"Hide" EP and Launch reviews
Malcolm Carter, Penny Black Music, July 2017 says - "It’s becoming increasingly difficult to keep up with Gloucester singer-songwriter Hattie Briggs this year. At the beginning of 2017 Hattie announced, after releasing two excellent critically acclaimed albums and a handful of singles/EPs, that she planned to issue a limited edition EP in each month of the year. By the time this piece beams from your screen June’s instalment, ‘The Trio Sessions’, will have been released. June’s release is more of an album than an EP as Hattie, along with Jasmine Scott Neale and Matt Park, revisit a selection of Hattie’s back catalogue and re-record the tracks live. But it’s the May issue that is the latest to come this way and the EP, entitled ‘Hide’, features four new original songs from Hattie plus a live version of one of the tracks, ‘Just Breathe’.
Hattie Briggs didn’t arrive on the music scene showing promise; she appeared as an accomplished musician and songwriter from the very first time we heard her. The maturity shown in Hattie’s first release, the ‘My Shepherd’s Hut’ EP, belied her young years; here was a young woman who had it all musically, an ear for attractive, addictive melodies, lyrics that were easy to relate to, and a talented multi-instrumentalist to boot, a fact that often gets overlooked because of Hattie’s vocal skills. It matters not if Hattie’s songs are wrapped thoughtfully in one of Peter Waterman’s productions where she is backed by a full band and choir or if she is singing accompanied only by her own piano or acoustic guitar, as that voice is going to get you. This listener has never been in a room alone with Hattie Briggs but every time her voice rings out she’s there in the corner of the room singing just for me. Maybe it’s her story/songs that make you leave the world you are in for the duration and allow her to take you on her journey but maybe, just maybe, it’s down to that voice, a voice that could only emanate from England. Crystal clear and confident, this thing of beauty recalls all your favourite folk singers from the golden age of folk while strangely still sounding fresh and contemporary.
‘Red And Gold’, Hattie’s debut album, confirmed that here was an exceptional artist, and by the time her second album ‘Young Runaway’ appeared in 2016 it was obvious that she was an artist that, although finding her voice and sound from that very first EP, was not afraid to experiment a little with her music while not losing sight totally of her folk roots. The new songs on ‘Hide’ show once more that Hattie, although still only in her mid-twenties, is writing songs with more grace and insight than some who started making music decades before she was even born. ‘All You Wanted’, one of the tracks on ‘Hide’, displays all that makes Hattie Briggs such a remarkable talent. One of her longest songs at just over six minutes, not a second is wasted. Her voice immediately pulls the listener into the song. It’s so pure yet so powerful it just gets inside you. Peter Waterman once again proves that he’s the perfect producer for Hattie’s music. The shifts in shade and light, a remarkable vocal performance from Hattie and the input from the young, talented musicians that Hattie selects to bring her music to life is, as always, faultless. It all makes for a breathtaking experience. In contrast the title track, ‘Hide’ is just piano and that voice. It’s an intimate performance of the type that Hattie seems to have trademarked; it’s a real shivers down the spine performance.
‘Just Breathe’ is featured twice; one a band version and the other just Hattie and her piano. The former wouldn’t have sounded out of place on ‘Young Runaway’. Although Hattie appeared wise beyond her years lyrically since she first released her music, her words still make the listener catch their breath; such talent in one still so young. While the band version is undoubtedly more instantly appealing and Waterman has applied his usual skills there is something hauntingly beautiful about the stripped-back live version that in some ways makes it an even more powerful performance. ‘Never Been in Love Before’ is the song that’s been attracting the most attention due to a live video of the song; that performance says more than any words can why you need this voice in your life and that song on your shelf.
The ‘Hide’ EP is, more so than any of the other EPs released in Hattie’s '12 Months Of Madness' project, an extension of the work she started on the ‘Young Runaway’ album and, therefore, maybe has the edge over the previous four EPs so far released this year. But any song featuring Hattie’s voice especially when combined with her own lyrics really deserves your time and attention."
Hattie Briggs didn’t arrive on the music scene showing promise; she appeared as an accomplished musician and songwriter from the very first time we heard her. The maturity shown in Hattie’s first release, the ‘My Shepherd’s Hut’ EP, belied her young years; here was a young woman who had it all musically, an ear for attractive, addictive melodies, lyrics that were easy to relate to, and a talented multi-instrumentalist to boot, a fact that often gets overlooked because of Hattie’s vocal skills. It matters not if Hattie’s songs are wrapped thoughtfully in one of Peter Waterman’s productions where she is backed by a full band and choir or if she is singing accompanied only by her own piano or acoustic guitar, as that voice is going to get you. This listener has never been in a room alone with Hattie Briggs but every time her voice rings out she’s there in the corner of the room singing just for me. Maybe it’s her story/songs that make you leave the world you are in for the duration and allow her to take you on her journey but maybe, just maybe, it’s down to that voice, a voice that could only emanate from England. Crystal clear and confident, this thing of beauty recalls all your favourite folk singers from the golden age of folk while strangely still sounding fresh and contemporary.
‘Red And Gold’, Hattie’s debut album, confirmed that here was an exceptional artist, and by the time her second album ‘Young Runaway’ appeared in 2016 it was obvious that she was an artist that, although finding her voice and sound from that very first EP, was not afraid to experiment a little with her music while not losing sight totally of her folk roots. The new songs on ‘Hide’ show once more that Hattie, although still only in her mid-twenties, is writing songs with more grace and insight than some who started making music decades before she was even born. ‘All You Wanted’, one of the tracks on ‘Hide’, displays all that makes Hattie Briggs such a remarkable talent. One of her longest songs at just over six minutes, not a second is wasted. Her voice immediately pulls the listener into the song. It’s so pure yet so powerful it just gets inside you. Peter Waterman once again proves that he’s the perfect producer for Hattie’s music. The shifts in shade and light, a remarkable vocal performance from Hattie and the input from the young, talented musicians that Hattie selects to bring her music to life is, as always, faultless. It all makes for a breathtaking experience. In contrast the title track, ‘Hide’ is just piano and that voice. It’s an intimate performance of the type that Hattie seems to have trademarked; it’s a real shivers down the spine performance.
‘Just Breathe’ is featured twice; one a band version and the other just Hattie and her piano. The former wouldn’t have sounded out of place on ‘Young Runaway’. Although Hattie appeared wise beyond her years lyrically since she first released her music, her words still make the listener catch their breath; such talent in one still so young. While the band version is undoubtedly more instantly appealing and Waterman has applied his usual skills there is something hauntingly beautiful about the stripped-back live version that in some ways makes it an even more powerful performance. ‘Never Been in Love Before’ is the song that’s been attracting the most attention due to a live video of the song; that performance says more than any words can why you need this voice in your life and that song on your shelf.
