Piano

Week 44: Dave- The Boy Who Played the Harp

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I was stunned to discover that Dave hasn’t released an album in over four years, but as the review progresses, you will see why the wait was worth it.

You are probably wondering about why that title? Well, it is a biblical reference from the book of Samuel foretelling the story of King David. Quite funny, really, when the artist in question shares the same name.

The production doesn’t lean towards hip-hop and anything that might resemble a banging tune. Instead, it is more introspective, featuring piano, spaciousness, and ethereal tones. Occasionally, the harp features, and Dave even picks up the guitar on the 6th track.

In regard ot the themes, he focuses on dealing with fame, identity, legacy, being a man, faith, and how he has a sense of duty to his listeners and society. Rather than basking in his achievements, he questions what his roleand voice is doing to lead by example.

Now, part of the summary is out of the way; let’s look at the songs that caught my ear:

History:


The opener sets up the rest of the record. Dave addresses everything about himself. James Blake not only features on the track but also produced it, creating a typical atmospheric soundscape that he adopts, complete with tender piano and reverb space that allows the words to land, allowing the listener to engage with the thought-provoking lyricism from Dave, which is always interesting. I have never found him at a loss for words. In fact, let’s look at that on here. Dave refers back to King David, and as the record progresses, you hear why he uses this biblical figure to illustrate power, vulnerability, and how music heals the soul. Never mind, if the track is not for the commercial market, but rather the lyricism and the matching mood of the music.

Chapter 16:


What more can you say? It features the amazing Kano. I have been a fan of Kane since the early days of grime, so this track was never going to be skipped. The pair trade verses, discussing their legacies, the rap game, and how they feel burdened by representing the scene. Once again, James goes for a minimalist sound with his trademark piano chords and a beat that allows for reflection.  Dave pays tribute to Kano, stating that he has been a fan of his since he was 14 years old. Kano also  praises his younger counterpart. The song connects all timelines of UK rap, with Dave accepting his role in its future, while also questioning what he wants and what he owes. The track could have easily been one of pure egotism, but Dave shows humility alongside ambition, and, of course, what his legacy is.

Raindance:


Unless you follow her closely, have seen her at major festivals, or watched Later… with Jools Holland, the Nigerian vocalist Tems, who features, will probably have escaped your attention. The Afrobeats-inspired track, over reflective piano riffs, is more light-hearted than the previous tracks. Dave is more playful with Tems. The lyricism focuses on Dave enjoying a night out, where he meets someone, apologises for future relationship struggles, and references the concepts of marriage and property. This track takes him out of his comfort zone with Afrobeats, but it works well with Tems, nonetheless. A bit of a breather from the heavier songs so far.

Selfish:


James Blake returns from the control room with a heavy, moody, introspective, and self-confessional collaboration. Dave examines what fame has cost him in life, including narcissism, and what his ambition entails. Dave also highlights how his bravado is often laced with self-doubt. A typical James Blake production, leaving Dave’s wordplay time to breathe. Another heavy, but lyrically intriguing track.

My 27th Birthday:


This nearly eight-minute track focuses on self-reflection, with Dave looking inward at his legacy, expectations, age, and how he has evolved.  Again, the production is more of the same, with a blues-inspired piano riff with looping vocals.  The lyrics are used as a metaphor for a day/year that’s in motion or standing still.  Dave once again examines his role in society and considers how he can utilise his voice to create a positive change in the world. He also examines how fame can be a burden rather than a blessing, as he feels that people are being cynical about the messages he is trying to convey. They are using his fame as a weapon against him when he is less likely to return to a life of poverty. A very deep listen.

Fairchild:


Dave gives a chance to the upcoming talent of Nicole Blakk and lets her showcase her views, where she discusses being the unfortunate victim of assault, which has triggered a fear of men, and her experience of misogyny. This evokes emotions in Dave about how incels behave, and he questions why his fellow men more often than not turn a blind eye to this unacceptable behaviour. Dave even questions if sometimes he, too, has shown misogynistic traits, which is perfectly portrayed in the line “All know a victim, don’t know a perpetrator, am I one of them?” It may be a heavy listen, but it is what you would expect from him. It’s a deep track with substance. It is refreshing to see a male address violent behaviour towards, whether he has unknowingly done it himself, and how he feels a sense of responsibility to make his fellow man aware of this abhorrent behaviour.

