; needless to say it was called Oh Come On. Asking us questions to which, obviously, our response was a very loud ‘Oh Come On!’ she led us into joining in the song. I have to admit, if you heard it on the radio you’d be in no doubt that it was Thea Gilmore song, from the lyrics and the ‘attitude’ hidden within them.
Cold Coming followed, which considering the weather, seemed more than appropriate. Another original seasonal song, from which the CD title, Strange Communion originates. It was as she sang this song live that realisation dawned for me; communion refers to a group of people, not something that happens in Church!
As Thea quipped that we were lucky our show was closer to Christmas, being as the Wintertide tour started in November, she introduced us to Fluff on the fiddle, which gained a few laughs from those of us who heard that not quite as it was delivered. At this point, it has to be acknowledged, what an incredible fiddler Fluff is; certainly one of the best I’ve seen.
Drunken Angel, a truly beautiful song, was preceded by the observation that so many times she has felt she is being watched over, but such is her haphazard luck, she is convinced her guardian angel must be inebriated most of the time.
Thea then spoke about writing a collection of winter songs and how she loves winter; seeing it a s a time for gathering, connecting and giving thanks. Inviting friends, Mike Heron and his daughter, Georgia Seddon, onto the stage, she demonstrated just what this winter gathering can do. Initially they backed Thea as she sang Are You Ready, Georgia’s snare drum and backing vocals, taking the song beyond any rendition I had previously heard; just stunning. Mike and Georgia then took centre stage, Thea stepping back to sing harmony for them.
Sol Invictus, we learned, was inspired by the Roman festival of the Sun God in December and ended up a hymn to winter. I will admit, that whilst not my favourite song on the Cd, hearing Thea sing it completely a capella, (as she does The Parting Glass,) in Hall 2 was enough to make even the most stubborn hairs stand on end, as a magical, almost ethereal, sensation washed over us.
As Nigel returned, a surprise classic Christmas song was thrown into the mix, with Blue Christmas, which actually suited her voice incredibly well. This was followed by a joke that she was now going to play ‘a song in D Minor; saddest of all keys,’ and what followed was an achingly beautiful rendition of December in New York; an older song which Thea re recorded for this album. If anyone was ever in any doubt that Thea is an amazing wordsmith, they need look no further than this song, in my opinion; ‘I will tune into the radio, to hear some guy sing like chocolate,’ is such an evocative line, which could actually describe the singing we were hearing.
As the lights dimmed even more, there was huge applause as Rod Clements returned to the stage to join the band for Old Soul, a song which Thea wrote when she was pregnant with her son. Thea divulged that the Christmas, sorry, Winter CD, idea, was inspired by BBC Radio 2 presenter, Janice Long, at an Elvis Costello gig. She had remarked that she couldn’t believe she was going to have to start playing the same Christmas music and asked Thea to write an original song, and Thea says, when a Radio DJ asks you to write a Christmas song, you write a Christmas song. She admits it would be fair to describe her as a cynical girl, but she is willing to allow a certain amount of fluffiness around the edges at Christmas. This song became the lynchpin of the album. That song is That’ll be Christmas; the closest Thea is ever going to come to writing a cheesy Christmas song, it is in fact proving very popular with radio – who knows, maybe it could become the next Christmas classic? Live it is nothing short of genius, complete with Fluff’s whistling in between verses.
The set was ended with a very clever Elvis Costello song, The St. Stephen’s Day Murders, ostensibly the story of two sisters. At times it felt reminiscent of Fairytale of New York, in style and delivery.
Following great applause, they returned to the stage, Fluff holding a home made dartboard. A volunteer was requested to throw the dart at the dartboard, which would choose the one permitted ‘cheesy’ Christmas song of the night, assuring us that other than the few which have been picked already, none had been rehearsed, as evidenced by the sheets of song lyrics being held! Our ‘port and stilton moment’ came in the form of Santa Claus is coming to Town, which had apparently been requested in the style of a few different people already, from Monty Python to Leonard Cohen, so Thea opted to sing it as Bob Dylan. What followed was one of the funniest five minutes I have ever experienced anywhere, never mind at a concert, as Thea delivered the song, in an almost perfect Dylan voice, in between fits of laughter. Thankfully, she gave us a rest, though not for long, as she opted to sing the final verse in her own voice (again carrying it off really well) and having us all join in. Between the sounds of laughter and people singing, it was a touching reminder of how music brings people together.
