BIG NEWS: Lewis Watson releases more than four songs at once

pre-review warning: I am a superfan and so seeing Lewis finally release this album has been an important experience so please don't hate me for my heinous prejudice

sounds like: a sad Ben Howard

(photo creds theguardian.com)

I've been in a slump recently - finding something to write about has been hard. I've found little inspiration in the places that usually set my creative gears to go. I always like to write when it rains because I become wrapped up in the way the whole world stops for a little while as you hear the droplets softly strumming against your Window(s) (ayyyyyyyyyyyyyye). But, honestly, lately there's little that has been able to provoke creativity. Other writers can find it in music because, if you're listening to the right stuff, it's really an extension of poetry and the heart, however I can seldom find pieces of music that evoke sparks of inspiration (though the Hippie Sabotage remix of Tove Lo's Stay High is a lil bit of alright). However, the skies today are clear and so it seems that Lewis Watson (that NERd) has released an album exceptional enough to ignite my creative juices once more. thank u lewiz x

hello from lewis and i (and my sister's SHIT photography tekkers)

The Morning opens tremendously [insert colossally uncool reference about how there hasn't been a better start to an album since 'State of Grace' from Taylor Swift's Red (dem drums blud)]. 'Stones Around The Sun' is an eerie, acidic track that seems very lost-in-a-forest-ish with crashing drum crescendos and whispery, desperate vocals. It's spacey and strangely subtle yet a real monster of a song. It may be offbeat to those who seek his more typical twangy folk guitar, but it remains a gratifying surprise.

Still these acoustic ballad chasers are not left disappointed as The Morning is bountiful with unplugged crooning. The reassuring nature of 'Halo' is likely to become a hymn for anyone feelings of inadequacy, but still sort of manages to be a little bit redolent of James Blunt's urrrr beautifaalllllll (no need to take offence, what a banger). Continuing with this essence is 'Sink or Swim' which remains virtually untouched from it's original 2012 release. Unscathed is the honeyed integration of rumbling percussion and rich harmonies that his fans fell in love with not so long ago.

The recycling of old tracks that made the Oxford native a social media sensation extends with the song I selected to be my favourite of 2013: 'Into The Wild' encompasses Lewis' songwriting talent. Stunning, husky vocals prove to be a perfect way to showcase his lyrical peak and exude an aura of pure magic. Definitely a contender for best song from The Morning. Another impeccable example of this comes from a pumped-up version of 'Windows'. It's incredibly difficult to discuss this song as it's probably my favourite ever written ever (yes, even on par with Wish You Were Here o man!), and the only way to describe it justly is for you to close your eyes and think of every enchanting word you know. These are the words I would use to describe 'Windows' because they're all that come to mind when I submerge myself in its loveliness.

He consistently hits all the marks in appealing to his demographic and easing in seamlessly with the army of already established young singer-songwriters, such as Benjamin Francis Leftwich, however this slips away a teeny bit with the very pop radio friendly 'Close', complete with fuzzy sing-song lyrics and athemic production. Track 2, 'Holding On' (not to be confused with his SBTRKT cover), is also upbeat and ready for ya foot tap along, yet still drips with Watson's signature sorrow. The new folk music Rat Pack - Hudson Taylor, Saint Raymond, Charlie Simpson (yes, eyebrow lad from Busted), Kimberly Anne - contribute in the recording of the bewildering tale of a relationship slipping from one's fingertips ("if I bide my time / I'll get lost like a tear in the rain").

The lighthearted merrimet doesn't last for long as the divine harmonies of 'Ghost' transition sublimely into lead single 'Stay' - a song that not only centres around an indefectible falsetto, but also has the coolest back story of all time. Though he tells the tale of 'Outgrow' as a whimsical Art Attack anecdote, the song itself is anything but. It is awful. But, of course, not in the shit way; in the best possible way, simply because it hits home. The saddest thing is it's honest, and so therefore completely heartbreaking and kind of a slap in the face - growing up is bloody hard, bro but coming to terms with it is even harder. When you think that much melancholy at once wasn't enough, the album neatly comes to a close with the heart wrenching 'Castle Street' being hurled at your head and you seem to wonder "HEY, LEWIS WATSON, U JERK! WHATEVER DID I DO TO YOU FOR YOU TO MAKE ME FEEL THIS WAY?????????".

And though I dislike (!) secret tracks, Lewis includes one anyway. I'm pretty sure it's called 'The Morning', and it greatly echoes his very early EPs while clearly drawing inspiration from his fellow singer-songwriters, specifically reminiscent of original mun man Matt Corby. But if that wasn't enough to feed your Watson thirst, the deluxe edition features every song ever recorded by Lewis and so is basically the Bible for any devotee. It also features an array of fantastic unheard demos (featuring a pre-#3 #3 demo that is so frickin bubs).