The ‘Hide’ EP is, more so than any of the other EPs released in Hattie’s '12 Months Of Madness' project, an extension of the work she started on the ‘Young Runaway’ album and, therefore, maybe has the edge over the previous four EPs so far released this year. But any song featuring Hattie’s voice especially when combined with her own lyrics really deserves your time and attention."
There is an easy grace to the music of Hattie Briggs, whose latest EP “Hide” was launched at a packed Duffle Vintage Outfitters on Friday 19th May. A new venture for Duffle, the performance space and the shop’s distinctly unusual ambience made for a fascinating and delightful evening.
First on tonight are Cirencester’s (and indeed one of the country’s) finest purveyors of Americana, The Black Feathers. They are in fine form tonight - Sian has her eye on a couple of vintage jackets and urges us to visit the merch stand after the set to help pay for them, and the whole performance has a wonderfully buoyant atmosphere to it. There are new songs, too written on their latest American tour – the ballad, “Holy Water” and the uptempo “Three Stars” are the pick of the bunch, but for me the song of the set is a lovely version of “Homesick” from their album “Soaked To The Bone”. Great start.
We’re finding out that there’s one distinct advantage in the musicians we’ve come to see being surrounded by racks of vintage clothes - there’s no echo whatsoever in this venue, nothing to stop us getting undiluted sound, and aided by an excellent sound tech, we’re treated to a simply wonderful set.
Hattie Briggs chooses her accompanists well. Anyone who saw her beautiful performance at last year’s Stroud Fringe Festival will know that, and in this most compact venue tonight, her long-time cellist, Jasmine Scott Neale and guitarist Matt Park provide near-perfect arrangements for her wide variety of songs. She’s here to launch an EP tonight, part of a blizzard of music, which she calls the ‘Twelve Months Of Madness’ that will see a release every month throughout the year. We kick off with the first released track from that, “Never Been In Love Before” and it pretty much sets a standard for the evening which never drops. The consistency of the song writing and the arrangements is astonishing.
“Old Eyes”, one of my favourites, is an early highlight but when Briggs moves from guitar to piano and Park moves over from acoustic guitar to pedal steel, we begin to see the full potential of this trio - his work on “The River” is particularly fine.
There’s some good between-song banter and anecdotes as well, none more so than for “All About Love”, a song sung for a wedding at which the bride and groom had independently booked her as the surprise for one another!
The song of the evening though proves to be the title track of the EP, “Hide” - sung solo, against a delicate piano background, it is absolutely breathtaking, you could hear a pin drop. Beautiful.
The best ensemble playing is saved for Eva Cassidy’s arrangement of the Jazz standard “Autumn Leaves”, with Briggs’ voice soaring with immense power, Park’s pedal steel shimmering and Scott Neale, switching effortlessly between bow and pizzicato all evening, finally cutting loose. Glorious stuff.
We know there’s going to be an encore, because there’s no way the musicians can leave the stage through the throng, and when the final bars of “You Only Live Once” from the “Young Runaway” album finally leave us, the band has been onstage for more than an hour – the time has simply flown by.
A wonderful performance from an artist you can’t help feeling is on the verge of something really big.
Geoffrey Head, SLAP Magazine (Supporting Local Arts and Performers)
First on tonight are Cirencester’s (and indeed one of the country’s) finest purveyors of Americana, The Black Feathers. They are in fine form tonight - Sian has her eye on a couple of vintage jackets and urges us to visit the merch stand after the set to help pay for them, and the whole performance has a wonderfully buoyant atmosphere to it. There are new songs, too written on their latest American tour – the ballad, “Holy Water” and the uptempo “Three Stars” are the pick of the bunch, but for me the song of the set is a lovely version of “Homesick” from their album “Soaked To The Bone”. Great start.
We’re finding out that there’s one distinct advantage in the musicians we’ve come to see being surrounded by racks of vintage clothes - there’s no echo whatsoever in this venue, nothing to stop us getting undiluted sound, and aided by an excellent sound tech, we’re treated to a simply wonderful set.
Hattie Briggs chooses her accompanists well. Anyone who saw her beautiful performance at last year’s Stroud Fringe Festival will know that, and in this most compact venue tonight, her long-time cellist, Jasmine Scott Neale and guitarist Matt Park provide near-perfect arrangements for her wide variety of songs. She’s here to launch an EP tonight, part of a blizzard of music, which she calls the ‘Twelve Months Of Madness’ that will see a release every month throughout the year. We kick off with the first released track from that, “Never Been In Love Before” and it pretty much sets a standard for the evening which never drops. The consistency of the song writing and the arrangements is astonishing.
“Old Eyes”, one of my favourites, is an early highlight but when Briggs moves from guitar to piano and Park moves over from acoustic guitar to pedal steel, we begin to see the full potential of this trio - his work on “The River” is particularly fine.
There’s some good between-song banter and anecdotes as well, none more so than for “All About Love”, a song sung for a wedding at which the bride and groom had independently booked her as the surprise for one another!
The song of the evening though proves to be the title track of the EP, “Hide” - sung solo, against a delicate piano background, it is absolutely breathtaking, you could hear a pin drop. Beautiful.
The best ensemble playing is saved for Eva Cassidy’s arrangement of the Jazz standard “Autumn Leaves”, with Briggs’ voice soaring with immense power, Park’s pedal steel shimmering and Scott Neale, switching effortlessly between bow and pizzicato all evening, finally cutting loose. Glorious stuff.
We know there’s going to be an encore, because there’s no way the musicians can leave the stage through the throng, and when the final bars of “You Only Live Once” from the “Young Runaway” album finally leave us, the band has been onstage for more than an hour – the time has simply flown by.
A wonderful performance from an artist you can’t help feeling is on the verge of something really big.
Geoffrey Head, SLAP Magazine (Supporting Local Arts and Performers)
Duffle Vintage Outfitters in John Street isn't an obvious place for a gig but it provided a glorious setting for the gems offered up by Hattie Briggs last Friday evening (May 19th).
Back in January this focussed 24 year old announced 12 Months of Madness and boldly promised to issue a different limited edition CD in each month of 2017.
So it was that over 100 people squeezed into this eye-catching venue to catch Stroud's sweetest songbird launching May's release, the 5 track EP “Hide".
Amidst a colourful array of jackets, shirts, dresses, footwear, furniture, lamps and guitars the audience were first treated to a Tennessee-drenched set from husband and wife duo The Black Feathers.
It was the perfect warm-up: opening up ears to harmonies and hearts to human warmth.
There was a brief interval punctuated with free cup cakes courtesy of one of Hattie's superfans before we resumed.
Tonight Hattie's is flanked by stylish cellist/vocalist Jasmine Scott Neale and guitarist/pedal steel maestro Matt Park and the sound is sensational.
Something about the soft furnishings, the crowd, the ambience, the evening, colludes to create such a sumptuous sonic landscape and from the off it's clear we're all in for a treat.
