In November, we wrote a review of Van Plating’s excellent “Orange Blossom Child.” The record is not only one of our favorites of 2023 but carries an important legacy forward. Honestly, that review still expresses some of the reasons that her record spoke to us here at Your Tuesday Afternoon Alternative. It was a real, authentic record made by a true original.
Authentic country music is more than just a genre; it’s a soulful narrative that weaves together the threads of everyday life, love, heartbreak, challenge and the “ups and downs” and occasional sideways glance of the anything but simple, human experience. Rooted in the rural landscapes of America but over time about far more than bucolic existence, this musical genre emerged from the folk traditions of the 19th century and has since evolved into a distinct and influential form of artistic expression while exploring the problems of place. One can become too rooted. However, for Van Plating that is not a dilemma without solution. Her music answers the mysteries of place and self in a language that does not speak down to the listener. That authentic puzzle solving is part of what makes Van Plating’s music so damn powerful. Through this record we come to see ourselves and wonder about the places, spaces and home that made us.
At its core, authentic country music resonates with credible, truthful and genuine storytelling. The lyrics often mirror the struggles and triumphs of ordinary people, reflecting the joys and sorrows of life. Artists like Hank Williams, Johnny Cash, Willie Nelson, Loretta Lynn, and Dolly Parton have become iconic figures, not only for their musical talents but also for their ability to capture the essence of the human condition through their songs. And equally important is the characteristic of real country music that all too often becomes a punch line of a bad joke — a sense of place. This idea of place, town, community, neighborhood, or area becomes part of the music. Whether the lyric is focused on an effort to escape the clutches of being held down because of where you come from or a reflection of the myriad influences of the place you once called home. Those experiences — in that place — made you who and what you are as a person. Home is inescapable because it lives within you. These musicians, and we count Van Plating among them, have played a pivotal role in shaping of modern country music and contributing to its enduring appeal.
One hallmark of authentic country music is its connection to the roots of lived experience and culture. With influences from folk, blues, and gospel music, country songs tell the stories of hardworking individuals, the beauty of the countryside, and the complexities of human relationships. The twang of a steel guitar, the melancholy of a fiddle, and the honesty in the lyrics create a unique and evocative sound that speaks to the soul.
Furthermore, authentic country music serves as a reflection of one’s cultural identity. It often embraces regional nuances, providing a snapshot of life in that place, that home. Whether it’s the dusty trails of the Southwest, the rolling hills of Appalachia, or the vast expanses of the Midwest, country music paints a vivid picture of the landscapes that have shaped its artists and their stories.
In a world where musical genres continuously evolve, authentic country music stands as a timeless sacrament to the enduring power of storytelling through song. Its ability to connect with listeners on a deeply personal level transcends generations, making it a cherished and enduring form of musical expression. As long as there are stories to tell and emotions to convey, authentic country music will continue to resonate, carrying the rich tradition of music into the future. And Van Plating with her spirited and vibrant “Orange Blossom Child” carries that tradition forward.
This time of the year every music writer’s fancy turns to the ubiquitous quest for the best of/favorites of the year. We start with a list of albums and singles we played on YTAA at least three or four times. Then we consider what songs and records slipped into our consciousness and we spent more time simply thinking about that song, that album — those words. If there is a pattern to what we loved in 2023, it is a bit hard to pin down. If we take a wild stab at an answer, 2023 was a year of amazing music from powerful, strong, thoughtful women musicians. From the incredible voice of Sarah Rudy in Hello June to the authenticity of Kim Ware and Van Plating across to the irresistible guitar tones and perfect singing of Tamar Berk, Blondshell, Beth Bombara, and Lydia Loveless, so many outstanding records were made outside of the men’s club this past year — and that is a welcome change.
