*Purcell Room, London*
Both musicians offered up technically impressive solo performances, with a thoughtful standout set by Chaney
This bravely minimalist concert featured two very different female singer-songwriters. The headliner was Diana Jones, an established and much-praised American country artist, while the support came from the English newcomer, Olivia Chaney. Both performed solo, though the occasional addition of other musicians would have helped each of them, and it was the opener who produced the bravest and most original set.
Chaney, who studied at the Royal Academy of Music and has yet to release an album, has boldly eclectic influences. She began her set with an elegantly impressive acoustic guitar, reworking first Bert Jansch and then Peter Bellamy's treatment of Kipling songs, before moving to Chile and Henry Purcell, the latter a nod to the room in which she was performing. Switching to harmonium, she performed a highly individual and charming version of the Alasdair Roberts song Waxwing. It was a remarkable opening, only slightly marred by her nervous and sometimes inaudible introductions.
Soon she changed direction again, moving to the piano for the first of her own compositions, including thoughtful, highly personal songs such as Swimming in the Longest River, which had echoes of Sandy Denny's brooding piano ballads. Then it was back to the guitar for the quietly pained The King's Horses, and the harmonium for the gently dramatic Holiday. It was clear that she won't remain unsigned for long.
Diana Jones opened and closed her set with songs from her new album, which she recorded in a log cabin at the Museum of Appalachia, in Tennessee. Jones writes new material that sounds like sturdy old-time Appalachia folk tunes, and she is an excellent guitarist and singer. All that her performance lacked was variety. She played slow, sad songs and faster sad songs, from the weepie Drunkard's Daughter to the tragic Goldmine. This was great in bursts, but Jones could have used her band.
• Diana Jones is at Bristol's St Bonaventure's Parish Social Club (0117 929 9008) on 10 September, then touring. Olivia Chaney is at Kings Place, London (020 7520 1490) on 13 September, then touring.
• What have you been to see lately? Tell us about it on Twitter using #GdnGig
Rating: 3/5 Reported by guardian.co.uk 1 day ago.
Both musicians offered up technically impressive solo performances, with a thoughtful standout set by Chaney
This bravely minimalist concert featured two very different female singer-songwriters. The headliner was Diana Jones, an established and much-praised American country artist, while the support came from the English newcomer, Olivia Chaney. Both performed solo, though the occasional addition of other musicians would have helped each of them, and it was the opener who produced the bravest and most original set.
Chaney, who studied at the Royal Academy of Music and has yet to release an album, has boldly eclectic influences. She began her set with an elegantly impressive acoustic guitar, reworking first Bert Jansch and then Peter Bellamy's treatment of Kipling songs, before moving to Chile and Henry Purcell, the latter a nod to the room in which she was performing. Switching to harmonium, she performed a highly individual and charming version of the Alasdair Roberts song Waxwing. It was a remarkable opening, only slightly marred by her nervous and sometimes inaudible introductions.
Soon she changed direction again, moving to the piano for the first of her own compositions, including thoughtful, highly personal songs such as Swimming in the Longest River, which had echoes of Sandy Denny's brooding piano ballads. Then it was back to the guitar for the quietly pained The King's Horses, and the harmonium for the gently dramatic Holiday. It was clear that she won't remain unsigned for long.
Diana Jones opened and closed her set with songs from her new album, which she recorded in a log cabin at the Museum of Appalachia, in Tennessee. Jones writes new material that sounds like sturdy old-time Appalachia folk tunes, and she is an excellent guitarist and singer. All that her performance lacked was variety. She played slow, sad songs and faster sad songs, from the weepie Drunkard's Daughter to the tragic Goldmine. This was great in bursts, but Jones could have used her band.
• Diana Jones is at Bristol's St Bonaventure's Parish Social Club (0117 929 9008) on 10 September, then touring. Olivia Chaney is at Kings Place, London (020 7520 1490) on 13 September, then touring.
• What have you been to see lately? Tell us about it on Twitter using #GdnGig
Rating: 3/5 Reported by guardian.co.uk 1 day ago.