Hattie moves effortlessly between keyboard and guitar, the songs interspersed with stories and tales of her, her life, how each slice of ear-watering aural brilliance came about.
Never one to avoid covering any song she loved, she now has a back catalogue many artists would die for and can re-visit her own earlier material and breathe new life into it.
It's a measure of how much she has developed as an artist that she can do this.
Not only that. She writes to order. "A gentleman approached me" she tells us in crystal clear soft tones. "His wife is a well known poet. He asked me to put one of her poems to music and record it for her birthday."
She continues. "The poem was only 8 lines long". Her eyebrows shoot up and she bursts into a broad smile. "That will get you about, I don't know..." she shrugs "30 seconds".
The audience laugh. We've all taken her into our hearts.
"So I wrote another four verses, and it goes like this".
With that she turns to her companions to check they are ready.
They must have heard that story many times before, but they're looking at her. They are ready, and like us, they love her too.
The EP itself is a marvel. Not a duff track on it and both the title track and her song “Just Breathe" stand out for the strength of her songwriting, the extraordinary depth of her voice, the wisdom in her lyrics and the sheer downright musicality of it all.
If she comes anywhere near you or your friends, do yourself and them a favour. Go see her. Buy something. Tell everyone. She's unlikely to fit into venues like the marvellous Duffle for much longer.
John McLellan
Hattie Briggs is Engeland’s hardst werkende folkie. De singer-songwriter uit Stroud, Gloucestershire (overigens de geboorteplaats van verrassend veel kunstenaars), heeft inmiddels twee uitstekende albums op haar naam staan en voegde hier onlangs een EP aan toe. Het uitbrengen van platen combineert ze met flinke aantallen optredens en roemruchte huiskamerconcerten die haar inmiddels ver buiten de Britse landsgrenzen hebben gebracht.
Ook op de vier nieuwe tracks (en de live-versie van een van deze tracks) op Hide laat Hattie Briggs weer horen wat ze in huis heeft.
De Britse singer-songwriter heeft zich flink laten inspireren door de Britse folk uit een tijd waarin ze zelf nog lang niet geboren was, maar Hattie Briggs is ook absoluut beïnvloed door het imposante oeuvre van Joni Mitchell. Een laatste naam die genoemd moet worden is die van Eva Cassidy. Op haar debuut trad ze ooit in de voetsporen van Eva Cassidy met een prachtige versie van Fields of Gold en nog altijd hoor ik wat van Eva Cassidy in de stem van de jonge Britse singer-songwriter. Net als Eva Cassidy zingt Hattie Briggs loepzuiver, maar misschien nog wel belangrijker is de emotie die ze in haar stem legt, waardoor ook beluistering van Hide weer goed is voor 23 minuten kippenvel.
In alle songs op Hide vertelt Hattie Briggs haar verhalen en het zijn verhalen die diep onder de huid kruipen. Dit is deels de verdienste van de mooie, stemmige en veelzijdige instrumentatie op Hide, maar het is de prachtige stem van Hattie Briggs die ook Hide weer naar een hoger plan tilt.
In Engeland is iedereen inmiddels overtuigd van de kwaliteiten van Hattie Briggs, maar in Nederland kan haar muziek nog best een boost gebruiken. Haar twee reguliere albums laten perfect horen over hoeveel talent Hattie Briggs beschikt, maar Hide laat horen dat de jonge Britse singer-songwriter zich nog steeds flink ontwikkelt en dat de rek er nog lang niet uit is. Hide beluister ik inmiddels voor de zoveelste keer en weer is het continu goed voor kippenvel.
Erwin Zeijleman, Dutch reviewer, http://dekrentenuitdepop.blogspot.co.uk/2017/06/maggie-roggers-kiki-mettler-hattie.html, 20/6.
Back in January this focussed 24 year old announced 12 Months of Madness and boldly promised to issue a different limited edition CD in each month of 2017.
So it was that over 100 people squeezed into this eye-catching venue to catch Stroud's sweetest songbird launching May's release, the 5 track EP “Hide".
Amidst a colourful array of jackets, shirts, dresses, footwear, furniture, lamps and guitars the audience were first treated to a Tennessee-drenched set from husband and wife duo The Black Feathers.
It was the perfect warm-up: opening up ears to harmonies and hearts to human warmth.
There was a brief interval punctuated with free cup cakes courtesy of one of Hattie's superfans before we resumed.
Tonight Hattie's is flanked by stylish cellist/vocalist Jasmine Scott Neale and guitarist/pedal steel maestro Matt Park and the sound is sensational.
Something about the soft furnishings, the crowd, the ambience, the evening, colludes to create such a sumptuous sonic landscape and from the off it's clear we're all in for a treat.
Hattie moves effortlessly between keyboard and guitar, the songs interspersed with stories and tales of her, her life, how each slice of ear-watering aural brilliance came about.
Never one to avoid covering any song she loved, she now has a back catalogue many artists would die for and can re-visit her own earlier material and breathe new life into it.
It's a measure of how much she has developed as an artist that she can do this.
Not only that. She writes to order. "A gentleman approached me" she tells us in crystal clear soft tones. "His wife is a well known poet. He asked me to put one of her poems to music and record it for her birthday."
She continues. "The poem was only 8 lines long". Her eyebrows shoot up and she bursts into a broad smile. "That will get you about, I don't know..." she shrugs "30 seconds".
The audience laugh. We've all taken her into our hearts.
"So I wrote another four verses, and it goes like this".
With that she turns to her companions to check they are ready.
They must have heard that story many times before, but they're looking at her. They are ready, and like us, they love her too.
The EP itself is a marvel. Not a duff track on it and both the title track and her song “Just Breathe" stand out for the strength of her songwriting, the extraordinary depth of her voice, the wisdom in her lyrics and the sheer downright musicality of it all.
If she comes anywhere near you or your friends, do yourself and them a favour. Go see her. Buy something. Tell everyone. She's unlikely to fit into venues like the marvellous Duffle for much longer.
John McLellan
Hattie Briggs is Engeland’s hardst werkende folkie. De singer-songwriter uit Stroud, Gloucestershire (overigens de geboorteplaats van verrassend veel kunstenaars), heeft inmiddels twee uitstekende albums op haar naam staan en voegde hier onlangs een EP aan toe. Het uitbrengen van platen combineert ze met flinke aantallen optredens en roemruchte huiskamerconcerten die haar inmiddels ver buiten de Britse landsgrenzen hebben gebracht.
Ook op de vier nieuwe tracks (en de live-versie van een van deze tracks) op Hide laat Hattie Briggs weer horen wat ze in huis heeft.
