Anticipated debut albums can be a result of well-planned publicity or simply out of raw, authentic talent. Niamh Bury, with her exceptional songwriting skills and exceptional vocals, has been a constant presence at the monthly meet at the Cobblestone bar located in Smithfield, Dublin, The Night Before Larry Got Stretched, for the past half decade. Her fame has surpassed the city’s traditional and folk music circles.
Yellow Roses, her meticulously assembled body of work, was produced by Brían MacGloinn of Ye Vagabonds and rolled out by Claddagh Records. This illustrates Bury’s standing as she is one of the three artists signed by the label in several years, joining the ranks of Øxn and Lemoncello. This piece offers a gradual reveal of the world seen through a fresh and surprisingly unique perspective via a series of original tracks.
Bury’s singing style mirrors that of Laura Marling and Lisa Hannigan’s, distinctively articulate, accentuated by her perfect phrasing. The subtle longing present in the heart of her work sways the listeners with cleanly yet naturally orchestrated sequences upheld by Ryan Hargadon’s piano work.
In the album, we start with Discovery and finish with Budapest, where we can hear undertones of Keith Jarrett and Jeff Labes’ influence on Hargadon’s piano similar to their contribution to Van Morrison’s The Garden. Contributions by Kate Ellis’s cello and Caimin Gilmore’s double bass give a grand feel, portraying the artists’ deference towards the songs.
The musicianship throughout the album is a delight to behold: endowed with expansiveness and luminosity, a stark contrast to the additional strings of harp by Alannah Thornburgh. All the while, it ties the songs down securely but freely letting them take a breath.
Bury’s songcraft displays an impressive maturity, poignant observational skills and a propensity to view the world from a unique perspective. Her lyrical prowess is comparable to that of esteemed artists such as Nick Drake and occasionally, Paul Buchanan of The Blue Nile. Whether she is unfolding the complexities of the mind, as in ‘Beehive’, or exploring deep-rooted bonds, as in ‘Bite the Bridle’, her skills are evident. Her rendition of the only traditional folk tune in the cluster, ‘Lovely Adam’, is a superbly-mastered act of adopting a traditional piece, yet preserving its roots.
Bury’s maiden release certifies the thriving nature of folk music as well as the dividends of an elongated gestation period. As an emerging artist, she has been shortlisted at the RTÉ Radio 1 Folk Awards this year, validating her long-standing apprenticeship. The Inishowen Singing Weekend served as a catalyst to her professional journey.
‘Yellow Roses’ is a compilation poised to be a long-lasting favourite, inviting listeners to revel in its intricate layers, reassured that each subsequent listen will uncover more of its depth.