Album Review – Louise Rogan ‘Give Me A Day’

LOUISE ROGAN possesses a wonderful voice, reminiscent of Joan Baez, and is also a skilled keyboard player.

Following on from the well-received duo release Things That Matter, recorded with her father songwriter Chris Rogan, she has now released her first solo album Give Me A Day.

The reception accorded the earlier release and a now well-established presence on the folk club and festival circuit seem to have gained Louise valuable networking opportunities.

Michael McGoldrick has stepped in, not only on whistle and percussion, but as producer. His longtime musical compadre John McCusker is on fiddle and accordion duties, Northern Assembly’s Jon Doran supplies bouzouki, classical and folk muso Elena Edwards is on ‘cello, former Johnny Dankworth stalwart Neil Yates is in the trumpet chair, in-demand session player Matt Schuessler handles stand-up bass, and the family link is still there as her dad Chris takes 2nd vocals and guitar.

From all that, one has great expectations, and Louise does not disappoint. The track list is a mixture of Rogan originals mixed in with well-chosen traditional numbers.

Opening track The Banks of the Bann is one of the latter. The vocals are sweet and evocative in this tale of love thwarted by class difference and it segues seamlessly into the band playing the melody of Old Man Rocking the Cradle with Mike McGoldrick on lead. Lovely stuff.

Staithes (pronounced STEEuhz) is a fishing village in North Yorkshire and the advance single from the album, The Staithes Bonnet, a self-penned song, is based on a local tradition that widows who were open to the idea of being courted once more would wear a distinctive bonnet. From this base, Louise has crafted a ‘Maid on the Shore’ type tale in which the ghost of a drowned sailor counsels his love to make such a bonnet and find a new love. The story is set to a 6/8 rhythm that evokes the rolling waves, the lyric is well-written in traditional style, the band are great, and the vocal performance is superb.

Chicago Avenue takes a step into Joni Mitchell territory with this nostalgic hymn to Louise’s previous ten-year stay in The Windy City. Her doubled-up harmonies are especially reminiscent of Ms Mitchell. Neil Yates supplies a tone-perfect sympathetic trumpet solo. Chicago Avenue is one I could easily imagine becoming a mainstream hit.

Evie’s Lullaby has her own words set to John McCusker’s melody. It’s a lovely combination – made all the more affecting as I assume the song’s sentiments stem from Louise’s own recent motherhood. While obviously personal, I could readily imagine other artists recording this song – indeed all the original tracks underline the strength of Louise’s songwriting and I would commend this album to any traditional singer looking for new material.

This is one of the strongest début albums I’ve heard in a while, and I predict it won’t be long before Louise Rogan attains the festival bill-topping status she richly deserves (especially if she can carry this band with her). This is a voice to remember.

BOB LESLIE

https://louiserogan.com/