LIVE REVIEW: SJ MORTIMER / SAVANNAH GARDNER - THE WATER RATS - KING'S CROSS
When SJ Mortimer first released a solo single whilst being Morganway lead singer, back in 2022, it did raise a few concerns - what if it did too well? It was only later that we came to realise that there was already a whole album available that predated her joining the band. Since then there have been sporadic solo live appearances, #TEAMw21 caught one at the Sound Lounge and this year a whole new EP.
With Morganway dates already booked in the calendar it seems that both can happily co-exist. Just for the removal of any doubt, the only other Morganway contributor on stage during the evening would be husband Kieran, and no Morganway material would be performed.
#TEAMw21 quickly spotted that long term favourite Ben Smith, would be on both guitar and pedal steel, once a familiar sight on the London circuit, with partner Jimmy Brewer, so it was good to see that SJ would still be surrounded by superior musicians. The band was completed by the addition of drum, bass and keyboards.
With the stage dressed in flowers echoing the "Late Bloomer" EP cover, and a barnstorming, crowd revving intro from TALENBANQ head honcho Ray Jones, this was an evening set to succeed. Those expecting anything approaching a Morganway wall of sound were initially met instead by a warm country soul vibe, with the keyboards prominent.
No-one loves the Morganway sound like #TEAMw21 but this backing offered SJ something different, she was not having to be going full pelt to be heard and could therefore adjust her vocals accordingly, less volume, more rounded was the immediate impression, although there was still some bite! Dressed in spectacular electric blue trousers and her long blonde locks now nearing her waist SJ was as ever eye catching.
SJ would put on her acoustic guitar, as the organ sound gave us the church opening to "Above & Beyond". This was most definitely country music, maybe a little rootsier, that would take us on a tour of America. Kieran would provide backing vocals and a refreshing organ solo from Sean O'Hanrahan really quickly showed that this was SJ in a new format - "I feel emotional already" SJ would say on completion.
The title track of the new EP, "Late Bloomer", came with an explanation as to the origin of the whole ethos of the project. With triple backing vocals, the perfect blend between guitars, keyboard and percussion worked a treat on this mid paced wonder, which came complete with a fake ending, SJ able to draw the applause from the audience before ramping the sound back up and then calming things back down for a singalong finale.
With Ben moving to pedal steel, "Heals Me Like You" opened mainly to just SJ and Kieran along with the most minimal of percussion. Gradually the sound would build in atmospherics, Ben would add backing vocals on the chorus, and suddenly all the pieces of the jigsaw seemed to be perfectly in place. It was a sound not to be rushed, and worth the wait as it built to its climax. Another song from that original album, "Smokey Mountains" recalled days in Gatlinburg", Dolly Parton country. It produced a sweet country sound, the combination between pedal steel and organ on the instrumental break was an absolute treat, while SJ's vocals really sang of someone who had seen the sights of which she was regaling us with.
The band would mainly leave the stage apart from SJ and Ben, for a tender song "As I Am", SJ's vocals were wonderfully restrained in a countryish manner. It was exceptionally moving as SJ effortlessly weaved her way through the scales. This was a song #TEAMw21 first heard at the Sound Lounge, it was great then and was even better tonight with Ben's pedal steel contributions sublime.
The band would return and Ben would switch back to normal electric guitar for "Nashville" which SJ would pre warn us came with ridiculous solos. As country sounding as you'd imagine with SJ suitably rousing, the solos on guitar and keyboards were as notable as SJ had mentioned and got some notable "Yeehah's" from the audience.
After telling us that drummer John Taylor had been in A&E that morning with a bad back, it was on to a new poppy song - "Hold Me, Don't Let Me Go". Blessed with some extended notes this was a most exciting diversion. Immediately Kieran would pick out the opening guitar notes of "Tonight?" possibly one of the nearer things to Morganway on the night.
It was special guest time, and Alex Francis was welcomed to the stage for a couple of tunes he had co written. Firstly "Too Heavy" saw a duet that matched Alex's raspy voice perfectly with SJ's. The next tune hit a more soulful groove "Living For Today" would see SJ with hands swaying by her side. Complete with organ solo, this was some special, the two voices once more meshing perfectly.
The new songs were really hitting the spot and another one followed with the fast rawkus "Fireball" named after the eponymous whiskey, complete with a shout out of the title. It was a little madcap but was definitely the most outrageously country number of the whole set.