De Britse singer-songwriter heeft zich flink laten inspireren door de Britse folk uit een tijd waarin ze zelf nog lang niet geboren was, maar Hattie Briggs is ook absoluut beïnvloed door het imposante oeuvre van Joni Mitchell. Een laatste naam die genoemd moet worden is die van Eva Cassidy. Op haar debuut trad ze ooit in de voetsporen van Eva Cassidy met een prachtige versie van Fields of Gold en nog altijd hoor ik wat van Eva Cassidy in de stem van de jonge Britse singer-songwriter. Net als Eva Cassidy zingt Hattie Briggs loepzuiver, maar misschien nog wel belangrijker is de emotie die ze in haar stem legt, waardoor ook beluistering van Hide weer goed is voor 23 minuten kippenvel.
In alle songs op Hide vertelt Hattie Briggs haar verhalen en het zijn verhalen die diep onder de huid kruipen. Dit is deels de verdienste van de mooie, stemmige en veelzijdige instrumentatie op Hide, maar het is de prachtige stem van Hattie Briggs die ook Hide weer naar een hoger plan tilt.
In Engeland is iedereen inmiddels overtuigd van de kwaliteiten van Hattie Briggs, maar in Nederland kan haar muziek nog best een boost gebruiken. Haar twee reguliere albums laten perfect horen over hoeveel talent Hattie Briggs beschikt, maar Hide laat horen dat de jonge Britse singer-songwriter zich nog steeds flink ontwikkelt en dat de rek er nog lang niet uit is. Hide beluister ik inmiddels voor de zoveelste keer en weer is het continu goed voor kippenvel.
Erwin Zeijleman, Dutch reviewer, http://dekrentenuitdepop.blogspot.co.uk/2017/06/maggie-roggers-kiki-mettler-hattie.html, 20/6.
Reviews - album "Young Runaway" and live tour performances
"The album started with a stretch of water and closes with another in the shape of “The River” – opening with just guitar and vocals before the addition of the strings take you to a dream like place with the song ending with the gentle tweeting of birds and the water quietly rushing by. A collection of songs deserving of as wide an audience as possible – quite possibly the most beautiful set of songs you will hear this year." Chris, W21
“ ‘Red & Gold’ was a strong debut that showed that Hattie Briggs was an exceptional talent but not even that album prepared us for the little gems that sparkle and shine which make up ‘Young Runaway’. Where Hattie goes from here is anybody’s guess and she no doubt is already working on that. For now though ‘Young Runaway’ is one of those albums which is required daily listening.” Malcolm Carter, Penny Black
" ‘Young Runaway’, the sophomore album from British artist
Hattie Briggs, is an epic masterpiece". Lisa Hafey, Essentially Pop
“ ‘Red & Gold’ was a strong debut that showed that Hattie Briggs was an exceptional talent but not even that album prepared us for the little gems that sparkle and shine which make up ‘Young Runaway’. Where Hattie goes from here is anybody’s guess and she no doubt is already working on that. For now though ‘Young Runaway’ is one of those albums which is required daily listening.” Malcolm Carter, Penny Black
" ‘Young Runaway’, the sophomore album from British artist
Hattie Briggs, is an epic masterpiece". Lisa Hafey, Essentially Pop
Links to reviews
“Christmas Hats” at the Stroud Subscription Rooms on 8th December 2016 by John & Janet Datchens
Well, we knew we were in for a treat, but what a lovely evening it turned out to be when Hattie Briggs invited some friends to join her on stage for her Christmas EP launch. We’re sure that most of the audience also felt, like us, that they were among friends as Hattie has such a nice way of making an event feel like it’s taking place in someone’s (admittedly large) front room.
Natalie Holmes began with three of her own reflective compositions and then sang and played a duet with Hattie, “Christmas Bells” based on a poem by Henry Longfellow and arranged by John Gorka.
The evening continued with further contributions and support from Natalie (guitar and harmonies); Asha McCarthy & Jasmine Scott-Neale (cello and backing vocals); Matt Park (pedal steel and guitar); The Black Feathers (Sian Chandler and Ray Hughes who create a genre defying sound, combining elements of folk, roots, Americana, and southern rock); & Jack Cookson (guitar, harmonica and vocals).
A very new experience for us was when Asha sat cross-legged on the stage and delighted the packed audience with some classical Indian music on the cello. We had never before imagined the range of sounds that a cello can produce and were certain that we heard the strains of a sitar playing as Asha’s fingers plucked, pressed and zoomed up and down the neck of the cello as she stroked the bow across the strings.
We were treated to new songs and some of what we now see as Hattie’s standards, with “Autumn Leaves” being amongst my favourites, as well as some highly personalised numbers that Hattie was commissioned to write – “Ricardo's Coming Home”, celebrating “Richard’s” retirement, a quite bluesy one called Time, and then the emotional rollercoaster of “A New York Winter's Day”, telling the romantic story of a marriage proposal made under the Statue of Liberty and yes, that proposal was accepted and the now married couple were sitting in the row in front of us – that she wasn’t in floods of tears, but merely dabbing at her eyes, was a major achievement! What a lovely thing to do, having such a personally focused song written for a special occasion and a special person!
The main performance finished, with everyone on stage together, in a rendition of “White Christmas” accompanied by the audience, so apologies to all of those sitting within earshot of John’s dulcet tones!
But we weren’t going to let them get away with that, so we had an encore of Hattie and Asha singing the poshest ever version of “Fairytale of New York”, accompanied by Jack, Matt and Jasmine.
So, that leaves us just looking forward to the next Hattie Briggs concert. Bring it on!
Well, we knew we were in for a treat, but what a lovely evening it turned out to be when Hattie Briggs invited some friends to join her on stage for her Christmas EP launch. We’re sure that most of the audience also felt, like us, that they were among friends as Hattie has such a nice way of making an event feel like it’s taking place in someone’s (admittedly large) front room.
Natalie Holmes began with three of her own reflective compositions and then sang and played a duet with Hattie, “Christmas Bells” based on a poem by Henry Longfellow and arranged by John Gorka.
The evening continued with further contributions and support from Natalie (guitar and harmonies); Asha McCarthy & Jasmine Scott-Neale (cello and backing vocals); Matt Park (pedal steel and guitar); The Black Feathers (Sian Chandler and Ray Hughes who create a genre defying sound, combining elements of folk, roots, Americana, and southern rock); & Jack Cookson (guitar, harmonica and vocals).
A very new experience for us was when Asha sat cross-legged on the stage and delighted the packed audience with some classical Indian music on the cello. We had never before imagined the range of sounds that a cello can produce and were certain that we heard the strains of a sitar playing as Asha’s fingers plucked, pressed and zoomed up and down the neck of the cello as she stroked the bow across the strings.
