When I first played this album, I couldn't tell whether Erin Searson was singing or shouting. I thought this might even be something I could warm to eventually -- there is often a hint of early Nanci Griffith in the way Erin attacks the vocals. But, I'm sorry to say, I found it really difficult to enjoy Erin's forced, unnatural vocal performance.

There are some interesting and well-executed fiddle compositions on Follow -- "Footstomp" and "The Duel" being of particular note -- but the actual performance is all too often drowned out by excessive guitars, drums and bass, which detracts from what would otherwise be well-crafted and enjoyable tunes. Don't get me wrong, I'm an admirer of progressive and contemporary Celtic music, but the balance here is all off-kilter. The emphasis seems to be on pace and volume, which somehow misses the point. Power and energy can be achieved without just cranking up the volume and playing everything at breakneck speed.

The songwriting on Follow also shows promise on a few tracks. "Spin" is a great pop-oriented number with a delightful, catchy chorus and sumptuous harmonies that would almost sounds like the Corrs, if it were actually being sung instead of shouted. "Back to You" provides a rare sensitive moment on the album and shows that when Erin Searson stops shouting, she does actually have the interesting singing voice I was hoping to warm to initially.

Searson describe the band as "kick-ass Celtic." Now, I'm all for a bit of "kick" with Celtic music. Indeed, Celtic music, even in its purest form, can have enough kick of its own. However, for me, this collection needs a little less "ass" ... if you see what I mean. It is just too much. Less is more, particularly with this type of music, and Searson could do well to venture back a little closer to their roots.

by Mike Wilson
Rambles.NET
4 November 2006

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