EDWYN COLLINS: Nation Shall Speak Unto Nation (AED)
Verdict: Heartfelt return
Announcing a series of live shows last week, Edwyn Collins declared that the autumn dates will be his last ever UK performances. Describing them as his ‘testimonial tour’, the indie-pop legend will open with a homecoming concert in Glasgow before visiting venues such as Buxton’s Opera House and London’s Royal Festival Hall.
In bringing the curtain down on his gigging career, the 65-year-old should spark some emotional scenes. His 1980s band, Orange Juice, were standard bearers for ‘the sound of young Scotland’, the maxim of their original label Postcard Records, and hit the Top Ten in 1983 with Rip It Up. His swaggering 1994 solo single, A Girl Like You, was a global smash.
It’s heartening that he’s still around for such a fond farewell. In 2005, he suffered two strokes followed by a bout of MRSA that nearly killed him. His recovery is ongoing — and he can no longer play guitar as he once did — but music has been a key part of his rehabilitation and, on top of the tour, a new album is testament to his strength in adversity.
Its title based on a BBC World Service motto (‘nation shall speak peace unto nation’), his first solo release since 2019’s Badbea — and fifth since his strokes — is a touching return. His lyrics are heartfelt where they were once more acerbic, but his penchant for a tuneful hook is still strong on 11 new songs that veer from country-rock to folk and northern soul.
He tackles his health issues head on. The title track, with James Walbourne of The Pretenders on guitar, addresses his struggles with speech. ‘Back when the words came easily, I had the answer to everything,’ he sings. ‘Revelling in a Smart Alec comeback.’
On Knowledge, with guitarist Walbourne again prominent, he sings about his returning mental powers with a reference to the hymn Amazing Grace: ‘Knowledge is a friend of mine, first was lost and now it’s found.’
Announcing a series of live shows last week, Edwyn Collins (pictured) declared that the autumn dates will be his last ever UK performances
Describing them as his ‘testimonial tour’, the indie-pop legend (pictured) will open with a homecoming concert in Glasgow before visiting venues such as Buxton’s Opera House and London’s Royal Festival Hall
Its title (pictured) based on a BBC World Service motto (‘nation shall speak peace unto nation’), his first solo release since 2019’s Badbea — and fifth since his strokes — is a touching return
The overall mood is optimistic. ‘I’m working on a new song, the melody I’ve got is strong, so strong,’ he confides on Rhythm Is My Own World, reflecting on his ability to overcome writer’s block. ‘It seems I’m born again, you see I’ve come through,’ he adds on Paper Planes.
There are references to the highland fishing village of Helmsdale, where Edwyn now lives (and runs a recording studio) with his wife Grace. The Mountains Are My Home celebrates the joys of pastoral life. The Bridge Hotel, an ensemble piece with backing singers Lena Wright and Bianca White helping out, is a further nod to the windswept Scottish coast.
Elsewhere — on The Heart Is A Foolish Little Thing and Sound As A Pound — he recalls the vibrant spirit of A Girl Like You. The former features a soulful vibraphone solo. The latter, with co-producer Sean Read on trumpet, reiterates his resilience. ‘Sometimes it brings me down, the pain inside,’ he admits. ‘But I’m OK… sound as a pound.’ It’s good to hear.
JASON ISBELL: Foxes In The Snow (Southeastern)
Verdict: Surprise acoustic detour
As one of American rock’s best storytellers, Jason Isbell usually relies on a crew of talented backing musicians to flesh out his candid anecdotes and character sketches. It’s an approach that’s paid off for the singer-songwriter from Alabama and his versatile studio band, The 400 Unit.
His previous album, 2023’s Weathervanes, was a superb set of four-minute pop songs that dipped into southern rock and country, with The 400 Unit assuming a pivotal role similar to that of Bruce Springsteen’s E Street Band or Tom Petty’s Heartbreakers. It picked up two Grammys — to go with the four the 46-year-old already had on his mantelpiece.
His latest release, Foxes In The Snow, is different. Made in just five days in New York City’s fabled Electric Lady Studios, once the workplace of Jimi Hendrix and Stevie Wonder, it’s a solo record in the truest sense. Recorded on a vintage guitar (a 1940 Martin acoustic), it strips away the widescreen arrangements in favour of stripped-down folk and blues.
The more intimate setting — it feels as if the singer is in the room with you — lends these finely-crafted songs a quiet power, although you can’t help but wonder how they might have sounded with the added light and shade of a full band.