Every writer, just like every music fan, has styles and sounds that they are irresistibly pulled towards. Clearly, Dr. J loves guitar. For some writers the list is likely to be diverse, reflecting a fusion of genres and innovative production techniques. And that is fine. With the continued influence of technology, some writers are drawn to artists who experimented with new sounds and collaborate across musical boundaries, creating a sonic outcome that resonates. For other writers, the search for a pure direct authenticity of instruments lead them to the streets where the music is painted without electronics. Acoustic and stripped down arrangements played on traditional equipment bring gratitude to the heavens for that music from some writers.
When crafting a list of favorites from the year, some writers will consider representation. Genres such as indie pop, electronic, and hip-hop may continue to dominate, with emerging artists bringing fresh perspectives and pushing creative boundaries. Collaborations between mainstream and indie artists could lead to unexpected yet captivating musical experiences. Shoegaze, for example, has made many returns after some commentators spilled tremendous amounts of ink over the idea that shoegaze had come and gone. Music in the year 2023 saw several bands who represented that style.
Lyrically, many of the themes explored in 2023 revolve around social issues, personal growth, feeling whatever the artist needs or desires to feel, perhaps some of the “Best” representations for the year are the songs that grab and do not let go of the human experience. Artists may use their platforms to address pressing matters, providing listeners with thought-provoking content that goes beyond mere entertainment and that might be the magic that some writers are drawn to when considering all the records and songs that came out during one trip around the sun.
There are some ‘off limits,’ ‘don’t walk on the grass’ ideas for us here at Your Tuesday Afternoon Alternative. Sure, the rise of virtual and augmented reality experiences may revolutionize the way music is consumed, offering immersive and interactive performances that redefine the traditional concert experience. But for us, human beings need to be part of the creation and experience of music. Streaming platforms might incorporate cutting-edge technologies to enhance the listener’s engagement with the music and while we can and should debate the lack of compensation, which is only going to get more challenging in 2024, AI generated melodies, tones, and arrangements of notes are not considered for inclusion on our favorites of the past year.
The best albums of 2023 could be those that not only showcase exceptional musical talent but also tell compelling stories or provide a unique perspective on the world. Artists who successfully blend innovation with authenticity may find themselves at the forefront of critical acclaim and commercial success and, to be entirely transparent, will immediate draw our attention for a favorites of the year.
Ultimately, the best music of 2023 will likely be a subjective experience, as individual tastes vary widely. However, it is important to consider this a reflective exercise. Every year is poised to be an exciting time for music enthusiasts, with a plethora of sounds and styles to explore, pushing the boundaries of what we thought possible in the world of music. Every year is full of promise. No annual march of the calendar is without merit and new experiences. So, to create a list of the music that moved you in 2023, is not to close the door to new auditory love but to remember we break our hearts so we can fall in love again with songs and albums we have not even heard yet.
The list below is our start on our favorites from this past year. A longer set of articles will come out exploring what it was that caught our attention in these albums and songs.
This music transcends time and place, resonating with listeners in their quest for meaning and understanding. The lyrics serve as a mirror, reflecting the innermost thoughts and emotions that often remain unspoken. Hello June’s “Artifacts” is a sonic masterpiece — and we are prepared to die on that hill to defend that assertion — that deserves a place in the hearts of all music fans. It is a timeless record that captures the essence of the human experience, a treasure chest of emotions waiting to be discovered with each listen.
In no particular order of importance but records that we believe were mightily impressive:
The 1984 Draft – Best Friends Forever
The Replacements – Tim Let It Bleed Edition (Ed Stasium Mix)
Tamar Berk – Tiny Injuries
Smug Brothers – In The Book of Bad Ideas
Elephants and Stars – Get Your Own Army
The Nautical Theme – Get Somewhere
Palm Ghosts – I Love You, Burn in Hell
Van Plating – Orange Blossom Child
Lydia Loveless – Nothing is Gonna Stand In My Way Again
Kim Ware – Homely
Bottlecap Mountain – O Fantastik Melancholy
Beth Bombara – It All Goes Up
Nicholas Johnson – Shady Pines Vol. 2
The Pretty Flowers – A Company Sleeve
The Connells – Ring (Deluxe Edition)
Black Belt Eagle Scout – The Land, The Water, The Sky
Blondshell – Blondshell
Achilles Tenderloin – Tincture for Trouble
Mike Bankhead – I Am Experienced
Jason Isbell and the 400 Unit – Weathervanes
Some of our Favorites of 2023:
Arthur Alexander – …Steppin’ Out!
