The Music Note

The last gig I went to was Bryan Ferry’s March 13th 2020 show at the Royal Albert Hall, the second of two dates at the venue. The gigs were Ferry’s final performances on a run of tour dates that would be cancelled due to the pandemic, and more poignantly, the final full-capacity events to take place at the iconic venue – and quite possibly anywhere else – prior to lockdown. The concerts have now been released on a live album with all proceeds being shared between Ferry’s band and crew members in an effort to support them during what has been an extremely challenging time for the live music sector. This live release is a welcome memento of what was my favourite Ferry show in recent years. While the musicianship is always excellent, the setlists in the past few tours had not differed all that much, with each passing tour offering up just a few new song additions among a sea of setlist staples. However, the 2020 shows were hugely refreshing with revitalised setlists that drew largely f

From the classic, well-crafted pop of 2006’s High Society and its follow-up Chateaux Revenge , to country inspired fourth release Alaska , the Silver Seas are a band who have continued to musically evolve with each new record. However, latest album Moonlight Road marks their biggest transition yet, with a shift towards a wholly electronic sound. On Moonlight Road , the acoustic pop folk and catchy melodies – elements that all their previous albums shared – have been replaced with programmed drums, keyboards and layered vocals. In this respect, the album bares similarities to Josh Rouse’s 2018 release Love in the Modern Age , a comparison that is perhaps unsurprising given Daniel Tashian’s involvement as a co-producer on Rouse’s record. However, whereas Love in the Modern Age draws influence from 80s music, Moonlight Road’s electronic arrangements take a more fresh approach. Long-time fans of the Silver Seas may initially find Moonlight Road to be somewhat jarring in places, such i