We were treated to new songs and some of what we now see as Hattie’s standards, with “Autumn Leaves” being amongst my favourites, as well as some highly personalised numbers that Hattie was commissioned to write – “Ricardo's Coming Home”, celebrating “Richard’s” retirement, a quite bluesy one called Time, and then the emotional rollercoaster of “A New York Winter's Day”, telling the romantic story of a marriage proposal made under the Statue of Liberty and yes, that proposal was accepted and the now married couple were sitting in the row in front of us – that she wasn’t in floods of tears, but merely dabbing at her eyes, was a major achievement! What a lovely thing to do, having such a personally focused song written for a special occasion and a special person!
The main performance finished, with everyone on stage together, in a rendition of “White Christmas” accompanied by the audience, so apologies to all of those sitting within earshot of John’s dulcet tones!
But we weren’t going to let them get away with that, so we had an encore of Hattie and Asha singing the poshest ever version of “Fairytale of New York”, accompanied by Jack, Matt and Jasmine.
So, that leaves us just looking forward to the next Hattie Briggs concert. Bring it on!
Review by Sam Cooper of Hattie's performance at the O2 Brooklyn Bowl, 3rd December: https://musicismyradar2015.wordpress.com/2016/12/05/hattie-briggs-brooklyn-bowl-3rd-december-2016/
"Back down at Bank Gardens Hattie Briggs proved once again why she is one of Stroud best-loved local artists with a spine-tingling set." Jamie Wiseman, Stroud News & Journal
http://www.stroudnewsandjournal.co.uk/news/14710688.Stroud_Fringe_Festival_goes_from_strength_to_strength_with_another_incredible_year/
"Young Runaway" August's Laurel Canyon Music's Album of the Month - review by Gary Smith: http://www.laurelcanyonuk.com/aug-16-young-runaway-hattie-briggs/
Review by Mel Pitts: Shire Folk - "What a delight this second album of Hattie Briggs is. From start to finish it is a wonderful display of singing, songwriting and musicianship.... this is a seriously talented young lady"
Review by Trevor Raggatt: R2 magazine - 5 stars - "another stunning set of songs from this talented young artist"
Review by Kevin Cooper: http://www.ukmusicreviews.co.uk/album-reviews/album-review-hattie-briggs-young-runaway/
Review by W21Music of live gig at the Bull's Head, Barnes 12/7: http://www.w21music.com/gig-reviews-2#hattie1
Review (in Dutch) by Erwin Zijleman, De Krenten Uit de Pop: http://dekrentenuitdepop.blogspot.co.uk/2016/07/hattie-briggs-young-runaway.html
Review by Tony Hardy, Best New Bands: http://www.bestnewbands.com/album-reviews/hattie-briggs-young-runaway/
Review by Mike Davies, Fatea: http://www.fatea-records.co.uk/magazine/reviews/HattieBriggs/
Review by Babs Brown, Entertainment Focus: http://www.entertainment-focus.com/music-section/music-reviews/albums/hattie-briggs-young-runaway-album-review/
Review by Tony Bell, Grapevine: http://www.grapevinelive.co.uk/2016/07/07/hattie-briggs-young-runaway/
Review by Emily Algar: https://thewindingroadsthatledmehere.wordpress.com/2016/07/04/young-runaway-hattie-briggs/
Not the best Dutch to English translation, but you will get the gist - Richard Wagenaar was at Hattie's June gig at Peter & Leni's Podium Cafe in Steendam, Netherlands: http://thenextgig.weebly.com/recensies-2016.html (full length recording on YouTube as well)
Grace Notes album review 26th June: http://heartonmysleevenotes.blogspot.co.uk/2016_06_01_archive.html
"Back down at Bank Gardens Hattie Briggs proved once again why she is one of Stroud best-loved local artists with a spine-tingling set." Jamie Wiseman, Stroud News & Journal
http://www.stroudnewsandjournal.co.uk/news/14710688.Stroud_Fringe_Festival_goes_from_strength_to_strength_with_another_incredible_year/
"Young Runaway" August's Laurel Canyon Music's Album of the Month - review by Gary Smith: http://www.laurelcanyonuk.com/aug-16-young-runaway-hattie-briggs/
Review by Mel Pitts: Shire Folk - "What a delight this second album of Hattie Briggs is. From start to finish it is a wonderful display of singing, songwriting and musicianship.... this is a seriously talented young lady"
Review by Trevor Raggatt: R2 magazine - 5 stars - "another stunning set of songs from this talented young artist"
Review by Kevin Cooper: http://www.ukmusicreviews.co.uk/album-reviews/album-review-hattie-briggs-young-runaway/
Review by W21Music of live gig at the Bull's Head, Barnes 12/7: http://www.w21music.com/gig-reviews-2#hattie1
Review (in Dutch) by Erwin Zijleman, De Krenten Uit de Pop: http://dekrentenuitdepop.blogspot.co.uk/2016/07/hattie-briggs-young-runaway.html
Review by Tony Hardy, Best New Bands: http://www.bestnewbands.com/album-reviews/hattie-briggs-young-runaway/
Review by Mike Davies, Fatea: http://www.fatea-records.co.uk/magazine/reviews/HattieBriggs/
Review by Babs Brown, Entertainment Focus: http://www.entertainment-focus.com/music-section/music-reviews/albums/hattie-briggs-young-runaway-album-review/
Review by Tony Bell, Grapevine: http://www.grapevinelive.co.uk/2016/07/07/hattie-briggs-young-runaway/
Review by Emily Algar: https://thewindingroadsthatledmehere.wordpress.com/2016/07/04/young-runaway-hattie-briggs/
Not the best Dutch to English translation, but you will get the gist - Richard Wagenaar was at Hattie's June gig at Peter & Leni's Podium Cafe in Steendam, Netherlands: http://thenextgig.weebly.com/recensies-2016.html (full length recording on YouTube as well)
Grace Notes album review 26th June: http://heartonmysleevenotes.blogspot.co.uk/2016_06_01_archive.html
Keith Ames, writer and lyricist, writes for the Musician comments:
Tony Bell of the Grapevine's review of Hattie and Jack at the Portland Arms, 8th June 2016
http://www.grapevinelive.co.uk/2016/06/08/hattie-briggs-in-cambridge/
Second review in Holland of "Young Runaway" by Theo Volk, 30th May 2016
Published on three online review sites - http://musicthatneedsattention.blogspot.nl/2016/05/hattie-briggs-young-runaway.html http://www.musicmeter.nl/album/543660 and http://www.johnnysgarden.nl
Red & Gold was last year's debut album by the young and fresh Hattie Briggs who comes from Stroud, UK. It was an impressive debut not only because of her beautiful, clear voice. Her original songs were also convincing, including A Beautiful Mind, a song about folk legend Pete Seeger. Her cover of Sting's Fields of Gold was equally successful in grabbing her audience's attention. Following quite quickly after her first, she has written and is about to release her second album, Young Runaway.