The Boy Who Played the Harp:


The closing and title track uses a sample from The Beatles. The track’s name eludes me at the moment. This track makes the premise of the album all make sense. The name, the purpose, the record’s identity, the burden he feels, and the activism displayed.  I love the premise behind the lyrics, as he places himself within historical moments, such as world wars and the civil rights movements. He ponders if, like in those moments, he can speak up, act, and lead when necessary. The title track, like the rest of the album, ends strongly, leaving the listener to ask themselves the very questions he did throughout. Bizarrely, though, there is no harp. Just a piano.

Strengths & Weaknesses


Now let’s address where the record is good, and where it falls down:


Strengths


Of course, it has to be his lyricism. I mean, after all, that is what he primarily is. Dave started as a spoken word artist before moving into rap. I love his wordplay, detail, reflection, and how he uses metaphors.

The album is streamlined rather than a mishmash of songs. There is a constant string of themes that remain consistent.

He isn’t coy about asking himself challenging questions, rather than doing a record that focuses on his success.


If you ask me, what are the highlights of the album? Well, it’s all of the tracks above.

When I get to the song recommendations, I’m going to have a think about what three stood out.

This is up there with his best work to date.



Weaknesses / criticisms


This is not my opinion, but looking at it from a critical point of view, you have to say that James Blake’s production is too moody and lacks dynamism.

The tracks are not chart-friendly, both in terms of lyricism and production. There is also a lack of hooks, which may hinder the number of plays he receives in the mainstream.

Some listeners will feel that the themes are more of the same, and doesn’t bring anything new to the table.

Coda


Although the album may not be that chart-friendly, it is full of thought-provoking tracks, which to me, is always better than sacrificing for the sake of the singles chart. It is up there with his best work so far. You just have to look at songs like ‘Fairchild’, ‘Chapter 16, and ‘My 27th Birthday’ to see the maturity in his writing, and how they all have a purpose. It may not have the hits that have featured on past records, but this is one for the deep thinkers, who will appreciate Dave’s approach.
My personal opinon is, I love it. A very strong record that cuts through all the bullshit.


Song recommendations: ‘Chapter 16’, ‘Fairchild’, ‘The Boy Who Played the Harp’


9/10

Week 40: Olivia Dean- The Art of Loving

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I planned to start with a brief introduction to Olivia Dean, but since this is quite a lengthy review, I will leave it until next time. Olivia Dean expresses something that is often lost in today’s society. A society full of anxiety, negative news headlines, and anger. Her second album, “The Art of Loving”, asks the listener to take a moment, listen, and find kindness in their soul. Now, I have never done a review like this, but I am going to use bullet points. Let us begin:


Her vocals:


Olivia’s vocals act as a warm hug, inviting you into her world from the very first note. Her voice has a unique duality, speaking directly to you while also addressing the wider world. The light production, featuring acoustic guitars, brushed drums, brass, occasional piano, and strings, further reflects Olivia’s emotional journey. Her lyrics reflect her hopes, dreams, heartbreak, and above all, her enduring kindness, making you feel included in her story.


What question does ‘Nice to Each Other’ ask?:


Of course, one of the standout tracks is her latest single, ‘Nice to Each Other’. The song depicts two lovers at war during their relationship, but of course, the chorus asks them to be nice, even when they shouldn’t, because they are hurting each other. The track reflects these emotions of conflict and reconciliation. The sublime jazz-inspired piano hook causes the track to swell after each verse, before dropping into a chorus where Olivia’s vocals take the limelight over a reverberating snare drum. The production is quite clever here, as it shows us that even through ill feelings, a soft approach can be taken, rather than a knee-jerk reaction leading to a blazing row and plenty of volume.


Her love of lounge jazz to mirror empathy:

Olivia’s passion for lounge jazz is beautifully captured in ‘CloseUp’. The track’s unique features, such as the muted trumpets that accompany her sincere and softly spoken apology, the brushed drums, the laid-back bass, and the saxophone that mirrors the lyrics, make it a standout piece. The profound lyricism is certainly a highlight, but the true beauty of the track lies in how the instrumentation breathes life into the song, creating an emotional connection that allows the listener to find their personal experiences within.

The versatile message in ’So Easy to Fall in Love”:

A track that says let your inhibitions go, but also to tread with caution. The title is apt because it is indeed easy to fall in love, get caught up in the moment, and become naïve to the pitfalls that will eventually occur. The production reflects this by using the electric arpeggiated piano and a bright sound to convey infatuation. Her vocals are once again tender, but warm.