For a set of predominantly new songs for most of the crowd, this was proving to be a rather easy sell, such was the quality of the material. The final song of the main set, "Numb" was from the "Late Bloomer" EP, which had a Pettyesque riff running through the verses leading to a chorus where SJ could let rip. This was definitely at times, the rockiest affair of the night but played with volumes return to quite subtle levels on the verses.
With one final bit of rebel rousing from Ray Jones, SJ and the band were encouraged to visit the "Late Bloomer" EP, one last time for "Don't Underestimate Me", an all out rocker complete with the band adding significant solo's for their introductions. The show could only end in one way with a traditional SJ headbang sending her hair flying at full length after delivering a fearsome final note.
It all made for the most marvellous of introductions to SJ's new solo activities.
The evening had begun in sterling style with a set from Savannah Gardner, who having only graced the same stage as headliner with The Recovering Good Girls, a week or so earlier, was now playing support, solo. Savannah solo is something #TEAMw21 have not witnessed for a while, and it was a delightful reminder of just how entertaining she is in this format. She is no shrinking violet, her playing was so strident and her vocals so forthright, you could almost imagine the presence of the band, even though none were present.
As ever, Savannah would open with a gentle strum, before moving in to "Recovering Good Girl", stopping half way through to break the fourth wall and introduce herself. Moving swiftly on to "Double Dealers", Savannah's delightful habit of making her introductions as she plays the opening bars of the next song continued. Always a song that seems larger than life, this solo version ramped up the performance even further, the vocals more exaggerated, the guitar playing at times equally dramatic right up to the final sudden ending.
This was a night that leant more on unrecorded material, the sweet introduction to "Making Honey" led into a fast paced affair. There's a further break in the fourth wall as Savannah expanded further on the original introduction, perfectly setting up the next verse.
So endearing, it immediately raised smiles all round, as she outlined the next stage of a relationship after the initial hooking up phase, where Savannah reveals her little quirks. It comes with a chorus guaranteed to lighten the heaviest heart, with Savannah beaming as she performed.
No I don't have much money, but I'm kinda cute and really funny
I'm the bee and you're the honey"
The joy of watching Savannah play is her ability to switch the mood in an instant, so from the light hearted frippery of "Making Honey", there came the more serious "Wildfire", although you could just singalong with the chorus and remain unaware of the contents within this little blockbuster. It is introduced as a song of "Unrequited love" but there is so much to discover
As Savannah sings "I wanted it" it carried such weight. In a neat touch, the stage was bathed in a fiery red light. When the words
"I had to burn" were uttered as an almost cracked whisper, there seemed a spellbound hush had spread around the Water Rats.
The final chorus would move from a whisper to an anthemic roaring finale capping off something truly special.
More unrecorded material would come with "Cowboys Of Carruzo" with its elongated introduction, that like the best spooky stories starts with an innocuous road trip and leaves us with lost souls. Rich in narrative, it will be a delight so savour over the full tale when the new album arrives next year.
Speaking of the new album, #TEAMw21 have not been as excited in a while by an unrecorded tune as we are by "Wayward Wind". Now a lot can happen between creation and recording however this tune seems to have all the elements ready to propel Savannah into a more prominent place in the public perception. With Halloween in the offing "Grim Reaper" provided more spooky vibes to the evening, part Cab Calloway, part Screaming Lord Sutch, we have no idea how this will emerge on record!!
As we neared the end of our time with Savannah, she would steer the ship into more familiar waters, "Heaven Is A Feeling" takes on a new dimension played solo, always a feel good tune, it just felt that without the distractions of the band, the "feelings" felt ever more universal, wrapping themselves around the whole room. Upping the pace with "Deep Blue Sea" with its "Magic Mushroom" introduction, Savannah's rapid playing was accompanied by some definite shimmying!
A final bit of joy would come with "Born In The Wrong Generation" complete with its "Dancing In The Dark" wrapper which would have the Water Rats crowd joining in unsolicited. It is one of those complete performances from introduction, through to the perfectly executed cover that segues into Savannah's own song before exiting back out to the Boss, but not before acknowledging the oncoming SJ Mortimer. This was an undoubted masterclass in how to warm up a crowd for the headliner.