The final Christmas song of the evening came in the form of the simply beautiful, Old December, before she reminded us of her other musical side, ending with the upbeat Mainstream, which again had everyone singing along, a great end to a fabulous night of music. What struck me, having seen Thea several times before, is that she seemed more relaxed on stage, like she has discovered a whole new level of confidence. My hope is that she has finally had her epiphany as to how very talented and under-rated she really is, although I suspect if you were to say that to her, you’d be greeted with that trademark ‘Oh Come On!’
As we all left the hall, and looked out of the windows of the Sage, over the River Tyne, we realised it was snowing again...just perfect. Suffice it to say that it was one of the best nights of music I can recall, especially coming so close to Christmas, to get us all in the spirit. It somehow signified the start of the Christmas season, as we all embraced together the opportunity to ‘Sing, sing, sing for Old December.’
Live Review - Barbara Dickson
Artists: Barbara Dickson
Venue: The Sage
Town: Gateshead
Date: 9th March
Website: http://www.barbaradickson.net
This was actually the third time I had seen Barbara Dickson; the first over a decade ago at The Tyne Theatre and the second a year or so ago, in fact, sat in the same seat, for a show which was equally as sold out tonight.
‘An Evening with Barbara Dickson’ involved no support act, so Barbara and band took to the stage straight away, launching into a great version of Pete Seeger’s Turn, Turn, Turn, one of my favourite songs, made famous, of course, by The Byrds.
This was followed by an obviously heartfelt greeting; ‘Good evening, good people of the North East; it is so good to be back in what is probably my favourite place to play.” In fact, she had given a quote to the same effect for The Sage’s fifth birthday slideshow, and it is lovely to see such respected artists love The Sage as much as we all do! She went on to talk about how her relationship with the people of this area goes back a long way to the Guildhall and local folk clubs before that.
Telling us that the Nothing’s Gonna Change My World CD has now, sadly, been deleted – I wonder why? – she played a song from it, during which it was never more obvious that when she sings, a smile spreads across her face, leaving no doubt as to how much she loves what she does.
Putting down her guitar and exchanging it for the corded mic, so she could move across the stage, she eased into Bob Dylan’s Don’t Think Twice, it’s alright. It is interesting to note that when she has the guitar, her folk roots come through and when she doesn’t, her theatre experience comes through in her facial expressions and hand gestures (I suspect she came from the same school as Eve Selis and Joan Baez, in this department!)
Picking up her guitar again, Barbara told us she was recently sent a recording of her at a folk club in 1973. She admitted to pressing play then hiding behind the sofa, so convinced was she that it would be awful. In fact, she was inspired to start singing one of the songs she heard and has rediscovered how much she loves playing it live. Jamie Raeburn was that song and it was beautiful, especially with the addition of Troy Donockley’s Ilean pipes. Hearing her sing songs from her native Scotland actually brings to mind her fellow Scot, Eddi Reader, at times. Another traditional Scottish tune, The Corpus Christi Carol, reminded me of being at a ceilidh, as they all traded lead parts, laughing and smiling all the while.
Barbara told us that the James Taylor song, Millworker, was written for a musical, Working, before joking, ‘Clearly it didn’t work as nobody has heard of it.’ She told us she loves this song as it is one of few James Taylor songs written from a woman’s perspective. It is a gorgeous song and she clearly lives it as she sings, almost becoming the millworker, for the duration of the song.
I hadn’t realised that the late Sandy Denny penned Who Knows Where The Time Goes, or indeed, that the two had worked together twice in Newcastle (funnily enough, one location was the City Hall, which was the hall, where, aged ten, I fell in love with live music, thanks to the late, great, John Denver.) Sandy Denny’s premature death, Barbara told us, makes this song all the more poignant when she sings it, and I suspect all present felt that poignancy as she delivered a truly haunting rendition. Beautiful.
Promising us a ‘blast from the past,’ and switching to keyboard, Barbara and band treated us to a very enjoyable version of Answer Me, leading me to wonder, if although the high notes are more of a challenge, Barbara’s voice has actually gotten richer over the years. The first half of the set was then brought to a close with the most beautiful version of Paul Simon’s Bridge Over Troubled Water I have ever, and probably will ever, have the pleasure to hear.
