UK country music reaches new limits in the new EP from The Outlaw Orchestra, as Georgie Thorogood reviews.
The Outlaw Orchestra are a relatively new name to the progressive UK country scene and definitely come with a distinct flavour of the rock music they have been honing with their many appearances at festivals all over the UK. Emerging onto the scene with their original “The Devil Made Me Do It” in 2018, they describe their style as “heavygrass” and throughout their newly delivered EP “Pantomime Villains” they manage to deliver all that this implies, and much more.
Kicking off with a stirring guitar intro, the first track on the record, Take a Bow, is a definite nod (or bow if you wish!) to their roots. The beat of the song has loads of energy and whilst the lyrics may take a backseat in the whole arrangement, the banjo and mid-song instrumental give a real rocking vibe to a rousing tune, there’s no doubt that the Orchestra are back with a bang!
The Outlaws are definitely in town with song number two, Chicken Fried Snake, which really gets going after another instrumental intro. It was a pleasant surprise to hear that another UK band, as well as The Shires, has been able to reference the regularity that is Friday’s fish and chips into a song. The two couldn’t be more different.
The Hanging Tree is a clear gesture to the band’s Bluegrass influences and the fun twang of the banjo transports the listener back to Outlaw times. The up-tempo flavour of the song belies its morbid lyrics, a throwback to some of the original Bluegrass artists back in the Appalachian region of the US who often sung about people killing themselves, or shooting their wives etc.
The Status Quo-esque Whiskey Drinking Liar kicks straight into the vocals with only the lyrics lending a country air to a distinctly rock beginning. An interesting change of pace mid-way gives a little more texture to the song, and brings a little more of an “authentic” country feel. Although there has been the occasional nod to country music so far, Arabia is the next on the list and, having been released in April, is already streaming online. The repetition of “Where’s my cowboy when I need one?” does indeed get the listener wondering where he is, but the association with the lost cowboy and Arabia is a little unclear and its easy to miss the connection between the country themed lyrics and the distinctly un-country Arabia!
The feet really get stomping when the well titled ‘Jumping Jive’ starts playing. The vibe has lighted a little from the heavy rock style at the start of the album and imagining this playing on a Saturday night in a packed bar does perk up the spirits. Very much a party tune, the 1970’s influences are strong and there is a distinct feel that the writer had a rock and roll beat in his head when penning this.
The distinct change in pace of the album comes with ‘It Happened Again’, offering more of a focus on the vocals than has been evident on the album so far. Perhaps it may have been better positioned a little earlier on, but it’s an interesting shift to a clear second half of the album with a completely alternative style. Although prepared for a change of pace, nothing had indicated what would come next with ‘Voodoo Queen’. A flamenco style beginning and the twanging of the banjo conjures visions of black and red dresses being swirled around and heels stomping on the floor. With its strange changes in tempo, nothing links it to anything within the current UK country music scene.
By far the standout track of the album comes in the form of ‘Too Much Willie Nelson’. Questions are raised as to whether there is such a thing as too much Willie Nelson, but listening to the lyrics makes it clear that it is more Willie’s habits that there is too much of, rather than the legend himself. Undeniably country, the references to Willie and Johnny Cash only authenticate this further and it finally feels like the expectations of the album have been realised. The four and a half minute long Send Some Whiskey Home is the final track on the album and it’s almost a relief to get there, having experiences such a range of genres and styles.
Altogether an interesting listen, the album as a whole seems a little disjointed and stilted in its flow and it’s not immediately clear who it is targeted at. It’s noteworthy that there is a lot more instrumental time throughout all of the songs than is commonly heard and there appears to be less of a focus on lyrics which is the opposite of so many country songs, both modern and from times past. Whilst this isn’t to everyone’s taste, it is clear that the Outlaw Orchestra are one band as a whole, as opposed to a lead singer and the guys on the instruments who back him up, which is a lovely distinction to make. As the name suggests, perhaps the devilish irreverence of the band is reflective of them staying true to their own roots and influences, as opposed to being pigeon-holed in to a specific genre. If this is the case, they have well and truly achieved it!
Follow The Outlaw Orchestra on Spotify / Instagram / Twitter