The Morning proves to be achingly poetic and really sets the stage for what could be a starlighted career, and us fans couldn't be prouder. But one thing's for certain - just because he plays the guitar does not mean he's the next fucking Ed Sheeran x

my album haha what a wigga x

//THE MORNING IS RELEASED TOMORROW ON WARNER BROTHERS RECORDS\\
//ITUNES//
//AMAZON//
//BANQUET// (support independent!)
//ROUGH TRADE// (support independent!)
//LEWISWATSONMUSIC.COM//

i leave you with this gem - eyebrow game strong tho x

// the power of support acts // GIG REVIEW: Saint Raymond - Barfly, Camden, 2nd October

For fans of: The 1975, Lewis Watson, Dog Is Dead, Haim, Bastille

(AWFUL PHOTOS COURTESY OF SHITTY IPHONE CAMERA)

I don't really ever care about support acts. I would much prefer it if the main act came on stage, did their thing, then left so I wouldn't have to stand around for two hours watching someone I actually didn't want to see. Yeah, it's a fantastic opportunity for lesser-known artists to showcase their talent (blah blah blah) but I am, selfishly, thinking of my poor ankles crumbling under my body weight simply from standing in one place for too long. Besides the phenomenal live presence of Bastille supporting Two Door Cinema Club in Brixton back in February (I find most of Bastille's songs too similar sounding but oh me, oh my weren't they incredible live. They even, dare I say, outshone the TDCC lads.), an enjoyable support act is a rarity.

Let's go back to 21st March 2013. Lewis Watson at the KCLSU in London. On that night, the support was a singer/songwriter called Saint Raymond, who's song 'Bonfires' I was already obsessed with. His music completely floored me and I immediately became a fan. Lewis has an eye (or ear, I guess) for picking pretty amazing support acts, such as Mike Dignam and the lovely Shannon Saunders. Saint Raymond (aka Callum Burrows) was no exception. Neither was the support act chosen for Saint Raymond's first (and sold out!) headline show last night in London.

The support came from a newly emerging singer/songwriter called Joel Baker who owned the stage last night at Camden's Barfly. I hadn't heard of him before but his astonishingly soulful voice pretty much moved me. His songs range from charming solo ballads to propaaa head-bopping, foot-stomping acoustic anthems. As regular readers know, it always blows me away how just one person and their guitar can hold a crowd and Joel Baker did it so perfectly. His impressive set has definitely convinced me to purchase his current and any upcoming music. - check out his youtube channel, see what you think (you'll love him) -

/ really useless paragraph / There was definitely some pre-show entertainment in terms of a ridiculously drunk bald guy (I don't think he knew where he was, nor did he actually purposely come to see Saint Raymond) who cleared himself his own little dance floor and was bumpin', grindin', thrustin', twerkin' his way across the floor. Just when you thought he was about to pass out, he'd let out a massive roar and swing his big shiny head around. Everyone around me bonded because we were all laughing so hard. So jokes.

Despite perceptions that Saint Raymond is a band, he is a solo artist hailing from Nottingham, home to his local inspirations Jake Bugg and Dog Is Dead. He's already secured support slots for the likes of acoustic-folk up and comers like Lewis Watson and the mighty Gabrielle Aplin, who's independent record label he was signed to before securing a contract with major label Asylum Records. Today he announced an international support slot for hipster superstar sisters Haim, which is only reflective of his growing popularity.

He opened his set with the wail-along worthy 'Letting Go' (which has received Made In Chelsea airplay), the final track from his debut EP 'Escapade' which reached the top 25 on the UK iTunes chart earlier this summer. He then continued with 'Escapade' themed tracks with 'The River'. His three-piece band assisted him in pumping enormous amounts of electricity to an otherwise quite chilled-out track. For the moment, he ended the EP reign with my favourite song of his - the dynamic and all-round amazing 'Everything She Wants', which had the whole crowd turnt and singing along.

You would never guess that Callum is just 18 years old, as the level of maturity in his songwriting is well beyond his years. No cheesy, gimmicky lyrics to make the girls swoon. Just good, honest, heart-felt stuff that's so effortlessly cool. Perhaps this is what sparked the interest of Radio 1's Zane Lowe as well as backing from BBC Introducing. His onstage energy is more that of a lead singer of a rock band who've been performing for donkey's years rather than a teenage indie songwriter (if that doesn't come off as a complement, it's meant to be). He proved this in August during his unforgettable Reading and Leeds sets. There is no fault in his guitar playing ability, nor the gorgeous selection of guitars (including many *sniffs* Fender Guitars <3<3<3) he has on stage which I may be slightly in love with.

He then played a string of new tracks, unheard of by the audience, which only make me more anticipated for the release of more music. The stand-out song was definitely the 1975-esque (who, as I can tell from Callum's twitter feed, he is utterly obsessed with) 'Young Blood' which neeeeeeeeeds a place on my iPod sometime soon.

He ended the set with an 'encore' of fan-favourites. Firstly 'Bonfires'; alive with pep, progressive drums, and seriously incredible riffs. Finally was the lead single 'Fall At Your Feet' to close where an actual, though very pathetic, mosh pit began to take place. His upbeat electric guitar dominates the stage and the thundery drums pulsate magically through the crowd. It is songs like this which light up Saint Raymond's big future in the music industry. Keep your eyes peeled and see him live as soon as humanly possible, he's going to be one of the next big names.

Saint Raymond and Joel Baker put on a worthwhile night, proving that sometimes it actually is the support who take center stage.

CATCH SAINT RAYMOND LIVE WITH HAIM DURING THEIR EUROPEAN TOUR

SAINT RAYMOND LINKS:

YOUTUBE

TWITTER

FACEBOOK

ESCAPADE EP

JOEL BAKER LINKS:

YOUTUBE

TWITTER

FACEBOOK

LONG SLEEVES EP