‘Something In-Between’ showing the selfish side of love:


Olivia has created a record full of blissful stories about love, but she was also not shy about discussing the other side of it. She talks about protecting one’s worth and standing her ground to avoid being taken advantage of. The track itself is aptly played in the minor key range, featuring a lightly strummed acoustic over a low synth pulse. Reflecting the sense of being at ease with standing your ground, but also knowing that not losing face can be risky to the relationship.


The three-part coda:


While most albums end with a simple coda, Olivia has included the final three tracks, ‘A Couple Minutes’, ‘I’ve Seen it’ and ‘The Last Note. ‘I’ve Seen it’ is about her discussing love with a conviction she feels has never been done before. One particular lyric highlights this: “I’ve seen the movies, I’ve read the poems, but the real love that sticks is the one that hurts enough to matter”, and she is right. It does. Most romantic songs have an air of pretence about them, but Olivia has done it more genuinely. For the first time, an electric guitar is utilised as it bends, representing a sigh, while a light harmonica blends into the background.

Why the album shines a light on being kind:


As mentioned earlier, we live in very evil times, and “The Art of Loving” illustrates that kindness is often frowned upon in society because it is seen as a sign of weakness, and individuals can be easily taken advantage of. However, Olivia has used it to show that being kind is a good thing and as a form of rebellion.

Let us have a look at the tracks I have been discussing, then what they teach us about being kind:

Nice to Each Other:

Even if we have ill feelings towards someone or something, we can choose to show kindness instead of responding in a way that worsens the situation.

CloseUp:

Before rushing in with all guns blazing, we should take a step back and assess the situation to understand it before deciding on the appropriate action.

So Easy to Fall in Love:

Yes, it is pure bliss to feel in love and grow stronger because of it. It may leave our hearts open, but we should embrace it, rather than see it as a weakness.

Something In-between:

Be in a loving relationship. But make sure you can stand your ground, so one person does not dictate the relationship. The balance will ensure the relationship is healthy.

I’ve Seen it:

Love is not perfect. It has its pros and cons, as with everything in life. Give both the rough and the smooth a warm hug.

The lyricism is profound, and her vocals are like standing next to a warm radiator, making you feel warm and cosy as the songs radiate with kindness. In a world that sees love as a weakness, she sees it as a strength. She does not know the answers, nor does she pretend to, and she refuses to be a wallflower about asking. That is why the record shines a light on being kind.

Outro:

Olivia’s album paints a picture of a world where the need to express thoughts is as urgent as a megaphone’s call. Yet, Olivia’s voice rises above all the noise, calling for whispers of kindness, devoid of any expectation of grand gestures in return. She invites us to listen, to pause, and to harmonise with the gentle sound that embodies humanitarianism. Her goal is to evoke a fuzzy, humane feeling, which she more than delivers. Her message, both thought-provoking and steeped in kindness, is a rare and precious find in the 21st century when it comes to love.


Song recommendations: ‘Nice to Each Other’, ‘CloseUp’, ‘So Easy to Fall in Love’

9/10

Week 35: Wolf Alice- The Clearing

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I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.


Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.


Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.


The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.


However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.


Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.

The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.


You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.


“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.


Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’


9/10

Week 31: The K’s- Pretty on the Internet

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My introduction to the Merseyside band came from a Mod film from 2020, and I’ve also been following several mutual fans on Twitter, so I have been in the loop, so to speak. I didn’t realise how good they were until I saw their cameo in the film. I’m shocked it took four more years to release their debut album, which I’ll discuss shortly. This band is phenomenal, and for me, they are the next Arctic Monkeys. “Pretty on the Internet” proves that. 


So their debut was titled “I Wonder if the World Knows?”, released only last year, which did not get the credit until after its release, but never reached the top spot. I do not know why. It is brilliant. You can see why the guitar-driven indie rock reached No. 3. It was always going to be tough when they faced stiff competition from Beyoncé and fellow rockers The Libertines. Both of the latter reached the top spot.

Here is how good it really was: it was named the second biggest debut record of 2024. You can see why the second album has soared to the top spot. They are growing a devout fanbase and have the passion and drive to be a success. As mentioned in the Wet Leg review, it is always a challenge to exceed expectations on the second record, but The K’s have done that.