Mommy – Be Your Own Pet
Frankie Rose – Love as Projection
Cold Expectations – Static Reactions
Connections – Cool Change
The Connells – Set The Stage
Dolph Chaney – Mug
En Attendant Anna – Principia
Graham Parker & The Golden Tops – Last Chance to Learn the Twist
Guided By Voices – Nowhere to Go But Up/Welshpool Frillies
H.C. McEntire – Every Acre
Jess Williamson – Time Ain’t Accidental
John P. Strohm – Ready for Nothing
Jphono1 – Invisible Futures and Make Believe Pasts
Louise Post – Sleepwalker
Love Rat – Howl at the Moon
Matt Moran – Heartache Kid (Acoustic)
The Radio Field – Don’ts and Do’s
Shannon Clark & The Sugar – This Old World
Special Friend – Selkie
Tino and DJ Marrrtin – La Pie Bavarde
Trapper Schoepp – Siren Songs
Singles
No One Sphere – Fingerz to Lips
Elephants and Stars – Bled Out At The Scene
David Payne – Best Intentions
We Met In Paris – Mont Blanc Massif
The National – Eucalyptus
sparkle_jets uk – He’s Coming Out
The Well Wishers – So Important
Tod Weidner – Raising Pain
Mike Bankhead – Latent
Given Names – Makin’ Eyes
Cowboys in The Campfire – Here We Go Again
Teenage Fanclub – Foreign Land
Hannah Jadagu – Lose
High on Stress – Over-Thru
Jeremy Porter and the Tucos – Five-Foot-Three and Tiger Eyes
The holiday season is traditionally accompanied by the familiar sounds of sleigh bells, cheerful choirs, and iconic tunes from well-established artists. However, for those with an inclination towards alternative and independent music, the indie rock genre offers a refreshing twist to the festive soundtrack. On November 21st, Tom Gilliam and I celebrated our 13th annual YTAA Indie Holiday show. We played music from Dolph Chaney, The Popravinas, The Ramones, The Pogues, Darling West, Heather Redman, Fitz and The Tantrums, My Morning Jacket, Van Plating, Olivia Frances, The Surfajettes, Best Coast, Trey Stone and The Ringers, Calexico, Librarians with Hickeys, Debra Devi, Fountains of Wayne, The Decemberists, Joey Ramone, Bad Religion, Heartless Bastards, The Killers, and Dayton’s own Escape Velocity among others over three hours. I wanted to publicly thank Tom Gilliam of the excellent Dayton-based band Ghost Town Silence, for doing this special show with me for over a decade. I wondered what is it about independent music that allows for the creation of exciting new holiday music. So, if you will indulge me as we enter the holiday season, I will delve into the world of indie rock holiday songs, exploring the charm and uniqueness they bring to the season.
Taking a break from tradition can be a healthy and positive experience. Indie rock holiday songs provide a welcome departure from the conventional jingles and carols that dominate the airwaves during the festive season. Unlike the predictability of traditional holiday music, indie rock artists infuse their creativity into the lyrics and melodies, offering a fresh and sometimes irreverent take on the holiday spirit. The departure from traditional sounds allows listeners to experience the season with a new perspective, embracing the diversity that indie rock brings to the table.
One of the hallmarks of indie rock is its ability to convey complex emotions through music, expressing complex emotions — that special sense of being hit “in the feels” can be a moment of self-reflection. While traditional holiday songs often focus on joy and celebration, indie rock holiday tunes explore a broader spectrum of feelings associated with the season. From the melancholic reflections on solitude during the holidays to the bittersweet nostalgia of past celebrations, indie rock captures the multifaceted nature of the holiday experience. Artists like Sufjan Stevens, The Shins, Debra Devi, and Heartless Bastards weave intricate narratives that resonate with those who may find the holiday season to be a mix of joy and introspection. The Decemberists’ reinterpretation of Big Star’s Jesus Christ, from their album 3rd released in 1974, illustrates this approach quite clearly. The band’s official video incorporates the idea of a Yule Log experience into the music video.
