FIFTY3FRIDAYS: X MARKS THE SPOT I’M IN
- 6 hours ago
- 6 min read
Now and again, I find myself questioning why I post this weekly column. While the first article appeared in May 2017, Fifty3Fridays only got going on a regular basis three years later via The A-Z of Self Isolation. Who remembers that! While I can’t claim a big readership, the reason for persisting with it is simply to champion music that I particularly like, chiefly drawn from independent and grassroots artists. To amplify and so make the whole exercise more worthwhile (for the artists, not for me), I also share my weekly scribblings on Instagram, X and Linked-In and hope those featured might also like and share.
Photo of X logo by Alexander Shatov
Since Elon Musk took over Twitter and renamed it the ubiquitous X, I struggle over whether it is right to remain on a platform that harbours fakery, misconceptions, outright hatred, vile abuse, utter contempt mostly for people who don’t deserve it and a plethora of related nastiness all in the misguided name of free speech, whatever that is. I report hateful stuff regularly but the AI that polices this consistently states that no violation of their rules took place. Last week, determined to walk away, I said this might be the last post I ever do on X and then Paul Heaton kindly goes and thanks me on the site and my numbers rise twelvefold versus the norm. The jury is now out.
While the jury deliberates, we begin this week’s song selection with our old friends, Barbara, who I have regularly featured since the Brighton 5-piece first hit us with its brilliant debut single, “BRB” in February 2021. The summer is proving to be fruitful for Barbara. In July, it opened for Sheffield pop legends ABC at a sunny Hampton Pool - you’ll see ABC’s Martin Fry in the photo above - while last week Barbara became a Saturday afternoon delight at Fairport Convention’s Cropredy Festival. You can read how they got on at the latter via the marvellous At The Barrier music site. In fact, do stop by and read their live reviews of each of the three days there.
The latest single from Barbara, “The Lycra We Live In”, draws its lyric imagery from wrestling; indeed, Jodi Wood’s artwork for the track reimagines brothers Henry and John Tydeman in Big Daddy and Giants Haystacks garb. The routines of daily living and how things change as you grow up and learn new stuff are examined through the lens of a combat sport with a strong element of scripted entertainment to it. There’s a touch of 10cc to the brothers’ harmonies and Dean Llewellyn’s guitar flourishes while the whole shebang rolls along a la rollicking piano. You can see if Barbara is coming to a town near you by checking the ticket link here for its Evening with Barbara Winter Tour. Worth passing a few pubs for, if you recall the old Younger’s Tartan ads [showing you age now – Ed].
From Brighton we head west to Bath, home of Young Martyrs, a four-piece formed in 2020 since when it has steadily built a reputation as one of the South West’s most compelling independent bands. Having sold-out its own headline shows, supported acts such as Badly Drawn Boy, Hozier and McFly, appeared at Glastonbury and Rock Oyster and notched up two studio albums, the indie-americana outfit release a third LP today, Might Just Be Enough. The title hints at the uncertainty of life as musicians, optimistic that the ‘big breakthrough’ may be on the horizon but with a dose of realism that the hard graft goes on.
“Only You” is the band’s final single release ahead of the album. It opens out as an exchange of feelings between two lovers, extolling the virtues and riding the tough times over the course of a relationship. The best of times is captured in the line “Because you burn the hardest, the wildest, the brightest.” There is a sense of time and space about this song which is framed by classic rock tones; a meeting of UK indie rock with Americana shadings. The drums are very much to the fore as the song develops with bass adding solidity and chiming guitars giving the song an anthemic ring. Vocally and instrumentally it’s a great ensemble piece and what the brothers Gallagher would call a tune.
Photo of Ásgeir by Isleifur Elí
We depart these shores next to encounter Icelandic singer-songwriter Ásgeir. He was responsible for Dýrð í dauðaþögn, the best-selling debut album in Icelandic history in 2012; a record conceived in his farmhouse bedroom featuring lyrics written by his poet father. The lyrics were subsequently translated with the help of fellow artist John Grant to create its English-language counterpart, In the Silence. Three further studio albums followed and in February this year a fifth emerged in the shape of Julia. Ásgeir penned the latest record’s lyrics by himself for the first time to create a deeply reflective canon, infused with nostalgia, past regrets and hopes for the future.
“Hunter” is one of four bonus tracks on a deluxe edition of the album Julia to be released on 9 September. It is a metaphorical yet self-effacing take on confronting your demons couched in the imagery of the hunt: “I'm not too skilful with a gun / But still I'm on my hunt” he confesses. It is easy to get lost in the sheer beauty of Ásgeir’s intimate falsetto and sweeping instrumentation. You can hear that in all its glory on the album version on Bandcamp now ahead of the full deluxe release but I was equally taken with the stripped-down rendering here on YouTube. You sense that writing and composition is therapeutic for the artist and that comes across as a balm for the listener.
Photo of The Buoys by Giulia McGauran
From Iceland to Australia now where we find The Buoys, who are nowt to do with nautical pastimes, although the band’s origins are in Cronulla, a beachside suburb in southern Sydney. The all-female four-piece comprises Zoe Catterall (lead vocal/guitar), guitarist Hilary Geddes, Courtney Cunningham on bass and Tess Wilkin (drums). Zoe picked up a guitar and started The Buoys in 2016 after bemoaning the lack of women on stage. After a series of EPs, we fast forward to 2024 which saw the release of a debut album, Lustre. Two years on and a follow-up, Concrete Cowboy is set to drop in October.
Out today and previewing the new LP is the single “Alone In Vegas.” The song draws inspiration from the 1985 cult classic of queer cinema, Desert Hearts, with the band positioning it as a kind of sequel to the movie which ends without resolving the future of the two lead characters, Cay and Vivian. The song “imagines that Cay and Vivian run into each other in the future in Vegas before getting married and moving to New York together." Trading softer, more vulnerable verses with louder carpe diem choruses, The Buoys show they rock out with the best. UK audiences will be able to catch The Buoys when the band drops anchor here next February. I recommend you jump on board. [I thought you said no nautical stuff – Ed].
Photo of Kodaline by Jennifer McCord
We close this week’s island hopping with a visit to the Emerald Isle, home of one of my favourite alt rock bands, Kodaline who I remember seeing play, when relatively unknown, in the tiny basement of the Sebright Arms in East London way back in 2012. Due to the wonders of the internet, you can still read my review of the fledging band on Consequence. I felt then that this was a band destined to fill stadiums and achieve international success; that its songs would resonate with many and be easily relatable. I use Kodaline as an example to any young band dreaming of hearing their words sung back by a festival crowd. Sadly 14 years on, Kodaline is calling it a day but not before delivering a fifth and final album We Were Only Young on 2 October and completing a world tour, closing in its home city of Dublin on 18 December. It should be some homecoming.
The latest single from the album, “Back To Me”, shows no let-up in emotive quality, with the band’s ability to tug at the heart strings while laying down a true anthem undiminished. Lead singer Steve Garrigan describes the song as "about being there for someone who's given up on themselves." There may be sadness but there is always hope and this thread seems to run right through Kodaline’s work. I am reminded of “All I Want”, the song that really helped Kodaline reach a mass audience by resonating with so many people. Get the Kleenex out ready for the sequel too!
