Music > Album Reviews

The Vagaband - Beautiful World

13/02/23

It is hard to believe that over ten years have elapsed since The Vagaband unleashed their debut album 'Town & Country', a record that still gets a regular airing in my house. In that time, the band have established themselves as one of the mainstays of the Norwich music scene, appearing regularly at pubs such as The Reindeer, venues like Norwich Arts Centre, and at festivals like Red Rooster. They also regularly support outdoor events in Norwich, including Head Out Not Home.
 
Over the years, the line-up has included a rotation of familiar names, and yet The Vagaband always maintains its unique character and freshness thanks to the steady leadership of José McGill, together with fellow songwriter Gregory Cook on keyboards. They are joined once again on 'Beautiful World' by fiddle player Joe Wright, bassist Tristan Roche and drummer Daniel Reynolds. But for this, the long-awaited fourth album, we also see Yve Mary B (formerly of Morganway) and Mark Howes (blues guitarist from Dove & Boweevil) given full credits, and guest appearances from Norfolk dobro king Noel Dashwood, Ali Houiellebecq on flute, Joe Harvey White on pedal steel guitar, and Emily Wiing on vocal harmonies. This latest incarnation of The Vagaband continues their well-earned reputation as one of the region's foremost Americana folk-roots outfits.
 
Kicking off with 'I'm Not For You', a gently rocking country duet that could well have escaped from a 1960's Lee Hazelwood/Nancy Sinatra compilation, 'Beautiful World' constantly changes direction, firstly with 'White Noise', the lead single from their 2021 EP. Despite its 1970's vibe, and with strands of Matthews Southern Comfort woven into the salvatory warnings about social media overload, the contemporary message and relevance is bang up to date.
 
Barwood takes centre stage on 'Avalon', reminding us just how important she was in Morganway's early success. And on 'Wheels', probably the hardest rocking track on the entire album, it is Barwood's springwater clarity that matches McGill's oak-tinged smokiness so perfectly, reminiscent in many ways of classic Fleetwood Mac. But it is her spine-tingling unaccompanied vocals on 'The Pedlar's Way' that you will remember, long after the album has ended. And it is her contribution to McGill's gothic Southern twist on the folk classic 'The Unquiet Grave', that gives the Nick Cave and Kylie classic, 'Where The Wild Roses Grow', a spooky and atmospheric run for its money.
 
Last, but definitely not least, 'Into the Blue' plays us out with a wide-screen epic chillout of a tune, complete with Fluffy White Cloud-like embellishment courtesy of Tiny Little Heroes, and a sprinkling of Vagaband magic which recaptures the essence of both Fleetwood Mac's 'Albatross' and Pink Floyd's 'Eclipse'. Truly spellbinding.
 
This is the best Vagaband album yet, and marks the band's progression into brave new territory, but whilst remaining true to their roots.
 
Support local music, support local artists, and, if you believe in a Beautiful World, go out and buy this album now.
 
9/10