LIVE REVIEW: SAVANNAH GARDNER & THE RECOVERING GOOD GIRLS - THE WATER RATS - KING'S CROSS
A little over two years previous, #TEAMw21 and a host of appreciative fans were present to see see Savannah Gardner's debut album "Recovering Good Girl" well and truly launched at the Camden Club. It's an album that should be nestled every Americana fans collection, remaining as essential now as it was the day we first heard it, some weeks ahead of its release. One hoped it would be the springboard to advance Savannah to wider national acclaim however it has not yet quite worked out that way. The intervening years have been both cruel and kind, the tragic loss of her mother resulted in one of the finest singles we have heard in years, while marriage and a recent award in Texas are definite positives.
On entering the Water Rats, it was filled like never before, even negotiating getting to the bar needed more strategy than your average chess match. There was a fervour of anticipation around the room as to quite how the evening might unfold. It was to be two Savannah sets of forty five minutes each, with no additional support. Savannah herself,the ultimate performer, just loves playing and it shows in every performance whether it be a solo or supported by any number of musicians. Although ostensibly an Americana artist, any Savannah set will encompass any number of genres, let alone her side Blues off shoot projects. She is totally at ease on stage, her introductions to songs, normally spoken while actually playing the intro of the song about to come, can be long rambling affairs sometimes with little relation to the the actual song about to be follow, yet they are as crafted as much as the songs themselves. It is why Savannah arguably remains the top live performer on the Americana live circuit.
Tonight would be not be the celebration it would become without her supporting band the Recovering Good Girls, so to avoid each song being a list of their talents - let's just take a moment to review their contributions for this is a most sympathetic band, perfectly in tune with Savannah. No-one seeks to stand out for they know that during the course of the evening, their talents will be both showcased and recognised.
On drums, guitar and backing vocals, the heart of the band, Carmen Ruiz Vicente, At a venue where overenthusiastic drummers can easily overwhelm the overall sound she remained a model of restraint, her presence is felt when it needs to be however she is equally happy providing the back beat that lets other shine. On bass guitar Riley Hare comes from the Bill Wyman school of bass playing, once on stage she barely moves, however that in no way stops her from providing the groove of the evening.
In Holly Carter on both electric and pedal steel guitar, there is another player in a role that could easily overwhelm proceedings. Her contributions on the evening will be multiple, whether creating atmospherics, or leading the way, her presence was always felt. Completing the "Recovering Good Girls" is Duncan Menzies, on fiddle, banjo, backing vocals and whistling as required, another master of subtlety but ready leap to the fore when required.
The house lights would dim, the stage would then be bathed in purple and green as the players took their places, Savannah uttering an audible "Wow". Carmen would kick things off with a drum beat that suggested it might be "Come On Eileen", however once the rest of the team joined in, it was obviously going to celebrate the album with its opening track "Recovering Good Girl". Special mention should go to the Water Rats sound engineer, who balanced things to perfection throughout. Savannah and Duncan's fiddle would lead us into the introduction to "Double Dealer". Savannah does not exactly sing or speak the lyrics, they are more knowingly performed as if she were in an old style variety hall.
It was only the third song, and Savannah was already doing band introductions, however if your band is that good why not? Savannah counts in "Lone Rider", and immediately Carmen is in control, Holly creates the atmosphere with the pedal steel, accentuated all the more by Duncan now on banjo giving it the true western feel it deserves. The next song "Wildfire" could easily stand being a set text for A level exams, there is so much contained within its lyrics, Savannah will sway from side to side as she sings. On the final chorus she sings nearly a cappella, in an almost broken affected voice before her vocals come roaring back for the final "Whoa's", it is showmanship of the highest order, most effective.
A humourous intro about road trips will divert until we are seamlessly hearing about the spirits of cowboys roaming in a cemetery for "Cowboys Of Carrizo". With Duncan's whistling setting the scene, Savannah would take on the role of narrator, firing out the tale over a fast paced backing.