They have started where they left off with “Pretty on the Internet”. They have found their identity, which includes melodic guitar riffs over a powerful and fast-tempo wall of sound. Akin to their counterparts, Arctic Monkeys, The Libertines, The Coral, DMAs, bands like that.

However, underneath all the noise, is frontman and chief songwriter Jamie Boyle’s more delicate nature as he writes songs that are laced with vulnerability and honesty.

Something that will be highlighted in the following paragraph. His lyricism relates to the listener, and his vocals are strong and clear. Showing his ability to write songs in the background and lead the band onstage.


Returning to Jamie’s vulnerability and honesty. That shines through on the lead single ‘Breakdown in My Bedroom’. He addresses, with frank honesty, his struggles with mental health. Saying that, even though he is in the limelight, he tries to hide his actual emotional state underneath his onstage persona. Then we have anthemic tracks like ’The Bends(Here We Go Again)’, which shows the band’s ability to craft melodies, and choruses that the crowd will be singing back to them during their live performances on their forthcoming tour. At present, I believe they are also doing the festival circuit. This is why the atmosphere during their gigs is electric. The record is set to be played in full during five gigs next month.


The album isn’t just all about guitar solos or pulsing drums. There are more tender moments as heard on ‘Helen, Oh, I’, where strings and the pianos are at the heart of the track. It gives you a chance to catch your breath from a record that is otherwise going at 100mph. I love the synchronisation between Boyle’s reflective lyrics and the exemplary instrumental arrangements. They have treaded new ground with some more introspective tracks, and I do not doubt that they will continue to explore that.


The album closes with ‘Perfect Haunting’, a track that further pushes their horizons as they flirt with a more theatrical sound. It’s something to look forward to on future tracks as they show their expanding versatility. The band fuses pop-punk rhythms and raw energy with punchy rock, flavoured with indie songwriting by Jamie.

And it’s this unique blend that is not only proving popular among their peers but also attracting a growing fanbase. As they look to rise through the ranks, it’s clear that you, as part of this movement, are in for an exciting journey.


The band are not interested in being a band for nostalgia, but rather rhythms and hooks that belong in the now. They are also outshining their peers with their distinctive wall of sound. With two outstanding records under their belts, watch them grow from support acts to headliners. I thoroughly enjoyed the listen, and I think you will too.


Song recommenations: ‘The Bends(Here We Go Again)’, ‘Breakdown in My Bedroom’, ‘Perfect Haunting’

9/10

Week 15: Elton John and Brandi Carlile- Who Believes in Angels?

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Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.

As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.

As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.

When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:

Disc One/Side A

The Rose of Laura Nyro:

What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.

Little Richard’s Bible:

A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.

Swing for the Fences:

From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.

Never too Late:

As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.

You Without Me:

It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.

Disc Two/Side B

Who Believes in Angels?

Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.

The River Man:

Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.

A Little Light:

Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.

Someone to Belong To:

The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’

When This Old World is Done with Me:

A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.

Overall:

I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.

Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’

8/10

Week 9: Sam Fender- People Watching

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One of the most admirable qualities of Sam Fender is his courage to speak up for the working class in the music industry. He fearlessly calls out the industry for not doing enough to support musicians from working-class backgrounds. His outspokenness is a testament to his advocacy and determination. I share his views, and I believe Sam is one of the most authentic and relatable musicians out there. He remains true to his roots and takes pride in them.

So far, all his albums have reached the top spot with his Springsteen-esque songs. “People Watching” makes that a hat trick. The record still has elements of “Hypersonic Missiles” and “Seventeen Going Under”; however, this time, he isn’t autobiographical but looking at other people around him and incorporating their stories into his songs. A tactic used by many a songwriter and poet. One of these includes a rather unwell friend. He also forms stories about people in the gym or those sleeping rough, making this an interesting listen. The album features a diverse range of themes, from personal struggles to societal issues, making it a compelling and thought-provoking listen. At the same time, the Geordie Bruce Springsteen delivers electric guitars with acoustic with the familiarity of the saxophone—all the ingredients of his American idol.

Although Sam may be talking about others on the album, he finds a way to express how he feels about those particular themes. Social commentary, if you will. ‘Crumbling Empire’ is the most poignant, where he attacks the state of the world, comparing it to Newcastle, where various governments have let the people down. He mentions his mum working as a midwife to drive this point home. He acknowledges, after seeing his hometown falling apart, that he may not live the life he did, but he is thankful music worked out because he knows the life he had could be a lot worse than it was before he shot to fame.