Indie rock holiday songs showcase a range of perspectives on the holidays, reflecting the diversity of experiences within the indie rock community. One of the great aspects of alternative and independent music is the opening to diverse perspectives on the holidays. These songs often touch upon themes like non-traditional celebrations, unconventional family dynamics, and the challenges of navigating societal expectations during the festive season. The narratives presented in indie rock holiday songs provide a sense of relatability for listeners who may not find their own experiences mirrored in more mainstream holiday music. The 2016 original holiday song, “I Feel It In My Bones” from The Killers’ alternative holiday album “Don’t Waste Your Wishes” takes a dark, almost sinister interpretation of Santa Claus.
Indie rock, by its very nature, is a genre that thrives on experimentation and innovation. The best characteristic of an independent song is the surprise you discover when you hear it. Dolph Chaney’s excellent “Jingle Bells” set to Van Halen’s “Panama” is a complete surprise as well as a delight! Big Stir Records has released several fantastic indie holiday songs as part of their Yuletide Wave. When applied to holiday music, the willingness to explore and recreate results in a rich tapestry of unique soundscapes in which to capture the seasonal vibe. From the indie alt-country and folk-infused sounds of Trey Stones and The Ringers’ “Santa, Please Bring Me a Guitar” to the rock and roll vibes of The Ramones “Merry Christmas (I Don’t Want to Fight Tonight),” these songs reimagine the sonic landscape of the holidays. The infusion of indie rock elements into holiday music introduces listeners to a sonic experience that goes beyond the traditional, breathing new life into the seasonal soundscape.
Indie rock holiday songs offer a delightful departure from the familiar tunes that dominate the airwaves during the festive season. By expressing complex emotions, presenting diverse perspectives, and exploring unique soundscapes, indie rock artists contribute a distinct flavor to the holiday music repertoire. The unconventional jingles and alternative carols provide an avenue for listeners to connect with the holiday spirit in ways that resonate with the ever-evolving nature of contemporary music. So, this holiday season, consider expanding your playlist to include indie rock gems that bring a touch of creativity and innovation to the festive sounds we hear this time of year.
Van Plating, the enigmatic musical virtuoso, has taken us on yet another mesmerizing journey through the polychromatic landscapes of her fertile musical imagination with her latest record, “Orange Blossom Child.” In this auditory odyssey — her third full-length album — Van Plating weaves together elements of Americana, bluegrass, folk, country, and rock music to create an album that’s nothing short of a contemporary sonic gestalt. With a nod to the spirit of experimentation and innovation that characterizes the country music troubadours, Outlaw Country, and innovators of the past (notably Tom Petty, Lucinda Williams, and Gram Parsons), Van Plating presents us with a record that sounds both nostalgic and profoundly modern; eschewing the contemporary bro-culture of country music, she has created a record that spins from introspection to controlled chaos while staying pure within a perspective that is far too rare in the country music of the charts. This is personal music made by a real, genuine person not by a committee trying to cram in all of the right words into a song to win a future promise of commerical endorsements.
Van Plating has always been a visionary artist, do yourself a favor and listen to her unbelievably captivating “The Way Down” from 2021 to hear her ability to paint a song with a hum or a vocalization. She has always been unafraid to traverse uncharted musical territories or bring together strands of sounds that when spun together capture the listener of a web of imaginative weaves of sound. She has accomplished this musical aerobatic artistry while staying true to her musical vision, and “Orange Blossom Child” is no exception. From the beginning of the album, it’s clear that Van Plating has embarked on a new sonic exploration that shows how country music can be made personal and political simultaneously. The record opens with the title track, “Orange Blossom Child,” a slow-build composition that blends drums, slinky guitar, and ethereal backing vocals, setting the stage for the sonic journey ahead. Plating’s distinctive vocals, filled with a sense of longing and wonder, guide us through this hypnotic dreamscape.
