The Music Note

  Just over a year since the incredible 20th anniversary performance of 1972 , Josh Rouse returned to London to mark the same milestone for its follow up, Nashville . This album has always been my favourite among Rouse’s discography, with my appreciation partly rooted in the fact that, while certain tracks are truly reflective of the album title in their country influence, most of the tracks lean more towards the sophisticated, well-crafted pop that Rouse has become renowned for, with an underlying country influence subtly running throughout. This understated approach to the country genre resulted in a beautifully authentic, yet timeless record that sounds just as fresh now as it did upon its release in 2005. ‘It's the Nighttime’ – Nashville’s opening track, and the one most evident in its country influence, got the gig off to a solid start. ‘Winter in the Hamptons’ followed, with singalong choruses and snappy handclaps that were keenly reciprocated by the crowd. What was immedi...

With a career spanning 20 years, Josh Rouse is an artist who continues to stylistically evolve with each new release. Originating with the alt country rock of 1998 debut Dressed Up Like Nebraska , his experimental creative approach has formed a catalogue that covers a multitude of genres, notably the 70s inspired pop/soul of 1972 , Spanish influenced El Turista , and the atmospherically cinematic arrangements of Bedroom Classics Vol. 2 , to name but a few. However, Love in the Modern Age – Rouse’s latest offering, may be his bravest transition yet, with an overriding 80s electro sound that is worlds apart from the rootsy, thought provoking, and at times, poetic aspects of previous release, The Embers of Time . Drawing inspiration from bands such as The Blue Nile and Roxy Music, the 80s influence is very much present throughout on Love in the Modern Age , from the keyboard and synth focused arrangement, right down to the Bryan Ferry-esque album artwork. On a side note, the album i...

As part of his most recent UK tour, Josh Rouse came to London's Kings Place last month for a performance in support of latest album, The Embers of Time . This release comes two years after The Happiness Waltz , a record in which themes of growing older and family life, are effectively depicted through Rouse's atmospheric lyrics. The Embers of Time follows in a similar vein with songs like 'JR Worried Blues' ("I've got a stack of bills this high / I've got worries, worries on my mind") and 'Time' ("Early forties, how ya' doing / What's the deal / How am I supposed to look, how am I supposed to feel") touching upon these previously addressed themes. Rouse's music has mellowed considerably since the darker, moodier sound of 1998 debut Dressed Up Like Nebraska , though it is 2005's Nashville that is often regarded as his best work to date. While the soft, folk/pop of The Embers of Time will come as no real surprise to f...

I've been meaning to compile one of these lists for a while now. A selection of songs that were my personal favourites throughout 2013, all of which feature regularly on my day to day playlists, yet still sound as fresh and innovative as the moment I first heard them. In the near two years that I have been writing this blog, I have been fortunate enough to have discovered some fantastic music from both emerging and established bands, many of which are unsigned or on independent labels. The list below features a selection of these tracks, along with key songs from more mainstream and universally recognised bands - all in all, a delightfully random mix of good songs. 'Ain't Messin 'Round' - Gary Clark Jr. On 'Ain't Messin 'Round', bright horns and momentous grooves offset perfectly against Gary Clark Jr.'s soulfully raw vocals. A furiously addictive guitar solo provides further edge to the whole structural arrangement. The track may well be the ...

Josh Rouse's Bedroom Classics series could certainly be viewed as a collection of lost treasures among his broad catalogue of full length records. The EPs, which are comprised of three separate volumes, have been gradually released over the course of his fifteen-year career, appearing perhaps, somewhat quietly in between his ten studio albums. Though brief in duration at about five tracks per volume, all of the EPs vary in genre, with volumes one and three also featuring demos of tracks that would eventually appear on later studio releases. In this post, I will be focusing on 2005's  Bedroom Classics, Vol. 2 , the first album to be released on Rouse's independent Bedroom Classics label. Inspired by Rouse's love of film scores, the EP, of which two of the five tracks are instrumental, has a moody and atmospheric tone running throughout. The spacious arrangements and rich instrumentation on 'The Last Train' are so endearing, they are somehow more effective at ...

