Slide guitar player Jack Broadbent’s fourth release ‘Portrait’ was a fantastic slab of retro blues. His purist style breathed life into the genre simply by being raw. His straightforward approach was very welcome since, at that point, everyone else seemed to be playing rock with a blues influence and trying to pass that off as “the blues”. Seriously, why listen to Joe Bonamassa when you can listen to something with more more heart and – more importantly – a much greater understanding of the genre? Broadbent’s love of tradition came like a lightning bolt and ‘Portrait’ was an album that deserved a much bigger audience. Over the next couple of years, Jack busied himself upon the gig circuit and released a no-frills live document ‘One Night Stand’ which gave listeners an even better insight as to why he should’ve be considered the most important figure in the UK blues scene at that time.
2019’s ‘Moonshine Blue’ is a fantastic record, but it’s also one that marks a change in style. Perhaps Broadbent thought that the stripped back slide guitar blues – although raw and exciting – could also be limiting, and so, on his fifth album he fuses a couple of subtler elements of his previously explored work with a quieter, folkier mood. The results are often lovely, but creates more of a singer-songwriter’s work. This is also a record that’ll draw in a new audience, which – let’s face it – is something that every good musician wants.
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At the beginning of 2019, Falling Stacks broke a long silence with the ‘Sarcastic Clap‘ EP. A collection of angular post-punk sounds that looked to the past for inspiration, it still played in a way that seemed challenging in the present. It would be fair to say that EP wasn’t for everyone. Released just eight months later, ‘Sin Bin’ offers another selection of noises set to thrill lovers of ugly, spiky, guitar driven artiness and frighten the bejeezus out of everyone else.
