Music / country music
Review: Kate Dimbleby & Keith Warmington with Clare Lindley, Bristol Fringe
First there was Country and Western and now there’s Americana. Arguably, the path from one to the other was begun in the late 60s by American songwriters chafing at C’n’W’s ‘cowboy and sweetheart’ conservatism. Over the years people like John Prine, Lyle Lovett, Bonnie Raitt and Jackson Brown used the musical form to convey more bitter-sweet (and even bitter-bitter) life experiences and it’s this generation of songwriters that underpins the music of Kate Dimbleby and Keith Warmington.
Keith Warmington and Clare Lindley
Their duo set is a combination of well chosen covers and original songs with their voices accompanied by Keith’s guitar and harmonica but this gig introduced ex-Stackridge fiddler and singer Clare Lindley as a third band member. It was a good call – Clare’s beautifully modulated violin tone embraces the whole gamut of styles from Old Time to Blues via Nashville, adding great atmosphere to each song and contributing some fine solos on the way.
Kate Dimbleby, Keith Warmington and Claire Lindley
Things kicked off, however, with a distinct feel of cabaret as Kate threw herself into the saucy lyrics of John Prine’s In Spite of Ourselves and Blender Blues, her own double-entendre packed number. It was a rambunctious start that clearly warmed up the Fringe’s crowded room but then things settled down almost immediately with a sequence of rather poignant ballads including Beth Nielsen Chapman’s Trying to Love You which benefited from a fine three part harmony vocals and a lovely economical violin solo.
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Kate and her pal Roland
Even more vocal parts then figured as Kate deployed her loop station (handily balanced on an ironing board) for Hold On, a gospel-inspired accapella number reflecting her own exploration of electronics. The number brought together two distinct voices – one sweeter and subtly emotional, the other a more theatrical belter. The former was especially effective in duets with Keith such as Richard Thompson’s The Dawning of the Day and John Prine’s The Speed and Sound of Loneliness, two classics each taken with aplomb. The latter, more raucous, vocal style was splendid in Kate’s own Love Me Like a Man but seemed a tad misplaced for Hank Wangford’s Let’s Be Lonely Together Tonight which, like much of his work, has a genuine sincerity behind its apparent pastiche.
Keith blowing the house down
Keith’s seasoned guitar had run faultlessly through the evening behind their voices but it was undoubtedly his solo harmonica piece Cornish Train Blues that stood out. One of his enduring favourites it was a fearsome piece of huffing and puffing that clearly blew the house down (not bad for a man with an inhaler to hand) and slyly included a burst of the famous Stone Fox Chase.
Things wrapped up with enthusiastic audience participation for the classic Nashville sound of Kate’s Empty Feeling, making for an unlikely back parlour singalong in the heart of Clifton and reflecting the sheer entertainment value of three accomplished musicians enjoying their own company as much as that of their thoroughly engaged audience.
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