Hattie was inspired by the beautiful surroundings of Lake Garda for the opening track, The Lake, especially by the setting sun reflected on the water. With its layered vocals and the extra dimension of Asha McCarthy's moody cello arrangement, it sounds beautifully haunting and mysterious.
Lift Me Up shows off the melancholy side of Hattie's voice to full advantage. It is also the first song in which for the first time she ingeniously echoes some country influences. Here's to Hoping is a look back at the first seventeen happy years of her young life she lived in a beautiful house in West Sussex. On Your Way is all about grasping the opportunities that arise in your life. One of the most beautiful songs, with a catchy chorus, is certainly Digging to Australia. The enthusiasm of the musicians is palpable.
Summertime Man is another song that she wrote during her holiday last year in Italy in which she manages to capture the laid back vibe that she was feeling. Perhaps the most beautiful song of the album is Have We Met Before? - written with another great talent, Jack Cookson. This year he was nominated for BBC R2 Young Folk Award (like Hattie in 2014). He has a great voice, which seems to be a cross between that of Bob Dylan and Cat Stevens. This duet with Hattie proves he is very good in his own right, and hopefully will lead to more fruitful cooperation between the two of them in the future, because this song definitely gives the listener a taste for more. It was written only just before they went into the recording studio.
The piano plays a prominent role in her sad song, Castle on the Sand, which is about broken hearts. Talk to Me tells us that sometimes it's okay to show your weakness. The message of You Only Live Once is that life is too short to do things you hate. The River is introduced with great guitar playing and a wistful cello. The subject of the song is the process of growing from child to adulthood. She co-wrote this song with producer Peter Waterman and Asha McCarthy.
Young Runaway is clearly a musical step forward, and a conscious move towards a more mainstream sound with another step from folk towards country.
First review in Holland of "Young Runaway' written by Rudolf van der Ree, 24th May 2016
The British singer-songwriter Hattie Briggs has recorded her second album "Young Runaway” being released in July. For many artists, writing a successor is often very difficult after a well received debut. In the case of Hattie Briggs this is certainly not the case. With her beautiful voice, clarity and enthusiasm, the singer captivates her audience from the first track on "Young Runaway” to the last. All the eleven songs on the album are convincing and she knows exactly how to hold the attention of the listener. With her beautiful harmonies, moody cellos and a mix of up tempo songs, it all seems to add up to a great whole. In my opinion, "Young Runaway" combines the best from the worlds of folk and singer-songwriter. What a beautiful album. http://www.rudolfsmusic.com/
The Vinyl Score: Kitchen Garden Café review, 5th May 2016
I first became aware of Hattie Briggs at the 2014 Folk Awards. She was nominated for best newcomer, which she didn't win. Robbed, in my opinion, as she was head and shoulders above the competition. I've been making every effort to see her live ever since then, but the stars always failed to align. Tonight I finally made it at the Kitchen Garden Cafe.
The best things are always worth waiting for, and tonight was no exception. Hattie's songs have a depth, breadth, intelligence and quality that completely belie her years. They're melodic, well-constructed, sweeping and pretty. Her playing is accomplished, accurate and controlled. But the standout? A voice with the clarity and resonance of the very finest crystal and a delivery that can strip emotion like peeling the ripest fruit.
When I asked Jason on sound what the line-up of the trio was, and he said 'Hattie & two cellos' I thought; 'how will that work?' The answer? Perfectly. Asha McCarthy & Barney Morse-Brown were the perfect string 'semi-quartet' counterpoint. Hattie's new album is a lovely, upbeat piece of work, and I can't recommend it strongly enough. Go buy!
Stroud News & Journal - launch gig review by Katie Jarvis, 3rd April 2016: http://www.stroudnewsandjournal.co.uk/leisure/music/14419118.REVIEW_by_Katie_Jarvis__Hattie_Briggs_at_the_Sub_Rooms/
Grace Notes - http://heartonmysleevenotes.blogspot.co.uk/
Folk & Tumble - http://folkandtumble.com/hattie-briggs-announces-young-runaway-tour/
Folking - http://folking.com/?s=hattie+briggs
http://www.grapevinelive.co.uk/2016/06/08/hattie-briggs-in-cambridge/
Second review in Holland of "Young Runaway" by Theo Volk, 30th May 2016
Published on three online review sites - http://musicthatneedsattention.blogspot.nl/2016/05/hattie-briggs-young-runaway.html http://www.musicmeter.nl/album/543660 and http://www.johnnysgarden.nl
Red & Gold was last year's debut album by the young and fresh Hattie Briggs who comes from Stroud, UK. It was an impressive debut not only because of her beautiful, clear voice. Her original songs were also convincing, including A Beautiful Mind, a song about folk legend Pete Seeger. Her cover of Sting's Fields of Gold was equally successful in grabbing her audience's attention. Following quite quickly after her first, she has written and is about to release her second album, Young Runaway.
Hattie was inspired by the beautiful surroundings of Lake Garda for the opening track, The Lake, especially by the setting sun reflected on the water. With its layered vocals and the extra dimension of Asha McCarthy's moody cello arrangement, it sounds beautifully haunting and mysterious.
Lift Me Up shows off the melancholy side of Hattie's voice to full advantage. It is also the first song in which for the first time she ingeniously echoes some country influences. Here's to Hoping is a look back at the first seventeen happy years of her young life she lived in a beautiful house in West Sussex. On Your Way is all about grasping the opportunities that arise in your life. One of the most beautiful songs, with a catchy chorus, is certainly Digging to Australia. The enthusiasm of the musicians is palpable.
Summertime Man is another song that she wrote during her holiday last year in Italy in which she manages to capture the laid back vibe that she was feeling. Perhaps the most beautiful song of the album is Have We Met Before? - written with another great talent, Jack Cookson. This year he was nominated for BBC R2 Young Folk Award (like Hattie in 2014). He has a great voice, which seems to be a cross between that of Bob Dylan and Cat Stevens. This duet with Hattie proves he is very good in his own right, and hopefully will lead to more fruitful cooperation between the two of them in the future, because this song definitely gives the listener a taste for more. It was written only just before they went into the recording studio.
The piano plays a prominent role in her sad song, Castle on the Sand, which is about broken hearts. Talk to Me tells us that sometimes it's okay to show your weakness. The message of You Only Live Once is that life is too short to do things you hate. The River is introduced with great guitar playing and a wistful cello. The subject of the song is the process of growing from child to adulthood. She co-wrote this song with producer Peter Waterman and Asha McCarthy.
Young Runaway is clearly a musical step forward, and a conscious move towards a more mainstream sound with another step from folk towards country.
