Here’s a mini-album from Megan O’Neill and her ensemble, all self-penned material. An Irish newspaper called her ‘The Irish Carrie Underwood’ but that kind of labelling is lazy. I am sure she wants to be The First Megan O’Neill….

The songs were cut out at British Grove Studios in Chiswick, London and produced by Dire Straits/Roxy Music cohort Guy Fletcher. It is probably fair to mention country, blues and folk as influences on this crew’s music. Guitars and fiddles abound. Her time spent in Nashville does show through and probably led to her collaboration with The Shires. The overall band sound and singing suggests that festival bookings will come, like Jess & The Bandits’ act this sort of music travels well.

London City Ghosts has a lively tempo and a sinister feel, like a speeded-up All Along The WatchTower, though the lyrics concern acid rain and spirits of history. The backdrop comprises boomy drums, muted Hammond, dancing fiddle and chugging guitars – busy but suits the cut. The slower bridge is neat.The vocal delivery isn’t a distance from Elvis Costello after a few plays. And as melodic as The Corrs, which might help garner radio play.

Blessing Or A Curse is more restrained and reflective but the singalong section soon arrives. She has a tuneful voice and is likely influenced by Mary Chapin Carpenter and Rosanne Cash, goddess of soulful country. The sliding guitar runs work pretty well, here along with the melancholic fiddle. Walls takes the form of a romantic story with a slice of mystery, backing vocals working, That fiddle sounds so sad and the guitar hints at a full-throated run but backs off – playing this live it should be let loose, for sure. The drumming is near-perfect and not restrained.

Devil & The Deep starts mystic and ethereal with great guitar runs on tremelo’d amp setting and purposeful drums. A story of being stranded which reminds me of War Of The Worlds but seems in fact to be a plea to have pity on refugees. Subject matter like this does lend depth to the whole collection. Again a tempo change makes its mark. In performance such facets can be used to maximum effect, I imagine. The guitar-fiddle interplay works a treat.

Twinkling guitar harmonics lead in to Stories To Tell – get a Mooer Slow Engine, Mr Guitarist! – with maybe the best vocal on the set. Closing track Awake Into The Light uses a pretty melody to roll out the song. A steady snare tap holds the tempo while a catchy chorus works its spell. The closest we get to Stevie Nicks on his album and allowing for a different accent one can imagine Nicks singing this.

Very listenable and tuneful folk-rock, played with the kind of precision that doesn’t strip out the soul, plus a better singer than most.

Pete Sargeant

(Many thanks to Tracy)