The album’s production quality is nothing short of exceptional. Every instrument and sound is meticulously crafted, and it’s evident that Van Plating and her team spared no effort in making every note count. The richness and depth of the arrangements are a testament to her dedication to her craft, as well as his commitment to delivering a listening experience that transcends the ordinary. The songs on this record defy the expected overly slick feel of contemporary country music.
One of the standout tracks on “Orange Blossom Child” is “Hole in My Chest (Big Feelings),” a sprawling acoustic and otherworldly composition that showcases Van Plating’s penchant for experimentation. Featuring Kirby Brown, the song begins with a mesmerizing guitar cadence that gradually gives way to layers of intricate vocals and haunting vocal harmonies. The result is an auditory space that feels both hauntingly beautiful and transcendental. Van Plating’s lyrics in this track delve into themes of being lost and yearning, adding an emotional depth that complements the musical intricacy.
Another highlight of the album is the track “The Heron,” which is a testament to Plating’s songwriting prowess. This song, featuring Elizabeth Cook, has a timeless quality to it, with a melody that feels like it could have been plucked from the annals of classic country music or written in the car listening to Lucinda Williams whether the road is gravel or paved. Van Plating’s storytelling ability shines through in this tune, with lyrics that invite the listener into a world of vivid imagery of place and a few moments of introspection about what we take from the places we come from and only realize later that impact was real and powerful. The song’s arrangement, featuring steel guitar, fiddle, and perfectly paired voices, creates a sense of intimacy and nostalgia that will have all of us wondering about how much of who we have become was/is a result of where we were raised.
“Orange Blossom Child” is an album that rewards deep and repeated listening. It’s a sonic tapestry that reveals new layers and nuances with each play that take elements of various genres and reassemble them. The complexity of Plating’s compositions is paired with a sense of accessibility, making it a record that can be enjoyed by both seasoned music aficionados and casual listeners alike. One can be a fan of Bluegrass and see the album as a revelation for its use of fiddle and peddle steel. Another listener could be a fan of Tom Petty and love the swing in the arrangements. An Outlaw Country fan can feel the influence of Willie Nelson, Waylon Jennings, and Jessi Colter across several tracks. The album’s diversity is evident in tracks like “The Hard Way” and “Jesus Saved Me On The Radio” which introduce a heavier, melodic electrified sound, reminiscent of the country rock of the late ’60s and ’70s with a sly nod to Gram Parsons and The Flying Burrito Brothers. Van Plating effortlessly shifts between musical styles, showcasing her versatility as an artist.
The record’s later section introduces a sense of introspection and vulnerability, with tracks like “The Sugar Plam Club” and “Zion is a Woman.” These songs offer a quieter and at the same time almost more playful side of Van Plating’s artistry. “Joel Called The Ravens” features a sway that captivates a listener with gentle vocal harmonies that lay upon the ground never forced but still inescapable, creating a hushed and meditative atmosphere. The spoken section of the song only adds to the storytelling as well as builds the music into the emotional depth of the song even further. “Joshua,” on the other hand, is a fiddle-driven ballad that showcases Van Plating’s ability to convey deep emotions through her voice and lyrics. Sometimes a whisper, a hum, a carried note convey as much as the loudest, longest yell.
As the album progresses, it becomes clear that “Orange Blossom Child” is a thematically connected album of sorts, with recurring themes and motifs that link the songs together through a reflection on place – often depictions and symbols of Florida – but many of the references could be from many different locations. Several songs explore the consequences of the choices we have made and the search for family and connections that move all of us. Often it is in the eyes of others that we truly see ourselves. The sense of a narrative arc is enhanced by Van Plating’s meticulous track sequencing, which takes the listener on a journey of self-discovery and opens the door to the possibility of self-transformation. The album’s closing track in particular, “Joshua,” ties the various threads of the record together, delivering a cathartic climax that leaves a lasting impression as the song fades around a heartfelt piece on the fiddle.