First review in Holland of "Young Runaway' written by Rudolf van der Ree, 24th May 2016
The British singer-songwriter Hattie Briggs has recorded her second album "Young Runaway” being released in July. For many artists, writing a successor is often very difficult after a well received debut. In the case of Hattie Briggs this is certainly not the case. With her beautiful voice, clarity and enthusiasm, the singer captivates her audience from the first track on "Young Runaway” to the last. All the eleven songs on the album are convincing and she knows exactly how to hold the attention of the listener. With her beautiful harmonies, moody cellos and a mix of up tempo songs, it all seems to add up to a great whole. In my opinion, "Young Runaway" combines the best from the worlds of folk and singer-songwriter. What a beautiful album. http://www.rudolfsmusic.com/
The Vinyl Score: Kitchen Garden Café review, 5th May 2016
I first became aware of Hattie Briggs at the 2014 Folk Awards. She was nominated for best newcomer, which she didn't win. Robbed, in my opinion, as she was head and shoulders above the competition. I've been making every effort to see her live ever since then, but the stars always failed to align. Tonight I finally made it at the Kitchen Garden Cafe.
The best things are always worth waiting for, and tonight was no exception. Hattie's songs have a depth, breadth, intelligence and quality that completely belie her years. They're melodic, well-constructed, sweeping and pretty. Her playing is accomplished, accurate and controlled. But the standout? A voice with the clarity and resonance of the very finest crystal and a delivery that can strip emotion like peeling the ripest fruit.
When I asked Jason on sound what the line-up of the trio was, and he said 'Hattie & two cellos' I thought; 'how will that work?' The answer? Perfectly. Asha McCarthy & Barney Morse-Brown were the perfect string 'semi-quartet' counterpoint. Hattie's new album is a lovely, upbeat piece of work, and I can't recommend it strongly enough. Go buy!
Stroud News & Journal - launch gig review by Katie Jarvis, 3rd April 2016: http://www.stroudnewsandjournal.co.uk/leisure/music/14419118.REVIEW_by_Katie_Jarvis__Hattie_Briggs_at_the_Sub_Rooms/
Grace Notes - http://heartonmysleevenotes.blogspot.co.uk/
Folk & Tumble - http://folkandtumble.com/hattie-briggs-announces-young-runaway-tour/
Folking - http://folking.com/?s=hattie+briggs
2015
Trevor Raggatt, Rock & Reel - Insight - Singer Songwriter section - November/ December issue - see image to the left.
Johan Bakker interview & review - http://www.johanbakker.org/blog/2015/10/interview-hattie-briggs/
Rudolf Van Der Ree Album Review and interview - http://www.rudolfsmusic.com/hattie-briggs/
Review of Tilly's Song by Malcolm Carter - September 2015 http://www.pennyblackmusic.co.uk/MagSitePages/Review/10108/R/Hattie-Briggs-Download-Tillys-Song http://www.rudolfsmusic.com/hattie-briggs/
George Ladds of Shining Lights, Interview - September 2015 http://www.shininglights.co.uk/articles/interview-with-hattie-briggs-singer-songwriter/
Review by Erwin Zeijlman of Der Krenten uit der Pop August 2015: http://dekrentenuitdepop.blogspot.co.uk/search?q=hattie+briggs
Link to multiple Amazon Reviews - http://www.amazon.co.uk/Red-Gold-Hattie-Briggs/dp/B00UGTJCC2/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1443527339&sr=1-1-mp3-albums-bar-strip-0&keywords=red+%26+gold
Performance review by Janet Datchens, August 2015, http://behindthesceneglos.com/2015/08/11/hattie-briggs-artburst-festival-painswick-080815/
By Grace Notes, May 2015 - http://heartonmysleevenotes.blogspot.co.uk/2015/05/live-review-hattie-briggs-trio-at.html
By the Jazz Man, May 2015 - http://www.thejazzmann.com/features/article/monday-at-cheltenham-jazz-festival-04-05-2015/
Here are several album reviews of Red & Gold: magazines, newspapers and downloadable from various music sites. These include:
by Phil Cook http://www.backseatmafia.com/2015/08/10/soundtrack-of-our-lives-hattie-briggs/
by Malcom Carter http://www.pennyblackmusic.co.uk/MagSitePages/Article/7962/Hattie-Briggs-Interview
Katie Jarvis: http://www.cotswoldlife.co.uk/home/review_hattie_briggs_at_the_nailsworth_festival_1_4087173 and by
Malcolm Carter: http://www.pennyblackmusic.co.uk/MagSitePages/Review/9977/R/. PDF's of the online articles: below
Trevor Raggatt, Rock & Reel - Insight - Singer Songwriter section - November/ December issue - see image to the left.
Johan Bakker interview & review - http://www.johanbakker.org/blog/2015/10/interview-hattie-briggs/
Rudolf Van Der Ree Album Review and interview - http://www.rudolfsmusic.com/hattie-briggs/
Review of Tilly's Song by Malcolm Carter - September 2015 http://www.pennyblackmusic.co.uk/MagSitePages/Review/10108/R/Hattie-Briggs-Download-Tillys-Song http://www.rudolfsmusic.com/hattie-briggs/
George Ladds of Shining Lights, Interview - September 2015 http://www.shininglights.co.uk/articles/interview-with-hattie-briggs-singer-songwriter/
Review by Erwin Zeijlman of Der Krenten uit der Pop August 2015: http://dekrentenuitdepop.blogspot.co.uk/search?q=hattie+briggs
Link to multiple Amazon Reviews - http://www.amazon.co.uk/Red-Gold-Hattie-Briggs/dp/B00UGTJCC2/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1443527339&sr=1-1-mp3-albums-bar-strip-0&keywords=red+%26+gold
Performance review by Janet Datchens, August 2015, http://behindthesceneglos.com/2015/08/11/hattie-briggs-artburst-festival-painswick-080815/
By Grace Notes, May 2015 - http://heartonmysleevenotes.blogspot.co.uk/2015/05/live-review-hattie-briggs-trio-at.html
By the Jazz Man, May 2015 - http://www.thejazzmann.com/features/article/monday-at-cheltenham-jazz-festival-04-05-2015/
Here are several album reviews of Red & Gold: magazines, newspapers and downloadable from various music sites. These include:
by Phil Cook http://www.backseatmafia.com/2015/08/10/soundtrack-of-our-lives-hattie-briggs/
by Malcom Carter http://www.pennyblackmusic.co.uk/MagSitePages/Article/7962/Hattie-Briggs-Interview
Katie Jarvis: http://www.cotswoldlife.co.uk/home/review_hattie_briggs_at_the_nailsworth_festival_1_4087173 and by
Malcolm Carter: http://www.pennyblackmusic.co.uk/MagSitePages/Review/9977/R/. PDF's of the online articles: below
| hattie_briggs_-_penny_black_music_(online)__21st_may_2015.pdf |
| katiejarvisreview21stmay.pdf |
Lust for Life Magazine (published in the Netherlands) October 2015 - 4 stars "Briggs has a clear soprano voice that moves easily across a wide range and she sings songs that can best be described as dreamy poetry." - review by Harry de Jong.
