Shannon McNally at The Islingston

Shannon McNally

The Islingston, 19 October 2017

Despite being a recording artist for over 15 years now, Shannon McNally has never toured the UK so I was super excited when this surprising London date popped up. She has just released her eighth album which is maybe a little more notable because country legend Rodney Crowell is at the helm but McNally has had a somewhat choppy history in the music industry which probably accounts for the fact that she's never attained the success she deserves, so never been able to tour in Europe.

Signed by Capitol back in 1997 - who obviously pictured her as a photogenic successor to Sheryl Crow and Bonnie Raitt - it wasn't until 2002 that they finally released her debut album Jukebox Sparrows, a very radio-friendly rock-pop record that probably would have found its audience if it had been released when it was originally intended. McNally found the experience of being on an unsupportive major label something of a nightmare and after they opted to pass on her excellent second album Geronimo, she's bounced around various indie labels working with a succession of legendary names but never quite making that big break-through.
Her new album, Black Irish, may well be her best yet, so it makes sense that she's finally coming over to promote it playing small dates all over the UK, Ireland and Europe. It's a shame though that she's booked into the Islington for her first London date. While it's nicely intimate, it's essentially the back room of a pub and everything about it is really badly handled from the late starting time (meaning she could only play for just over an hour instead of the intended 90-minute set) to ill-judged support acts that were sound-checking half an hour after they were supposed to be on stage (McNally, who was the headliner, had sound-checked at 4pm and was expecting to go on stage at 8pm but instead had to wait until 10pm).

I have no clue what the support bands were called but the first was an absolute disaster. It was a metal band in the vein of My Chemical Romance and groups like that, with a pudgy bespectacled lead singer who got pissed off because a couple of audience members were checking their phones. He then tried to get the seven people watching (the Bad News episode in which the lead singer got upset at measly audience - "you let the dog in for free?!" came to mind) to take part singing along was the last straw for me so I left and waited it out by the bar. 

The second band was much more appropriate but looked like the hobby band of a bunch of 50-something business-men with a Neil Young obsession. The singer had long hair and hippie-ish patched jeans but you know that during the day he's probably the "cool" boss in some internet company who encourages their employees to play pool and relax on bean bags during the day. One song was a response to Neil Young's Heart Of Gold (of course) which musically sounded suspiciously like Down By The River. Another was basically Young's song Words with new lyrics. Still the trio were enjoyable enough and at least fitted with the headliner. Most of the people waiting for McNally actually stopped in to watch them unlike the opening act.

Finally! At just after ten, McNally, petite, beautiful and looking years younger than her age (she's 44 now but could easily pass for 30 - not that it matters), wearing a short leather skirt and loose white blouse, made her way through the crowd and strapped on a rather cool looking semi-acoustic guitar. At her side was guitarist Brett Hughes sporting one of the most beautiful guitars I've ever seen (I'm not sure of the make but it had an intricate floral design on the front and, more importantly, sounded fantastic). 

They kicked things off with the first track from Black Irish, the bluesy Rodney Crowell number You Made Me Feel For You. Even though it's just a duo on stage the sound is much bigger and still as foot-tapping as on record. McNally tells us later she wanted to bring a drummer and a keyboardist but it's kind of nice seeing her for the first time in such a stripped down situation where her voice and guitar playing (turns out she's a pretty fabulous guitar player too) are allowed to shine.

Before the show I heard someone say that Shannon was very shy and didn't talk much during her shows but tonight this couldn't be further from the truth: she was full of stories and very funny. She expressed her excitement at being in London and talked a lot about enjoying the English countryside while Brett drove to each show (and mistook a dog for a coyote, amusingly American). She told us she got a lot of flack for not writing all the songs on the new record but spoke about the importance of recognising good songs, which I think is true: Linda Ronstadt hardly wrote any songs but had exquisite taste choosing her material and helping to either bring those songs to a new audience or keeping them alive.

One of the best songs on the new record though is one penned by McNally herself, Banshee Moan. She explains before playing it that the song was written about her experiences as a woman in the music industry and said how prescient it turned out to be in light of the Harvey Weinstein scandal. Tonight it's atmospheric and haunting, like a modern day Appalachian folk song. It's probably my favourite tonight and on the record.

Another great new song she performs tonight is the bluesy I Went To The Well which shows of her superb guitar skills and some excellent blues licks. I had no idea she was so adept on the guitar and it was thrilling to see. So cool.

Before playing Black Haired Boy she explained that Susanna Clark wrote it about Townes Van Zandt and spoke about Susanna's amazing influence and how she was a muse for so many musicians, not least her husband, the late great Guy Clark. McNally's version was equally gentle but impassioned. 

Before playing her cover of The Band's It Makes No Difference, she dedicates it to one of her heroes Levon Helm, who of course played drums and sang in the legendary group. She was lucky enough to know him and she recalls how she loved to hear him speak and when they ran out of things to say she would just ask him directions to hear his beautiful voice. Apparently he was able to tell you the best and quickest route in great detail to get just about anywhere, Shannon told us she wouldn't even be listening to what he was saying just appreciating that great voice. During the song the support band's snare drum, left at the side of the stage, began to move. "It's Levon's ghost!" joked Hughes and it really felt it was. It was a lovely moment.

A few years back Shannon released an album of Bobby Charles covers called Small Town Talk. It turns out she knew him well too and tonight plays tribute to him with one of her favourites of his songs, the soulful I Don't Want To Know, showcasing her superb raspy voice.

There were other songs too of course, including a great number from Hughes' forthcoming solo album that Shannon sings on that I can't remember the name of, but she ends the set with her fantastic version of The Staple Singers' Let's Go Home. She says whenever she feels sad she just puts on The Staple Singers and it always does the trick and tonight she and Hughes channel this spirit well, as it's simply joyful.

The audience cries out "more, more!" before they can even get off stage so the pair strap back on their guitars for a short encore. They attempt to start one song but Shannon just completely forgets the words and collapses in giggles. So they abandon it and instead play what she calls "one of the two best country songs ever written", Townes Van Zandt's Pancho & Lefty. Of course, it's sublime, it's one of those absolutely perfect songs but they more than do it justice.

With that I run to catch the train, the songs still ringing in my ears, while hoping this won't be the last time we see McNally playing in London. Please, somewhere nicer than the Islingston next time though!