Lyrically, “Orange Blossom Child” is a poetic and personal journey about the places we feel and call home. Van Plating’s lyrical themes touch on universal subjects such as love, time, and the human condition. Her words are imbued with a sense of profound spirituality, inviting the listener to contemplate the deeper mysteries of life. Lines like “Good girls have edges that the boys can’t break” (from the opening title track) exemplify the lyrical depth and personal subject matter found throughout the album.
In terms of musicianship, Van Plating is joined by a talented ensemble of musicians who contribute to the album’s rich and diverse sound. All of the featured musicians add to the musical stew in unexpected and exciting ways. The synergy among the musicians is palpable, creating a sense of cohesion that is vital to the album’s overall impact. The intricate guitar work, the ethereal textures on fiddle, peddle steel, and the percussion arrangements whether intricate or all flat out on fire all come together to assemble a sonic landscape that is uniquely Van Plating’s own.
“Orange Blossom Child” is a testament to the power of music to transport and transform even if the discussion is tied to home. It’s an album that invites listeners to immerse themselves in its otherworldly sonic tapestry and embark on a journey of self-discovery while revealing the roots of where we stand and live. Van Plating has once again proven herself to be a musical visionary, unafraid to push the boundaries of creativity and artistry. With “Orange Blossom Child,” she has gifted us an album that will surely show country musicians that a statement can be so much more than a facile sing-along looking for a corporate sponsor. The album is a classic that transcends the confines of any specific era of country music.
In a country music industry often dominated by commercialism and formulaic compositions, Van Plating’s “Orange Blossom Child” is a refreshing and ambitious work of art that reminds us of the boundless possibilities of music. It’s a record that demands to be experienced, to be savored, and to be contemplated. Listen to this album with friends because you will want to talk about it. With this album, Van Plating has solidified her place as one of the most innovative and imaginative musicians of our time, and “Orange Blossom Child” is evidence of her enduring commitment to the pursuit of musical discovery.
Finally, Autumn’s here (or ‘Fall’ as I believe my colonial chums prefer it!) and we’re back into the proper ‘grown up’ seasons. No more adverts with teeth-whitened, permatanned ‘eejits’ enquiring whether you’re body’s ‘beach ready’ in the accusative tone that suggests they’re talking about the latest pod of whales that’s lost its way and floundered! At last, we’re into the introspective comfort zone – the time of chilly dusks, open fires, unfashionable knitwear, and the thought of the rapidly approaching festive season.
Growing up in the UK in the early 90s, that glorious slide into Christmas and the New Year inevitably meant starting to ponder what John Peel would be including in his end-of-year ’Festive 50’ of favorite musical offerings from the preceding 12 months. After what seems to have been a particularly bountiful year so far, I was starting to mull over just that question; “What have been my songs/records of the year so far?” And, as happenstance would have it, this same quandary was also exercising the inestimable Dr J.
Thus, following a brief bit of Twitter banter, I found myself landed with some homework! I mean, I know in the ‘social media’ age everything’s more interactive, but I certainly didn’t foresee being set an assignment from my favorite DJ! So, buckle up, strap in, or just assume the brace position as we careen towards what I’m going to pompously call my ‘Festive Fiasco’! And if this doesn’t get me Magna Cum Laude in Rock ‘N Roll then harsh words will be had.
