Simon RushworthParker Barrow — Hold The Mash (Self Released)
On Blinded, second up as Hold The Mash picks up the pace, Megan Kane has never sounded more authentic, persuasive or powerful.
The Black Crowes-like swagger underpinning a near-perfect piece of rootsy blues rock reveals the precious talent at the heart of Parker Barrow.
Every aspirational band needs a compelling voice and Kane’s more than able to propel one of Nashville’s most exciting prospects into the big leagues.
Hers are sparkling tones that can comfortably straddle soul, outlaw country and bar room blues. Hence, Hold The Mash is a truly joyful journey.
That Parker Barrow have been dubbed ‘vintage shop rock’ perhaps alludes to the fact that their best songs are a treasure trove of retro cool.
Or maybe it’s because Hold The Mash has that comforting feel associated with something pre-loved and carefully curated prior to finding its forever home.
And surely any fan of blues-based classic rock will find space on the shelf for this special, almost spiritual record.
Star turn Kane, of course, is backed by a band rooted in a past where immersive riffs and barrelling rhythms jostle for position with sweeps of achingly cool keys (step forward the sensational Eric Safka).
Guitarist and musical director Alex Bender’s clearly a man with a vision — it’s no stretch to imagine him pouring over every last note in a bid to craft the perfect Parker Barrow project.
Alongside fellow six-stringer Will Tipton he creates the platform for Kane to soar.
And then there’s the legendary Fraser/Kirke partnership reborn in the shape of Kyle Priber and Dylan Turner: free and easy but necessarily tight all at the same time. If you know, you know.
Hold The Mash boasts all the hallmarks of a future classic.
Parker Barrow: park the preconceptions
Parker Barrow is the place where Blackberry Smoke meets the Allman Brothers Band and Aerosmith kick back with The Cadillac Three.
Taking cues from Southern rock’s storied history and stitching in the late 60s blues of Cream and the Stones, strands of the past are subtly interwoven with rock and roll’s ever-evolving here and now.
Hold The Mash holds the attention — spin after spin after spin.
The stripped back Olivia Lane doesn’t leap out as an early favourite but don’t skip the really good stuff. It’s Kane at her affecting, emotive best.
Glass Eyes Cryin’ benefits from some brilliant, groove-laden Free-styling that’s simply crying out for a Paul Rodgers collab.
And the magical, meandering My Morning Song successfully marries vintage Clapton with the very best of peak Tedeschi Trucks Band.
The epic, eight minute-plus set closer offers a glimpse of Parker Barrow’s true potential and hints at the triumphs to come.
Hold The Mash holds all the cards in the race to be crowned this year’s best breakout album. No hype required.
