GRETCHEN PETERS – Dancing With The Beast (Scarlet Letter/Proper PRPCD148P)

Dancing With The BeastHaving enjoyed her biggest success to date with the Ben Glover co-penned southern gothic ‘Blackbirds’, it is, perhaps, not too surprising to find echoes in Dancing With The Beast. In terms of narrative, the slightly swampy ‘Wichita’, which Glover also co-wrote and which features Jerry Douglas on Dobro, is another murder ballad, this time round a mentally handicapped 12-year-old girl taking a gun to protect herself, her dysfunctional divorced mother and little sister from an abusive man as she sings “I hope I was the last thing that you saw that night in Wichita”.

More specifically, the politically pointed ‘Lowlands’ traces a similar melody to the Grammy winner’s refrain on a song written in response to the 2016 election with lyrics reflecting the sense of disquiet about a man who “lies just for the sake of lying.. sell you kerosene and call it hope.” This one’s not written with Ben Glover, but he does have three co-write credits, the first up being the album’s opening number, a three-way split with Matraca Berg, a melancholically, world weary reflective song about growing old and times changing as she sings “I get lost in my hometown, since they tore the Drive-In down”, perhaps carrying with it hints of incipient Alzheimer’s.

Throughout the album, she’s backed by Doug Lancio on guitar and synths, guitarist Will Kimbrough, keyboard player Barry Walsh, bassist and John Gardner on drums, the songs populated with a variety of female characters and driven by a feminist perspective. The moods vary. On the dreamy, piano-backed ‘The Boy From Rye’, steeped in the insecurities of female adolescence, it’s one of wistful reflection on a summer romance with a boy from out of town who, “His smile knowing and ironic” divided friendships as “One by one he broke our virgin hearts/And set us one against the other”. In contrast, the more musically muscular but equally poignant ‘Life Is A Disappearing Act’ turns its gaze on a middle-aged woman who, widowed after fifty years of marriage, having lost two babies at birth and a son to the Iraq war, mentally and emotionally rather than physically, now finds herself alone, lonely and isolated, trapped in a “dark cocoon” and “crying at the kitchen sink” , “if Jesus is comin’ soon And if he is, he better make it quick”.

She turns the mirror on herself, and any touring musician, for the whisperingly sung ‘The Show’, which, accompanied by a simple acoustic guitar and piano, reflects on life on the road, “somewhere between Bend and Birmingham”, drinking hotel coffee that “tastes like kerosene”, saving up the energy for “Nineteen songs and one more night to go”.

Clearly, it can take its toll (“I clutch this guitar to my chest and wonder just what I’ll have left/When all of this hard traveling’s finally done”), especially on sustaining a relationship, and she reprises the theme on ‘Lay Low’, where, “a good three hours to Aberdeen”, she sings how “Tonight I’ll call to say hello, but your phone’s just gonna ring I know” and of the need to take some time out to recharge.

The other two Glover co-writes play back to back. Like ‘Blackbirds’, they’ve both recorded their own versions, the title track here to be found on his current Shorebound album, both swelling towards the end and featuring a nervy acoustic guitar line, but her’s without the prominent strings and the drums held back until towards the end and Kim Richey on background vocals. A song about that voice that whispers in your ear that you’re no good or you can’t do it, be it depression, a sense of insecurity or whatever, and how the best way to deal with it is to “circle round the room together /Seal this devil’s bargain with a kiss.” However, lyrics like “It isn’t that he doesn’t care about me/If anything it’s that he cares too much /It’s only that he wants the best for me /It’s only that I don’t try hard enough” also lend themselves to an interpretation of an abusive relationship that chimes with the #MeToo movement, especially given the confessional and emotionally bruised way Peters’ delivers the lines.

The second, underpinned by Walsh’s piano and again echoing Blackbirds’ melody line, is ‘Truckstop Angel’, a variation on ‘Honky Tonk Angels’ that addresses prostitution and self-respect as the character sings of being unsure if she’s predator or prey, but that “One day I’m gonna leave here /Gonna hit my lucky streak, Gonna spread my gorgeous wings and fly/Above all this concrete”.

At the end of the day, this is an album about rising above the weight and the burdens, imposed by both others and yourself, a simple humanity and moving epiphany found in the gorgeous ‘Say Grace’, Douglas on dobro and Richey on backing, taking refuge in faith or friends as the lost, the despairing, the bruised and the broken are welcomed to share in prayer at shelter by the bus station depot, the lesson of the day being “Forgive yourself for all of your mistakes You can start all over if that’s what it takes… You are not a loser, you are not a hopeless case” .

It ends with just her and a fingerpicked acoustic guitar for ‘Love That Makes A Cup Of Tea’, a song that, born of a dream about her late mother in which “she held my hand and she said, ‘You know, honey, there is love that makes a cup of tea’.” In many ways an echo of the blessing in ‘Kindness’ on Glover’s album, it’s a celebration of how, for all the big dramatic moments, of “love that moves a mountain” or “love that fights for justice knowing justice won’t be done”, sometimes the smallest, simplest human moment can be the most profound. There is sadness, there is weariness, there is trepidation, but, as the conclusion to Lowlands notes, at the end of the day there is also hope, because “We get a lot of clouds here in the lowlands /But now and then a little light gets through.” This is a beacon.