Anyway, enough of the waffle and down to business! Whilst it would be easy to dash off a massive list of all the songs that have really made a mark for me this year, I thought I’d try and just pick the five that have resonated the most. So, in no particular order, here goes…
1a. – Son Volt – Route (from the ‘Trace’ LP). Yes, I’m well aware this first surfaced in the mid-90s. But this is my post, so I make the rules. Capiche?! Anyway, my justification is that Dr. J played this on Your Tuesday Afternoon Alternative the other week and, frankly, everyone needs a bit of Jay Farrar in their lives. To my mind, he’s got an uncanny ability to make the listener empathize with the protagonist/antagonist in his songs, which leads us neatly onto…
1b. – Matt Derda & The High Watts – Moonshine. In a similar vein to Farrar, Matt Derda’s got the enviable ability to summon up characters that inhabit his songs in 3D, with fully rounded lives. None more so than the back woods distiller/bootlegger who’s the subject of ‘Moonshine’, originally featured in his 2022 ‘You Didn’t Know’ release. Whereas the album version can be thought of in terms of a widescreen, technicolor ‘family matinee’, the opening track from the gratefully received ‘The Law Office’ Live EP is the full John Woo ‘X-rated’ ketchup splatterer. Due in no part to young Derda’s blistering guitar work. More please!
2. Mike Bankhead – Latent. Ok, could easily have gone with the beautiful ‘Mont Blanc Massif’ from Mike’s project with Ruth Fawcett (Yeah! Up the Brits!), ‘We Met In Paris’, but just had to go with this barnstormer from the ‘I Am Experienced’ EP. Casting the mind back, I’ve got a feeling that the first episode of ‘Your Tuesday Afternoon Alternative’ that I caught featured Mike in session and that’s why this one’s probably stuck with me. Regardless, you just can’t argue with the driving riff and barely contained fury/disdain that Mike brings with the lyrics. Definitely get the impression that, if it wasn’t in polite company, this song would happily take you outside and give you a proper kicking by the stage door. Proper punk in my book. This brings me to my next pick…
3. Elephants & Stars – Bled Out At The Scene. The first salvo from their awe-inspiring ‘Get Your Own Army’ EP, which features more hooks than a pirate convention. Whilst featuring riffs that’d strip the paint off a battleship at 1,000 yards, there’s a real delicacy in the lyrics, that mourn the seemingly inevitable dissolution of a relationship. No anger, no accusations, just helplessly observing the inevitable. Which, inadvertently, segues neatly to my next pick.
4. Will Payne Harrison (feat. Liv.) – Full Moon Fever (from the ‘Tioga Titan’ Deluxe edition LP). If I was given an award for ‘Single of the Year’, then I think that this would definitely be somewhere in the top one. Unlike ‘Bled Out At The Scene’, this haunting beauty delicately documents the end of an affair with two parts regret, three-part recrimination, and a good dash of whisky in the face. Will’s deft lyricism and stripped-back musicianship are heartrendingly brought to life thanks to the vocal contribution of Liv., whose delivery here is nothing less than immaculate. Whilst the prevailing rule may be that ‘earworm’ tends to refer to more upbeat, ‘poppy’ numbers, this one sticks with you and you can’t help but find yourself humming along to it as you go about your day. A classic? Well, you tell me?
5. Van Plating – The Heron. To be totally transparent, I could quite happily have picked any and all tracks from Van’s new record, ‘Orange Blossom Child’, for my ‘best of the year’ so far. It really is the ‘Swiss Army Knife’ of records, from sumptuous stompers like the title track (featuring the aforementioned Mr Harrison on Killer Axe), through to the more delicate numbers like ‘Joshua’ that tug the heartstrings as deftly as the most practiced of pickpockets. However, for me, it’s this debut single that just demands attention. It’s not so much a song as the soundtrack to a songwriter’s life, where you just need to close your eyes and you’re utterly immersed in her environment. And yet, like all superstars (and I’m absolutely convinced that we’re lucky enough to be witnessing ‘one of our own’ heading ineffably towards the ‘big leagues’), The Heron wisely counsels that whilst we mere mortals can look, we’re not getting to the other side of the velvet rope. In the third verse, Van sings, “Looking for a hint to come my way. A billboard I could stand on.” And there’s a sense of inevitability about it. Some folks just belong on that billboard, and I’m convinced Van Plating is next in the queue. And if there’s one thing we Brits know about it’s queuing!
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