The desert theme continues into a new song, "Wayward Wind" that comes with one of the purest pop choruses of the night. With Carmen pounding the drums, and Duncan's fiddle at its most captivating, this was a five star classic in the making, complete with a false ending. Carmen would then totally change styles to the rumba rhythms of "Left It All Behind", simply great, good time music.
In a total change of mood "This Pain Is Love", is the song we referred to at the start, one that anyone who has ever lost someone cannot help but find solace in. Savannah naturally had a personal heartfelt introduction before taking on the first verse and chorus with just Duncan for company. The band then gradually joined in, Holly's guitar embellishments were pure joy while Savannah's vocals veered from at times being almost a whisper, to at other times soaring, and were something to behold. With emotions already high the next "little ditty" would see Duncan and Carmen join Savannah for an a cappella "Entirely Yours", for Savannah's new husband.
The famous scene in Spartacus sees everyone decrying that they are the titular character, for "City Of Cowboys", it seemed that the whole of the Water Rats were Recovering Good Girls joining in on a most rawkus of versions.
The first section of the evening would close with "My Hot Pursuit" deriving from a Savannah dream where she was a policewoman chasing her prey! A fast paced romp, only three weeks old.
With the heat in the Water Rats approaching sub tropical, a short break was well timed and most welcome.
The second half of the evening would start with special guest Luke Jack, providing guitar, Duncan on fiddle for Savannah's Dolly Parton tribute, "Muleskinner Blues", with the audience clapping like maniacs and Savannah yodelling, Dolly would surely have approved and be thankful for not hearing "Jolene" again - it ended with Savannah declaring "I want to be a muleskinner" which is not as gruesome a wish as it might sound!
It was straight into another crowd pleaser with "Home Again", old time country with a bit of swing giving the audience a chance to quickly rediscover their singing voices. An unrecorded song on "Making Honey" was a bit of a hoe down with prominent guitar and fiddle and Savannah's fast fired lyrics. Another dream based song "Grim Reaper" tied in with halloween with Savannah's ex being the Grim Reaper! On first listen it seemed a little like Cab Calloway meeting Country and saw Savannah hovering over the pronunciation of "Reaper", offset with Duncan's banjo and Holly's pedal steel giving it a slightly off kilter unsettling sound.
The second guest of the night came in the shape of Tommy Hare, a giant of man who had to watch his head on the ceiling. He would unwrap the mic from its stand and then provide a soulful sparring partner on "Lying Stealing Cheating", with the audience turned into 60's backing singers this was a sheer delight. It was also a hoot having to see Duncan readjust his mic afterwards to a much lower height.
Another introduction via training for journalism, magic mushrooms and future visions led us to "Deep Blue Sea", a fast paced, quickly played song with a swathe of backing vocals and fiddle while Savannah's vocals are past in a blur. A temporary respite in pace came with a bit of classic country in "Heaven Is A Feeling", it saw another truly heartfelt introduction and witnessed a crowd well versed in their roles, swaying and waving as Savannah sang.
It was now Honky Tonk time, and within a few bars of "Tomorrow I'll be Free", the Water Rats was a mass of stomping, clapping and singing. Riley Hare's bass would run wild, in an atmosphere that can only be described as mayhem! It segued as usual into "High Desert Memory", with Holly's pedal steel and Duncan's fiddle cutting swathes through the sound to keep the party going. The second section would close as per the debut album with ""Heartbreak River", finishing the evening with an Irish lilt, a restrained stirring ballad, that let the audience find their voice one last time.
The encore would be "Born In The Wrong Generation", and if there were any doubt about how well crafted Savannah's introductions are, this one would seal the deal. Her narrative weaved though the decades, mentioning a number of performers before landing on Bruce Springsteen, just as she effortlessly wrapped "Dancing In The Dark" around her own song. The reception could probably only have been louder had Bruce himself walked out to join in. Savannah would sing the first line or so solo before it became a community singalong from thereon in.
An exceptional evening, over ninety minutes performing time with not a filler in sight, just pure entertainment. If we are to all meet again in two years time, let's hope it's at the Royal Albert Hall with Savannah playing in front of the many fans she has picked up along the way, it only seems both fitting and right.