‘TV Dinner is a departure from Sam’s usual style, reminiscent of Hozier’s ‘Take Me to Church’ not in its structure, but in its sound. The song features a long verse and a short chorus, with the final chorus serving as a long outro. This structure, combined with the song’s powerful vocals and emotive lyrics, evokes the same raw energy found in Hozier’s work. As mentioned in the first paragraph about criticising the industry, this song addresses how they build artists into idols and then stand aside when their flaws come to the surface. He particularly addresses the late Amy Winehouse as an example. He isn’t afraid to say how he has been treated himself. Referring to them treating him as a cash cow, he has decided to do as he pleases from here on rather than appease the industry. Sam also discusses the controversial and complex subject of religion and whether we can abide by our religion and genuinely live life according to the ways of the church on ‘Little Bit Closer’. Now, from listening, I gather Sam is an atheist because, during the bridge, he asks, “What is God?” and goes on to say he hasn’t found God yet, although he has had moments where he has been close to seeing why people believe in God and are part of the church.

Another unusual track is ‘Remember My Name’, a piano ballad dedicated to his late grandparents. Usually, a record concludes with a bombastic track, but Sam has opted for a slower tempo. It is quite dark talking about how his grandmother had dementia and was looked after by his grandfather. His thoughtful and caring grandfather would speak to his grandmother to help her remember things. The raw emotion in Sam’s vocals adds to the story’s effect. Sam may not be speaking from personal experience, but as frequently done on this album, he puts himself in their shoes. Granted, what “People Watching” lacks sonically with the same old tried and tested method, it makes up for with the lyrical content and how Sam can observe people, listen to conversations and structure from there. He has spoken about other people in his previous records, but never to this extent. This is his Kelly Jones moment, a reference to the lead singer of Stereophonics, known for his observational storytelling.

Song recommendations: ‘Crumbling Empire’, ‘TV Dinner’, ‘Remember My Name’

7/10

Week 7: Taylor Swift- Lover (Live from Paris)

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The original album, released in 2023, was recently re-released as a 72-hour limited edition for Valentine’s Day, a move that propelled it to the top spot on the charts after initially entering at a humble 90 two years ago. Sonically, it may not be groundbreaking, but as a recorded extended play, the clarity is exceptional. It’s crystal clear, with no soundboard interference. What’s truly impressive is the balance between the crowd and the performance. The crowd’s energy is palpable, adding a unique dimension to the recording. It didn’t use in-ear monitor recording, which makes it stand out.

This EP has been panned in the past for lacking the energy of her usual live shows, but I absolutely love “Lover (Live from Paris)” because it is Taylor laying her soul with acoustic versions of songs familiar among the Swifties. I have always said that I admire Taylor’s acoustic performances, so even though this record is only half an hour, it was a joy to listen to it, especially ‘Death by a Thousand Cuts’, sounding like a blend of Travis and The Libertines during the verses. ‘Cornelia Street’ sounds like The Script and Train. ‘The Man’ sounds like Ed Sheeran. Of course, some of the tracks have more to them. What I mean is some substitute the guitar for a piano, and some go electronic. However, it is the acoustic guitar tracks that shine for me.

If you dislike Taylor’s music, you might change your mind after hearing her perform acoustically. Now, I am not a Swiftie, but I do enjoy listening to her music, especially when she does intimate shows on the acoustic. This is where you can hear the songwriter in all their glory.

Song recommendations: ‘Death by a Thousand Cuts’, ‘Cornelia Street’, ‘The Man’

8/10

Week 2: Elton John- Diamonds Blu-Ray with Dolby Atmos Edition

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This review will be all over the place, so bear with me. As you may know, the Blu-ray/Dolby Atmos edition of Elton John’s 2017 album “Diamonds” was released a few days after New Year’s Day, and on the back of it, he displaced his very good friend and Rocket Entertainment Artist Ed Sheeran at the top of the album chart.

So, what’s the standout feature of this edition? It’s the 48 tracks, this time in a different order than its previous editions . But the real game-changer is the significantly enhanced sound quality, especially on the tracks recorded on analogue from the 70s to the 90s. You’ll notice a marked difference in the sound of songs from that period, with a reduction in distortion and crackling, particularly in the studio recordings pre-1980s. The Dolby Atmos experience, as I’ve previously highlighted in the Oasis “Definitely Maybe” 30th-anniversary reissue and Ed Sheeran’s “Mathematics Tour Collection”, is truly exceptional. The investment in an album in Dolby Atmos is truly worth it for the quality of the output.