After a brief vnterval and a change of outfit, Barbara led the way on Witch of the Westmerlands, written by Archie Fisher, whose girlfriend, we were assured, lives in the village rather than the lake as implied by the song, which is ‘all very symbolic.’
Huge applause followed her rendition of Another Suitcase in Another Hall, from Evita, followed by one of my personal highlights of the show; Easy Terms from Willy Russell’s Blood Brothers, which left me wishing I’d seen it when Barbara was Mrs. Johnstone, despite having seen it almost twenty times with others! Intriguingly, as she sang, she slipped back into Mrs. J’s Liverpudlian accent.
Emmylou Harris’ Boulder to Birmingham (written as a tribute to her late friend Gram Parsons) was apparently Barbara’s late mum’s favourite of everything Barbara sang; I can see why – it was beautiful – every inch as good as Emmylou’s version. Coincidentally, a couple of years ago, I had the pleasure of watching Emmylou sing the song at that same stage...funny how things come around like that.
McRibbin's lament allowed those Ilean pipes to demonstrate their beauty, moving into a tradition Scottish tune, Friar’s Britches (or Vicar’s Knickers as the band like to call it!) which at times reminded me of being at a Celiedh, such was the fun being had on stage.
One of only a few songs written by Barbara, followed’ Palm Sunday, written with Troy for the Time and Tide CD. It is my favourite song on that CD and live it is even better. Asking us to allow her to thank the band, by introducing us to them, demonstrated the high esteem in which she holds these musicians; Nick Holland, Russell Field, Brad Lang and of course, Troy Donochley.
The lights dimmed, allowing the star effect lights to light up the stage, and Troy, on acoustic guitar, led off a very simple, but stunning version of I Know Him So Well, which worked well even with male harmonies. Following this, the final song of the evening was beautifully delivered version of Caravans, which ended the set on a high.
Touchingly, Barbara walked right across the stage, to bow at various intervals, amidst massive appluse; she is clearly loved here in Gateshead. As she returned for an encore, she said, ‘Really, I love this place. I’d like to see it again next year, if they ask me.’ Judging from the applause which followed I think the audience concurred and suspect The Sage will do just that! With that, they rocked the night out with Del Amitri’s Always The last to Know and a wonderful version of the gorgeous Across the Universe, which is so much better live I wish it had been on the live CD/DVD.
Blowing us a kiss, Barbara departed the stage to rapturous applause, leaving us all to ponder the question ‘Who knows where the time goes?’ so fast had our time together come to an end. However, I suspect the ripples were felt ‘across the universe,’ which will keep us going until this amazing performer returns to her, and our, favourite venue.
Helen Mitchell
Venue: The Sage
Town: Gateshead
Date: 9th March
Website: http://www.barbaradickson.net
This was actually the third time I had seen Barbara Dickson; the first over a decade ago at The Tyne Theatre and the second a year or so ago, in fact, sat in the same seat, for a show which was equally as sold out tonight.
‘An Evening with Barbara Dickson’ involved no support act, so Barbara and band took to the stage straight away, launching into a great version of Pete Seeger’s Turn, Turn, Turn, one of my favourite songs, made famous, of course, by The Byrds.
This was followed by an obviously heartfelt greeting; ‘Good evening, good people of the North East; it is so good to be back in what is probably my favourite place to play.” In fact, she had given a quote to the same effect for The Sage’s fifth birthday slideshow, and it is lovely to see such respected artists love The Sage as much as we all do! She went on to talk about how her relationship with the people of this area goes back a long way to the Guildhall and local folk clubs before that.
Telling us that the Nothing’s Gonna Change My World CD has now, sadly, been deleted – I wonder why? – she played a song from it, during which it was never more obvious that when she sings, a smile spreads across her face, leaving no doubt as to how much she loves what she does.
Putting down her guitar and exchanging it for the corded mic, so she could move across the stage, she eased into Bob Dylan’s Don’t Think Twice, it’s alright. It is interesting to note that when she has the guitar, her folk roots come through and when she doesn’t, her theatre experience comes through in her facial expressions and hand gestures (I suspect she came from the same school as Eve Selis and Joan Baez, in this department!)