R2Magazine July/August 2015 Page 89 - 5 stars "Briggs has an exquisite ear for both melody and harmony. Her turn of phrase and, equal parts conversational and confessional, is captivating" - review by Trevor Raggatt.
Q Magazine May 2015 (the one with Paul McCartney on the cover) Page 102 - 3 stars "Classy, classic-sounding debut" - review by Andy Fyfe - "those who find her will be richly rewarded". See clippings below.
Here are links to four other UK album reviews:
http://heartonmysleevenotes/blogspot.co.uk
http://poppedmusic.co.uk/2015/03/26/album-review-hattie-briggs-red-gold/
https://seebslittlemusicblog.wordpress.com/2015/03/05/hattie-briggs-red-and-gold/ and Netherlands reviews:
http://www.musicmeter.nl/album/489074/info/filtered#messages
http://folklantern.blogspot.nl/2015/04/hattie-briggs-red-gold.html
Theo Volk says:
"Red & Gold includes beautiful original songs such as Pull Me Down and A Beautiful Mind, and two covers. The choice of Fields of Gold originally written by Sting, but drawing on Eva Cassidy's interpretation is not surprising, she is her favourite singer. Less obvious is the choice of To Build a Home by The Cinematic Orchestra, but it does compliment her own songs. The album was produced by Peter Waterman. The question is not will Hattie Briggs break through to a wider audience, but when."
R2Magazine July/August 2015 Page 89 - 5 stars "Briggs has an exquisite ear for both melody and harmony. Her turn of phrase and, equal parts conversational and confessional, is captivating" - review by Trevor Raggatt.
Q Magazine May 2015 (the one with Paul McCartney on the cover) Page 102 - 3 stars "Classy, classic-sounding debut" - review by Andy Fyfe - "those who find her will be richly rewarded". See clippings below.
Here are links to four other UK album reviews:
http://heartonmysleevenotes/blogspot.co.uk
http://poppedmusic.co.uk/2015/03/26/album-review-hattie-briggs-red-gold/
https://seebslittlemusicblog.wordpress.com/2015/03/05/hattie-briggs-red-and-gold/ and Netherlands reviews:
http://www.musicmeter.nl/album/489074/info/filtered#messages
http://folklantern.blogspot.nl/2015/04/hattie-briggs-red-gold.html
Theo Volk says:
"Red & Gold includes beautiful original songs such as Pull Me Down and A Beautiful Mind, and two covers. The choice of Fields of Gold originally written by Sting, but drawing on Eva Cassidy's interpretation is not surprising, she is her favourite singer. Less obvious is the choice of To Build a Home by The Cinematic Orchestra, but it does compliment her own songs. The album was produced by Peter Waterman. The question is not will Hattie Briggs break through to a wider audience, but when."
|
|
Maverick Magazine May/June edition - Page 86 - 5 stars. Review by Simon Redley. "A truly lovely voice, and a lovely lovely album. Probably filed under folk, but
will appeal to a much wider audience and should gain Hattie mainstream radio action.
Hattie Briggs is a triple threat; top of the pile singer, songwriter and musician. A real find and a breath of fresh air on the UK folk, roots and acoustic scene.
She deserves much praise and attention for this wonderfully rich and spiritual album."
Tour review article by Fatea magazine:
http://www.fatea-records.co.uk/magazine/2015/LakemanRoberts.html
will appeal to a much wider audience and should gain Hattie mainstream radio action.
Hattie Briggs is a triple threat; top of the pile singer, songwriter and musician. A real find and a breath of fresh air on the UK folk, roots and acoustic scene.
She deserves much praise and attention for this wonderfully rich and spiritual album."
Tour review article by Fatea magazine:
http://www.fatea-records.co.uk/magazine/2015/LakemanRoberts.html
Hattie Briggs review - Subscription Rooms, Wednesday 25th June 2014 in Music
From the second that the statuesque and supremely composed figure appeared, we, the eagerly awaiting audience, knew that we were in for a truly magical experience, and Hattie Briggs and her musicians did not disappoint!
As her first notes soared upwards to swell and fill the air around us, we were held transfixed, mesmerised and spellbound by the staggering range, quality and expression in that sound. To say that Hattie Briggs can use her voice like a highly tuned instrument is the understatement of the century! From beginning to end she took us all on a rollercoaster ride of emotions.
She lifted our hearts with soft, lilting melodies like Where your love should be, Just You and I, God Speed and Happy in your Arms. She melted them with her soulful lyrics, such as Beautiful Mind dedicated to Pete Seeger, Old Eyes, and the touching Tilly’s song written for her friend Tilly.
We were also treated to her majestic renditions of the delicate Sacre Coeur (Civil Wars), the powerful Fields of Gold (Gordon Sumner) but made famous by Hattie's heroine, Eva Cassidy and Hattie's own single Pull Me Down. Hattie played the guitar and keyboard and was brilliantly accompanied by both the very talented cellist, Asha McCarthy, and guitarist Henry Fraser, who contributed their wonderful harmonies as well as instrumental skill. Asha and Henry are singer songwriters in their own right and we heard the band play three of Henry's own songs including the very melodic Shades of Grey (as he pointed out written long before a book with a similar name.)
All who walked out into the summer evening were left in no doubt that they had just witnessed the birth of a star and are all really looking forward to the release of Hattie's album later this year.
From the second that the statuesque and supremely composed figure appeared, we, the eagerly awaiting audience, knew that we were in for a truly magical experience, and Hattie Briggs and her musicians did not disappoint!
As her first notes soared upwards to swell and fill the air around us, we were held transfixed, mesmerised and spellbound by the staggering range, quality and expression in that sound. To say that Hattie Briggs can use her voice like a highly tuned instrument is the understatement of the century! From beginning to end she took us all on a rollercoaster ride of emotions.
She lifted our hearts with soft, lilting melodies like Where your love should be, Just You and I, God Speed and Happy in your Arms. She melted them with her soulful lyrics, such as Beautiful Mind dedicated to Pete Seeger, Old Eyes, and the touching Tilly’s song written for her friend Tilly.
We were also treated to her majestic renditions of the delicate Sacre Coeur (Civil Wars), the powerful Fields of Gold (Gordon Sumner) but made famous by Hattie's heroine, Eva Cassidy and Hattie's own single Pull Me Down. Hattie played the guitar and keyboard and was brilliantly accompanied by both the very talented cellist, Asha McCarthy, and guitarist Henry Fraser, who contributed their wonderful harmonies as well as instrumental skill. Asha and Henry are singer songwriters in their own right and we heard the band play three of Henry's own songs including the very melodic Shades of Grey (as he pointed out written long before a book with a similar name.)
All who walked out into the summer evening were left in no doubt that they had just witnessed the birth of a star and are all really looking forward to the release of Hattie's album later this year.