For example, take a listen to songs like ‘Rocket Man (I Think It’s Going to be a Long, Long Time’, ‘Daniel’, ‘Bennie and the Jets’ and ‘The Bitch is Back’, and you will notice that the crackle has been removed. So you can enjoy those songs from his early years without them being ruined by the crackle or pop.

The same goes for the early tracks. Because the crackle or pop has been removed, the listening experience is more enjoyable, and you can appreciate young Elton’s wizardry.

Unfortunately, Dolby Atmos did not work well with ‘Saturday Night’s Alright (For Fighting)’. For some reason, it sounded awful.

I was also disappointed with the mixes of the later material, but it is hard to remaster what already is close to perfection sonically. They do not require much touching up, so they don’t sound much different from the originals compared to the early material.

If you didn’t know, the 48 tracks combine his greatest hits, best b-sides, non-album singles, best live tracks and from “The Lockdown Sessions”. You are not listening to anything fresh, albeit a new perspective on his earlier recordings, which have finally eradicated the crackle or pop. The enhanced sound quality, thanks to Dolby Atmos, brings a new life to these older recordings, making them a joy to listen to. Once again, I will be doing the songs to avoid because, as you can imagine, this record is full of too many gems to break down into just three tracks. I cannot do that because apart from ’Saturday Night’s Alright (For Fighting), even some of the earlier songs I am not fond of sound great with Dolby Atmos.

Recommended: Listening to the earlier songs remastered with Dolby Atmos

8/10

Week 1: Ed Sheeran- +–=÷× Tour Collection (Live Edition)

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Ed’s “Mathematics Tour Collection” was released in the late summer of last year. Still, I am unsure of what I should be reviewing, so I have reviewed the latest edition of the album that was included in the standard edition towards the end of last month, which is a live version. I am not particularly sure if the songs are from random shows or just one particular show. Apparently, the live version was recorded via Ed’s in-ear monitor. I will get on a bit later about why I believe I do not find that to be the truth

After a two-year tour, which is set to continue into the current year, the fans, known as “Sheerios”, were eagerly awaiting a live version of the compilation. Finally, as mentioned earlier, the live album arrived towards the end of last month , boasting a massive 26 songs . It’s a mammoth listen , but one that’s as good as all his shows. I was lucky enough to see him at His Master’s Voice Hatfield Forum in October 2011 during his debut “Red” tour , an experience I’ve already shared in my first review of his material.

Despite being live, the mix has been produced to make it smoother than it usually is in a live setting. I enjoyed most of the songs performed. Of course, there were songs like ‘Sing’ and ‘Bad Habits’, which I do not, but I gave them a chance. They are better than their studio counterparts.

Back to earlier with the in-ear monitor, I heard that the sing-alongs were not evident, but I found that nonsense. I could hear his biggest hits sung by the crowd and Ed participating in crowd participation. It didn’t sound like they used an in-ear monitor for those tracks because I could hear everything crystal clear. You wouldn’t get that from a monitor because you hear what every member of the band is doing. You will notice most musicians take their monitors out during crowd interaction, or they would only hear muffling.

Get ready for an immersive journey because this review is going to be a deep dive. I tuned in to this album via his official YouTube channel, but the ultimate digital experience is the one mixed with Dolby Atmos. If you haven’t tried it yet, it’s like being right there in the studio or at the show. This technology is so powerful that it might even overshadow physical CD versions, which currently can’t match its immersive quality. Just like at his live shows, the opener is ‘Tides’.

I love ‘Tides’. It’s a full-on rock anthem, and it’s clear why it’s chosen as an opener. It’s a real crowd-pleaser, and I can only imagine the electrifying atmosphere it creates in a stadium. Despite not being one of his popular tracks, I’m certain that after this tour and the release of the live edition, it’ll gain a strong following and become a fan favourite. I was personally captivated by its rock attitude and enjoyed it thoroughly.

Does Ed’s music resonate more with his loop pedal or with a band? The answer is in your hands. For me, it’s a matter of the venue. I find his solo performances more intimate in an arena or open air, while the grandeur of a stadium is best complemented by a band. Imagine ‘Tides’ without a band in a stadium-it’s a rock anthem that thrives on the depth and fullness a band brings.

