John Wort Hannam appeared in the review of the 2016 Maverick Festival which was based on a geographical spin around that year's performing artists. Alberta, Canada was the location for this singer-songwriter and our paths cross a few years later, though this time in the digital sphere of music being shared far and wide across the wires. A hook up with Steve Dawson's Black Hen Music operation in Nashville is a link back to the European market in respect of reach and a suitable new album title of LONG HAUL is the material to renew a mode of respect born from that appearance five years ago.
You can pick any relevant tag describing this album - folk, country, Americana, Canadiana, singer-songwriter - all play a part and are determined by at which stopping point you reach on a record gracefully sailing through forty minutes worth of delightful material. All eleven original tracks surface from a solo or co-write origin and get an extra sheen from hooking up with players from the label, who add in a multitude of instrumental subtleties. This is John Wort Hannam's eighth album and acts as a good starting point if you are new to his work.
There are few deviations from a standard template of song structure giving a reassuring feel to those choosing to spend a slice of their listening time with this record. The vocals are clear, heartfelt and aligned to the desired mood of each piece. To spice things up a little, a top drawer duet is thrown into the mix with Shaela Miller joining in the affray on 'Beautiful Mess' and quite rightly getting the 'featuring' credit.
No time is wasted in introducing the title track and 'Long Haul' is one of several where the vocals kick straight in with no instrumental intro. A detected technique that works and repeated in 'Hurry Up Kid'. The melody in the opener is also of an agreeable nature and proves to be a recurring theme as the album proceeds. 'Wonderful Things' contrasts in terms of a touch of twangy guitar leading things in and echoes with strains of natural positivity.
The aforementioned duet is full of country sentiment with an extra step of pedal steel and some choice fiddle permeating the sound. There are also audible visions of the late John Prine with a spout of irony flickering in and out of the lyrics. 'Old Friend' is another more of a country than a folk persuasion and is a no holds barred take on sentimentality. The like of which could frequent any country album from the last half a century including some mainstream releases.
Anchoring the record in the pivotal position is the redemptive and regretful number 'What I Know Now' coupled with a extended rueful play out. 'Meat Draw' is framed like your archetypal country duet akin to one with a touch of humour, but enacts as just a solitary voice. 'Twilight Diner' has a gothic tinge to steer the sound in a lightly different direction without really losing the thread sewn by John Wort Hannam's reassuring presence. 'Other Side of the Curve' sees the album dip into a mellower pot with an almost classical violin sound adding to the change.
As we approach the conclusion of an album that does resonate once given a couple of spins, we see more of the philosophical side to John Wort Hannam. 'Round & Round' appears to be a very family oriented piece, almost in direct dialogue, while 'Young at Heart' is what we all feel at times once reaching a certain age yet still retaining a youthful zest. Mind you this song gets a little terminal in places.
Without too much insight into the back catalogue, you feel that LONG HAUL is a useful addition and the sum of John Wort Hannam pouring a huge pocket of experience into a record that was unconventionally made in unprecedented times. The team around him have helped enormously and it was a pleasure re-acquainting with this Canadian five years after enjoying his music at the Maverick Festival.