As one of American rock’s best storytellers, Jason Isbell (pictured) usually relies on a crew of talented backing musicians to flesh out his candid anecdotes and character sketches
It’s an approach that’s paid off for the singer-songwriter from Alabama and his versatile studio band, The 400 Unit
Isbell’s Bible Belt upbringing looms large. A balmy Tennessee summer is the backdrop for the fast-paced folk of Ride To Robert’s, while there’s a bittersweet homesickness to Crimson And Clay. ‘You could strip me of everything I own,’ he sings. ‘Just leave me with the memories of my Alabama home.’
There’s an undercurrent of heartache. Isbell and his musician wife Amanda Shires separated in December 2023 and it’s hard to listen to songs such as Gravelweed (‘the love songs all mean different things today’) or Eileen (‘you tell each other you can still be friends, but you both know you’re on your own’) without sensing the pain behind them.
But this isn’t solely a breakup album. Don’t Be Tough is a satire on bullying that recalls Isbell’s late mentor John Prine. There’s also, on Open And Close, a wry reference to Kid Charlemagne, a 1976 single by Steely Dan: with a rock aficionado’s eye for detail, Isbell laments a hapless covers band as they try to recreate session musician Larry Carlton’s exquisite guitar solo that was a centrepiece of the Steely Dan song.
Isbell has been making waves in cinema of late. He appeared with Leonardo DiCaprio in Martin Scorsese’s Killers Of The Flower Moon, and penned the rugged ballad Maybe It’s Time for 2018’s A Star Is Born, adding depth to Bradley Cooper’s portrayal of a drug-taking country singer.
But making his own music remains his forte. He cuts a lonesome figure here, but his songwriting is still compelling.
Both albums out now. Edwyn Collins starts his tour at Theatre Royal, Glasgow, on September 27 (seetickets.com).
Best of the new releases
JASON ISBELL: Foxes In The Snow (Southeastern)
Working without his regular band, The 400 Unit, the Alabama storyteller discards widescreen arrangements in favour of stripped-down folk and blues.
Made in five days in New York, these finely-crafted acoustic songs exude a quiet power, although a fuller band would have added greater light and shade.
A balmy Tennessee summer is the backdrop for Ride To Robert’s, while Isbell’s recent divorce informs Gravelweed (‘the love songs all mean different things today’) and Eileen.
JENNIE: Ruby (Odd Atelier)
As one-quarter of K-pop superstars Blackpink, Jennie Kim will be headlining Wembley Stadium in August, but the South Korean-born, New Zealand-raised singer and rapper also has a burgeoning career away from the band. Her solo debut is eclectic and bold, taking in dance music and experimental pop, with shades of Gwen Stefani’s solo work. ‘Your A.I. couldn’t copy,’ she boasts on Like Jennie, while there are duets with Dua Lipa, Childish Gambino and R&B vocalist Kali Uchis.
As one-quarter of K-pop superstars Blackpink, Jennie Kim (pictured, her album cover) will be headlining Wembley Stadium in August, but the South Korean-born, New Zealand-raised singer and rapper also has a burgeoning career away from the band
Her solo debut is eclectic and bold, taking in dance music and experimental pop, with shades of Gwen Stefani’s solo work
Gig of the week
LIVE: TEDDY SWIMS (Wembley Arena)
Verdict: Soulful spontaneity
Teddy Swims was in his element in the first of two sold-out shows in London, relishing the advent of his biggest British tour to date. ‘Wembley, man!’ the American gasped. ‘Can you believe it?’
Over the past 18 months his rise has been spectacular, but the bearded soul man from Atlanta (below) is clearly still grounded. Drawing from his two-part debut album, I’ve Tried Everything But Therapy, he delivered a soul show with a rock and roll edge – and pyrotechnics aplenty.
With minimum chatter, at least at first, he slammed from one song to the next with bewildering pace, his powerhouse voice backed by the thundering drums and chunky guitars of a road-hardened band.
Teddy Swims was in his element in the first of two sold-out shows in London (pictured), relishing the advent of his biggest British tour to date
It felt overwrought at times. Bad Dreams, one of last year’s best singles, lost its elegance onstage.
But Swims, 32, showed a subtle side, too.
The acoustic If You Ever Change Your Mind was dedicated to his girlfriend, fellow singer Raiche Wright, and before singing Some Things I’ll Never Know he confessed that he did, eventually, try therapy (‘it’s been awesome’).
A cover of Shania Twain’s You’re Still The One, picked randomly from a giant jukebox, added spontaneity, before the ballad Lose Control (the UK’s most downloaded track of 2024) provided a melodramatic climax.
Teddy Swims plays Co-op Live, Manchester, on Sunday (ticketmaster.co.uk).