Two months after his surprise intimate gig at The Lock Tavern in Camden, Josh Rouse returned to London last Wednesday to perform at the Islington Assembly Hall, in support of his most recent album,  The Happiness Waltz . Josh took to the stage with a full band to play to a sold-out crowd of 700 fans, a very different atmosphere to The Lock Tavern gig, in which he played a solo acoustic set in a cosy upstairs room in a pub. Since I purchased the tickets to the gig through PledgeMusic , my friend Steve and I got the opportunity to attend a meet and greet with Josh and watch him and his band soundcheck in preparation for the evening's performance. The soundcheck was like a concert in itself, with Josh playing eight tracks, all of which got us excited for the night ahead, though it was hearing the first verse and chorus of 'It Looks Like Love' that really got my feet tapping, and left me hoping that the song would be included in the evening's setlist. I always enjoy watc...

Last Tuesday, Josh Rouse played an intimate solo acoustic gig at The Lock Tavern in Camden, London.  The free admission show, which had only been announced two days earlier, was an unexpected treat for fans like myself, who are eagerly awaiting Josh's UK tour at the end of May.  On arrival at The Lock Tavern, I was surprised but thrilled at how small the setting was - this wasn't like the venues I was used to seeing Rouse in, instead it was a cosy upstairs room in a pub, packed full of people enjoying their drinks and looking forward to an evening of live music. The performance coincided nicely with last week's release of his tenth studio album The Happiness Waltz , with Josh explaining he was in the UK for the week doing promo for the album which led to this last minute gig.  He then proceeded with the hour long set, which included a healthy balance of material from the new release, along with much loved classics from previous albums. Josh opened the set with th...

Josh Rouse's delicate cover of 'The Perfect Girl' couldn't be in further contrast to The Cure's original version of the song.  With soft piano and a relaxed tempo that finely compliment Rouse's signature smooth vocals, the overall result is a beautifully unique, yet classic cover of a great track.  This version appears on Rouse's Singles, Covers And Demos Collection Vol. 1 , that is available to download from the Bedroom Classics Closet Archives page on his website.

A few weekends ago, Josh Rouse streamed his upcoming album The Happiness Waltz on PledgeMusic.com .  The preview was available for a limited time exclusively to fans who have made pledges in exchange for packages and experiences surrounding the new album through PledgeMusic.  The items/experiences on offer ranged from t-shirts and posters to a private house show and an opportunity to record a song with Josh (I opted for a signed copy of the album and a pair of concert/meet and greet tickets).  While the majority of money raised from the project will go towards the funding of The Happiness Waltz , 10% of any money raised after the goal is reached will be donated to Action Against Hunger. Onto the actual album itself.  With a title like The Happiness Waltz , I assumed the album could be of a similar theme to 1972 , and while there are traces of this album in places, most notably on 'A Lot Like Magic', I see more influences drawn from Nashville , with hints of...

Last night, I watched the fourth instalment of Josh Rouse's Late Night Conversations  concert series, hosted by Stageit .  This edition has been my favourite of the series to date.  Not only was the setlist comprised almost entirely of early to mid Rouse material and rarities (aside from two brand new tracks), but a lot of my personal favourites were played, which I find pretty cool in a set list spanning a 30 minute show.  Not only that, but Josh finally played my song request of 'Sad Eyes'!  But more on that later... Josh opened the set with 'Late Night Conversation' and 'Michigan', followed by 'The Whole Night Through'.  I felt this trio of songs were a perfect start to the show, appropriately setting the autumn theme for what is the October edition of this concert series.  Josh played harmonica throughout 'Late Night Conversation' which was a lovely touch.  I was especially thrilled to hear 'The Whole Night Through' - it...

Last night, Josh Rouse delivered the third instalment of his Late Night Conversations concert series, hosted by Stageit .  Unlike the last two shows in which he was joined by Caio Bellveser on piano and bass, this September edition saw Josh perform the entire set solo.  However, much to the delight of fans watching, the format of the concert remained the same, with Josh playing a varied setlist comprised of new material, tracks from previous albums, song requests and rarities - all played live from his home in Valencia, Spain. Josh opened the set with two new songs - 'Western Isle' and 'City People, City Things'.  Both tracks sounded good, but I particularly liked 'Western Isle' .   Though it's always difficult to give an opinion on new songs, not just because this is the first time I've heard them, but if these tracks do feature on the new album, they are bound to sound different if played with fuller instrumentation, compared to just an acousti...