Mike Davies

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Artist’s: website: www.gretchenpeters.com

‘Disappearing Act’ – official video:

Gretchen Peters announces new album

Gretchen PetersFresh off her induction into the prestigious Nashville Songwriters Hall of Fame, Gretchen Peters has confirmed the 9th February release of her new album Blackbirds. Co-produced with Doug Lancio and Barry Walsh and recorded in Nashville, the album features a who’s who of modern American roots music: Jerry Douglas, Jason Isbell, Jimmy LaFave, Will Kimbrough, Kim Richey, Suzy Bogguss and more. But it’s not the guests that make Blackbirds the most poignant and moving album of the GRAMMY-nominee’s storied career; it’s the impeccable craftsmanship, her ability to capture the kind of complex, conflicting, and overwhelming emotional moments we might otherwise try to hide and instead shine a light of truth and understanding onto them.

The eleven tracks on Blackbirds face down death with a dark grit and delicate beauty.

“During the summer of 2013 when I began writing songs for Blackbirds, there was one week when I went to three memorial services and a wedding,” remembers Peters. “It dawned on me that this is the way it goes as you get older – the memorial services start coming with alarming frequency and the weddings are infrequent and thus somehow more moving.”

She found herself drawn to artists courageous enough to face their own aging and mortality in their work (Leonard Cohen, Paul Simon, Bruce Springsteen, Nick Lowe), but noticed all the material was coming from a male perspective. “As brave an artistic risk as it may be for a man, it’s much riskier for a woman to speak about it,” says Peters, whose incredible catalogue of songs—including ‘Independence Day’ and ‘On A Bus To St. Cloud’ — have been recorded by everyone from Martina McBride and Neil Diamond to Etta James and Trisha Yearwood. “Aging seems to be a taboo subject for female singer-songwriters, in part because our value has depended so much on our youth and sexuality. I want to write about that stuff because it’s real, it’s there, and so few women seem to be talking about it.”

In an atypical and unexpectedly rewarding move, Peters teamed with frequent tour-mate Ben Glover to co-write several tunes on the new album, which evokes the kind of 1970’s folk rock of Neil Young, David Crosby, and Joni Mitchell that Peters grew up on, albeit with a more haunted, country-noir vibe simmering just below the surface.

Geographically, the album leaps around the country, with particularly heartrending stops in southern Louisiana at the scene of a crime (‘Blackbirds’), Pelham, New York, where Peters probes the hidden darkness of the leafy suburbia in which she grew up (‘The House On Auburn Street’), and the waters of the Gulf of Mexico, where a fisherman lays his wife to rest after losing everything in the BP oil spill (‘Black Ribbons’). ‘When All You Got Is A Hammer’ is the story of a veteran struggling to adjust to life at home after fighting overseas, while ‘The Cure For The Pain’ takes place in the waning days of illness in a hospital, and ‘Nashville’ brings us back to Peters’ adopted hometown.

Despite the varied locations, the songs on Blackbirds are all inextricably tied together through their characters, whom Peters paints with extraordinary empathy and vivid detail. Blackbirds follows Peters’ 2012 album Hello Cruel World, which NPR called “the album of her career” and Uncut said “establishes her as the natural successor to Lucinda Williams.” If anything, though, Blackbirds truly establishes Peters as a one-of-a-kind singer and songwriter, one in possession of a fearless and endlessly creative voice.

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Blackbirds Tracklisting:

1. Blackbirds
2. Pretty Things
3. When All You Got Is A Hammer
4. Everything Falls Away
5. The House on Auburn Street
6. When You Comin’ Home
7. Jubilee
8. Black Ribbons
9. Nashville
10. The Cure For The Pain
11. Blackbirds (reprise)

Artist’s website: www.gretchenpeters.com

Ben Glover’s New Album – Do We Burn The Boats is now out…

Recorded in the heart of Nashville, the album was produced by Neilson Hubbard (Kim Richey, Glen Phillips, Garrison Starr) and features a track (Rampart Street) co written by seasoned folk songstress Mary Gauthier (who we featured very recently on folking.com).

“I intended to record just five songs for an EP, but after three days in the studio we all felt that there was a momentum happening that we couldn’t ignore. So we decided to go full steam ahead and cut ten songs and make an album,” says Glover. “It all happened very quickly and organically, but I’ve learned that sometimes the creative process takes on a life of its own and when it does it’s best to follow it’s direction.”

Glover has garnered rave album and concert reviews from across the globe and has toured extensively both as an opening act as well as a headliner. In the past calendar year his touring schedule included dates in Belfast, London, Glasgow, Edinburgh,Dublin, New York, Brussels as well as dates at the famed Hotel Café in Los Angeles and sold out shows in the Nashville’s legendary Bluebird Café.

He hails from Glenarm, Co Antrim, a small coastal village 30 miles from Belfast, N. Ireland and splits him time between there and Nashville, Tennessee. This singer/songwriter traded in a degree in law to peruse music and from all accounts it was a move that has paid off.

‘I was always drawn to and continue to be attracted to artists of a poetic nature, or great storytellers—obvious names like Leonard Cohen, Van Morrison, and Paul Simon. And I’ve always had a great affection for country music, the Americana imagery always fascinated me. So people like Willie Nelson, Johnny Cash and Kris Kristofferson are important sources to me, as well. I suppose I am drawn to artists who had a very strong identity—maybe not the best singers in the world—but said important and meaningful things in their songs. Essentially, music has to come out of life, and if there’s no life there is no music.’

Glover has toured and/or performed with Vince Gill, Buddy Miller, Jim Lauderdale, Mary Gauthier, Jason Mraz and Tift Merritt. His songs have been used in feature films such as “Finding Joy,” hit webisode series “Adults Only,” and as the theme song for BBC N.Ireland sports programme “The Championship.”

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Artist’s website: www.benglover.co.uk