Picking up her guitar again, Barbara told us she was recently sent a recording of her at a folk club in 1973. She admitted to pressing play then hiding behind the sofa, so convinced was she that it would be awful. In fact, she was inspired to start singing one of the songs she heard and has rediscovered how much she loves playing it live. Jamie Raeburn was that song and it was beautiful, especially with the addition of Troy Donockley’s Ilean pipes. Hearing her sing songs from her native Scotland actually brings to mind her fellow Scot, Eddi Reader, at times. Another traditional Scottish tune, The Corpus Christi Carol, reminded me of being at a ceilidh, as they all traded lead parts, laughing and smiling all the while.
Barbara told us that the James Taylor song, Millworker, was written for a musical, Working, before joking, ‘Clearly it didn’t work as nobody has heard of it.’ She told us she loves this song as it is one of few James Taylor songs written from a woman’s perspective. It is a gorgeous song and she clearly lives it as she sings, almost becoming the millworker, for the duration of the song.
I hadn’t realised that the late Sandy Denny penned Who Knows Where The Time Goes, or indeed, that the two had worked together twice in Newcastle (funnily enough, one location was the City Hall, which was the hall, where, aged ten, I fell in love with live music, thanks to the late, great, John Denver.) Sandy Denny’s premature death, Barbara told us, makes this song all the more poignant when she sings it, and I suspect all present felt that poignancy as she delivered a truly haunting rendition. Beautiful.
Promising us a ‘blast from the past,’ and switching to keyboard, Barbara and band treated us to a very enjoyable version of Answer Me, leading me to wonder, if although the high notes are more of a challenge, Barbara’s voice has actually gotten richer over the years. The first half of the set was then brought to a close with the most beautiful version of Paul Simon’s Bridge Over Troubled Water I have ever, and probably will ever, have the pleasure to hear.
After a brief vnterval and a change of outfit, Barbara led the way on Witch of the Westmerlands, written by Archie Fisher, whose girlfriend, we were assured, lives in the village rather than the lake as implied by the song, which is ‘all very symbolic.’
Huge applause followed her rendition of Another Suitcase in Another Hall, from Evita, followed by one of my personal highlights of the show; Easy Terms from Willy Russell’s Blood Brothers, which left me wishing I’d seen it when Barbara was Mrs. Johnstone, despite having seen it almost twenty times with others! Intriguingly, as she sang, she slipped back into Mrs. J’s Liverpudlian accent.
Emmylou Harris’ Boulder to Birmingham (written as a tribute to her late friend Gram Parsons) was apparently Barbara’s late mum’s favourite of everything Barbara sang; I can see why – it was beautiful – every inch as good as Emmylou’s version. Coincidentally, a couple of years ago, I had the pleasure of watching Emmylou sing the song at that same stage...funny how things come around like that.
McRibbin's lament allowed those Ilean pipes to demonstrate their beauty, moving into a tradition Scottish tune, Friar’s Britches (or Vicar’s Knickers as the band like to call it!) which at times reminded me of being at a Celiedh, such was the fun being had on stage.
One of only a few songs written by Barbara, followed’ Palm Sunday, written with Troy for the Time and Tide CD. It is my favourite song on that CD and live it is even better. Asking us to allow her to thank the band, by introducing us to them, demonstrated the high esteem in which she holds these musicians; Nick Holland, Russell Field, Brad Lang and of course, Troy Donochley.
The lights dimmed, allowing the star effect lights to light up the stage, and Troy, on acoustic guitar, led off a very simple, but stunning version of I Know Him So Well, which worked well even with male harmonies. Following this, the final song of the evening was beautifully delivered version of Caravans, which ended the set on a high.
Touchingly, Barbara walked right across the stage, to bow at various intervals, amidst massive appluse; she is clearly loved here in Gateshead. As she returned for an encore, she said, ‘Really, I love this place. I’d like to see it again next year, if they ask me.’ Judging from the applause which followed I think the audience concurred and suspect The Sage will do just that! With that, they rocked the night out with Del Amitri’s Always The last to Know and a wonderful version of the gorgeous Across the Universe, which is so much better live I wish it had been on the live CD/DVD.
Blowing us a kiss, Barbara departed the stage to rapturous applause, leaving us all to ponder the question ‘Who knows where the time goes?’ so fast had our time together come to an end. However, I suspect the ripples were felt ‘across the universe,’ which will keep us going until this amazing performer returns to her, and our, favourite venue.
Helen Mitchell
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