EP REVIEW: SIMEON HAMMOND DALLAS - SEVENTEEN
- CHRIS FARLIE
- May 25
- 6 min read
Simeon Hammond Dallas is one of the few artists that on each occasion #TEAMw21 have bumped into her we have felt the need to congratulate her on something she had recently done, whether it be standing out in a somewhat shambolic Bush Hall Songwriters round, making the sun shine at C2C or releasing what any sane person would surely consider to be the best single of last year in "Do I Die?"
The arrival of "Seventeen" a 5 track EP is the combination of all of the above and it is surely going to properly announce the arrival of a major talent. In truth the signs were always there, check out "A Hundred Lovers", "August" or the somewhat to the point "F****** Her", all had a mix of incisive lyrics matched to equally bold tunes, "Seventeen" takes all of that and seems to ramp it up further.
The EP opens in brutal fashion, the opening inventive percussion and guitar in no way preparing you for the onslaught that is to come. "Bad Liar" sees Simeon's vocals, restrained yet ready to snap.
"When there's a snake in the grass
You've got to sniff it out
When there's a snake in the house
You better burn it down"
The reason for this tense situation is that Simeon is in the same room as someone who has made a fatal misjudgement in bad mouthing her. The chorus is where the volume ramps up as Simeon's wrath starts to unload - the third and fourth lines especially are rattled with venom to keep the snake metaphor going.
"Ooh you're a bad bad liar
Should've just stayed quiet
Dragging me name through the dirt's
Only gonna hurt you when it backfires
Ooh you're a bad bad liar"
Simeon's vocal in the second half of the chorus seem to race away such is the pace they are delivered at. There is a later section delivered with a quiet menace, it as if the touch paper has been lit and this is the prelude to an explosion.
"Little actress butter wouldn't melt
Thinks I'm foolish thinks I won't raise hell"
The final three words are not only deliciously extended but rise in volume like hell is about to be raised.
It's bluesy, punchy ending suddenly like a knock out punch has just been delivered.
The relationship in "Fallen" is a lot closer to home, though no less problematic, the verses let us see into Simeon's deepest thoughts at the time, and are delivered almost brooding over just a drum beat in the most effective way.
The chorus is the purest pop music you will ever here, interacting with her own backing vocals over the sort of chorus Fleetwood Mac in their Nicks/Buckingham "Rumours" era could muster in. It is sumptuous and just wraps itself around you. The beauty of the music at odds with the drama of the lyrics, always a good way to plant a seed in the listeners brain for them to discover later.
"I've fallen in love with a car crash baby
And it's headed towards me
I've fallen in love with a storm cloud
And I didn't get any warning
But oh for love, I'd break down for love
Yeah I howl like a wolf in the night
No I won't cry for love 'cause it's not enough
But I scream like it's ending my life"
The second visit to the chorus sees sporadic piano notes picked out while the final trip adds an additional guitar and let Simeon's voice roam with total freedom.
"Four In The Morning" is a beautiful fusion of styles, sixties rocker, mod classic, with Simeon's voice totally owning the melody being the thread holding it all together. The opening drum section gives little hint as to the aural sensation to come, with the sound of organs, choppy guitars, and lead guitar taking us on a great journey.
"But everybody knows
That girls have one thing in their heads
I ruined all my shows
'cause I've been up with you instead
I don't wanna talk about our relationship again
It's four in the morning baby, give it a rest"
There's one line as the band gradually increase in volume as Simeon passionately pleads
"We fight, I cry, and try to be something you like
I mourn the life that should be mine
I dream about it all the time"
It is undoubtedly powerful stuff - the final word extended in the most impressive style
Revisiting the single review - the only question was did we praise it enough? It does offer us a chance to correct some misheard lyrics thanks to a rather nice accompanying lyric book which will provides more pictures of Simenon and her friends in a kitchen than you could ever wish for, as well as some open honest informative background information about Simeon when she was "Seventeen"
There's more hints of classic Fleetwood Mac as the song opens to a prominent guitar riff, and a sumptuous rhythm section that will have you hooked within the opening ten seconds, before Simeon has had chance to say a word. When she does arrive, she throws us straight into the mix with a dramatic opening that has the listener mirroring Simeon's initially confused state, her vocals lowering perfectly capturing the downbeat end to the second line.
"Woke up in the night, with the lights and the tv on
Think we had a fight, don't know why, but I know you're gone"
The next line sees Simeon deliciously extend the word love over multiple syllables, her voice rising and falling, not in a showy way, just proper talented singing.
It's a technique she will perform seemingly effortlessly throughout the song.
"Begging like a child, oh I'd do anything to be loved
Somebody believe in me - I've got nothing else to fall back on"
The chorus is divine, the crashing cymbals, providing the perfect break between each couplet as Simeon vents her frustrations.
"Maybe I'm just crazy - I'm not the only one
Maybe I can't have this - cos I want it too much
Maybe I'm deluded, am I fooling anyone?
Tell me what the truth is -
Do I die before I'm done"
This may be a perfect pops song however it doesn't stop Simeon from slipping in some quite heavy hard hitting personal lyrics within this most elegant of tunes.
"Read the stars, read the cards, read the palm of my hand
I've been scarred, I've been starved I've been broken and scammed
Gave you all I could, was it good? I don't understand
Somebody believe in me, none of this was ever the plan"
In a final burst of lyrical class not normally attached to a pop song, Simeon's delivery reaches a new high - steadily building in intensity and volume over each line until she almost bursts with frustration
"I have to know how this goes cos it's killing me
Is it a test? I'm obsessed what you do you want from me
Hungry for validation don't ever stop feeding me
Why do I feel like we're at war and I'm the enemy"
The closing and title track of the EP is "Seventeen", musically it is the softest of the five tracks, lyrically it is easily the hardest, as it is an almost brutal piece of self analysis and reflection. Played out to just an acoustic guitar and piano it is Simeon's delivery that is the absolute star of the show - rarely do artists open themselves up so bravely and even though these are events in the past they still seem vividly real and will surely chime with people in similar situations.
"But I break all my boundaries, as soon as I get lonely
Someone stronger told me, it's okay to fail sometimes
But I fold so often, I'm scared my words mean nothing
Seventeen I should have up and left the boy behind"
The verses are actually quite difficult to read and tell of someone being transformed into another persons ideal and the damage that ultimately that leads to.
As a collection of songs this is certainly as honest and compelling a collection as you are likely to her all year.
Having declared "Do I Die" as being the UK Americana single of 2024, the "Seventeen" EP is surely going to be right up there for consideration when the end of year Best Of lists are compiled. Currently working through a UK tour there is still a chance to see Simeon Hammond Dallas at her hometown London show at the end of the month.
