Review: Elles Bailey 'Shining In The Half Light'

Elles Bailey

By Chris Wheatley

A treat for fans of the superb British singer-songwriter Elles Bailey comes this month in the shape of Shining In The Half-Light, the artist’s third album, which is released this February 25th, via Outlaw Music. Since emerging on the blues and roots scene with her full-length 2017 debut, the singer has accomplished much, garnering consecutive UK Blues Artist of the Year awards, a UK Song of the Year award and Album of the Year. The ten original tracks presented here were recorded in the environs of Middle Farm, Devon, and feature Joe Wilkins (guitar), Johnny Henderson (keys), Matthew Waer (bass) and Matthew Jones (drums). Izo Fitzroy, Andrusilla Mosely and Jade Elliot provided wonderful, gospel-tinged backing vocals.

The strident “Cheats and Liars” kicks things off in grand style, a powerful blues-rocker with plenty of punch and cavernous depth. It’s a pleasure to hear Bailey pouring her heart into a subject which is obviously of great concern to her – a weighty response to those “sitting in their ivory towers” while the common people suffer. Vocally, Bailey has more than enough strength and swagger to pull it off. Follower, “The Game,” brings a shuffling, Americana feel to proceedings. The assembled players do a fine job of conjuring up a muscular, swinging back-drop.

Production for Shining In The Half-Light was handled by Dan Weller, who is probably best known for his work with British rock band, Enter Shikari. It’s a brave choice by Bailey, but then she has never been afraid to challenge herself. The decision, says the singer was “a huge step into the unknown.” The evidence here suggests it was an inspired move. There is a big, bold sound on this album which perfectly matches the material and the vocals.

Even on the slower numbers, such as the smouldering, “Colours Start To Run,” there’s a sense of easy robustness – the sort of dramatic tension Elvis Presley was so good at whipping up in the studio. That’s as high a compliment as I could pay to Bailey and her band, and they certainly deserve it. Indeed, the eclectic choice of songs provides another telling echo of the King’s best sessions. “Sunshine City,” for example, bounces and struts with a good-natured, country vibe. Despite this breadth of material, Shining In The Half Light hangs together nicely.

Each of the musicians adds their own distinctive stamp – Wilkins’ guitar buzzes and circles with the dexterity and menace of a peregrine falcon, Hendersons’ keys swirl and lift, and Jones and Waer provide a solid, swinging platform. The star, of course, is Bailey herself. Her voice sounds as good as ever. She is a singer who will always wrest the utmost from any song. The title-track ends this highly enjoyable record, a slow-tempo, jazz-inflected number which echoes and stabs. Bailey is a master of conveying high emotion without ever stooping to histrionics.

Listeners have been waiting three years to hear new music from Bailey. Understandably, given the global events of those years, the pandemic and resultant lock-downs have shaped much of the singer’s writing for this set. As she herself observes, “This album has been about getting to know who I am without the show, the stage and the splendor. Unraveling the layers and being okay with them.” Bailey, one senses, has many layers to unravel. She is an artist capable of new inspirations and surprises. Supposing the best is yet to come, we have an awful lot to look forward to.

Watch “Cheats and Liars”