I watched the second instalment of Josh Rouse's Late Night Conversations concert series on Stageit last night.  Once again, Josh delivered a fantastically varied setlist in which he played a wide range of tracks from previous albums, debuted a new track and took requests from the audience.  This time round, the sound quality was again very clear, aside from a slight delay at the very beginning, which was resolved within the duration of the first song. Accompanied by Caio Bellveser on piano, Josh opened the set with a beautiful rendition of Bluebird St. (Caio joined Josh on bass for the remainder of the show).   An equally impressive Streetlights followed, in which Josh played harmonica in the into and middle 8 sections.   This is one of my favourite Rouse songs to hear live, it works so well played both acoustically and with a full band, and on this occasion I felt the harmonica added a nice touch to the intro.  Next up, Josh played a new trac...

Josh Rouse has just announced a new Stageit show for Sunday June 24.  He tweeted that he would be premiering new songs.  His previous show was awesome, so I am very much looking forward to this one. It looks like these concerts, known as Late Night Conversations , are going to be a regular thing.  Great news for fans! Tickets are once again being sold on a 'pay what you can' basis and can be purchased here .

I watched Josh Rouse's online Stageit concert  last night.  I had never watched a show through Stageit prior to this, but it was a fun experience.  The sound quality was great - really clear with very little distortion, and there was a live chat window, where fans could communicate with each other, as well as request songs for Josh to play. Josh opened the set with two new tracks - A Lot Like Magic and Simple Pleasure . I liked these songs, both had catchy, upbeat melodies, which I found myself tapping my foot and swaying along to.  For the remainder of the show, Josh played a variety of tracks from previous albums, in addition to taking requests.  I noticed that lots of people were requesting songs from Nashville , with some people even suggesting he should do a show where he plays  Nashville in it's entirety (not only is Nashville  my favourite, I like the idea of dedicating a show to a an entire album in general, especially for an artist ...

Today, I was excited to hear that Josh Rouse is teaming up with S tageit , to play an online concert on Sunday May 20.  The show is taking place in Valencia, and according to Rouse's website , he will be playing at least one new song, as well as older material.  He will also be taking live requests, which is very cool. The concert is the first in a possible series, called Late Night Conversations . I think this is such a great idea.  I'm looking forward to hearing new material as well as songs from previous albums.  It will be interesting to see which tracks get played as a result of the live requests too! Tickets are available here , and are being sold on a 'pay what you can' basis.

Josh Rouse is a singer-songwriter who I feel is truly underrated.  I first discovered Rouse's music in 2006, when a friend sent me three albums of his - 1972, Nashville and Subtitulo.   Admittedly, it took me some time to appreciate how good his music is, but after gradually downloading his back catalogue (he has just released his ninth studio album), I realised how much I had grown to love his work.  His songs have a timeless, classic feel, with beautifully crafted lyrics.  I now consider Rouse to be one of my favourite, and most played musicians in my music collection. What I admire most about Rouse, and what I feel sets him apart from the average singer-songwriter, is the way in which he experiments so freely with different genres in his music.  Each of his studio albums touch upon varying themes and concepts, meaning that no two of his albums could ever be accused of sounding the same.  This creates an interesting and exciting listening experien...

Taken from Josh Rouse's fourth studio album 1972 , ‘Comeback (Light Therapy)’ has an irresistible bass line that draws the listener in from the start. The track depicts the struggles of seasonal affective disorder; "The sun is gonna shine in June / The doctor says I'll feel better soon” sings Rouse, followed by grooving horns that climax into an equally addictive chorus. The song's timeless feel is intensified in the bridge, with the uplifting vocal line “I miss my serotonin and my days are going nowhere fast” soaring alongside a sublime flute arrangement.