Reviews

Robin Adams
Album: The Beggar
Label: Hamework
Tracks: 9
Website: https://robinadams.bandcamp.com/

“Sun Behind The Storm” and “Catapult” off Robin Adams’ 2021 release, with their real emotion and nods to the intimacy of Nick Drake, were some of the best things I heard that year. The more country Wrong Road Home that preceded it is also a gem. Scottish second-generation musician Adams now returns with The Beggar, an album with its roots in a set of 2018 demos, here fleshed out in a spirit of collaboration with other musicians.

Robin’s parents, Chris and Pauline, were the driving force behind 70s Folk Rock ensemble String Driven Thing. (Coincidentally but not relevant to this album in any way, although our paths didn’t line up, String Driven Thing operated out of a bucolic house overlooking my family’s farm in rural North Bucks.) Chris Adams’ death and recovery from chronic illness overshadowed and informed the conception of this album.

“The Rover” is a charged acoustic triumph, Robin’s voice and guitar carried on waves of Ross Taylor’s harmonium and some moody strings. Big on atmosphere, the lyrics deal with the black dog of depression, loneliness and isolation.

“The Beggar,” who also gets a mention in the previous song, is a musically pared-back but emotionally loaded song. With echoes of McTell and Thackray in the melancholic writing and delivery, this is a classic performance. Again, the use of understated strings is inspired.

“Metamorphosis” has a superb vocal and guitar from Adams. It starts simple and builds, thickening around the hypnotic eponymous chorus. We were huge fans of 90s one-album wonders Sunhouse; Robin’s gripping vocal on this track and the following “Lost” strongly reminded me of the now sadly gone Gavin Clark, vocalist with Sunhouse.

“Lost” is a wonder in its comparative simplicity and power. Adams, over a hypnotic drone, conjures a claustrophobic introspection worthy of Mark Hollis or The Bends-era Radiohead—both longstanding benchmarks of quality in this house.

“Ride On” carries on the angsty post-rock intensity, adding strings and David Bowden’s pulsing bass to the sound.

“In The Darkness” opens with a hypnotic bass riff on the harp, lending a chamber-folk atmosphere to the bleakly beautiful song. Again, the sense of fragility and separation is palpable and very real in Robin’s compelling delivery.

Drums and bass give a Road to Ruin John Martyn or Five Leaves Left swirling period beauty to “Bad Seed,” another absolute stand-out track. Campbell Drummond’s saxophone and Dan Brown’s piano are just the icing on the cake.

“Must Be Dreaming” is an acoustic fever dream; poetic lyrics and a perfectly phrased, flowing vocal delivery make this another song I hit repeat on again and again.

Reviewing tradition says I leave you with a single taster track; choosing just one is going to be a challenge. Closing fragment “Blue Flower Slumber” is without doubt the strongest vocal on the album. Full of emotion and nuance, this track is too short but it builds perfectly; again, I could have listened all night.

Left me wanting more, going back to listen to Robin’s previous releases and looking forward to the next EP or album from this compelling acoustic performer.

Marc Higgins

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