In this section you will find reviews of the most recent albums by a number of the artists who are playing at this year’s Music on the Marr. The reviews will be by our lovely MOM supporters. Stewards, Web Geeks, MCs etc. The views stated in these reviews do not necessarily reflect the views of the MOM organisers; we think that everybody who plays at MOM is MARRVELOUS. Come back to this page to see the reviews accumulate from June 2108….
Heart First Aid Kit – Grace Petrie
There does need to be a health warning for anyone engaging with Grace Petrie. A warning that apathy and tolerance for all that is wrong in the world (Trump, refugees, homelessness, oppression, list goes on) will be challenged.
I did have the treat of attending a live Grace performance last month, so have to declare a bias of favouritism before I attempt to review her latest CD ‘Heart First Aid Kit’. Young, left, lesbian, Labour and a powerhouse of energy and musical talent, Grace shares her insightful heart through her music. She has the knack of creating refrains that ‘stick’ and produces a balance of songs that will have you laughing, raging and crying in equal measure.
Nobody Knows That I’m A Fraud was probably the quickest track to become an ear-worm, taking the rise out of all the behaviours expected from ‘right-on’ folk. Exposing herself as someone full of self-doubt and fear of failure, yet pushing through despite the judgements and expectations of others, Grace uses humour for us to laugh at ourselves, but with the insight of an activist to press the apathy button and stir up the revolution.
The Bad Guys showcases Grace’s mastery of her guitar, with soft and lilting instrumental breaks. Sunshine re-visits the eternal themes with all the clichés of green grass, clouds and sun and the ‘all will be well in the end’ message. A real spirit lifter.
For me, God Save the Hungry is one of the most concise protest songs I’ve ever heard. She nails the list, including refugees, homeless, disabled, poor and hungry. “Those who sleep in palaces at night, I think they’re doing alright. Raise your voice and sing along.”
Grace is giving us the script for messages that do need to be shouted; that politicians need to hear for the troubled world that the majority live in. She nails the issues that should matter. And she does it with humour (“You’re the plug that hits my socket, and all the lights came on …”), supported by music that is accomplished in both words and melodies. I find her to be a talented, passionate and inspiring young woman, and I really do wonder if anyone could sit through a Grace performance and not leave feeling fired up and ready to get back to the eternal fights for freedom, respect and love.
Take up the challenge – and catch Grace at Music on the Marr. The world will not regret your participation.
Nicky Sage
True Born Irishman – Daoirí Farrell
Helpfully the first thing the liner notes tell us is that Daoirí is pronounced Derry. I suspect it won’t be necessary to make the clarification by his next album – I wouldn’t be surprised if most of the traditional folk fans attending Music on the Marr already knew. From my little bit of research for this review I have found that Daoirí Farrell is highly regarded as a traditional Irish singer and bouzouki player by fellow musicians of the genre as well as audiences.
This album is a collection of traditional Irish songs, some generations old and some more contemporary. The production is very simple and clean, giving Farrell’s voice and the relatively sparse instrumentation a lovely clarity. The two songs that particularly caught my ear where the ones where the only accompaniment is a drone on Uilleann pipes (The Blue Tar Road and My Love is a Well). These highlight Farrell’s lovely controlled vocal slides. My other favourite is The Unquiet Grave. This may be because it is the only song on the album that I recognise, though it is a very different version to the one I learnt in primary school. A more sophisticated melody and a lovely intertwining of bouzouki, guitar and violin.
My one disappointment with this album is that it feels quite contained, a little lacking in spirit. Maybe that is the nature of recording songs which are more at home in a live setting. I’m certainly looking forward to seeing if this theory is correct when Daoirí Farrell plays at the festival.
Lucy Irid