There are two sides to every story. We’ve heard Dolly’s angle since 1973, imagine if Jolene had her say. Traditionally, like gallant fables, songs seldom back the underdog, the aberrant. Particularly the rounded narrative of folk or country, usually tales culturally able to be retold, optimistically.
If the last local singer-songwriter you’d expect to be exploring darker tenets is Tamsin Quin, think again. Akin to Springsteen’s Nebraska, in so much it summons no such communal feeling, rather Scandal, the new single from our illustrious local songstress is secluded in a room of a distant, shady and enigmatic place.
A song of who the cap fits, of watching your own back. Tamsin advises “there’s criminals in the shadows, pull your friends a little closer.” But cross examines her own persuasions and faith in the notion, maybe, “we’re all scoundrels deep down inside.”
It’s as if the darker depths of Tamsin’s acute words in previous songs have come to detonation; executed sublimely, and produced with eminence by Phil Cooper. Scandal, out next Friday (30th August) is whole new level of excellence for this already blossoming star. I congratulated her, as vocally it sounds deeper and much more refined than anything before. Is that what she was hoping for?
“Yep,” she responds as ardently as the same ol’ Tammy, “I was totally going for the dark country vibes. Phil did such a great job producing it; I’m really pleased with the outcome. I hope its dramatic!”
Tis indeed, like Wynette at her darkest; she builds tension around the breakfast table, the penny drops as to why Billie Joe Macalister jumped off the Tallahatchie Bridge and the protagonist attempts to hide her secret affair. “So,” I asked, “this is for a forthcoming album? Can we expect the others to be similar, or am I divulging too much?!”
“I’m aiming for a new album next year. The plan is for another single in October, then a single in February, and the album in April.” Tamsin expands the answer, “not all of the songs are this dark, although I am working on another haunting one at the moment, but the whole album feels a lot more mature that Gypsy Blood. I feel like I’ve grown into myself, and I’m writing what I want to write, instead of what I think the crowd will love. Writing more for myself I guess, although I really hope others really like it too.”
That personal enlightenment brews Tamsin’s poise when performing live, “writing things for yourself does tend to give you a little more confidence in delivery. Which I guess gives other people faith that its good, if you have faith in yourself and your work.”
I’m certain when reviewing Gypsy Blood, I suggested Tamsin sounded more mature, guessing both are a natural progression, though. “Guess you gotta grow up somewhen!” she laughs. I think you never stop learning and growing artistically, until, perhaps you reach a pinnacle and it doesn’t sound so progressive. Does she fear ever reaching that age where they say, “old Tamsin, just going through the motions?”
After stressing the importance to her of critical feedback, she laughed at the notion. “I guess that’s where the whole ‘writing for yourself’ thing comes in, because if you like your songs then you won’t care what people are saying.” I suspect that time is a long way off, Scandal in a nutshell is poignant, emotive and, perhaps an unanticipated gift to our music scene, and based upon it, I hold my breath for the album.
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