In times like these, when we are being pushed to believe that the world is going up in flames and down the plughole at the same time, sources of true delight can seem few. That’s why I set up this blog. It’s about beauty, patience, attention to detail, and those who take time to delight in life on an intricate and honest level.
We need to remind ourselves every day that there is more to this life than hypothetical loss and gain, plunging interest rates and rising gas bills. Times are hard, but they’re not impossible, and the tiniest flickers of joy are still enough to spur on the human spirit, so we must open our eyes and ears, and seek them out.
Imagine my relief, therefore, when I stumbled upon Jo Hamilton’s debut album Gown. She’s been on the Birmingham music scene for a while now, testing out songs on the live circuit, nurturing and honing them, letting them grow organically.
In collaboration with Jon Cotton of production company Poseidon, who produced the Ivor Novello Award winning Scott Matthews’ album Passing Stranger, and after two years in the studio, Hamilton has created the most breathtaking work of art.
Gown EPK in High Deifinition (get your speakers on and sit back!)
Gown comes out on April 20th, and by all accounts, the music industry can’t wait to get their hands on it. It’s hard to draw comparisons with other artists, because the mix is so complex that Jo’s sound is assuredly her own, but I’ll give it a go.
Imagine Joni Mitchell’s voice made stranger and more nuanced, filtered through breath and deep resonance. Jo’s sentiment is raw like PJ Harvey, heightened by an achingly open spirituality. The instrumental layers of tracks like Glorious (Deeper) recall The Eels and even Nine Inch Nails, but there’s no point me trying to describe by comparison- this work is manifold in its complexity.
I thought I had some idea of what to expect from this album, until I listened to it. Expectations are subverted over and over again- just when you think you’ve pinned down what Jo’s about, the next note kicks in to teach you a soft lesson.
Heavy grunge mixes with vibrant acoustic guitar and Celtic melodies, Morrissette wailing slips into the gentlest whisper, and it’s all so measured. Nothing is given away too soon, each track builds carefully and patiently to a heartrending climax. You can hear the time invested in this labour of love.
At a recent private showcase, in the midst of an unshockable crowd of music professionals, Jo shone, and shocked. Almost hidden from view at the back of a long, dimly lit room, her body barely moved as she reached the first chorus, belting out notes that would make most singers buckle. I could see that onlookers were genuinely stunned by just how deeply the music was affecting them, on an instinctive level- I haven’t known such a raw reaction to a singer since Ray Lamontagne live performance at the Glee Club some years back.
Maybe this explains why those who know about Jo Hamilton have been saying there is a ‘need’ for her right now. In a world of instant, simulated gratification, where we consume so much so quickly that it doesn’t touch the sides on the way down, a gem like Gown that stops you in your tracks is a welcome, visceral relief.