After that barnstorming opener, the tempo drops with ‘Blow’. Ed still puts his heart and soul into it to win the crowd/listener over.

‘Castle on the Hill’ follows, and it sounds amazing live, especially in a stadium. Live is where it is at for me. Studio recordings can never capture that magic in a bottle. Again, this track would be flat without a full band.

Now, usually with Ed’s live albums, they fuck up how he uses the loop pedal, and your mood can drop while Ed sets it up for the song.

However, on ‘Shivers’, which follows ‘Castle on the Hill’, they have cut out all the fannying around, and the track begins as he has almost finished setting up, so you are still riding from the high of the previous track.

Of course, some Sheerios will not like the idea of not seeing him set up the loop pedal with his various sequences and layers, especially on the final track, ‘Bad Habits,’ but the producers have to think of all the listeners and how to keep the momentum.

The live version includes all his songs, such as ‘The A-Team’, ‘Lego House’, ‘Give Me Love’, et cetera. You cannot please everyone with the listings, but that’s how the dice rolls.

I mentioned in my review of “Divide” that ‘Dive’ is a heart-wrencher, but Ed sings it subliminally live. Knowing the personal meaning behind it makes it even more of a standout because he manages to keep his emotions in check.

Tracks like ‘The A-Team’ and ‘Lego House’ from his debut “+” remain timeless and still are live favourites.

‘Overpass Graffiti’ was performed the correct way live to bring the rhythm section to life. Ed with just a loop pedal wouldn’t have given it justice.

One of the main sticking points is crowd participation, with some arguing it’s difficult to hear the crowd. However, I personally disagree; I can hear them loud and clear. Perhaps I’ve just been lucky to have the volume set at the perfect level. To gain a broader perspective, I’m eager to hear from a Sheerio who was at one of these shows.

My one flaw with the live tracks is the remastering of them. I would rather hear all the imperfections, and the rawness you experience at the shows. Now, I am not saying include the soundboard(they sound terrible when you listen back), but smooth it over just enough to keep that live feel.

Hopefully, any of the flaws can be corrected in a live film version, which surely has to be inevitable to celebrate a tour of this magnitude.

Of course, my absolute favourite will probably always be ‘You Need Me, I Don’t Need You,’ and it hasn’t changed after listening to it on this tour. The delivery, the flow, and the lyricism have always been top-class on this. Now, I am going to hopefully do this once this year; who knows? I am going to pick tracks you should avoid because there were far too many excellent tracks.

Songs to avoid: ‘Sing’, ‘Bad Habits’

9/10

Week 38: Snow Patrol- The Forest is the Path

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Snow Patrol. Are they Irish? Or Scottish? After all, they were founded in Dundee in 1994 by Irishmen. I am unsure how I got into the band, but the first song I heard was ‘Spitting Games’ which was released in 2003. The band already had six singles by then and two albums that absolutely flopped before releasing their breakthrough, “Final Straw”, in the same year. Of course, they are best known for ‘Chasing Cars’, ‘Run’, and ‘Set the Fire to the Third Bar’, the latter featuring Martha Wainwright. They have also supported Oasis and are usually on the main stage at various festivals. There have been two changes in the band: their drummer, Johnny Quinn, and bassist, Paul Wilson, both departing. 

Now, onto the album, ‘Years that Fall’ takes inspiration from fellow Irishmen U2. However, I found it quite a challenging record to listen to. I associate the band with indie rock, but instead there a plethora of piano ballads. Quite downtempo for a band that’s usually in-your-face. Don’t get me wrong some of their piano and downtempo songs are classics, but this album is a very hard listen. While the record’s second half shows some promise, the album as a whole seems to lack the ‘spark’ that usually characterises the band’s music. I cannot see many of these songs being used on the tour. I know Gary Lightbody has faced adversity recently, which is evident in the tempo of the tracks, but the songs that make it on the setlist will be used during the quieter moments.

I also like ‘These Lies’ and ‘What if Nothing Breaks?’ I believe the latter is your typical Snow Patrol track. I cannot remember, as most of the record is just downtempo. The album is an hour long, and that’s quite long for modern records. However, the pacing and lack of variety in the songs make the listening experience feel even longer. Sorry, guys. It’s far from your best work.

Song recommendations: ‘Years that Fall’, ‘What if Nothing Breaks?’, ‘These Lies’

4/10